As the language forms an organic unit with the body, the organic body functions that guide the body become part of the language also.

The prerequisite of transmitting thoughts is the existence of a transmitting agent.

The starting point of thought - from the point of view of life-development - is not known by today’s scientists and thus far only humans were given the elevated status of intellectual beings. This narrow definition is beginning to expand in our days and maybe a future generation will notice that our human development was not the proud fact of a nicely-moving thumb but the creative thought of which our bodies are only an instrument, molded according to our needs. The modern scientist, whose world view explains matter through matter, becomes insecure and even scared at the immense distances our thoughts can offer because he knows that, the instant he makes the first step toward the world of thoughts, he must bid farewell to the narrow little world of microscopes and instruments of which until now he has been the ruler, like the tiny life forms in a drop of water. Once this journey begins, it will take us sooner or later to the thought behind the Word of creation and to universality.

This subconscious knowledge is immensely larger than our present conscious state and it played a far greater role at the beginning of our lives than we are able to imagine today. We call its occasional manifestations “superconscious” and place it most often into the cheap entertainment category of psychic phenomena. Only rarely is it examined by a daring scientist as subject of a scientific study within the realm of psychology. Interestingly, the content of this superconscious and the subconscious meet at the base of the pyramid, at the level of universal consciousness. This consciousness is the first to realize the world and sends the thought onto its journey of which – in human affairs – the end expression is Man[1]. This Man – with the exception of a few inspired individuals – locks himself away from the knowledge that is his, which began at the first moment of his consciousness, which is the originator of his existence and the preserver of his life. The result of this action is his constant sense of incompleteness, which he tries to satisfy with material goods. The futility of this action is well demonstrated by today’s world of “consciousness expansion” through material means and its complete failure. Man feels that once he was able to achieve through the totality of his life all the things which he is now able to achieve only through limited material means – telephone, radio, TV, space ships – etc. This state of affairs is much like the fate of the sorcerer’s apprentice who started a sequence of actions but was unable to stop it.

The first originator of our thought-sharing processes – as I can perceive it today – is embedded in our consciousness and it is independent of the media, which we call material world. Our consciousness is at home in the infinite. Its tool is thought; the instrument of thought is matter. The endless possibilities of the infinite are still alive within us in our childhood and it even gives expression of to its existence within the symbolism of the child’s environment. Like “I see a child looking into the mirror which shows a child looking into the mirror....”, or “I am sitting in a movie where the audience sees on the screen an audience which....” and so on. The child realizes the infinite as a personal experience, which he cradles within himself. This consciousness of the child awaits answers and cultivation so he may rise to the fullness of his human capabilities in the name of universal life of which he is a rightful heir. Today we realize some of this talent in the lives of our inspired artists who even as grown ups remember that the buds of spring sprout from their being.[2] An unbelievably beautiful world would open up in front of our eyes if we were to base our lives on full consciousness. Consciousness makes its home in the world of ideals and beauty, goodness and harmony. Love is its nurturing soil and the thought that preserved its original consciousness will bring these about in our material world also. The nurturing of this talent should be the basic goal of childhood education. In Magyar context we are still aware of the once existing schools of ancient priests and wise men and their methods of teaching. Arnold Ipolyi, a priest, linguist and ethnographer talks about these in detail in his Magyar mythologia (Magyar Mythology) and this may have been the reason that his church superiors did not give their blessing to his monumental work which could have heralded in a new age. In ancient times – up to the times of the so called historical age – before a Magyar child stepped out into the world from the protective environment of his family, he spent years in a holy community, where he studied, perfected his knowledge and elevated his talent to connect with the universal to the highest degree.[3] In other words: they made the body, which is the instrument of, capable of accepting the knowledge received from the universal in the name of love that always creates. With such preparation the body, and within it the brain, is made capable of processing the universal knowledge which he needs and can apply in his present environment. There is an old Magyar saying that “the knowledge was poured into his head with a funnel” which saying – I believe – is a very picturesque expression of the process of how consciousness becomes thought.

