TRANSLATIONS

TRANSLATIONS

We have established a new pattern for the 42 glyphs beyond Aa1-48 and it is worth documenting in a table:

cardinal	Aa1-49--54			6		42
sun present	Aa1-55--60	1	6	6	18
	Aa1-61--66	7	12	6
	Aa1-67--72	13	18	6
sun absent	Aa1-73--78	19	24	6	18
	Aa1-79--84	25	30	6
	Aa1-85--90	31	36	6

Aa1-60 presumably is a picture of sun bursting forth from the old 'bud', it has emerged out from the cardinal darkness. Aa1-66 and Aa1-72 indicate with feather marks how sun is present. In Aa1-78 and Aa1-84, on the other hand, we have Metoro's inoino glyphs. We should remember how at sun-mit, in Aa4-69, such a glyph also appears (the first one beyond Aa1-84). A Rei introduces the inoino season and we recapitulate some of the ideas earlier presented:


Aa4-64	Aa4-65	Aa4-66	Aa4-67	Aa4-68	Aa4-69	Aa4-70	Aa4-71	Aa4-72
314	315	316	317	318	319	320	321	322
0	1	2	3	4	5	6	7	8

... The year was anciently two 'years' (half-years or periods somewhat shorter due to the invisibility of the Pleiades or other stars). Therefore taku-rua (ta'u-rua, tau-rua, two 'stones'), the foundation of the system of balls and rhombs.

Triple 'stones' with a 'notch' would be a good picture for the Belt of Orion, a marker for new year. The three islets outside Orongo would be connected with the Belt of Orion and with the beginning of a new year.

Triple rhombs would serve as the opposite side of the year, when sun ruled over the land. At night (winter) new year is inaugurated by admiring Orion (or the Pleiades), while the changing status of the sun is only to be seen in the daytime ...

... Rhomb glyphs (as a rule) are not located among the glyphs in the first half of respective side. A new table summarizes the exact figures:

number of rhomb glyphs
line no.	side b	side a	line no.	side b	side a
1	-	2	5	12	1
2	1	1	6	14	1
3	1	-	7	2	-
4	-	2	8	-	1
sum	2	5	sum	28	3

The red-marked numbers (for the 2nd half of side b) do not look random and appear to be a result of the design of the creator ...


Aa4-63	Aa4-64	Aa4-65	Aa4-66	Aa4-67
i to rei - kua hua ia	kua hura i te ragi	ko te manu kua moe	ki to ihe	e kua puhi ki te ahi

Aa4-68	Aa4-69	Aa4-70	Aa4-71	Aa4-72
o te nuahine - mau i te rei	ko te matariki	e hau tea - e hapai ana koe		i te maitaki - ko matou hanau

... The low entrances of houses were guarded by images of wood or of bark cloth, representing lizards or rarely crayfish. The bark cloth images were made over frames of reed, and were called manu-uru, a name given also to kites, masks, and masked people ...

A kite (like a mask) is not the real thing, it is manu-uru (a fake). If Mangaians flew a diamond-shaped kite representing the Pleiades, then the Pleiades were probably not seen, and flying a substitute was presumably an act of sympathetic magic to make them return again to the skies.

... He was also a great kite-flier, and the story is told of a small boy of another name (but it could only have been Maui) who once came half out of the water and snatched the kite-string of a child on the land. He then slipped back into the sea and continued flying it from under the water until his mother was fetched, for she was the only one who could control him and make him behave at that time ...

If Maui flew a kite from below (sea) water, then the season must have been winter, I think.

... The Sun spends part of the year with the Winter Maid in the south, afar out on the ocean. In the month of June occurs the changing of the Sun and he slowly returns to his other wife, to the Summer Maid who dwells on land and whose other name is Aroaro-a-manu. This period we call summer. And so acts the Sun in all the years ...

Sun is changing in June (and therefore also in December). He slowly returns to his Summer Maid who dwells on land and who is called Aroaro-a-manu, 'the face, belly, front side of the (sun) bird'. It is not stated that summer starts at winter solstice. Summer maybe starts at spring equinox.

If the Pleiades appear at winter solstice and disappear at summer solstice, those two periods presumably do not coincide with 'summer' respectively 'winter'.

Aa1-67 is located as the 1st glyph in the 3rd and last subgroup of the 1st half of the 36-glyph long sequence, number 13 of the 36 glyphs. In H its parallel glyph is Ha6-124 which, like Aa1-67 is preceded by a henua type of glyph:


Ha6-120	Ha6-121	Ha6-122	Ha6-123	Ha6-124	Ha6-125	Ha6-126	Ha6-127
*Ha6-45	*Ha6-46	*Ha6-47	*Ha6-48	*Ha6-49	*Ha6-50	*Ha6-51	*Ha6-52
7 glyphs (Ha6-128--134)
			Ha6-135	Ha6-136	Ha6-137	Ha6-138	Ha6-139
			*Ha6-60	*Ha6-61	*Ha6-62	*Ha6-63	*Ha6-64

To return - Aa2-52 is presumably denoting the beginning of a season. I have earlier divided the text beyond Aa2-48 like this:


Aa2-49	Aa2-50	Aa2-51	Aa2-52
ma te nuku vae	ka hahaua	ko te ariki kua noho	i te henua


Aa2-53	Aa2-54	Aa2-55	Aa2-56	Aa2-57	Aa2-58
ko te ariki kua noho	i vai o ako	ka hahaúa	koia	tokotokoga	ko te henua


