Haho. Outside. Vanaga. Hahoa (ha causative, hoa) to cut, to wound, to hurt. PS Mgv.: tahoa, to make papyrus by beating. Sa.: foa, to chip, to break. To.: foa, to crack, to make an opening. Fu.: foa, to dig, the rent in a mat. Underlying the Nuclear Polynesian significations the primal sense seems to be that of a hole. The Rapanui, a causative, is a clear derivative in the cutting sense; wound and hurt are secondary withing this language. The Mangarevan composite means 'to beat until holes appear', which is a distinctive character of the beaten bast of the paper mulberry in the condition in which it is ready for employment in making tapa. Churchill.

E:56 → Alcyone

... another Alcyone, daughter of Pleione, 'Queen of Sailing', by the oak-hero Atlas, was the mystical leader of the seven Pleiads. The heliacal rising of the Pleiads in May marked the beginning of the navigational year; their setting marked its end when (as Pliny notices in a passage about the halcyon) a remarkably cold North wind blows ...

Sail on [ka oho] and let children be born [ka hakatama toou] by the many in Te Pito O Te Kainga (i.e., the number of your subjects will increase in the new homeland).

Not one thing [he mee. o toe a etahi] shall remain behind (i.e., everything that is needed will be taken along) when you leave [ana oho koe]!'

Kai toe kai tohe etahi, omitted nothing whatsoever (E:13).

Pua mouku, grass. Churchill. Uku koku is the name of a dark type of grass, which in earlier times was used to make hats. Barthel 2.

... What happens after (or happened, or will happen sometime, for this myth is written in the future tense), is told in the Völuspa, but it is also amplified in Snorri's Gylfaginning (53), a tale of a strange encounter of King Gylfi with the Aesir themselves, disguised as men, who do not reveal their identity but are willing to answer questions: 'What happens when the whole world has burned up, the gods are dead, and all of mankind is gone? You have said earlier, that each human being would go on living in this or that world.' So it is, goes the answer, there are several worlds for the good and the bad. Then Gylfi asks: 'Shall any gods be alive, and shall there be something of earth and heaven?' And the answer is: 'The earth rises up from the sea again, and is green and beautiful and things grow without sowing. Vidar and Vali are alive, for neither the sea nor the flames of Surt have hurt them and they dwell on the Eddyfield, where once stood Asgard. There come also the sons of Thor, Modi and Magni, and bring along his hammer. There come also Balder and Hoder from the other world. All sit down and converse together. They rehearse their runes and talk of events of old days. Then they find in the grass the golden tablets that the Aesir once played with ...

13 * 13 - 4 = 165. And 165 - 13 (the white pieces above) = 152 (= 8 * 19) - as in Te Maro 1 when the Sun reached Castor and the Explorers reached the new land.

E:57

... The original story was by Diogenes Laertius, an Epicurean philosopher circa early half third century, in his book On the Lives, Opinions, and Sayings of Famous Philosophers. The story is in Chapter ten in his section on the Seven Sages, who were the precursors to the first philosophers. The sage was Epimenides. Apparently Epimenides went to sleep in a cave for fifty-seven years. But unfortunately, 'he became old in as many days as he had slept years'. Although according to the different sources that Diogenes relates, Epimenides lived to be one hundred and fifty-seven years, two hundred and ninety-nine years, or one hundred and fifty-four years. A similar story is told of the Seven Sleepers of Ephesus, Christian saints who fall asleep in a cave while avoiding Roman persecution, and awake more than a century later to find that Christianity has become the religion of the Empire ...

Keke. To go down after reached its zenith (of the sun): he-keke te raá. Kekeé, to be lying on the ground, partly above it, to stick out: ma'ea ke'e ke'e, stones sticking out of the ground. Kékekéke, to rustle, to creak: ku-kekekeke-áte hare i te to kerau, the house creaked in the wind. Kekepu, animal mentioned in ancient traditions, the flesh of which was eaten in Hiva (also kepukepu). Kekeri, to feel an indisposition of the stomach or the bowels: he-kekeri te manava. Kekeú, shoulder (according to others, shoulder-blade); used also for 'arm'. Vanaga. Keke (ke), other, distinct, special; hikohiko keke, hide-and-seek; kekee (ke), irregular, uneven, rough; ke avai, a superlative expression; hinihini ke avai, ancient; ika ke avai, abuse; kori ke avai, abuse; maori ke avai, skilful, handy; pipiro ke avai, disgusting odor; tupu ke avai, of swift growth; ua ke avai, a shower of rain. Keekee; niho keekee, long protruding teeth. Churchill. Pau.: keke, armpit. Mgv.: keke, id. Ta.: ee, id. Mq.: kaáke, id. Ma.: keke, id. Churchill. Mgv.: keke, to praise, to felicitate. Sa.: 'e'e, to pay respect to. Ha.: ee, caressing, kind. Kekei, sharp, harsh, of the voice. To.: keke, to bleat. Ha.: eeina, to creak, to grate. Churchill.

... At the time of the immigration, Hotu Matua brought with him an animal that had short front legs and fat, high buttocks ...

... The etymology of kangaroo is not known, which allows me to imagine a connection with Tagaroa (Kanaloa). The Polynesians surely visited Australia on several occasions and the striking pocket (little sack) on the front side of the man-sized kangaroos (standing on 2 legs just like men), must have stayed in their memories. Nothing on land can be more illustrative of how life must have begun inside a dark sack (taga) ...

If you forget the flies [ana rehu i a koe te takaure], the multitude (piere) of the people will disappear [he ngaro]. When you reach the land [ana tomo ki runga.ki tou kainga] to which you are travelling [ena koe ka oho], it will be over quickly (?) for the multitude of the people.

When the flies die [ana moko te ihu o te takaure], the human population dies too [he moko tokoa te ihu o tou piere tangata].'

Ihu. 1. Nose; ihu more, snub nose, snub-nosed person. 2. Ihuihu cape, reef; ihuihu - many reefs, dangerous for boats. 3. Ihu moko, to die out (a family of which remains only one male without sons); koro hakamao te mate o te mahigo, he-toe e-tahi tagata nó, ina aana hakaara, koîa te me'e e-kî-nei: ku-moko-á te ihu o te mahigo, when the members of family have died and there remains only one man who has no offspring, we say: ku-moko-á te ihu o te mahigo. To disappear (of a tradition, a custom), me'e ihu moko o te tagata o te kaiga nei, he êi, the êi is a custom no longer in use among the people of this island. 4. Eldest child; first-born; term used alone or in conjunction with atariki. Vanaga. 1. Nose, snout, cape T (iju G). Po ihuihu, prow of a canoe. P Pau.: ihu, nose. Mgv.: ihu, nose; mataihu, cape, promontory. Mq., Ta.: ihu, nose, beak, bowsprit. Ihupagaha, ihupiro, to rap on the nose, to snuffle. 2. Mgv.: One who dives deep. Ta.: ihu, to dive. Churchill. Sa.: isu, nose, snout, bill. Fu., Fakaafo, Aniwa, Manahiki: isu, the nose. Nuguria; kaisu, id. Fotuna: eisu, id. Moiki: ishu, id. To., Niuē, Uvea, Ma., Ta., Ha., Mq., Mgv., Pau., Rapanui, Tongareva, Nukuoro: ihu, id. Rarotonga: putaiu, id. Vaté: tus, id. Viti: uthu, nose. Rotumā: isu, id. ... usu and ngusu ... serve as transition forms, usu pointing to isu the nose in Polynesia and ngusu to ngutu the mouth, which is very near, nearer yet when we bear in mind that ngutu the mouth is snout as well and that isu the nose is snout too ... Churchill 2.

... From a religious point of view, the high regard for flies, whose increase or reduction causes a similar increase or reduction in the size of the human population, is interesting, even more so because swarms of flies are often a real nuisance on Easter Island, something most visitors have commented on in vivid language. The explanation seems to be that there is a parallel relationship between flies and human souls, in this case, the souls of the unborn. There is a widespread belief throughout Polynesia that insects are the embodiment of numinous beings, such as gods or the spirits of the dead, and this concept extends into Southeast Asia, where insects are seen as the embodiment of the soul ...

... Men's spirits were thought to dwell in the Milky Way between incarnations. This conception has been handed down as an Orphic and Pythagorean tradition fitting into the frame of the migration of the soul. Macrobius, who has provided the broadest report on the matter, has it that souls ascend by way of Capricorn, and then, in order to be reborn, descend again through the 'Gate of Cancer' ...