Returning to linguistics, we see that the prerequisite of thought, which is consciousness, is a gift that was given not only to human beings. On the level of pure consciousness the world is in constant connection with all participants of creation. From experience we know that our favorite dog, or other pet close to us has proven several times over that he is aware of our thoughts. Magyar ancestral memories know of a time when human beings understood the language of the animals and knew that the waves of the Sea of Heaven transmit the Song of Creation. They perceived that the grapes talk, the peaches ring out and the sun and the high heavens are loud and the dawn laughs.[4] These words are not an empty poetic imagery but the product of a refined sense that perceives the waves of creation. Through their inherited talents and teaching, they helped to maintain this level of consciousness, to use it in case of need to help creation, even in our days.

Presently we walk like blind and even more like deaf people since our lives are attached to materiality. But, even so, we realize that our actions are sometimes dictated by “the spirit of our time”. Similar artistic creations, humanitarian efforts, music emerge at great distances, from people who do not know one another. But we have absolutely no idea what waves our planet passes through at any given moment and what effects they have upon our lives, our consciousness, our psyche and what our role is within these, because the universal knowledge cannot surface in our lives.

Our Magyar heritage recognizes consciousness as being above space and time and its participants used it in this manner. The frequent motif of our children’s stories is the exclamation: “Hip-hop I’ll be there where I want to be”. This was an accepted, daily reality at the time of king Atilla and, according to a Christmas song, this method of travel is still practiced in County Baranya Hungary in our days.[5]

Concerning the development of the transmission of thoughts, I spoke of a sequence, where the necessary prerequisite is the desire to communicate. The desire, the feeling is already attached to matter. The prerequisite to the birth of sound is the presence of matter and its ability to contain. According to Magyar traditions, the knowledge built into the language is connected with materiality; the capacity to contain, to enfold is a maternal and material quality. Light and energy are masculine concepts. The two are interchangeable according to physics and within the structure of the Magyar language too. [Erő=force, erőny=energy, anyag=matter. Here the Magyar word for energy (erőny) is a composite of the word force (erő) and matter (anyag)].

The use of sounds in the Magyar language is never arbitrary but a reality presented by the strict principles that are operational within the forces of creation and ancient consciousness. First grade writing exercises in Magyar schools frequently contained the following words, side by side: „úr, ír” (the lord, to write). Writers and poets frequently used this chance exercise in the practice of the letter R in a socio-economic sense mostly in connection with Hungary’s welfare problems. From the point of linguistics the words „Úr” (Lord) and „Űr”(space) fully express the interplay of thought and matter as they arise from the realm of consciousness.

The first instance when consciousness touches matter, the first feeling and the first pre-speech thought is born which forms matter. The meeting of the two brings about the need and desire for communication, the first consciously created sound which shouts the joy of life into the Universe. Out of this, the first textless simple tune is born, as music theorist and teacher Dániel Mindszenty stated[6]. Writing – in the context of human life – appears only later, when matter, which forms our bodies, has become an obedient tool along with our nicely-flexing thumb. The pre-speech and pre-literacy world of humans was the land of ideals and we are destined to transplant this world into our present world. Our first thought transmitting tool was the song, born of the harmony of sounds, and the dance.

From a biological point of view, we now know that the developing embryo is very sensitive to sounds even in its earliest stages of development, and it also responds to sounds in an appropriate manner: the noise called modern music leaves a negative influence upon its development. The unimaginably lovely cradle songs of the Magyar peasant society, their text, their melody, their rhythm and mood changed the child’s environment to become even more beautiful, more complete, beginning in the womb of its mother and continues in the lovely songs of his/her grown up years, all designed to encourage the positive emotions and actions. As comparison let me mention one of these Magyar songs and then an English lullaby:

Tente baba tente Rock a bye baby, rock a bye

aludj szívem szentje sleep my heart’s little saint

alszik a viola the violas are sleeping

csicsijja, bubujja hush baby hush.

(It is hardly possible to translate the tender words that are derived from imitating nature’s hushed tones, like the last two words of the paragraph.)

The English cradle song, Rock a bye baby on the tree, top places fear and violence into the center of the child’s world with no soft place on which to fall.

Interestingly, a modern disease called Alzheimer’s Disease gives us a glimpse into the language development of human beings. The sufferers of AD seem to roll back their speech capacity and life functions all the way to the cradle. Part of this regression is the regression of their capacity to think and to speak to an age when they were not able to form words at will. When their speech fails they still can express their feelings through songs. Melody remains their tool and when this fails, motions express the feelings within their retreating world: a gentle stroke means good and a hug means love.

As we reach the end station of our lives, the last dominion that stays with us is the world of sounds. It is with sounds we bid our last farewell before we enter the world of pure consciousness.

Following this line of thought we can safely state that the basis of our human speech is harmony and song.

The process of speech is the following:

Thought —> desire (directed toward expression) —> sound, enclosed into a textless song —> modified sound (meaning constructed from one sound) —> monosyllabic words created with the use of several sounds —> a one-word sentence (question, or statement) —> enlarged sentences —> modified sentences (poems).

1. The thought is still free; it does not have any material prerequisites.

2. The desire, the need to communicate is already directed toward matter and it desires to radiate, to divide and share of its essence.

3. The prerequisite of the sound is the existence of matter, since there can be no sound without it. There are:

   1. sounds that express feelings and send their joy or pain into the big wide world. Vowels become fixed at this point and it is also the beginning point of melodies,

   2. sounds that are based upon observation and the imitation of the sounds of the material world. The birth of consonants takes place at this time. This is also the first appearance of sounds that originate from an object outside the speaker and achieve marked importance in our phonetics. One such example is the hard K sound of stones as they hit one another, and later during the tool-making period. The stabilized K sound of stone and hardness (kő, kemény) will form the word ÉK (wedge). Since splitting a stone produces many wedges (ékek), the K became the marker of plurality also.

4. The modified sound is purposely created to express a certain, already stabilized meaning. The sound „A” expresses amazement, surprise, the „Ó” expresses reverence. In the Magyar language this later became also the word to express antiquity. It is a logical progression since this sound gave expression to the reverence when seeing the first light of creation.

   A later development ties the vowels and the consonants together. The Magyar image of God and anything essential to maintain life belongs in this ancient word formation of one vowel and one consonant [(Ég (God), Úr (Lord), Ős (ancestor), Él (lives), etc.]. This ancient time is the time of beginning.

   The name of the Son of God, who is active participant in creation, (in essence he is the Creator: compare the roles of force and energy) is formed by monosyllabic, bi-, or multi-consonantal words.

   According to the above, from the Magyar linguistic point of view the “In the beginning was the Word” (Íge) is an unbelievably accurate statement.

   The monosyllabic words — due to the influences of environment and occupation — shift toward a certain consonantal group, which remains dominant from here on. This is the base of the individual linguistic groups’ mode of expression. The importance of Adorján Magyar’s sixteen ancient consonantal groups lies within this realization, which makes these groups the base of all human language.

5. The one-word sentence ties the modified sounds to a meaning and uses it as such regularly. This is a later period of language-evolution. The base of the later multi-word sentences is already present, which is the matter-space-time continuum and a multitude of expressions of emotions.

6. The extended sentence already explains, teaches, defines.

7. The modified sentences are born due to a need for beauty. The simple passing on of thoughts is not enough. There is a need to do this by expressing beauty, through rhythm and harmony. The people who formed the ancient sentences still remembered the original meaning of sounds and their meaning was amplified with rhythms and rhymes. In our days the linguist and poet Dénes Kiss does groundbreaking work in this line.

Today’s linguists do not take the ancient layers of language into consideration and concentrate solely upon the later products of language development, neglecting their ancient origin. This method may be compared to the work of an archeologist who strives to understand the thinking of the ancients through present day artifacts. Even though all layers of the past are enshrined in today’s objects, the questions of when, why and how cannot be answered and much research is needed to answer with certainty.

Writing is also born from a desire to communicate and here too most of the stages of language development are present.

THE PROCESS OF LANGUAGE DEVELOPMENT:

Thought —> desire (centered upon the need to communicate) —>the need to communicate becomes permanent —> the manipulating of matter is the base of bringing the thought into the material world —> modification of sound, —> bringing the imagery of material change into focused reality —> attaching the image to sound.

We can observe the following in connection with the process of language development:

The organic connection between sound and matter.

