Ua.

1. Cause, reason why something happens or is done; he ûa te ua, au i-ta'e-iri-ai ki tooku hare, because of the rain, I did not go home; ua kore, without cause, without reason. 2. Ceremononial stave with a human face carved at one extremity. Vanaga. Cfr toko. 1. A long club T. 2. Mgv.: ua, the genitalia. Ta.: hua, id. Mq.: hua, id. Ha.: hua, testicles. 3. Ta.: ua, the back of the neck. Ma.: ua, id. Sa.: ua, the neck. 4. Ta.: ua, a land crab which shears iron. Ma.: uka, lobster. Sa.: uga, the hermit crab. Churchill. Ûa. Rain; 1. ûa hakamito, persistent, but not strong, rain; 2. ûa kura, fine rain, drizzle; 3. ûa matavaravara, strong rain; 4. ûa parera, torrential rain; 5. ûa tai, rain followed by fair weather at sea. Ehu ûa, drizzle. Vanaga. Ûaûa. Tendons, muscles. 1. Hau ûaûa kio'e, line made from rats' tendons. 2. Ûaûa toto, vein, artery. 3. Ûaûa piki, spasm. Vanaga. 1. Rain; hoa mai te ua, to rain; mou te ua, to cease raining. P Mgv., Mq., Ta.: ua, rain. 2. Vein, artery, tendon (huahua 1) (uha G); ua nene, pulse; ua nohototo, artery, ua gaei, pulse. Uaua, vein, tendon, line; kiko uaua, muscle T. Hakauaua, to mark with lines. P Pau.: tare-ua, tendon. Mgv., Mq., Ta.: uaua, vein, tendon. Churchill. U'a. Of the tide, to reach its maximum; tai u'a, high tide. Vanaga. Wave, surge; tai ua, high tide. Churchill. Uá. Ata uá, morning twilight. Uáuá, to reside; resident; noho uáuá to settle somewhere; ina koe ekó noho uáuá, do not establish yourself there. Vanaga.

Ko. 1. Article (ko te); preposition: with (see grammar); prefix of personal pronouns: koau, I; kokoe, you (singular); koîa, he, she, it; kokorua, you (plural); ko tagi, koîa, he with his weeping. 2. Article which precedes proper nouns, often also used with place names: Ko Tori, Ko Hotu Matu'a, Ko Pú. Koîa, exact: tita'a koîa, exact demarcation. Seems to be the personal pronoun koîa - applied in the meaning of: thus it is, here it is precisely. Vanaga. 1. Negative; e ko, not, except; e ko ora, incurable; ina ko, not; ina ko tikea, unseen; ina e ko, not; ina e ko mou, incessant. 2. A particle used before nouns and pronouns; ko vau, I; ko te, this; ko mea tera, this; ati ko peka, to avenge, ko mua, first, at first, formerly. 3. There, yonder. P Mgv.: ko, over there, yonder. Ta.: ó, there, here. Churchill.

Ta.: ra, a day.

Pa. 1. Mgv.: pa, an inclosure, a fenced place. Ta.: pa, inclosure, fortification. Mq.: pa, inclosure. Sa.: pa, a wall. Ma.: pa, a fort. 2. Mgv.: pa, to touch. Sa.: pa'i, id. Ma.: pa, id. 3. Mgv.: pa, to prattle. Ta.: hakapapa, to recount. 4. Mq.: pa, a hook in bonito fishing. Sa.: pa, a pearlshell fishhook. Ma.: pa, a fishhook. Pau.: hakapa, to feel, to touch. Mgv.: akapa, to feel, to touch, to handle cautiously.

... Ana Onoono is a cave well-suited as an overnight shelter; Pu Ngotangota is a coastal formation where the seawater is allowed to flow in and out. The three additions, 'house', 'cave', and 'hole', always describe an enclosed area ...

This statement of Barthel ought to be extended to include also pa itself.

... In later research it was postulated that the [Phoenician] alphabet is actually two complete lists, the first dealing with land agriculture and activity, and the second dealing with water, sea and fishing. The first half beginning with Alef - an ox, and ending with Lamed - a whip. The second list begins with Mem - water, and continues with Nun - fish, Samek - fish bones, Ayin - a water spring, Peh - the mouth of a well, Tsadi - to fish, Kof, Resh and Shin are the hook hole, hook head and hook teeth, known to exist from prehistoric times, and the Tav is the mark used to count the fish caught ...

The text on the stela shows that this glyph indicates the passage of one day, from 6 Eb, 0 Pop to 7 Eb, 1 Pop; the sun or kin, preceded by the numeral 1, is seen entering between the caban-sign and what we shall later come to identify as the sky-glyph ...

 ... The ancient Chinese said: One generates Two, Two generates Three, and Three generates Everything.

And reasonably there should be a Sign of '3' where this event occurred. At left in glyph 17.33 a triplet of 'stones' arranged vertically could have visualized the season of  Sky (top), the season of Air (central) and the season of Earth (bottom). But since top and bottom are quite similar the meaning could be the northern sky respectively the southern sky with the equatorial (inhabitable) belt in between ...

κ Librae (237.2), ι Serpentis (237.4), ψ² Lupi, ρ Oct. (237.5), γ Cor. Borealis, η Librae (237.7),  COR SERPENTIS = α Serpentis (237.9)

*196.0 = *237.4 - *41.4

π Cor. Borealis, UNUK ELHAIA (Necks of the Serpents) = λ Serpentis (238.1), CHOW = β Serpentis (238.6)

κ Serpentis (239.3), δ Cor. Borealis, TIĀNRŪ = μ Serpentis (239.5), χ Lupi, (239.6), ω Serpentis (239.7), BA (= Pa) = ε Serpentis, χ Herculis (239.8). κ Cor. Borealis, ρ Serpentis (239.9)

λ Librae (240.0), β Tr. Austr. (240.3), κ Tr. Austr. (240.4), ρ Scorpii (240.8)

*199.0 = *240.4 - *41.4

DAY 237

238

239

240

δ Persei (54.7)

500 = 365 + 135

Al Thurayya-27 (Many Little Ones) / Krittikā-3 (Nurses of Kārttikeya) / TAU-ONO (Six Stones)

16 (136)

Hairy Head-18 (Cockerel) / Temennu-3 (Foundation Stone)

MENKHIB (Next to the Pleiades = ζ Persei (57.6)

... The leap day was introduced as part of the Julian reform. The day following the Terminalia (February 23) was doubled, forming the 'bis sextum - literally 'double sixth', since February 24 was 'the sixth day before the Kalends of March' using Roman inclusive counting (March 1 was the 'first day'). Although exceptions exist, the first day of the bis sextum (February 24) was usually regarded as the intercalated or 'bissextile' day since the third century. February 29 came to be regarded as the leap day when the Roman system of numbering days was replaced by sequential numbering in the late Middle Ages ...

54 vai rapa a hakaremereme

56 te vai rutu manu a koro rupa.e haho e hivi e

e runga e te puku ohu kahi e.

57 hanga piko a hare rutu manu a ana onoono

a Pu ngotangota.

According to Barthel the 'shimmering water' (vai rapa) was located north of Ana Kai Tangata (Cave for Eating Man) with Hanga Piko (Curved Bay) a bit further north. In between was Te Vai Rutu Manu:

... The 'watering place' where the bird beats (the rhythm)' - wordplay, 'where a certain chant is being recited' - is located near Hanga Piko. A recitation provides the following information for the additional name: 'In Koro Rupa is the house where one is made to laugh; in Kere Mea is the house where one is made fun of' (Barthel 1960:851; Campbell 1971:400). There the rule of the new birdman was celebrated (compare koro 'feast'). In RAP., koro rupa seems to have the same meaning as in TUA. kororupo, which describes a paradise. In the cosmology of the TUA., the name also referred to the entrance to the underworld. Hivi (maybe the same as hi ivi 'to fish with a hook made from bone'; compare the narrative ME:363) is 'outside', and 'the elevation from where (the catch of) the tunafish is announced' is 'above'. This is a reference to a large boulder beside the place where the canoes docked in Hanga Piko. There the people waited for the canoes to return from the fishing grounds." (The Eighth Land, pp. 89-90.)

Kahi. Tuna; two sorts: kahi aveave, kahi matamata. Vanaga. Mgv.: kahi, to run, to flow. Mq.: kahi, id. Churchill. Rangitokona, prop up the heaven! // Rangitokona, prop up the morning! // The pillar stands in the empty space. The thought [memea] stands in the earth-world - // Thought stands also in the sky. The kahi stands in the earth-world - // Kahi stands also in the sky. The pillar stands, the pillar - // It ever stands, the pillar of the sky. (Morriori creation myth according to Legends of the South Seas.)

Puku. 1. To feel an urge to defecate or to urinate, etc.: ku-puku-á te mimi: to need to urinate. 2. Rock, boulder: puku ma'ea; puku oone, hillock, earth mound. 3. Puku tagata, pubis. Puku-ine, to get stuck in the oesophagus (of food). Pukupuku, joints, bones of a joint; pukupuku rima, wrist bones; pukupuku va'e, ankle. Pukuraga, followers, disciples, students. Puku rekoreko is the juicy part between two knots (puku). Vanaga. 1. Puku haga oao, east, east wind. 2. Pubes. T Mgv.: puku, clitoris; pukuhou, the age of puberty; pukutea, a man between 30 and 45. 3. Unripe; puku no, unripe; pukupuku, green, immature. Mgv. puku, to be unripe. Mq.: puku, a fruit which has not yet reached its maturity. 4. To gorge; mahaga puku, to take the bait greedily. PS Sa.: pu'u, to take the whole at one mouthful, to put into the mouth whole. Fu.: pukupuku, to rinse the mouth, to gargle. Niuē: puku, to take into the mouth. Pukuhina, (puku 4), to choke on a fishbone. Pau.: pukua, to choke with a fishbone. Mgv.: pukua, to be suffocated by anything that sticks in the throat. Mq.: pukua, bad deglutition. Ta.: puunena, puufeto, to choke, to gag. Ha.: puua, to be choked, to have something sticking in the throat. Pukupuku; 1. Elbow. G. 2. Wrinkled, knotty, wen, scrofula; gao pukupuku, scrofula. T Pau.: puku, a swelling; pukupuku, a wrinkle, knotty, rough. Mgv.: puku, a knot in the wood; pukupuku, knotted, rough, uneven, lumpy. Mq.: puku, knot in wood, boss, protuberance, tumor, boil; toopuku, toopuu, boil, wart, tumor; pukupuku, wrinkled, knotty. Ta.: puú, boss, protuberance, swelling; puúnono, tumour; puúpuú, wrinkled, knotty. Pukuraga, servant T. Churchill. Rei matapuku, necklace made of coral or of mother-of-pearl. Henry.

Ohua. Night in the Moon calendar:

Ohua	Otua
CLOSE TO THE SUN:
12h (182.6)	ALCHITA	PÁLIDA
DAY 182	183	184
CLOSE TO THE FULL MOON:
March 20	SIRRAH	ALGENIB PEGASI
DAY 364	0h (365.25)	1

This 'bird beating the rhythm' was mentioned also at the item for Hanga Piko, in the house (hare) of the cave (ana) 'SixSix' (onoono).

"Ana Onoono is a cave well-suited as an overnight shelter; Pu Ngotangota is a coastal formation where the seawater is allowed to flow in and out. The three additions, 'house', 'cave', and 'hole', always describe an enclosed area." (Barthel, a.a., p 90)

Clearly Ana Onoono may have been referred to earlier in Manuscript E, when they carried the severely injured Kuukuu down into a cave and piled up 6 stone heaps outside who would answer when he called out → 6 heaps for 6 men → 36(0).

Likewise can we perceive a correspondence between the coastal formation Pu Ngotango, where water freely flowed in and out, and the movements of the explorers when they 'behaved like turtles', when they rode the waves repeatedly towards the beach. 'Turtle' → boat (cfr Zaurak).

... po-tagotago, darkness. po o te tagata, life ...

... we read of a fisherman later revered as a deity named Urashima: He was hadsome of feature ... He went out alone in a boat to fish with hook and line. During three days and nights he caught nothing, but at length he caught a turtle of five colours. Wondering, he put it in the boat ... While he slept the turtle suddenly became transformed into a woman, in form beautiful beyond description ... He said to her, 'This place is far from the homes of people, of whom there are few on the sea. How did you so suddenly come here?' Smiling she replied, 'I deemed you a man of parts alone on the sea, lacking anyone with whom to converse, so I came here by wind and cloud.'

She is, of course, a Kami [a spirit], as he quickly understands, from a magical land that 'lasts as long as sky and earth and ends with sun and moon'. And she tempts him: 'You can come to that region by a turn of your oar. Obey me and shut your eyes.' So presently they came to a broad island in the wide sea, which was covered with jewels. (On it was a great mansion.) Its high gate and towers shone with a brilliance which his eyes had never beheld and his ears had never heard tell. They enter the mansion and are received and greeted in a loving fashion by her parents: 'Seated they conversed of the difference between mankind and the Land-of-Spirits, and the joy of man and Kami meeting.

Eventually the fisherman Urashima and the beautiful sea Kami are married. Thereafter: 'For three years, far from his aged parents, he lived his life in the Spirit capital, when he began to yearn for his home and for them.' Observing the change in him, his wife asks: 'Do you desire to return home?' He replies: 'To come to this far Spirit Land, I parted from my near and kin. My yearning I cannot help ... I wish to return to my native place to see my parents for a while'. Then we read: Hand in hand they walked conversing ... till they came to where their ways diverged and where her parents and relatives, sorrowing to part with him, made their farewells.

The princess informed him that she was indeed the turtle which he had taken in his boat, and she took a jewel-casket and gave it to him saying: 'If you do not forget me and desire to seek me, keep this casket carefully, but do not open it.' Thus he parted from her and entered his boat, shutting his eyes as she bade him. In a trice Urashima finds himself back in his home village again but a terrible surprise awaits him. During the three years that he has spent enchanted on the Spirit island 300 mortal years have passed and everything has changed beyond recognition. Stumbling around dazed and disconsolate, discovering from a passer-by that his own disappearance three centuries previously is itself now the subject of a village legend, he forgets the warning about the jewel box and opens it to remind himself of his Kami wife: 'But before he could look into it, something in the form of a blue-orchid soared up to the blue sky with the wind and clouds. Then he knew that, having broken his oath, he could not go back and see her again ...

... Several Asian cultures, including that of the Andaman Islands, believe that humanity emerged from a bamboo stem. In the Philippine creation myth, legend tells that the first man and the first woman were split open from a bamboo stem that emerged on an island created after the battle of the elemental forces (Sky and Ocean).

In Malaysian legends a similar story includes a man who dreams of a beautiful woman while sleeping under a bamboo plant; he wakes up and breaks the bamboo stem, discovering the woman inside. The Japanese folktale 'Tale of the Bamboo Cutter' (Taketori Monogatari) tells of a princess from the Moon emerging from a shining bamboo section. Hawaiian bamboo ('ohe) is a kinolau or body form of the Polynesian creator god Kane. 

An ancient Vietnamese legend tells of a poor, young farmer who fell in love with his landlord's beautiful daughter. The farmer asked the landlord for his daughter's hand in marriage, but the proud landlord would not allow her to be bound in marriage to a poor farmer. The landlord decided to foil the marriage with an impossible deal; the farmer must bring him a 'bamboo tree of one-hundred sections'. The benevolent god Bụt appeared to the farmer and told him that such a tree could be made from one-hundred sections from several different trees. Bụt gave the him four magic words to attach the many sections of bamboo: 'Khắc nhập, khắc xuất', which means 'put in immediately, take out immediately'. The triumphant farmer returned to the landlord and demanded his daughter. The story ends with the happy marriage of the farmer and the landlord's daughter ...