E:58 → 2 * 29

He also talked to the master shipbuilder (maori tuku miro), to Nuku Kehu, 'Is the canoe ready to be launched'

Nuku Kehu replied, 'Yes!' [ee]

Oti. To come to an end; to suffice, to be enough: ku-oti-á, it is finished; ina kai oti mo kai, there is not enough to eat; he-oti á, there isn't anymore left, it's the last one; it's enough with that. Vanaga. Ta.: 1. Oti, presage of death. Sa.: oti, to die. 2. To cut. Mq.: koti, oti, id. Sa.: 'oti, id. Ma.: koti, id. Churchill.

Taka. Taka, takataka. Circle; to form circles, to gather, to get together (of people). Vanaga. 1. A dredge. P Mgv.: akataka, to fish all day or all night with the line, to throw the fishing line here and there. This can only apply to some sort of net used in fishing. We find in Samoa ta'ā a small fishing line, Tonga taka the short line attached to fish hooks, Futuna taka-taka a fishing party of women in the reef pools (net), Maori takā the thread by which the fishhook is fastened to the line, Hawaii kaa in the same sense, Marquesas takako a badly spun thread, Mangareva takara a thread for fastening the bait on the hook. 2. Ruddy. 3. Wheel, arch; takataka, ball, spherical, round, circle, oval, to roll in a circle, wheel, circular piece of wood, around; miro takataka, bush; haga takataka, to disjoin; hakatakataka, to round, to concentrate. P Pau.: fakatakataka, to whirl around. Mq.: taka, to gird. Ta.: taa, circular piece which connects the frame of a house. Churchill. Takai, a curl, to tie; takaikai, to lace up; takaitakai, to coil. P Pau.: takai, a ball, to tie. Mgv.: takai, a circle, ring, hoop, to go around a thing. Mq.: takai, to voyage around. Ta.: taai, to make into a ball, to attach. Churchill. Haga takataka, to disjoin. Miro takataka, bush. Churchill.

Nuku Kehu said to all his assistants [ki toona titiro anake], 'Let's go, let's put the canoe into the  water because this is what the king has said.' [e e kī mai nei te ariki]

Haho. Outside. Vanaga. Hahoa (ha causative, hoa) to cut, to wound, to hurt. PS Mgv.: tahoa, to make papyrus by beating. Sa.: foa, to chip, to break. To.: foa, to crack, to make an opening. Fu.: foa, to dig, the rent in a mat. Underlying the Nuclear Polynesian significations the primal sense seems to be that of a hole. The Rapanui, a causative, is a clear derivative in the cutting sense; wound and hurt are secondary withing this language. The Mangarevan composite means 'to beat until holes appear', which is a distinctive character of the beaten bast of the paper mulberry in the condition in which it is ready for employment in making tapa. Churchill.