• The use of matter which is outside of the body and the sound that is attached to it, – like the hard “K” sound and the form of the chips of stone (kő, ék) which were created by knocking two stones together – satisfied the aesthetic need of a person at the beginning. It was at this time that the sharp angles of the stone were recognized in other objects too – like the wedge shaped head of a wolf or dog – and this form was used as decoration: zigzag lines on Neolithic statues and pottery and even a dog’s head on one of the ancient houses in Hungary, where a dog’s head became part of the ornamental structure of a roof.[7] The jagged lines of broken stones became ingrained in the aesthetic nature of this group of people and remained their symbol through the ages. Consequently we can state that the manipulation of matter is the basis of both the sound formation and of writing and the first step in their creation.

• The image-saving capacity of manipulated matter – which is its innate characteristic – brings about the further development of writing. When the three sounds of láb (leg) consistently mean a leg the first pictograph is born at a time when its communication becomes necessary for some reason.

• The wedge shape, which was born from the aesthetic need of its creator, was soon attached to sound also and it became the letter K in the Székely-Magyar rovás (runic writing).

The material base and image forming capacity of a manipulated sound depends on the region’s environment, the work of its creator, etc. and so these symbols slowly become the symbols of that particular group or extended family. The names and symbols of Adorjan Magyar’s ancient linguistic groups become fixed at this point of development.[8] This realization is groundbreaking in mankind’s self-realization and it becomes its new base.

By the time a culture reaches the stage of pottery making, sculpting, ceremonial burials these symbols are already fixed. Some sampling of these burials from ancient times through the Bronze Age clearly show the presence of this ingrained symbolism of the Carpathian lands.[9]

So the ancient vessels used at burials and their symbols are not arbitrary but the particular design on an urn tells us about the ethnic group to which a person belongs, just as much as today’s written scripts on headstones. Prof. Lajos Szántai reminds us that the grave-goods are not for the use of dead in the afterlife but are teaching tools directed toward the enlightenment of later generations.

The basis of language development is the song born out of the harmony of sounds of the Universe. The basis of writing is art. In both instances the participants have to know fully the nature of the material they work with and they have to have a desire toward beauty and order. In both instances they will need a fully developed symbolism. In the case of speech, they need fully developed sounds, which they can replicate at will; in the case of writing, they need consciously selected lines. The end result of both is a changed environment, which is the result of a changed mood. The Hungarian author, Sándor Márai, mentioned in his diary that one never remains the same after listening to music, which first takes apart the components of the listener’s real or imaginary world and creates a new one from it.

Harry Bober, professor of art at Harvard University, published a small booklet in 1953[10] in which he talks about the development of writing.

He explains that, in correct speech, the proper inflection of the voice is important to convey a meaning correctly. The artist has a problem similar to that of the writer, since he cannot use his voice to do this job. Instead he has to use the proper lines, colors and shapes to convey the meaning of his art.

Later Bober says that whether it is recognized today or not, art has a basic vocabulary also, which consists of lines, and one is just as familiar with the meaning of these lines as with the spoken word. He shows three lines, one zigzag line, a flowing wave-like line, and an irregular line. He says nobody would fail the exam as to the meaning of these lines, even if he were confronted with them for the first time. Anyone would recognize that one line is full of angles which may represent thorns or fences; the flowing lines are connected with an image of flowing hair and quiet waters and the third, irregular, jagged line is full of tension, and may represent the running-about of nervous people.

 

According to the above, the beginning of art is the first consciously used line. I mentioned this earlier but I am repeating it because of its importance in understanding our human heritage: The point where the first consciously used sound and the first consciously used line meet is the mirror image of the environment where this developing culture lives, in the first language of mankind.

In this language every sound had its own meaning which was derived from the observation of nature. To deny this would be just as foolish as to suppose that the individual numbers don’t carry a meaning and they derive their meaning only within a mathematical procedure.

I also mentioned earlier that the organization of sounds, the formation of words is discussed at length in Adorján Magyar’s „Az Ősműveltség”. Right now I will mention only a few examples.

The first Magyar agricultural society, which lived a creative and productive life, recognized, through inherited consciousness that creation’s most perfect form is the globe, which in their language was called mag (a round kernel). The Sun is a mag of which our solar system and our earth were born, just as the little round kernels of which the life sustaining fruit tree, the meggy (sour-cherry) is born, which has a gömb (globe) shape along with its flowers which grow in round bouquets on its branches.

