To spin, to twist. P Mgv.: hiro, iro, to make a cord or line in the native manner by twisting on the thigh. Mq.: fió, hió, to spin, to twist, to twine. Ta.: hiro, to twist. This differs essentially from the in-and-out movement involved in hiri 2, for here the movement is that of rolling on the axis of length, the result is that of spinning. Starting with the coir fiber, the first operation is to roll (hiro) by the palm of the hand upon the thigh, which lies coveniently exposed in the crosslegged sedentary posture, two or three threads into a cord; next to plait (hiri) three or other odd number of such cords into sennit. Hirohiro, to mix, to blend, to dissolve, to infuse, to inject, to season, to streak with several colors; hirohiro ei paatai, to salt. Hirohiroa, to mingle; hirohiroa ei vai, diluted with water.

Ta.: Hiro, to exaggerate. Ha.: hilohilo, to lengthen a speech by mentioning little circumstances, to make nice oratorial language.

Whiro 'Steals-off-and-hides'; also [in addition to a name of Mercury] the universal name for the 'dark of the Moon' or the first day of the lunar month; also the deity of sneak thieves and rascals

The movement in-an-out (hiri) is changed into a twisting movement (hiro) in the 'anti-world'. Ohirohiro (or more exactly pú ohirohiro) is a column of water which rises spinning on itself. The straight Tree of fire becomes its opposite, a swirling column of water.

The palm of the hand is rolling upon the thigh, conveniently exposed by the crosslegged sedentary postury. We are at a solstice, when Sun mixes with (hirohiro) Moon. Or should we not say 'seasons', which on one hand refers to great measures of time out in the light and on the other hand to tiny spices inside the night.

The straight ure (penis) generates a spiral (ureure) whirlpool when going down into the ocean (ure tiatia moana). On the other side this becomes ureure-tu-moana, a waterspout:

Ure

1. Generation; ure matá, warlike, bellicose generation (matá, obsidian, used in making weapons). 2. Offspring; brother; colleague i toou ure ka tata-mai, your colleague has turned up. 3. Friendship, friendly relationship; ku-ké-á te ure, they have become enemies (lit.: friendship has changed). 4. Penis (this definition is found in Englert's 1938 dictionary, but not in La Tierra de Hotu Matu'a). Ure tahiri, to gush, to spurt, to flow; e-ure tahiri-á te toto, blood is flowing in gushes. Ure tiatia moana, whirlwind which descend quickly and violently onto the ocean; whirlpool, eddy.

Penis; kiri ure, prepuce, foreskin. P Pau., Mgv., Ta.: ure, penis. Ureure, spiral. Ta.: aureure, id. Urei, to show the teeth. Mgv.: urei, to uncover the eye by rolling back the lids. Pau.: Ureuretiamoana, waterspout. Ta.: ureuretumoana, id.

H. Ule 1. Penis. For imaginative compounds see 'a'awa 1, 'aweule, ulehala, ulehole, ulepa'a, ulepuaa, ule'ulu. Kū ka ule, he'e ka laho, the penis is upright, the scrotum runs away (refers to breadfruit: when the blossom (pōule) appears erect, there will soon be fruit). 2. Tenon for a mortise; pointed end of a post which enters the crotch of a rafter (also called ma'i kāne). Ho'o ule, to form a tenon or post for the crotch of a rafter. 3. To hang.

The Tree of Light is felled at midsummer because the time horizon is there. It is cut down (koti):

Koti

Kotikoti. To cut with scissors (since this is an old word and scissors do not seem to have existed, it must mean something of the kind).

Kotikoti. To tear; kokoti, to cut, to chop, to hew, to cleave, to assassinate, to amputate, to scar, to notch, to carve, to use a knife, to cut off, to lop, to gash, to mow, to saw; kokotiga kore, indivisible; kokotihaga, cutting, gash furrow. P Pau.: koti, to chop. Mgv.: kotikoti, to cut, to cut into bands or slices; kokoti, to cut, to saw; akakotikoti, a ray, a streak, a stripe, to make bars. Mq.: koti, oti, to cut, to divide. Ta.: oóti, to cut, to carve; otióti, to cut fine.

Pau.: Koti, to gush, to spout. Ta.: oti, to rebound, to fall back. Kotika, cape, headland. Ta.: otiá, boundary, limit.

To complete my 'proof' I have to quote from The White Goddess:

The seventh tree is the oak, the tree of Zeus, Juppiter, Hercules, The Dagda (the chief of the elder Irish gods), Thor, and all the other Thundergods, Jehovah in so far as he was 'El', and Allah. The royalty of the oak-tree needs no enlarging upon: most people are familiar with the argument of Sir James Frazer's Golden Bough, which concerns the human sacrifice of the oak-king of Nemi on Midsummer Day. The fuel of the midsummer fires is always oak, the fire of Vesta at Rome was fed with oak, and the need-fire is always kindled in an oak-log.

When Gwion writes in the Câd Goddeu, 'Stout Guardian of the door, His name in every tongue', he is saying that doors are customarily made of oak as the strongest and toughest wood and that 'Duir', the Beth-Luis-Nion name for 'Oak', means 'door' in many European languages including Old Goidelic dorus, Latin foris, Greek thura, and German tür, all derived from the Sanskrit Dwr, and that Daleth, the Hebrew letter D, means 'Door' - the 'l' being originally an 'r'.

Midsummer is the flowering season of the oak, which is the tree of endurance and triumph, and like the ash is said to 'court the lightning flash'. Its roots are believed to extend as deep underground as its branches rise in the air - Virgil mentions this - which makes it emblematic of a god whose law runs both in Heaven and in the Underworld ... The month, which takes its name from Juppiter the oak-god, begins on June 10th and ends of July 7th. Midway comes St. John's Day, June 24th, the day on which the oak-king was sacrificially burned alive. The Celtic year was divided into two halves with the second half beginning in July, apparently after a seven-day wake, or funeral feast, in the oak-king's honour.

Sir James Frazer, like Gwion, has pointed out the similarity of 'door' words in all Indo-European languages and shown Janus to be a 'stout guardian of the door' with his head pointing in both directions. As usual, however, he does not press his argument far enough. Duir as the god of the oak month looks both ways because his post is at the turn of the year; which identifies him with the Oak-god Hercules who became the door-keeper of the Gods after his death. He is probably also to be identified with the British god Llyr of Lludd or Nudd, a god of the sea - i.e. a god of a sea-faring Bronze Age people - who was the 'father' of Creiddylad (Cordelia) an aspect of the White Goddess; for according to Geoffrey of Monmouth the grave of Llyr at Leicester was in a vault built in honour of Janus. Geoffrey writes:

Cordelia obtaining the government of the Kingdom buried her father in a certain vault which she ordered to be made for him under the river Sore in Leicester (Leircester) and which had been built originally under the ground in honour of the god Janus. And here all the workmen of the city, upon the anniversary solemnity of that festival, used to begin their yearly labours.

Since Llyr was a pre-Roman God this amounts to saying that he was two-headed, like Janus, and the patron of the New Year; but the Celtic year began in the summer, not in the winter. Geoffrey does not date the mourning festival but it is likely to have originally taken place at the end of June ... What I take for a reference to Llyr as Janus occurs in the closing paragraph of Merlin's prophecy to the heathen King Vortigern and his Druids, recorded by Geoffrey of Monmouth:

After this Janus shall never have priests again. His door will be shut and remain concealed in Ariadne's crannies.

In other words, the ancient Druidic religion based on the oak-cult will be swept away by Christianity and the door - the god Llyr - will languish forgotten in the Castle of Arianrhod, the Corona Borealis. This helps us to understand the relationship at Rome of Janus and the White Goddess Cardea who is ... the Goddess of Hinges who came to Rome from Alba Longa. She was the hinge on which the year swung - the ancient Latin, not the Etruscan year - and her importance as such is recorded in the Latin adjective cardinalis - as we say in English 'of cardinal importance - which was also applied to the four main winds; for winds were considered as under the sole direction of the Great Goddess until Classical times.

As Cardea she ruled over the Celestial Hinge at the back of the North Wind around which, as Varro explains in his De Re Rustica, the mill-stone of the Universe revolves. This conception appears most plainly in the Norse Edda, where the giantesses Fenja and Menja, who turn the monstrous mill-stone Grotte in the cold polar night, stand for the White Goddess in her complementary moods of creation and destruction. Elsewhere in Norse mythology the Goddess is nine-fold: the nine giantesses who were joint-mothers of the hero Rig, alias Heimdall, the inventor of the Norse social system, similarly turned the cosmic mill.

Janus was perhaps not originally double-headed: he may have borrowed this peculiarity from the Goddess herself who at the Carmentalia, the Carmenta Festival in early January, was addressed by her celebrants as 'Postvorta' and 'Antevorta' - 'she who looks both back and forward'. However, a Janus with long hair and wings appear on an early stater of Mellos, a Cretan colony at Cilicia. He is identified with the solar hero Talus, and a bull's head appears on the same coin. In similar coins of the late fifth century B.C. he holds an eight-rayed disc in his hand and has a spiral of immortality sprouting from his double head.

Here at last I can complete my argument about Arianrhod's Castle and the 'whirling round without motion between three elements'. The sacred oak-king was killed at midsummer and translated to the Corona Borealis, presided over by the White Goddess, which was then just dipping over the Northern horizon. But from the song ascribed by Apollonius Rhodius to Orpheus, we know that the Queen of the Circling Universe, Eurynome, alias Cardea, was identical with Rhea of Crete; thus Rhea lived at the axle of the mill, whirling around without motion, as well as on the Galaxy. This suggests that in a later mythological tradition the sacred king went to serve her at the Mill, not in the Castle, for Samson after his blinding and enervation turned a mill in Delilah's prison-house.

Another name for the Goddess of the Mill was Artemis Calliste, or Callisto ('Most Beautiful'), to whom the she-bear was sacred in Arcadia; and in Athens at the festival of Artemis Brauronia, a girl of ten years old and a girl of five, dressed in saffron-yellow robes in honour of the moon, played the part of sacred bears. The Great She-bear and Little She-bear are still the names of the two constellations that turn the mill around. In Greek the Great Bear Callisto was also called Helice, which means both 'that which turns' and 'willow-branch' - a reminder that the willow was sacred to the same Goddess ...

Hercules first appears in legend as a pastoral sacred king and, perhaps because shepherds welcome the birth of twin lambs, is a twin himself. His characteristics and history can be deduced from a mass of legends, folk-customs and megalithic monuments. He is the rain-maker of his tribe and a sort of human thunder-storm. Legends connect him with Libya and the Atlas Mountains; he may well have originated thereabouts in Palaeolithic times. The priests of Egyptian Thebes, who called him Shu, dated his origin as '17,000 years before the reign of King Amasis'.

He carries an oak-club, because the oak provides his beasts and his people with mast and because it attracts lightning more than any other tree. His symbols are the acorn; the rock-dove, which nests in oaks as well as in clefts of rocks; the mistletoe, or Loranthus; and the serpent. All these are sexual emblems.

The dove was sacred to the Love-goddess of Greece and Syria; the serpent was the most ancient of phallic totem-beasts; the cupped acorn stood for the glans penis in both Greek and Latin; the mistletoe was an all-heal and its names viscus (Latin) and ixias (Greek) are connected with vis and ischus (strength) - probably because of the spermal viscosity of its berries, sperm being the vehicle of life.

This Hercules is male leader of all orgiastic rites and has twelve archer companions, including his spear-armed twin, who is his tanist or deputy. He performs an annual green-wood marriage with a queen of the woods, a sort of Maid Marian. He is a mighty hunter and makes rain, when it is needed, by rattling an oak-club thunderously in a hollow oak and stirring a pool with an oak branch - alternatively, by rattling pebbles inside a sacred colocinth-gourd or, later, by rolling black meteoric stones inside a wooden chest - and so attracting thunderstorms by sympathetic magic.

The manner of his death can be reconstructed from a variety of legends, folk-customs and other religious survivals. At mid-summer, at the end of a half-year reign, Hercules is made drunk with mead and led into the middle of a circle of twelve stones arranged around an oak, in front of which stands an altar-stone; the oak has been lopped until it is T-shaped. He is bound to it with willow thongs in the 'five-fold bond' which joins wrists, neck, and ankles together, beaten by his comrades till he faints, then flayed, blinded, castrated, impaled with a mistletoe stake, and finally hacked into joints on the altar-stone. His blood is caught in a basin and used for sprinkling the whole tribe to make them vigorous and fruitful. The joints are roasted at twin fires of oak-loppings, kindled with sacred fire preserved from a lightning-blasted oak or made by twirling an alder- or cornel-wood fire-drill in an oak log.

The trunk is then uprooted and split into faggots which are added to the flames. The twelve merry-men rush in a wild figure-of-eight dance around the fires, singing ecstatically and tearing at the flesh with their teeth. The bloody remains are burnt in the fire, all except the genitals and the head. These are put into an alder-wood boat and floated down the river to an islet; though the head is sometimes cured with smoke and preserved for oracular use. His tanist succeeds him and reigns for the remainder of the year, when he is sacrificially killed by a new Hercules.

The divine names Bran, Saturn, Cronos ... are applied to the ghost of Hercules that floats off in the alder-wood boat after his midsummer sacrifice.

His tanist, or other self, appearing in Greek legend as Poeas who lighted Hercules' pyre and inherited his arrows, succeeds him for the second half of the year; having acquired royal virtue by marriage with the queen, the representative of the White Goddess, and by eating some royal part of the dead man's body - heart, shoulder or thigh-flesh.

He is in turn succeeded by the New Year Hercules, a reincarnation of the murdered man, who beheads him and, apparently, eats his head. This alternate eucharistic sacrifice made royalty continous, each king in turn the Sun-god beloved of the reigning Moon-goddess.

But when these cannibalistic rites were abandoned and the system was gradually modified until a single king reigned for a term of years, Saturn-Cronos-Bran became a mere Old Year ghost, permanently overthrown by Juppiter-Zeus-Belin though yearly conjured up for placation at the Saturnalia or Yule feast.