Aa2-59	Aa2-60	Aa2-61	Aa2-62	Aa2-63	Aa2-64	Aa2-65	Aa2-66	Aa2-67
koia	tona purega	ka moe	ki te hoga ka rogo			ki te honu	no te henua	ka hua nei te poporo


Aa2-68	Aa2-69	Aa2-70	Aa2-71	Aa2-72	Aa2-73	Aa2-74	Aa2-75
ka ero nei ia - ma te maro	i vai o rima	ma te nuku	kua hua ia - ma to ipu - kua tuu te rima		i te tapamea - tae ai ihe tagata mau i te toki hiti - tua tino i hiti - tua vaivai hiti


Aa2-76	Aa2-77	Aa2-78	Aa2-79	Aa2-80
ko te ragi mahahine	ko te henua	ma to Rei	e ihe tau ma to manu	koia


Aa2-81	Aa2-82	Aa2-83	Aa2-84	Aa2-85
kua rere ia - kua hiri ia kua tau ia			e te manu e e vaero rua	ka takata.

It is not possible to divide 85 - 48 = 37 glyphs in 6-glyph groups. Maybe 19 (at Aa2-67) + 18 = 37 is the key?

I have red-marked the three tagata glyphs, two flanking Aa2-52 and one at Aa2-59. Possibly we should move both Aa2-53 and Aa2-59 to the groups immediately before. Manipulating this change it seems reasonable to also shift Aa2-49 to the preceding group, which results in a pattern with 5 + 6 + 7 = 18 glyphs:

					3+3+2 = 8 4+2+2 = 8
Aa2-50	Aa2-51	Aa2-52	Aa2-53	Aa2-54	3+3+2 = 8 4+2+2 = 8
						4+3 = 7 3+3+1 = 7
Aa2-55	Aa2-56	Aa2-57	Aa2-58	Aa2-59	Aa2-60	4+3 = 7 3+3+1 = 7

Aa2-61	Aa2-62	Aa2-63	Aa2-64	Aa2-65	Aa2-66	Aa2-67
*The hatchmarked henua* are located at increasing distances: 3 - 6 - 9.**

Here I have red-marked the obviously related haú glyphs (with ordinal numbers 10 respectively 11 times 5), while the 5 green-marked glyphs seem to be related to judge from the marks.

We should notice how Aa2-35 (the 1st hatchmarked henua in the 1st triplet of groups) also is flanked by two identical glyphs:


Aa2-32	Aa2-33	Aa2-34	Aa2-35	Aa2-36	Aa2-37
koia kua hua	i toona	ihe hakaua	ma te henua	ihe hakaua	ma to vai


Aa2-38	Aa2-39	Aa2-40	Aa2-41	Aa2-42	Aa2-43	Aa2-44
ko to heke	kua tuu	ko te Rei	te hupee - ki te henua i ruga te ragi		ko te henua	o te ahine poopouo


Aa2-45	Aa2-46	Aa2-47	Aa2-48	Aa2-49
ko te vaero	koia kua mau - i te kaiga - kua hua ma te hokohuki		ki te henua - kua	ma te nuku vae

I have arranged the three groups so that vai in Aa2-37 arrives as the last glyph in the first subgroup (in harmony with how vai in Aa2-54 arrives as the last glyph in the first subgroup).

Secondly, blackmarked mauga in Aa2-32 and Aa2-38 (probably signifying darkness and the opposite to the feathermarked haú glyphs) arrive as the first glyphs in the two first subgroups.

The number of glyphs will therefore be 6 + 7 + 5 = 18, a confirmatory result.

Once again we reach the conclusion that darkness rules the first triplet of hatchmarked henua, while the second triplet is associated with its opposite, light.

We can, rather confidently, red-mark the 5 glyphs at (presumably) midsummer:


Aa2-50	Aa2-51	Aa2-52	Aa2-53	Aa2-54

Aa2-54 is - according to what is documented at vai in the glyph dictionary - a symbol for sun being present.

Aa2-51 and Aa2-53 are - according to what is documented at tagata in the glyph dictionary - symbolizing the fully grown 'person', useful for marking summer solstice.

Aa2-50 is - according to my preliminary documentation in the first pages at haú in the glyph dictionary - a picture including feathers (the marks), which surely must symbolize 'fire':

A few preliminary remarks and imaginations:

1. Let us consider what the small marks around the outer perimeter of this 'bent bough' might mean. The word haú - if a correct reading by Metoro - implies that the glyph type illustrates some kind of 'hat', haú, maybe constructed by fibres, hau, from the hauhau tree.

These old pictures from China (Needham 2) have similar marks and they mean feathers:

More to the point, in Hawaii we find feathered gods:

"In many Polynesian cultures the bodies of gods were conceived of as covered with feathers and they were frequently associated with birds: in Tahiti and the Society Islands, bird calls on the marae signaled the presence of the gods. Hawaiian feathered god figures generally depict only the head and neck of the god." (D'Alleva)

2. In Heyerdahl 6 we find a picture of bark cloth from Mexico with a design (bottom) very much like the GD19 type of glyphs, though reversed:

... Handy (1930 c, p. 24) ... emphasizes that certain Polynesian traits, such as the 'ceremonial and ornamental use of feathers ... find their parallels in America rather than west of Polynesia.'

An old drawing (curiously incorporating a newly arrived immigrant, the cat) illustrates the entrance to a hare paega (a peculiar Easter Island house resembling an overturned canoe):

(Drawn 1872 by Pierre Loti, according to Heyerdahl.)

At center right we can see a standing person, probably a chief, with a feathered headdress. Glyphs of the GD63 type, mostly referred to as ariki (chief) by Metoro, are often designed with what presumably is a head gear with feathers. Examples: