If we count
'realms' outside
the tidal zone
(Haida,
Xhaaydla),
there are 3 of
them: The deep
sea (tai),
the forest
inland (uta)
and the sky
above (ragi).
The 4th (human) realm is
he-nua(-hine),
Flood Tide
Woman, I imagine.
Vai and
hua poporo
are inland (or
rather between
heaven and
earth?), with
vai
representing
light entering.
Immediatly, then,
also its
opposite must 'become'; hua
poporo
representing
light leaving:
|
Ghaadagas
gyaanhaw
ising
ghaalgagang,
wansuuga
... |
It
was
light
then,
and
it
turned
to
night,
they
say
... |
In the beginning
there is only a
grey mist or fog,
and nothing is
visible:
|
...
the
name
[Vindler,
one
of
the
epithets
of
Heimdall]
is a
subform
of
vindill
and
comes
from
vinda,
to
twist
or
turn,
wind,
to
turn
anything
around
rapidly.
As
the
epithet
'the
turner'
is
given
to
that
god
who
brought
friction-fire
(bore-fire)
to
man,
and
who
is
himself
the
personification
of
this
fire,
then
it
must
be
synonymous
with
'the
borer'
...
The
Sibyl's
prophecy
does
not
end
with
the
catastrophes,
but
it
moves
from
the
tragic
to
the
lydic
mode,
to
sing
of
the
dawning
of
the
new
age:
Now
do I
see
/
the
Earth
anew
/
Rise
all
green
/
from
the
waves
again
...
/
Then
fields
unsowed
/
bear
ripened
fruit
/
All
ills
grow
better
... |
We must think in
terms of
time-space, and
then the misty
tidal zone
represents the
beginning, while
its opposite
must be the
mountains inland
(uta),
and we remember
king Oto Uta:
|
...
At
the
time
of
the
loading
of
the
emigrant
canoe,
Hotu
Matua
ordered
his
assistant
Teke
to
take
a
(stone)
figure
(moai)
named
'Oto
Uta'
on
board
the
canoe,
along
with
the
people
(aniwa)
who
were
emigrating.
However,
the
figure
was
left
behind
'out
in
the
bay'
(E:73).
After
the
arrival
in
the
new
land,
after
disembarkation
in
the
bay
of
Anakena,
and
after
the
return
of
the
explorers
to
the
homeland,
our
source
continues
with
the
following
account
[E:87].
On
the
thirtieth
day
of
the
month
of
October
('Tangaroa
Uri'),
Hotu
asked
about
the
stone
figure
(moai
maea)
named
Oto
Uta.
Hotu
said
to
Teke,
'Where
is
the
figure
Ota
Uta
(corrected
in
the
manuscript
for
Hina
Riru)?
Teke
thought
about
the
question
and
then
said
to
Hotu,
'It
was
left
out
in
the
bay.'
Hotu
said
to
Pure
O,
to
Pure
Ki,
and
to
Pure
Vanangananga:
'You
fellows
(kope),
sail
to
the
friend
(hoou),
to
Oto
Uta.
Bring
him
here,
he
who
is
resting
out
in
the
bay.
Move
him
carefully
(?
nee),
you
fellows,
so
that
the
king,
that
Oto
Uta
is
not
damaged!'
Pure
O,
Pure
Ki,
and
Pure
Vanangananga
took
the
canoe,
put
it
into
the
water,
and
sailed
to
Hiva.
The
canoe
of
Pure
O
left
on
the
fifth
day
of
the
month
of
November
('Ruti').
After
the
canoe
of
Pure
O
had
sailed
and
had
anchored
out
in
the
bay,
in
Hanga
Moria
One,
Pure
saw
the
figure,
which
had
been
lying
there
all
this
time,
and
said
to
his
younger
brothers
(ngaio
taina),
'Let's
go
my
friends
(hoa),
let
us
break
the
neck
of
this
mean
one
(or,
ugly
one,
rakerake).
Why
should
we
return
to
that
fragment
of
earth
(te
pito
o te
kainga,
i.e.,
Easter
Island)?
Let
us
stay
in
our
(home)land!'
... |
Ko Ruti
is the month
before
midsummer. Like
a truncated
pyramid Oto
Uta must be.
Life ends at
midsummer.
Let us now
return to the
questions about
why sometimes
(midwinter)
hua poporo
has only 3
'fruits', and
vai only 3
'moon signs'. I
remember how
Ure Honu
searched for his
skull:
|
...
Ure
Honu
looked
around
for
his
skull.
It
was
no
longer
in
the
house.
