TRANSLATIONS

TRANSLATIONS

In Aa2-55 a 2nd haú appears:

					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.**

It is the 2nd haú not only in the 18-glyph group in the table (where it has ordinal number 6), but also the 2nd haú on side a of Tahua:

side a
	Aa2-50	Aa2-55	Aa3-53	Aa5-47	Aa7-84
	8	8	8	10 + 1	12
	40 + 1
side b
	Ab2-10	Ab2-14	Ab4-53	Ab8-32	Ab8-45
	12	10 + 1	10	12	10
	54 + 1

In all there are 41 + 55 = 96 marks on the 10 haú glyphs. I have disregarded obviously different glyphs among the 30 glyphs classified as definitely of the haú kind or possibly so. Yet I have included in the table Ab8-45, because its right part is so very definitely intended to show haú. Its special design necessitates counting not to 10 but to 9 + 1, a pattern which we can associate with how one 'gets away' (into a new year).

96 = 8 * 12 and I have red-marked an eye-catching triplet of 8:s, which together measure 24. 96 - 24 = 72 = 6 * 12.

The rest of the haú glyphs in the table all have 10 or more feathers.

The triplet of 8:s are mirrored on side b with the triplet 10 + 12 + 10 = 32, which I have black-marked above. 32 = 4 * 8, and red 24 + black 32 equals 7 * 8 = 56.

The 'mirror' is located between Aa7-84 and Ab2-10:

side a						mirror
	Aa2-50	Aa2-55	Aa3-53	Aa5-47	Aa7-84
	8	8	8	10 + 1	12
	40 + 1 →
side b
	Ab8-45	Ab8-32	Ab4-53	Ab2-14	Ab2-10
	10	12	10	10 + 1	12
	54 + 1 ←

The black-marked glyphs are here those with an odd number of feathers, due to one extra located inside the perimeter, a fact which I interpret as meaning 'in the darkness' (as if inside a hare paega). The odd black feathers probably indicate how sun is 'occluded'.

The red-marked glyphs contrariwise have double feathers at the tip of their branches. In Aa5-47, with a spooky tip, there is one black feather inside and one red feather on the outside. In Ab2-14 the black feather is located at the opposite end, at the 'foot' of the branch.

Ab2-10 and Ab2-14 (which obviously belong together because they are so close to each other) also partly reflect each other: A prominent limb at bottom extrudes towards right respectively towards left.

We are now able to discern how the 10 haú glyphs are grouped into 4 groups:


Aa2-50	Aa2-55	Aa3-53
8	8	8

Aa5-47	Aa7-84	Ab2-10	Ab2-14
10 + 1	12	12	10 + 1
	Ab4-53 is exceptional, not only isolated but also without extra signs.
Ab4-53
10

Ab8-32	Ab8-45
12	10

I interpret Ab4-53 - the haú glyph without extra signs - in the same way as we earlier have interpreted Aa1-32:


Aa1-32	Aa1-33	Aa1-34	Aa1-35	Aa1-36

A glyph without extra signs signifies how its true essence has gone away and only its image remains in our minds. To see if this interpretation may be correct we look at Ab4-53 with surroundings:


Ab4-48	Ab4-49	Ab4-50	Ab4-51	Ab4-52
e moa noho	i te hau tea	ma te ua tahi	ki te vai	no te manu

Ab4-53	Ab4-54	Ab4-55	Ab4-56	Ab4-57
ka hauhaua	te hetuu ka ha i te ragi	ko te mauga	i ruga i te hetuu	ko te kaiga

The 'mountain' (mauga) behind which the 'sky persons' (hetuu) moves confirms the scenario - the true sun has left.

At Ab4-54 Metoro said something similar (I guess): te hetuu ka ha i te ragi, an expression which suggests sun is being scaled like a fish, stripped of his leaves, flayed and skinned:

1. Four. 2. To breathe. Hakaha'a, to flay, to skin. Vanaga.

1. Four. P Mgv., Mq., Ta.: ha, id. 2. To yawn, to gape. 3. To heat. 4. Hakaha, to skin, to flay; unahi hakaha, to scale fish. Mgv.: akaha, to take to pieces, to take off the bark or skin, to strip the leaves off sugarcane. Churchill.

The 4th (ha) quarter is the time when wind tears leaves off the trees, hakaha. I guess hakaha is haka-ha ('make 4'). The bark remains, though:

"... As for the bark, it figures just as largely in the technology and beliefs of this part of America [north-west], as it does in those of Amazonia ...

The Sahaptin and their neighbours need bark mainly as fuel: 'Long ago', an Indian woman relates, 'the Cowlitz had no matches. They used to take som cedar bark, and would put fire down below in it where it was rotting and take it with them when they travelled to a distance. When they camped for the night, they used to blow and blow on it until it burst into flame, and build a fire with it' ..." (The Naked Man)

To blow (puhi) is necessary when making a fire (ahi):


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

In the calendar of the day it happens during p.m., according to Metoro:


Aa1-24	Aa1-25	Aa1-26	Aa1-27
ko te nuahine - i mamau i te ahi	e uhi tapamea	ko te ahi - hakaturou	ki te henua

Aa1-28	Aa1-29	Aa1-30	Aa1-31
ka puhi hoki ki te ahi	ma te hokohuki	ki te ahi	e uhi tapamea

Aa1-32	Aa1-33	Aa1-34
ka puhi hoki ki te ahi	ma te toga tu	te tapamea

Are we to understand that the feathers in the haú type of glyph are symbolizing fire-making?

The peculiar top middle part of the 'sun' in Aa1-26 and Aa1-30 I have earlier interpreted as signs of 'barrenness', the 'death' of a.m. sun etc, i.e. the same sign as in the standard toga glyph type. If new 'year' begins at 'midwinter', it cannot survive 'midsummer'.

5 backward marks in Aa1-34 may illustrate how one of the six 'feathers' escapes inside 'down below ... where it was rotting'.

A wordplay may have induced the term 'uhi tapamea', where uhi is the result of puhi. Uhi tapamea = the 'red cloth after blowing'.