... He cleared the trunks of their branches and bark, hewed them into shape, and with strong fau ropes he and his men drew them down the valley over cliffs and ravines, seeming to feel it merely light work. Thus King Puna was robbed of his fine aha-tea tree, his mara-uri tree, a toi (Alphitonia) tree, and a hauou (pua, Fagraea) tree; and Hiro spared not the trees sacred to the gods around the marae. He cut down a great tamanu (Callophylum), stripped the trunk of its branches and bark, split it up for planks for the bows of his canoe, and trimmed the branches for outriggers and crossbeams. He cut down a most sacred miro (Thespesia) tree for planks for the after part of his canoe, and he took two tall straight breadfruit trees for planks for the deck houses. Then he went into the woods and cut down straight fau trees (Hibiscus tiliaceus) for paddles and for floor planks, and three slim hutu (Barringtonia) trees for masts. After all this depredation, Hiro and his men helped themselves to wood and thatch and reeds and all other material needed for a shed in which to build the canoe and for rollers to place under it, King Puna not daring to oppose them, as Hiro was too powerful and dangerous to vex ... Amid all the required ceremonies and prayers and good omens, they set to work. On rising ground they erected a great shed thirty fathoms long, six wide, and five fathoms high, facing the sea endwise. The builders had their baskets of axes and adzes of stone, gimlets of coconut and sea shells, and sennit of fine tight strands, prepared and consecrated to the god Tane for this special purpose. Hiro marked out the keel, the knees, the beams, and the planks, and the men cut them into shape. All the material for the work was carefully sorted and handily placed in the shed, Hiro passing it to the men as they required it ... They set the keel of avai, toi, and mara wood, polished and firmly spliced together with hard spikes of wood secured with sennit, upon rollers in the shed and painted it with red clay mixed with charcoal so as to preserve it from wood borers. Then they fastened the knees onto the keel with spikes and sennit. Holes were bored into the keel and planks at even distances apart, and the men set to work in the following order: Hotu, the chief of Hiro's artisans, worked on the outer side to the right of the canoe, and Tau-mariari, his assistant, worked on the inner side; Memeru, the royal artisan of Opoa, worked on the outer side to the left of the canoe, and his assistant, Ma'i-hae, worked on the inner side. Each couple faced each other, fixing the planks in their places and drawing the sennit in and out in lacing the wood together; and the canoe soon began to assume form, the bows facing the sea. To make work light they sang ... Every seam and all the little holes in the wood from the keel and upwards were well caulked with fine coconut-husk fiber and pitched carefully with gum, which Hiro drew from sacred breadfruit trees of the marae, and when all the streaks were on the canoe was washed out clean and dried well and painted inside and outside with red clay and charcoal. As the hull of the canoe reached almost to the roof, the builders could work no longer within the shed, and so they broke it away. Then the boards of the deck were set upon the beams and fixed in place with spikes and sennit, and the ama or outrigger of tamanu wood, which had been well steeped in water to preserve it from borers, was polished with limestone and firmly lashed with sennit on to the left side of the canoe, the upper attachment of wood forming across each end of the canoe a beam, called 'iato, and lashed on to the right side in the same manner as on the left side ... Next came the finely carved towering ornaments for a reimua (neck-in-front, the figurehead) and a rei muri (neck-behind, stern ornament), which were fastened on to their respective places, and they were named Rei-fa'aapiapi-fare (Necks-filling-up-the-house), because the shed was broken away to allow placing them and finishing the canoe. The two deck houses, called oa mua and oa muri (fore house and aft house), were then set in their places and thatched with fara leaves, after which Hotu, the chief artisan, cut out the holes in the deck and down in the keel, in which he stood the three masts, before mentioned, which had been steeped in water, well seasoned, dried, and polished. The the canoe was completed. Hiro dedicated it to Tane, naming it Hohoio (Interloper) … Finally the day arrived for launching the canoe, and a great multitude assembled to see the wonderful sight. The props were removed from the sides of the canoe, and the men held it ready to launch over the rollers. Hotu invoked the gods Ta'aroa, Tane, 'Oro, Ra'a, Ro'o, and Moe, to their aid, and soon their presence was felt impelling the canoe. The rollers began to move, and then the canoe went forwards, slowly at first as the men's hands steadied it and then swiftly and well poised as it gracefully descended alone and sat upon the sea, which rose in great rolling waves caused by a wind sent to meet it by the aster Ana-mua (Antares in Scorpio), the parent pillar of the sky. The spectators greatly admired Hiro's ship and raised deafening shouts. Then the canoe was made to drink salt water; it was dipped forwards and backwards in the waves of the great moving altar of the gods and thus consecrated to Tane. A marae was made for him in the little house aft of the deck, and the three masts were rigged with ropes and strong mats for sails and long tapa pennants streaming from them ... Within a few days the canoe was loaded with provisions. Great fish baskets were made of bamboo, filled with many kinds of fish, and attached to the outside of the canoe so as to be in the water. Bamboos and gourds were filled with water and stowed away on board, and there were fe'i, bananas, taro, and mahi (fermented breadfruit) in abundance. A bed of sand and stones was made upon the deck, upon which to make a fire for cooking the food, and soon Hiro was ready to go to sea. Hiro was the captain and pilot, and he had other competent seamen, who like him were acquainted with the heavenly bodies and their rising and setting. Women and children also accompanied their husbands and fathers on board, and on one fine day, with a strong favorable wind, they set sail, applauded by many spectators, among whom were prisoners of war (called tîtî), whose shouts were heard above all others. They saw Hiro's great pahi sail out to sea and disappear beyond the horizon, never again to return to Tahitian shores ...

When you have dug out all the big and small roots, so that nothing is left in the soil (? ka paepae tahiro) ...