When
he
questioned
those
who
knew,
the
foster
child
of
Ure
Honu
said,
'On
the
day
on
which
the
banquet
for
the
new
house
was
held,
Tuu
Ko
Ihu
saw
the
skull.
He
was
very
much
moved
and
wept,
'Here
are
the
teeth
that
ate
the
turtles
and
the
pigs
(?
kekepu)
of
Hiva,
of
the
homeland!'
When
the
foster
child
of
Ure
Honu
had
spoken,
Ure
Honu
grew
angry.
He
secretly
called
his
people,
a
great
number
of
men,
to
conduct
a
raid
(he
uma
te
taua).
Ure
set
out
and
arrived
in
front
of
the
house
of
Tuu
Ko
Ihu.
Ure
said
to
the
king,
'I
(come)
to
you
for
my
very
large
and
very
beautiful
skull,
which
you
took
away
on
the
day
when
the
banquet
for
the
new
house
was
held.
Where
is
the
skull
now?'
(whereupon)
Tuu
Ko
Ihu
replied,
'I
don't
know.'
When
Tuu
Ko
Ihu
came
out
and
sat
on
the
stone
underneath
which
he
had
buried
the
skull,
Ure
Honu
shot
into
the
house
like
a
lizard.
He
lifted
up
the
one
side
of
the
house.
Then
Ure
Honu
let
it
fall
down
again;
he
had
found
nothing.
Ure
Honu
called,
'Dig
up
the
ground
and
continue
to
search!'
The
search
went
on.
They
dug
up
the
ground,
and
came
to
where
the
king
was.
The
king
(was
still)
sitting
on
the
stone.
They
lifted
the
king
off
to
the
side
and
let
him
fall.
Just
like
Ure
had
lifted
up
the
house
of
Tuu
Ko
Ihu
and
let
it
fall
down,
so
his
men
lifted
the
king
and
let
him
fall.
In a
way
the
house
of
the
king
is
the
king,
I
think.
Furthermore,
given
that
the
king's
house
is a
hare
paega
(or
a
similar
construction)
-
which
I am
fairly
certain
of -
I
then
would
suggest
that
this
house
is
the
dome
of
the
night
sky.
Ure
personifies
the
morning
sun,
and
he
pushes
this
'night
roof'
up
to
let
in
the
light
and
thereby
easily
to
be
able
to
ascertain
if
the
skull
is
there
or
not.
Ure
is
also
a
lizard,
which
we
will
remember.
We
cannot
follow
all
threads
here
and
now.
They
lifted
up
the
stone,
and
the
skull
looked
(at
them)
from
below.
They
took
it,
and
a
great
clamour
began
because
the
skull
had
been
found.
Ure
Honu
went
around
and
was
very
satisfied.
He
took
it
and
left
with
his
people.
Ure
Honu
knew
that
it
was
the
skull
of
the
king
(puoko
ariki)
... |
When Ure Honu
let the house
fall down it is
like a
guillotine. In a
way we shouldn't
be surprised if
suddenly 4
'berries' were
only 3:
 |
 |
|
Ka5-4 |
Ca1-19 |
|
midsummer |
autumn
equinox |
 |
 |
 |
 |
| Aa1-14 |
Aa1-15 |
Eb6-8 |
Eb6-9 |
| midwinter |
Beyond the
crucial time of
the guillotine
the lost head
will be the
origin of new
life. Probably
this explains
what we see in
Aa1-14 and
Eb6-8.
3 will therefore
be associated
with the time
when the Chesire
Cat has
vanished, with
only the spirit
head of him
remaining. Cats
can climb trees,
but not dogs. At
midwinter there
is a dog
instead.
At the back side
(tu'a)
there are only
3, in accordance
with the number
of visible
phases of the
moon.
|
spring
equinox |
autumn
equinox |
|
6 |
 |
 |
15 |
 |
 |
|
Eb3-7 |
Eb3-8 |
Eb4-26 |
Eb4-27 |
|
- |
17 |
 |
 |
|
Ga5-6 |
Ga5-7 |
Eb3-7 is like an
hour-glass
filled to the
brim, while
Eb4-26 may show how
the 'water'
has collected at
the bottom. In
Ga5-7 possibly a
different
sign is used:
the water oval
in the middle is
not full but
rather slim in outline
(similar to the
oval in Eb4-26).
A
closer look
reveals how the
top of the oval
in Ga5-7 is
drawn like the
end of a lemon,
not quite
symmetrical. It
must be a sign,
and the feature
is shared with
Gb2-27 and -
inversed - with
Gb4-23:
|
|
 |
 |
 |
 |
 |
 |
|
Ga5-7 |
Gb2-27 |
Gb3-5 |
Gb3-25 |
Gb4-2 |
Gb4-23 |
Gb8-11 |
Maybe the sign
indicates
autumn,
respectively -
in the inversed
form - spring?
The meaning
could be the
fruit season,
and in spring
there are no
fruits. We
should look at
earlier ideas:
|
...
Once
again
we
should
consider
if
Hb9-19
is
it
not
a
picture
of
the
'insect'
stage:
i.e.
a
'completely
dried
out'
skin
(pakapaka)
around
a
fruitful
center:
...
A
dry
outer
shell
protects
the
soft
inner
parts
of
the
sun
from
the
watery
surroundings
when
he
is
taking
a
rest
to
rejuvenate
himself
...
First
sun,
though,
must
be
washed
carefully
in
fresh
water
to
get
rid
of
the
salt
from
the
ocean
('he
washed
it
with
fresh
water
until
...
the
head
...was
completely
clean').
This
process
possibly
motivates
Hb9-18:
Perhaps
we
see
vai
ora
a
Tane,
the
sweet
water
of
the
sun.
However,
it
looks
more
like
a
'canoe
of
the
night'.
I
have
noticed
that
in
Tahua
the
two
versions
of
GD16
(oval
with
single
respectively
double
rim)
are
distributed
according
to
side.
On
side
b
there
are
only
GD16
glyphs
with
a
single
rim
... |
'Fruit' variants
are in Tahua
found only on
side b, i.e.
single oval is
related to
'fruit' in some
way:
|
 |
 |
 |
|
Ab2-58 |
Ab3-72 |
Ab3-75 |
|
 |
 |
 |
 |
 |
|
Ab6-59 |
Ab6-60 |
Ab6-61 |
Ab6-62 |
Ab6-64 |
|
 |
 |
 |
|
Aa1-56 |
Aa2-37 |
Aa2-54 |
|
 |
 |
 |
|
Aa6-65 |
Aa6-75 |
Aa6-76 |
|
 |
8 on
side
b
and
1+6
= 7
on
side
a -
with
the
sum
15 -
may
allude
to
the
time
of
full
moon. |
|
Aa8-4 |
In Aa2-54 the
inner oval is
full, while
later on the
watery sack has
sagged:
|
 |
 |
 |
 |
 |
|
Aa2-37 |
Aa2-54 |
Aa6-65 |
Aa6-75 |
Aa6-76 |
Aa8-4 |
|
91 |
216 |
4 |
216 = 3 *
72, i.e. we
can
interpret
the 3 glyphs
as each
covering 1/5
of the solar
year,
leaving 2/5
or 144 (=
12*12) to
the moon.
There are 5
vai
glyphs with
4 moon
signs. The
moon will
have Aa2-54
and Aa8-4 in
her realm.
If 3 berries
in hua
poporo
indicates
the dark 2nd
'year' - but
most of all
the
regenerative
season, with
death
miraculously
turning
around into
life - what,
then, will 3
moon signs
in the vai
glyphs
mean?
When one
of the 4
moon signs
have left,
the power of
moon has
lessened. Vai
with 3 moon
signs may
indicate how
the force of
the moon is
less during
summer than
winter. Moon
is taking a
vacation,
taking a sun
bath.
In Ga5-7
(inside the
new season
of the moon
as indicated
by Rei
in Ga5-6)
left could
be
right and
the reverse.
Then,
the running
person at
left could
refer to the
present,
while vai
at right
could refer
to
the past.
| 17 |
|
|
| Ga5-6 |
Ga5-7 |
During the
sun bath
season both
sun and moon
enjoy
themselves
together,
therefore 4
moon signs
below the
vai bath
tub:
... In the
deep night
before the
image [of
Lono] is
first seen,
there is a
Makahiki
ceremony
called
'splashing-water'
(hi'uwai). Kepelino
tells of
sacred
chiefs being
carried to
the water
where the
people in
their finery
are bathing;
in the
excitement
created by
the beauty
of their
attire, 'one
person was
attracted to
another, and
the result',
says this
convert to
Catholicism,
'was by no
means good'.
At dawn,
when the
people
emerged from
their
amorous
sport, there
standing on
the beach
was the
image of
Lono. White
tapa
cloth and
skins of the
ka'upu
bird hang
from the
horizontal
bar of the
tall
crosspiece
image. The
ka'upu
is almost
certainly
the
albatross, a
migratory
bird that
appears in
the western
Hawaiian
chain - the
white Lanyon
albatross at
Ni'ihau
Island - to
breed and
lay eggs in
October-November,
or the
beginning of
the
Makahiki
season ...
At the
equinoxes
the
regenerative
power of the
bath is not
full.