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TRANSLATIONS
Subconsciously I may have stopped at vai because of something else: According to E vai arrives in period 6 ... after spring equinox (5) and disappears in period 15, before autumn equinox (18), i.e. vai is present during 10 periods ...
Both in the E and G calendars vai is related to the equinoxes. If moon wishes to take a bath in the sweet waters of the sun, then she cannot do so until spring equinox arrives, and beyond autumn equinox it is no longer possible (which is marked by maro in Eb4-26). The season of sweet baths is 'fully grown' (tagata). Why are there 3 (and not 4) moon signs in the vai glyphs at the equinoxes?
Furthermore, in Ga5-7 we recognize the form of Eb3-7, i.e. the spring equinox symbol - not the form in Eb4-26. One possible answer is that the moon signs represent the moon and she has 3 phases (excepting the dark one). If so, then the location of the missing moon sign may have to do with the correlation of the equinoxes with the 'faces' of the moon. In Sunday vai has 4 moon signs, and in the week there is no need to correlate sun year with moon 'year' - the week belongs to the night and to the moon, no reason to involve the sun. Yet, the week begins with Sunday and the sweet water (vai) marks the birth of the week. In hua poporo we have a similar structure, sometimes there are 3 and sometimes 4 'berries':
Given the discovery of a 'mirror' in the center of the Mamari 'moon' calendar (it also reflects the year by reason of twice 36 glyphs), it would not be strange if hua poporo is the mirror image of vai.
From 14 (in Ca7-14) a fortnight is needed to reach Ca7-23. Beyond that the season brakes (breaks):
Sun moves forward 2 steps, from Ca7-14 (the ripe phase already past - at left) to Ca7-16 where he is (present as) passenger in the moon canoe. Moon moves forward 2 steps, from Ca7-21 (with waning phase at left) to Ca7-23 where her full moon face is (present as) passenger in the sun canoe. Waning phase at left may be explained by the 'mirror' between male and female. What is past for a male is future for a female; i.e. according to the movements of sun and moon. What is left (past) for the sun (as seen from a northern point of view) is where moon will be in the future (as she moves withershins). The future is not visible for a man, the past is not visible for a woman. In vai and hua poporo there seems to be a complex play with, among other things, the dimension inside - outside:
The center 'canoe' of vai may represent the 'sweet water of the sun', and then we can imagine the inner oval outline to be the moon taking her bath in the 'eye' of the sun. Nothing makes a woman more beautiful than being seen by a royal person. The center 'canoe' of hua poporo may represent the 'tree of fire' which in growing pushes the sky roof up. A 'tree of fire' is the opposite of 'sweet water' - the tree pushes upwards, while the water runs downwards, the tree is the origin of fire, while water is used to extinguish it. The 4 moon signs below the 'watery eye' in vai have their counterparts in the 4 sun signs hanging above in the 'tree of fire' in hua poporo. The moon signs are grouped horizontally and, by way of contrast we can conclude that the 4 sun signs are arranged vertically, a conclusion which is reinforced by Aa6-55:
If at spring equinox moon can, for the first time of the year, immerse herself in the sweet water bath tub canoe of the sun, she will be reborn. Vai glyphs are therefore equal to the origin of life, in our society symbolized by an asterisk. The opposite, which must - given my argumentation - be connected with hua poporo, is the end of life, symbolized in our society with a cross:
At vai the baby will be born - see the light, at hua poporo the old fellow will die - enter into the dark underworld of the overturned canoe. |
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