TRANSLATIONS

TRANSLATIONS

We leave the glyphs on side b. There are 3 glyphs to consider on side a (in addition to the 12 in line Ba3):


Ba5-23	Ba8-22	Ba9-49

Let's list them in the prescribed pattern 5 + 1 + 5:


Ba5-18	Ba5-19	Ba5-20	Ba5-21	Ba5-22	Ba5-23

Ba5-24	Ba5-25	Ba5-26	Ba5-27	Ba5-28


Ba8-17	Ba8-18	Ba8-19	Ba8-20	Ba8-21	Ba8-22

Ba8-23	Ba8-24	Ba8-25	Ba8-26	Ba8-27


Ba9-44	Ba9-45	Ba9-46	Ba9-47	Ba9-48	Ba9-49

Ba10-1	Ba10-2	Ba10-3	Ba10-4	Ba10-5

All three glyphs are followed by glyphs which can be interpreted as if a season is ending. Only Ba5-20 is a haga rave glyph in my catalogue. There is no indication of Hanga Te Pau, but the pau legs may indicate the 'nuts' on their way to the next seasons.

I decided to insert a hyperlink from vae paupau to this new page in the glyph dictionary:

When sun is standing low in midwinter it may look as if his feet had sunk down and he was standing in a marsh instead of on firm land.

The club-foot, by José de Ribera.

... Without treatment, persons afflicted often appear to walk on their ankles, or on the sides of their feet ..." (Wikidpedia)

Earlier has been suggested that at midsummer somebody has been turned upside down, but now we understand that we cannot take that literally:

... If Ga1-26 is a compound between viri and nuku, then - perhaps - also Gb1-6 should be added to the small viri group of G:


Ga1-26

viri	nuku


Ga8-26	Gb1-1	Gb1-2	Gb1-3	Gb1-4

Gb1-5	Gb1-6	Gb1-7

Gb1-8	Gb1-9	Gb1-10	Gb1-11	Gb1-12

Gb1-6 may be, so to say, the opposite fusion between viri and nuku - viri (with 18 'feathers') at the top and nuku at bottom instead of the other way around. In Gb1-7 the 'head' of nuku appears upside down ...

The pau sign may have nothing to do with the haga concept, and neither pau nor haga anything to do with feet down in the marsh. But it felt necessary to add the picture of the boy and to straighten out the probable misunderstanding of an upside down sun person.

We ought to leave the search for Hanga Te Pau in the rongorongo texts, it takes too much time and effort and the results are meagre. But we cannot leave uncommented the reversed Gb5-12 constellation in Ha6-130 (and Pa6-15):


Gb5-12	Ha6-130	Pa6-15	Qa6-17

Parallel glyphs exist towards the end of line a1 in Tahua, and Aa1-72 must therefore be contemplated:


Aa1-49	Aa1-50	Aa1-51	Aa1-52	Aa1-53	Aa1-54

Aa1-55	Aa1-56	Aa1-57	Aa1-58	Aa1-59	Aa1-60

Aa1-61	Aa1-62	Aa1-63	Aa1-64	Aa1-65	Aa1-66

Aa1-67	Aa1-68	Aa1-69	Aa1-70	Aa1-71	Aa1-72

Aa1-73	Aa1-74	Aa1-75	Aa1-76

The sign of tapa mea at right in Aa1-72 implies a high probability that upside down maro strings, growing upwards instead of hanging down, means the opposite of end. And then by another reversal, we have arrived at the same conclusion as earlier, viz. that Gb5-12 marks the end.