5. I will now introduce next
essential glyph type, viz. vai, which occurs as glyph number
4 in our text:
|
|
Eb7-1 |
Eb7-2 |
|
|
|
|
|
|
|
Eb7-3
|
Eb7-4 |
Eb7-5 |
Eb7-6 |
Eb7-7 |
Eb7-8 |
Eb7-9 |
|
|
|
|
|
|
|
Eb7-10 |
Eb7-11
|
Eb7-12 |
Eb7-13 |
Eb7-14 |
Eb7-15
|
Eb7-16 |
glyph types: |
|
|
hipu |
vai |
Vai means sweet
water, and the step in thought from hipu
to vai is not far. Indeed I have
found a glyph, Gb2-27, which evidently affirms the connection:
|
Gb2-27 |
hipu + vai |
Sweet water (vai) comes from a bottle gourd (hipu)
it seems to state. Two glyph types are united in a single glyph. Also this hipu is reversed and the meaning of
the reversed hipu is beginning to make sense - instead of referring to
the gourd at its early stage, when green and growing, the reversal
tells of a later stage, when the calabash no longer is growing, when
it has dried and can be used as a water carrier.
Indeed the reversal can be stated to be a sign of negation - it is
not a young 'green' one (hua) but its opposite, an old and
hardened one.
If we compare with the myth about Ulu and Mokuola
the reversed hipu sign should be a 'parallel' to old Ulu,
not to young Mokuola. Ulu gave his life in order for his son to
live, as if his life were sweet water and his son was on the verge of
dying from thirst. It was not thirst, it was lack of the proper
food, but there is a similarity in the structural situation. The son
will live through the death of his father.