Why should it be
necessary to have a separate calendar for the year? The pattern of
the month is good enough to serve also as a map for the year.
Life is 'spreading out'
(horahora) when Moon draws the 'sea' aside in early spring,
when the season of 'water' is 'evaporating'. It is like ebb
and the 'tree' will grow. Then the 'sea' will once again send a 'flood',
but at the end 'land' is triumphantly rising again:
... Now do I see / the Earth anew / Rise all green / from the
waves again ... / Then fields unsowed / bear ripened fruit / All
ills grow better ...
I imagined hupee
was a picture of the 'cosmic tree', and we can
now guess the locations of our 2 examples in time-space:
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*Ka1-20 |
Qa6-32
(237) |
Hanga
Ohiro |
Rakau |
20 is obvious, and
maybe the picture shows the tree as 'exhausted' (pau), with
branches hanging low. In Qa6-32 on the
other hand, where 6 * 32 = 192, time has come for 'climbing the
tree':
land rising |
high ground |
the
'tree' |
1 Hilo |
7 Ole-ku-kahi |
13 Hua |
17 Kulu |
2 Hoaka |
8
Ole-ku-lua |
14 Akua |
18
Laau-ku-kahi |
3
Ku-kahi |
9
Ole-ku-kolu |
15 Hoku |
19 Laau-ku-lua |
4
Ku-lua |
10 Ole-pau |
16
Mahea-lani |
20 Laau-pau |
5 Ku-kolu |
11 Huna |
6 Ku-pau |
12 Mohalu |
In Mayan
iconography the 'Rain God' is looking back - he has reached to his limit.
There is no return from 'the tree' however much he tries to turn
around. He must be initiated and changed from an infantile raw
beast into a cultivated member. He has reached manhood:
According to the geography
of Easter Island hupee in Qa6-32 should be at position 17
(equal to the number at Kulu in the Hawaiian calendar):
14 |
hatu ngoio a taotao ika. |
15 |
ara koreu a pari maehaeha. |
16 |
hanga kuokuo a vave renga. |
17 |
Opata roa a mana aia. |
18 |
vai tara kai u(a) a ngao roaroa a ngao tokotokoa. |
19 |
hia uka a hakairiiri a hakaturuturu. |
20 |
hanga ohiro a pakipaki renga. |
The preceding item
is number 16, and we know it indicates the last item in a sequence,
and then follows the first item in next sequence. Consequently it is
no surprise that item 17 should begin
with a capital letter.
There are 4 'tree'
stations (17-20), beginning with Opata roa and ending
with Hanga Ohiro. We can alternatively reach 24 by counting
from Kane:
26 Kane |
1 |
16 |
17 Kulu |
Opata roa
a mana aia. |
21 |
27 Lono |
2 |
18
Laau-ku-kahi |
vai tara kai u(a) a ngao roaroa a ngao tokotokoa. |
22 |
28
Mauli |
3 |
19 Laau-ku-lua |
hia uka a hakairiiri a hakaturuturu. |
23 |
29 Muku |
4 |
20 Laau-pau |
hanga ohiro
a pakipaki renga. |
24 |
The season of preparation (before 'climbing') ends at Hanga Kuokuo (where 4 + 16 = 20). Indeed we can find a
haga rave glyph before the first day of 'climbing':
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Qa6-26 (231) |
Qa6-27 |
Qa6-28 |
Qa6-29 |
Qa6-30 |
Qa6-31 (236) |
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Qa6-32 |
Qa6-33 |
Qa6-34 |
Qa6-35 (240) |
17 + 4 =
21, Opata roa a mana aia. |
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Qa6-36 |
Qa6-37 |
Qa6-38 |
Qa6-39 |
Qa6-40 |
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5 glyphs are
'missing'
here |
Qa6-41 |
Qa6-42 |
Qa6-43 |
Qa6-44 (249) |
Tagata in Qa6-35 is glyph number 240, and he has a single
mata as head. The first half of the year ('the spring
beast') apparently ends here (240 / 2 + 64 = 184 = 368 / 2). The following hakaturou has developed
a 'joint' from 'colliding with earth':
... The ground was
rapidly approaching. The ancestor was still standing, his arms in
front of him and the hammer and anvil hanging across his limbs. The
shock of his final impact on the earth when he came to the end of
the rainbow, scattered in a cloud of dust the animals, vegetables
and men disposed on the steps. When calm was restored, the smith was
still on the roof, standing erect facing towards the north, his
tools still in the same position. But in the shock of landing the
hammer and the anvil had broken his arms and legs at the level of
elbows and knees, which he did not have before. He thus acquired the
joints proper to the new human form, which was to spread over the
earth and to devote itself to toil ...
Opata roa means the 'long ravine' according to Barthel 2.
As for mana aia:
"The
additional name ('mana belongs to him'?) is similar to
the explanation given for the place Roro Hau. One
is reminded of Manaia, which in MAO. is the famous motif
for wood carvings and in SAM. is the title 'the beautiful one'
given to the favorite son of the chief (Krämer 1902, Vo.
1:479)."
"The Manaia is a
mythological creature in Māori culture, and
is a common motif in Māori carving and
jewellery. The Manaia is usually
depicted as having the head of a bird and
the body of a man, though it is sometimes
depicted as a bird, a serpent, or a human
figure in profile. Other interpretations
include a seahorse and a lizard. The word
manaia may be cognate with the Samoan
term fa'amanaia, and the Niuean
fakamanaia, both meaning to make a
decoration or embellishment.
The Manaia is
traditionally believed to be the messenger
between the earthly world of mortals and the
domain of the spirits, and its symbol is
used as a guardian against evil. In this
form, it is usually represented in a
figure-of-eight shape, the upper half
culminating in a bird-like beak ..."
(Wikipedia)
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