4. With many celestial 'persons' revolving in the sky, each one of them presumably determining at least one cycle, it is not strange to find several different glyph expressions of the concept of a 'joint' in time. "... we must take language seriously. Imprecise language discloses the lack of precision of thought. We have learned to take the language of Archimedes or Eudoxus seriously, simply because it can translate directly into modern forms of thought. This should extend to forms of thought utterly different from ours in appearance. Take that great endeavor on the hieroglyphic language, embodied in the imposing Egyptian dictionary of Erman-Grapow. For our simple word 'heaven' it shows thirty-seven terms whose nuances are left to the translator and used according to his lights." (Hamlet's Mill) Regarding a sequence of Egyptian hieroglyphs as 'language' will permit us to call also a sequence of rongorongo glyphs as 'language'. Presumably both these written 'languages' were formed in a way closely (and with determined purpose) relating to the spoken languages. Possibly Metoro knew at least some of the 'translations' between the spoken and written languages, maybe e.g.:
We should also remember the old woman who 'holds the fire' (at noon in Aa1-24):
Significantly it is from her elbow joint the new fire is generated. The technical term possibly is koti-koti: ... se selia nombrar Ko te Nuahine káumu à rangi kote kote que significa: La vieja que enciende el curanto en el cielo kotekote. Puedo haber sido una personificación de la luna porque las viejos decían, comentando este nombre, que no es una montaña que seve en la luna, sino una mujer anciana que está suntada [sentada?] al lado un gran curanto umu pae (de piedras en circulo) ... |