When we translate these into sounds, we have to realize that the ancient Magyar “G-M” word group uses the soft “G” sound, which is still part of a developing baby’s first sounds. It also brings to mind the soft lines of a globe and it is one with the concept and sound of rolling (görög). This G is also the base of the name of cumulus clouds (gomoly), the round fruits and bulbs, which carry and sustain their lives (gyümölcs and gumó), all of which are the reciprocals of the original mag (round seed). Low, rolling hills, fruit trees, and quietly gurgling brooks round up their environment.

The “M” is the happy sound when man first realized the ownership of something pleasant: “Mmmmmmm” — it is the joyous sound of a baby suckling the sweetness of mother’s breast. The “A” is the sound of ancient matter (anyag) before it came into contact with creation’s light. The “Á” sound on the other hand is full of light, warmth and admiration. Its Universe is the endlessness of a quiet sky (“ÉG”). The sounds of ÉG reveal life (É) and warmth (G). Everything is full of harmony, full of perfection and order in the Magyar ancient world.

The hardened form of the above M-G changed into the “K-M” sound due to the people’s changed environment, which instead of rolling hills incorporated the edgy, hard world of mountains, cliffs, glaciers and fir trees. Each of these contained the wedge (ék) form of split stones. The dominant zigzag line is the regularly repeated image of a well-formed wedge. The reciprocal of the wedge (ék) is the Magyar name of the stone: kő, and both are the product of the original “K” sound which helped the concept of hardness to manifest in our three-dimensional world. All the ancient onomatopoeic words denoting hardness begin with the same ancient K: kő (stone), kavics (pebble), koccan (knocking sound given out by the touch of two hard objects), kopog (to knock). This is the sound of a patriarchal society that has to eke out a living in a new, hardened environment. So the K became also the base for the word hím and kan, meaning the masculine concept (hím) and individual maleness (kan), and the name of their society (Hun, Kun).

The form of the split stone wedges gave rise – as mentioned earlier – to the form of the letter K in the Székely-Magyar rovás (runic writing). The multiple wedges ensuing from the process of splitting stones gave rise to the sign of multiplicity in the Magyar language, which is the K (Ék = wedge, ékek = wedges).

The basic consonant of an agricultural society is the susurration of windblown wheat fields: SSSSS (in Magyar spelling: SZ) Their basic lines form the oblong body of a kernel of wheat (szem), which is the same as the form of our eyes (szem). The eye permits light to enter; the wheat kernel cradles the life-giving light within its own body. The ancients knew that the primal form of the Sun was the same eye form (szem), as that of the wheat kernel, and for this reason they called the Sun Szem-úr (Lord of the eye). This Sun bore all its planet children. The matriarchal branch of this culture perceived the Sun as a loving mother and this concept is still present in the German form die Sonne; patriarchal societies believed that out of the side of the male Sun arose a flower (virág), which gave birth to our world (világ). Later misunderstood fragments of this concept found their way to the Adam and Eve rib story. This same concept remained unchanged from ancient times within the English language as Sun, its high season as Summer. They called themselves the children of Szem, which is Szemere, who carry the light and life giving properties of Szem, the Sun. The external female organ (szemérem) forms an eye shape also, as does the island to which this group of people tied their origins, which on the other hand is the mirror image of the great island within the visible branches of the Milky Way. The word szemérmes (bashful) belongs in this group, but it is a cultural word. The seeds of men belong in this category and appear as semen in the English language, as does seminare (to plant) in the Latin. The life-sustaining fruit of the Szemere was the som (cornel), a red, eye-shaped, tart berry. They called their home Somogy, which means the land of the som berries. They may also have called it the reciprocal of the S-m consonants, the M-s, like Moson. Both Somogy and Moson are still the names of counties in Hungary and the names of several towns.

The vocabulary and the symbols, which reflect the original environment of these above mentioned groups, can easily be recognized in other languages also, no matter how far the original bearer of this culture wandered from his home. The Magyar group always maintained its dotted or raised globe-like designs along with the original wavy lines just as the Hun-Kun peoples preserved their zigzag, the Szemere their eye-motifs and their derivatives along with the basic sound and word groups which were based upon them. A huge word group surrounded these ancient concepts showing the importance and also the antiquity of these sounds. The presence of a sound and the corresponding word is the gene marker of a people’s culture. But while the genetic markers talk only about the material characteristics of a group, the sound or the voice tells us about the nature of their environment, the customs of their society, their beliefs and language and, above all, their picture of the Universe which they preserved in their consciousness, and its connection with the then and now.

