|
TRANSLATIONS
Considering the shape of Aa2-37, we first draw a preliminary conclusion that the missing top left part of the moon sickle indicates autumn rather than spring:
However, the season is hardly atumn but rather winter or very early spring. We remember the beginning of line a2 and then follows:
Metoro's 'e tai' in Aa2-10 suggests a part of 'dark earth' which is in the sea (tai), while the Tahitian tai-ao means 'dawn'. Dawn has murky mists, maybe rolling in from the sea. In Aa2-11 the yet to burst open spring 'fist' announces the coming season (hora).
To spread out (horahora) and speed (horau) characterize spring, we remember:
At Aa2-12 the takaure idea (multiplying) is expressed by tetea:
Unquestionably Metoro is telling about early spring. I take the opportunity to coordinate the words tai, hora and tetea with the glyphs at which Metoro found these words appropriate: Tetea The word was used only while he read B and A. In B we find tetea in just one place:
Here we notice hora too. The meaning of Metoro's words may be that these two 'persons' are together creating 'summer' (hora). Furthermore, hakaora means 'to create life', presumably a wordplay for hakahora ('making summer'). The snaky legs and sitting posture (hanau) harmonize with his words. At left a barren Y-hand, at right a 'spring fist'. During the 2nd quarter the sky roof is uplifted by the Typhonic powers as we saw illustrated in the 7th and 12th periods of the calendar of the year in E:
The label henua ora for the GD14 glyphs is close in meaning to henua hora ('summer earth'), teeming with new life. teem ... bring forth ... be prolific, abound ... (English Etymology) team ... child-bearing, offspring ... family, brood ... (English Etymology) The ancient name of summer was toga-hora, winter summer, according to Vanaga. Already in winter is the beginning. I have documented the fundamental meaning of henua ora glyphs as the harbour where movement has stopped. Yet, during the 1st and 2nd quarters GD14 glyphs appear as if the harbour of life is being emptied of its valuable contents:
And in the 10th period hanau glyphs appear together with henua ora:
Probably Eb3-33 and Eb3-36 are related to Ba10-5--6. The latter glyphs are located in a plethora of parallel rongorongo texts. plethora ... condition marked by overfulness of blood, etc. ... excessive quantity ... late L. plēthōra ... Gr. plēthōrē fullness, repletion, f. plēthein be full ... (English Etymology) To indicate which season Ba10-5--6 belongs to, it is probably enough to refer to the (exactly one line earlier located) Ba9-5, a variant of te pito:
However, I must take the opportunity to point at the constellation Ba8-45--46 which possibly throws some light on Aa2-37:
The 'flashes' like reflexes from the sun in the water around the vai glyph (GD17) look strange in Aa2-37. Presumably they signify something else, and that something else may well be what we see at right in Ba8-45. At least the bottom right 'legs' look very similar. The composition in Ba8-45 is like that in 'breaking the shadows', although with the broken pieces at right instead of at left:
Unavoidably I have to dig deep around Ba10-5--6. Secrets are hidden here and I must continue. Earlier, when I documented the glyphs, I grouped them together like this:
A quick look at the major henua glyphs in B establishes how 'great' Ba9-45 and Ba10-3 must be, and probably Ba10-3 indicates the new year (while Ba9-45 refers to the old year).
The vai ovals (with double rims) attatched to the right in Ba10-4 may refers to the 2 'years' which now arrive. Confirmation is delivered by the parallel texts in C and H/P/Q (but also partially by the texts of N and R). Most important (for the interpretation of GD16) is the parallel text in C, though only by comparing a long sequence of glyphs will it become clear that there is a parallel. It is even necessary to lean on the parallel glyphs in H/P/Q to make sure.
This is the first part, and we must recognize the significance of Ca1-19--20, very much like the midsummer illustration in G:
Ca1-20 indicates 'finito' both by way of the 'dry' branches but also by way of 20. In Ca1-21 the condition of moe verifies the reading. In Ba9-42--43 a similar translation is reasonable. The rona (GD84) glyph also bends its head down. Ca1-26 illustrates the 'nucleus' of the new year. Number 26 means that 364 nights of the old year has been counted. Ca1-25 is the special glyph type where GD37 henua has been converted to a GD14 henua. A unique season is thereby determined, the season when the 'canoe' of the sun has entered the 'harbour' of Mother Earth. The seed of the new year is delivered. Ba9-49 looks as if the glyph is mutilated, but I am not sure about that. It may be a case of illustrating the destruction of the 'father' in order for the 'son' (the 'fruit' hanging down at right) to live. The right leg reminds me about the left leg in Saturday:
We cannot miss the opportunity of comparing Ca1-25 with two glyphs in A and B:
The numbers are suggestive: 8 and 52 respectively 10 and 15. The measure is full. Let us then continue with the parallel between B and C:
A new line begins (Ba10 respectively Ca2) and Ba10-3 is similar to Ca2-4, but not much else looks alike. Though I have arranged Ba10-6 and Ca2-6 in parallel, possibly because of the snaky legs, possibly due to the ordinal numbers (6 in both cases). The toes in Ba10-5 presumably are parallel with those in Ca2-6. We can count to 4 + 3 + 3 + 3 = 13 fingers in C. The 'hair feathers' are 3 + 3 + 3 = 9; sun does not shine in the 10th period. Very interesting in the 'baby' vai (GD16) in Ca2-5. Only one 'flash of light' at the correct location (top left) for 'beginning'. Moreover the disc of the sun like a little circle for once. I guess this mini-vai corresponds to the two vai without flashes in Ba10-4. I will return to this question later when I present the parallel texts of H/P/Q. The new solar year recorded in Ca2-4 (respectively in Ba10-3) is visualized by a mini-vai in Ca2-5 (and 5 is the number of fire). The open gap in Ba10-2 (vaha mea, GD27) may allude to how a new year opens up: '... March; vaha hora, spring ...' In Ca2-1 the spreading out is illustrated by the right and outward bent vertical line, and the oval at the top probably has some significant meaning (not yet understood). Is it the full moon? If we then look at H/P/Q, together with N, a first group of parallels can be established:
In Na5-116 there are two 'nuts', maybe one for each new 'year', to be compared with only one in Ca1-26. Na5-113 and Na5-114 are maybe equivalent to Aa2-13. The strangely formed hand is significant:
The second group of parallels then follows:
Pa8-33 and and Qa9-3 are rather normal vai glyphs, while Qa8-47, Ca2-5 (right part), Pa8-35 (left part) and Ba10-4 (right part) hardly are recognizable. Together they affirm, however, that the idea is vai. Seeing one of these glyphs alone it would be hazardous to state that they are examples of vai. In Aa2-37 a similarly abnormal vai presumably corresponds to the four above:
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
