TRANSLATIONS

TRANSLATIONS

The reversed haga te pau means its opposite, viz. 'full of new life', and the occurrence of a following ika is natural:


Ha6-130	Ha6-131	Ha6-132

The parallalel texts of P and Q (and of the more idiosyncratic A) should be documented here too, because it is important to establish firm connections between texts:


Pa6-15	Pa6-16	Pa6-17

Qa6-17	Qa6-18	Qa6-19

Aa1-72	Aa1-73

In spite of the very dissimilar glyphs in A it is absolutely clear that these two glyphs correspond to the three differently designed glyphs in H/P/Q.

From Aa1-49 to Aa1-76 (28 glyphs) the text of A runs in parallel with the other three texts, and without this long sequence it would hardly have been possible to establish a connection between Aa1-72--73 and the more explicitly designed glyphs in H/P/Q.

The peculiar bird in Aa1-73 shows no sign of ika, and the creator of the A text presumably tried to say something else, or at least he (women used kaikai, men incised rona) used a different expression.

The pau sign is at left, it is in the past. Neither Q nor A has a pau sign. The haga rave glyphs (with the exception of Aa1-72) are sharply bent at bottom. If we compare with haga te pau there is no close resemblance between it and any of the four above:


Gb5-12	Gb5-13

The head form in Pa6-15 resembles that in Gb5-12, though, and also the fish is rather similar. The fish seems to belong to the 'sentence'.

Only P and A have a middle period during a.m. and there a haga rave sign is found:


Pa5-39	Pa5-40	Pa5-41	Pa5-42
		-
Aa1-20		-	Aa1-21

Aa1-72 is located 4 glyphs earlier than the 28th and last one in the text, i.e. it is number 24.


Aa1-49	Aa1-50	Aa1-51	Aa1-52
1	2	3	4

Aa1-53	Aa1-54	Aa1-55	Aa1-56	Aa1-57	Aa1-58
5	6	7	8	9	10

Aa1-59	Aa1-60	Aa1-61	Aa1-62	Aa1-63	Aa1-64
11	12	13	14	15	16

Aa1-65	Aa1-66	Aa1-67	Aa1-68	Aa1-69	Aa1-70
17	18	19	20	21	22

Aa1-71	Aa1-72	Aa1-73	Aa1-74	Aa1-75	Aa1-76
23	24	25	26	27	28

Comparing with the other three parallel texts, we should notice how Q is special - it begins with Qa6-1:


Qa6-1	Qa6-2	Qa6-3	Qa6-4	Qa6-5	Qa6-6	Qa6-7	Qa6-8
9	10	11	12	13	14	15	16

The Q text has no glyphs corresponding to Aa1-49--56. We can conclude that 28 is not a single group of glyphs but at least two: 8 + 20. There are two 'sentences', not one.

Renumbering from 1 to 20 and arranging A and Q in parallel we discover, however, that there are not 20 glyphs in Q but 23:


Aa1-57	Aa1-58	Aa1-59	Aa1-60	Aa1-61	Aa1-62

Qa6-1	Qa6-2	Qa6-3	Qa6-4	Qa6-5	Qa6-6
1	2	3	4	5	6

Aa1-63	Aa1-64	Aa1-65	Aa1-66	Aa1-67	Aa1-68

Qa6-7	Qa6-8	Qa6-9	Qa6-10	Qa6-11	Qa6-12
7	8	9	10	11	12

Aa1-69	Aa1-70	Aa1-71		Aa1-72	Aa1-73

Qa6-13	Qa6-14	Qa6-15	Qa6-16	Qa6-17	Qa6-18
13	14	15	16	17	18
-		-
-	Aa1-74	-	Aa1-75	Aa1-76

Qa6-19	Qa6-20	Qa6-21	Qa6-22	Qa6-23
19	20	21	22	23

Also H and P have 23 glyphs, and their glyphs are more or less equivalents of the Q glyphs. But maybe the glyphs in A diverge more from the other three texts than can be referred to as idiosyncrasy. The structure is the the same but the content may be different. With red I have marked two instances where the content apparently is different. In Aa1-60 henua is tiny, while in Qa6-4 it is very great.


Qa5-34	Qa6-4	Qa9-34	Qb1-8	Qb3-29	Qb4-38	Qb8-118

Qa5-34 is extraordinarily thin, compared with the normal henua glyphs of Q. The normal ones are represented by Qb1-8 and Qb4-38, and in between them are 5 more normal ones (not shown here), together 7 such (possibly to be compared with the 10 'staffs pushing sky up' in G).

Qa9-34 is of the 'midnight' type, indented at both ends, while Qb3-29 is indented at bottom and Qb8-118 at its top end.

The unusual Aa1-66 has 'feathers' on the outside, while Qa6-10 has dark signs (hatchmarks) on the inside. But it can be dark inside at the same time as it is light on the outside.

It seems to be too difficult to compare A with Q. Now that we have to grips with G and K, helped both by their similarities and by their differences, next step should instead be to compare the long parallel texts of H, P and Q with each other. Their differences are enough to cause trouble.

If we can understand the overall structures of H, P, and Q, it should be possible to coordinate these texts with G and K by way of the 'pushing up sky staffs' (spring) motive. And maybe it then would also become possible, by using such parallel texts as that with reversed haga te pau, to correlate A with G and K.

Let us therefore continue a little bit further by looking at the 7 normally designed henua staffs in the interval Qb1-8--Qb4-38. Some statistics may help. To begin with, here are all simple staff type henua glyphs, without signs of different kinds (bent, openended etc):

		only these 2 on side a
Qa5-34	Qa9-34	only these 2 on side a
				4 close together
Qb1-8	Qb1-28	Qb1-42	Qb1-47	4 close together

Qb3-20	Qb3-29	Qb3-31	Qb4-38	Qb4-39
	redmarked glyphs carry signs
Qb8-118	redmarked glyphs carry signs

Most interesting is the discovery of Qb4-39, closing - it seems - the quartet beginning with Qb3-20.

There are no such kiore - henua glyphs in A. Hb5-9 is the only kiore - henua glyph in H, but it is a variant:


Hb5-9	Pb7-1

Pb7-1 is the parallel glyph in P, while the Q glyphs are destroyed at the corresponding location.

There is no parallel to Qb4-39 in H and P, but there are two internal parallel sequences of glyphs in Q (without any kiore - henua):


Qa8-31	Qa8-32	Qa8-33	Qa8-34	Qa8-35	Qa8-36	Qa8-37

Qb3-26	Qb3-27	Qb3-28	Qb3-29	Qb3-30	Qb3-31
	There seems to be 1 glyph missing between Qb3-32 and Qb3-101.
Qb3-32		Qb3-101

Qb4-35	Qb4-36	Qb4-37	Qb4-38	Qb4-39

The connections between Qb3-29 (indented at bottom), Qb3-31, and Qb4-38 are here illustrated. There is no obvious 'pushing sky up' activity.

Not far earlier is Qb3-20 located (without any corresponding glyph in P, while in H the whole 'sentence' is absent):


Qb3-17	Qb3-18	Qb3-19	Qb3-20	Qb3-21

Pushing up sky, we can conclude, cannot be an activity anywhere else than in the first glyph line on side b (according to Q). But we have not 'proven' that the 4 'staff' henua glyphs in line Qb1 indeed are illustrating this important spring activity.