I will mention a few samples of such word groups from Adorján Magyar’s „Az ősműveltség”:

The G-M (Magyar) word group’s words:

Ég —is the word for God and the Universe

Íge — the Word of God, which is creation itself.

Igaz — light, truth

Igi, ügy — the apple of the eye. The ancient representations of humans show the very distinctive round eyes, which denote the ethnicity of these people.

Egy — the concept of one and God

Ügek — the name of the “old God”, the God of antiquity. Its base is Ük, which means a distant ancestor.

Óg —a vaulted building, which imitates the dome of the sky

Ág, aga — branch. It was the first tool of the agricultural people, which was made of wood or the discarded antler of a dear. This agricultural tool was in use from the most ancient times in the Carpathian Basin.[11] The shape of this tool became the form of A in the Székely-Magyar rovás writing.

Ag, ug, mag, méh, — these all mean land, earth.

Mag — a round kernel, such as the cherry pit. It is the name of a unifocal geometrical form and symbol of masculine concepts. The Sun was considered a mag, from which life grew.

Magyar — originally it meant man of the seed, a son of God, a human being. Its variation, written with “K” is Makar which means happy in ancient Greek. Magor or Makar -- Sungod was the “Happy God” of Magyar lore. The saying still lives on: Szegény ember szándékát Boldog Isten birja: “The plans of poor men are tended to by our Happy God.”

Gyöngy — round kernel and also a pearl. Gyöngy-virág (lit.: flower of pearl = lily of the valley) was the Magyar group’s symbol of Mother Earth, Mother of Life.

Gyümölcs -— reciprocal form of the mag (kernel) and the life that grows out of it.

Gyám, gyombó — a walking stick with rounded head, made of specifically grown wood. It was the weapon of the Magyars in ancient times.

Gomoly - originally it meant the ancient nebulae of which our world condensed. Today it means a cumulus cloud.

The K-N (Kún) word group’s basic vocabulary.

Kő — stone, which begins with the sound of hardness.

ék — wedge. It was their first tool

kan (a male), hím (masculine gender),— masculine concepts.

makk — acorn, masculine symbol

ne, nő — female

Kám — male ancestor of the Kun-Magyar people.

kitta — arrow

The M-N word group

The M-N word group was at home in the material world and this word group expresses the concepts of God and life sustaining materials. It is also connected with walking and wandering.

Mén — stallion. Its white variety is the symbol of the constantly wandering moon. It is also the name of the ancestral father of their migrating societies..

Menny — heaven. It is not the endless Universe (Ég) of the Magyar group, but a clearly defined place, a country.

mony — an egg. It also meant the egg-shape of the Universe.

monnó — their ancient word of one

manó — man

manyó — old woman

menyecske — young woman

Female concepts here are connected with water and moistness:

nedű, mut, mat, mad — words of wetness of mother, and female concepts.

nád — reed, which grows on wet lands

Nádszál kisasszony — the Magyar “Reed Princess” and the Egyptian fairy, Neit are the same.

Sz[12]-M (Szemere) word group’s basic vocabulary:

Szem — eye. It is also their name for the Sun.

szem — eye, organ of sight.

szem — the oblong seed of cereal plants, such as wheat, oat, etc.

szunnyad, szumnyad — to slumber, which is represented in their art as a partially or fully closed eye.

som — cornel cherry, a red, tart, oblong fruit. It has two variants: one variety has one seed, which is a masculine symbol, and there is also a thorny bush, where the fruits have several seeds and thus they became the female symbols of this society.

szemcse — granule

szám — number

számos — numerous. The seeds of wheat (szem) are encased in a pod of 3 x 6 rows. The number six has become the base of their numeral system. In their carved writing (rovás) the numbers were in the shape of wheat seeds. Their later Sumerian culture preserved the six-based numerical system.

szemel — to pick something one-by-one

számol — to count

szánt — to till, which makes the earth ready to grow wheat.

szamár — donkey. It was Szemúr’s symbolic animal. Its Christianized version is the story: “Why is a cross on the donkey’s back?” in which Jesus assumes the role of the ancient Szemúr. The answer is: Because he sat on the back of the donkey. The symbol of light and sun was the cross in Magyar mythology and it was unmistakably present on the donkey’s back.

The K-R (Körös) word group’s basic vocabulary:

kör — a circle. It is a two-dimensional expression, or projection of the three dimensional globe.

kering — to revolve

kerekedik — to rise. It is the result of a striving toward perfection.

keres — looking for something, walking round about.

kerek — round.

kar — arm

karol — to embrace

Károly — a personal name. In ancient times it meant an eagle, along with the word:

király — king

köröz — to circle something

kér — to ask. A reply is needed to round out the information.

kérd — as above

kérés — request

kéreg — a hard shell, as the bark of the tree.

kor — a unit of time, an age, as in the Latin aetas.

karaj — a round slice of something (like a slice of bread).

köröm — nail

karom — claw, the long, circular claw of birds and some animals.

kert — garden, an enclosed territory.

karika, kerék — hoop, wheel, the material manifestation of a line which returns within itself.

karima — the upper edge of a round vessel

korsó — a round pitcher

körös — denotes a circular path of a drawing, a river, etc.

ÍGE — THE WORD OF GOD

As we have seen the prerequisite of the spread of sound is the presence of matter. Since matter plays a focal role in the creation of sounds I include sounds into the world of symbols just as much as the symbols of later ages where matter takes on a much denser substance to help create vessels, statues, and writing which are also the tools of transmitting thoughts. All these symbols carry the main characteristics of matter: Matter can be formed, it is receptive, it remembers and nurtures. These characteristics elevated matter to symbolize motherhood and this knowledge has been made part of the language structure also as the words anya and anyag indicate. Similarly one finds it in the Sz-M word group’s category as mother and matter. The word mother-tongue expresses the knowledge of matter’s role in language formation and has nothing to do with the now presumed social factors as the background indicator of this word. The word mother-tongue is not the result of a patriarchal-matriarchal strife for superiority, but a careful observation of the processes of nature and creation. Since we mentioned social factors one has to realize that mothers, women were the guardians and transmitters of ancient traditions through their songs, stories, prayers and embroideries to their children, answering the innate call of matter.

In order for matter to be born and take its place in the Universe we need a Creator and a created world in which God expresses himself; consciousness, which cradles in its ancient layers a universal awakening of universal proportions and intellect, which is able to transmit this knowledge and serve creation through it. Everything follows this same pattern, the development of language and symbols too, since the ancients expressed the wonders of creation in beautiful imagery. Let me show a few examples:

The old Christmas traditions are of ancient origin, and their images can be found in early Paleolithic drawings[13] and in Christmas oriented ceremonies, songs and prayers even today. Here the main participant is the Cock (Kokas): “...The Cock spoke and called for Mary: wake up, wake up beautiful Virgin...”[14] When scientists could not come to an agreement what came first, the chicken, or the egg they jokingly asked a Magyar peasant about his thoughts. The old man answered without hesitation: the rooster came first. The scientists took this answer as a joke, laughed and let it rest until the story found its way into an ethnographer’s collection. Yet researching the language one finds the deeper truth in this answer. The call of the Cock awakened pre-creation’s virgin matter, our original Sleeping Beauty. The ancient mother of creation, the Great Madonna who bore the world and light[15] (világ), who became Mary in the much later Christian times. According to this knowledge, the Creator brought forth matter from the depths of his own body just the same way as we scatter our own matter into the world with every breath we take, along with our words. Later sound waves transmit the gentler waves of a settled Universe, symbolized by the song of Égúr’s (God’s) Ágas (stag), Ákos, who is the Miracle Stag, Guiding Stag of the Magyars.

The voice of the Cock breaks into the world like an explosion, utilizing the K sound as it first reaches primordial matter. Later the rooster also becomes the symbol of the dawn and of fire. So the first word of the Cock also meant the time of the first dawn, which interrupted the unchanged silence of pre-creation, when the Creator’s eternal rest gave way to Light. The breaking of the dawn presupposes a force, which brought matter and sound to the surface.

Magyar ancestors perceived that the dawn “laughs” (kacag), and they knew about the “loudness of high heaven”.[16] It is not difficult to conclude that God’s first expression was a hearty laugh, which is the highest expression of the joy of life. The word kacag (to laugh) also means light, shine. Thus God’s Firstborn was Light.

Ancestral memories tell us that our ancients were aware of the fact that waves transmit sounds and in their consciousness the entire Universe laughed, rang, talked and while speaking, it scattered itself into the Universe.

The November issue of the 1997 American Discovery Magazine’s article, the Echo of the Big Bang”[17] talks about two different kinds of light, which were born at the time of the Big Bang. The first light was born in the instant of the first explosion; the other, now visible light was born around the time when nebulae started to take on shape. Later it also stated that the Universe is a very bright and noisy place because of this secondary light and its radiation. Remember the Magyar word kacag, which means both to laugh and to shine: this “modern” knowledge was encoded into the language at the time of its birth. And finally: “…the undulation of matter is barely more than sound waves in an immense, expanding plasma.” We have to stand in awe before the knowledge of the ancients, as all this was preserved in their language and traditions, which talk about the noise of the high heavens and the laughing, and shiny break of dawn.[18].

God’s word in Magyar is expressed by the word Íge, which is verb and noun at the same time to indicate the undifferentiated aspects of force and matter in Creation.

In connection with the word Ég (God, sky, Universe) and wave motions it is important to talk about the two different kinds of seas of Magyar lore: Ég tengere (the sea of heaven), and the Óperenciás tenger (the sea called Óperenciás).

The word Ég means the endless Universe and God. The sea of Heaven (Ég) tells us that our ancients knew that the Universe is filled with waves: the waves of Life — which we mention today only according to their different properties as light, heat, magnetism, electricity, thought, emotion, mentioning only a few — heave and fulfill their creative job which uphold the Universe. The knowledge that this energy, in its capacity of the Creator, is One, became part of human consciousness at the time of creation. They called this One, universal energy the Son of God, Little Son (Fiacska), Radiant God, Beautiful God, Happy God and a thousand other names which reflect a very personal and loving knowledge of the Creator. This energy, which created the world, is, according to the ancients, Life, which arrived on the wings of Light. The earlier mentioned double feature of light supports this view. The first light of the Big Bang is Life; the later light brings Life to the world. God, who lives in a constant Universe, expresses his essence with the transmission of Life. The Universe of solitude is filled with constant change, opposites of hot and cold, fire and water, dualities that cuddle close to one another as instruments of creation. An old Magyar minstrel song tells us with these words:

The Ocean of the Universe is in constant motion

Whispering legends of God’s creation

Always-new songs ever changing

Always-old songs, everlasting.[19]

The instrument of transmitting Life is Light, in which there is complete balance of force and matter; each received later different roles in creation.

The P-R word group’s Óperenciás Sea belongs in the two-consonantal category, which already utilizes matter that appeared in the process of creation. The words in the P-R word group express some kind of transitory state, which I will explain later. For now, the word Óperenciás is connected with the idea of twirling (pereg) and our ancients knew that this sea is attached to the twirling, rotating Earth: it is the layers of moisture, the clouds and all the waters on this globe which twirl with the earth and earthly oceans. The Earth rotates, the oceans rotate, and the atmosphere rotates at the same time and this knowledge again was built into the structure of the language. Worldly scientists, incapable of viewing language and the world in an organic manner, came up with the idea that the name of the Óperenciás Sea has been derived from the name Ober-Enns, a non-existing name of a non-existing place. According to Mór Ballagi, linguist and ethnographer the Óperenciás Sea is an “uncertain place which is very, very far from here”, and became synonymous with a great distance.[20] It was not this sea a great distance away, but those who traveled beyond it, as was the case in many of the old stories, which are testimony to the fact that our ancestors did travel beyond the Earth and her atmosphere, a feat that is ascribed only to the travelers of our 20th century. They were able to complete travels “beyond the Óperenciás Sea” without machines with the help of their ancient and refined consciousness.

After this necessary detour, let us examine the statement I made, that the human consciousness absorbed all the events and experiences from the beginning of creation and later it made this knowledge part of the language. How is this possible? We can answer this question, always to the limits of our present day knowledge, with the help of the Magyar language. Presently, the new findings of quantum physics help us realize the depth and yes: the power of knowledge enshrined in the Magyar language. I would like to give some examples showing the organic connection between the knowledge of today’s physics and the Magyar language by quoting some statements from the XII. Chapter of my book Kezdeteink (Our Beginnings).

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