next page

previous page

up

home

The parallel glyphs Ab7-35--39 suggest that GD26 is a cardinal point (tara):

In Ab7-38 the vertical straight line tells us 'midpoint' and the hakaturu signs (Aa5-18 and Ab7-39) tell that reversal is due.

Metoro said ki to moa at Aa5-18 and hakaturou at Ab7-39. The sun head on hakaturu may be seen as the head of a rooster.

The word hoki was used by Metoro at Aa1-28:

Earlier I have proposed:

'...  ka puhi hoki ki te ahi as a way to describe the turning around of the sun boat at the meridian is strengthened by the glyph Aa1-18:

At the beginning of the travel we can see the sun boat rising. The word puhi is perhaps to interpret as 'blowing out', i.e. extinguishing the morning fire. But it could also mean to 'blow to start a fire', i.e. the afternoon fire. Together with hoki (puhi hoki) a more reasonable interpretation is to restart the fire ...'

' ...At noon, a cardinal point, the sun boat needs to change direction, to turn back (hoki amuri). The mast is shifted to a new position (in the Polynesian way) in order to tack (hoki) ...'

But Metoro said ka puhi hoki ki te ahi also at Aa1-32 (where Aa1-33 announces the 'death' of the sun:

'... Here it must be mentioned - although we should try to avoid moving ahead from where we are in this calendar - that Metoro used the expression ka puhi hoki ki te ahi also in the 9th period. Therefore at the next cardinal point (sun going down) there is also an imperative: Blow the fire (sun) again! This time presumably to blow the sun down = extinguish him. Already now then, in the 7th period, we hear the same message: Down and out with him! That is reasonable, as the sun-eye can already be seen at left (the western horizon) in Aa1-28 ...'

I have as a verbal label for GD26 chosen tara (hoi), because that seemed to be what Metoro usually said at this type of glyph. The word hoi I suspect is fetched from the Tahitian language:

Earlier I have written (at GD26 in the glyph dictionary):

Our new evidence from the location of Aa5-17 does not contradict, it tells us that the glyph is outside the grand period of light, beginning at the birth of a new year (Aa1-1) and ending with Aa5-6--7:

I have classified 18 glyphs in the Tahua text as belonging to GD26:

I guess that Ab1-46 may be the end phase of side a, because of the open right 'arm', possibly expressing the 'disembodied spirit' of the sun. In Aa7-38 and Aa7-59 we can count to 9 + 9 and in the uplifted 'arm' we can recognize the moon. While Aa7-59 definitely has a black eye, there may be a glimmering of white at the center of the eye of Aa7-38.

Therefore the 18 glyphs perhaps should be interpreted as belonging to 2 groups with 6 + 12 glyphs.

The location of Aa3-60 (beyond the dark season) should lead us to translate the glyph as 'death of darkness', I guess. Although I have not yet written anything about GD46 in the glyph dictionary my associations assemble around the concept of 'death'.

'... GD46

is a type of glyph which comes to mind when thinking about the darkest time of the year. Already a long time ago I became convinced that what is depicted is the roof of a hare paega ...'

Barthel had arrived at a similar conclusion from - presumably - other considerations:

'... In verschiedenen Texten, die das Todesmotive enthalten, tritt das Zeichen 69 einzeln, in Ligaturen oder personifiziert auf ...'

As for Aa3-54 (also inside the season of light) I have no explanation for the moment. But we can see that it has an obvious sign in form of a thick 'body':

Possibly Aa3-53, with 8 marks, should be compared with Ca7-15 with 15 marks:

8 suggests the fulfillment of the cycle of the sun, in the same way as 15 suggests that full moon is reached. Aa3-55 maybe has a sign of 'full moon' at the 'elbow' of the indulating wing?

Aa3-52 (GD69) has 2 marks on its head. The rest of GD69 with head marks are: