|
TRANSLATIONS
The only
constellation
mentioned twice
is Ursa
Major:
|
1 |
Ana-mua,
entrance
pillar |
Antares,
α
Scorpii |
δ =
-26°
19' |
|
2 |
Ana-muri,
rear
pillar
(at
the
foot
of
which
was
the
place
for
tattooing) |
Aldebaran,
α
Tauri |
δ =
16°
25' |
|
3 |
Ana-roto,
middle
pillar |
Spica,
α
Virginis |
δ =
-10°
54' |
|
4 |
Ana-tipu,
upper-side-pillar
(where
the
guards
stood) |
Dubhe,
α
Ursae
Majoris |
δ =
62°
01' |
|
5 |
Ana-heu-heu-po,
the
pillar
where
debates
were
held |
Alphard,
α
Hydrae |
δ =
-08°
26' |
|
6 |
Ana-tahua-taata-metua-te-tupu-mavae,
a
pillar
to
stand
by |
Arcturus,
α
Bootis |
δ =
19°
27' |
|
7 |
Ana-tahua-vahine-o-toa-te-manava,
pillar
for
elocution |
Procyon,
α
Canis
Minoris |
δ =
05°
21' |
|
8 |
Ana-varu,
pillar
to
sit
by |
Betelgeuse,
α
Orionis |
δ =
07°
24' |
|
9 |
Ana-iva,
pillar
of
exit |
Phaed,
γ
Ursae
Majoris |
δ =
53°
50' |
|
10 |
Ana-nia,
pillar-to-fish-by |
North
Star,
α
Ursae
Minoris |
δ =
89°
02' |
The structure
can furthermore
be defined by
other pairs too:
Ana-mua
(entrance) and
Ana-iva
(exit) together
define the main
body of pillars.
Yet Ana-iva
also pairs with
Ana-tipu
(by way of the
constellation
Ursa Major),
and Ana-mua
also pairs with
Ana-muri
(by
way of marking
the equinoxes
and by way of 26
+ 16 = 42).
Ana-nia
(the fishing
site) is outside
the main body of
pillars. It is
the North Star,
the centre from
which everything
else is
regenerated.
Ana-nia can
be paired with
Ana-roto
(the middle
pillar -
presumably
indicating
summer
solstice).
There are two
Ana-tahua
(nos. 6-7). Yet
Ana-tahua-taata-metua-te-tupu-mavae
(the pillar to
stand by) also
pairs with
Ana-varu
(the pillar to
sit by).
Similarly,
Ana-tahua-vahine-o-toa-te-manava
(the pillar of
elocution) also
pairs with
Ana-heu-heu-po
(the pillar
where debates
were held).
This process of
pairing pillars
leaves us with
Ana-tipu
(α
Ursae
Majoris),
which cannot
easily be paired
with any other
pillar in the
system.
The pillar
'where the
guards stood'
maybe is
connected with
ancient
classical views:
"The well-known,
although varied,
story of
Καλλιστώ, -
as old as
Hesiod's time, -
who was changed
to a bear
because of
Juno's jealousy
and transferred
to the skies by
the regard of
Jove, has given
rise to much
poetical
allusion from
Hesiod's day
till ours,
especially among
the Latins. In
Addison's
translation of
Ovid's
Metamorphoses,
where this myth
is related, we
read that Jove
... snatched
them through the
air /
In whirlwinds up
to heaven and
fix'd them
there; /
Where the new
constellations
nightly rise,
/ And add
a lustre to the
northern skies;
although the
dissatisfied
Juno still
complained that
in this location
they
... proudly roll
/ In their
new orbs and
brighten all the
pole.
This version of
the legend
turned
Kallisto's son
Arcas into Ursa
Minor, although
he was Boötes;
Matthew Arnold
correctly
writing of the
mother and son
in his Merope:
The Gods had
pity, made them
Stars. /
Stars now they
sparkle /
In the northern
Heaven - /
The guard
Arcturus,
/ The
guard-watch'd
Bear."
Allen here
connects the two
Bears (mother
and child) with
Boötes (where
Arcturus is the
main star):
"Arcturus
has been an
object of the
highest interest
and admiration
to all observant
mankind from the
earliest times,
and doubtless
was one of the
first stars to
be named; for
from Hesiod's
day to the
present it thus
appears
throughout all
literature,
although often
confounded with
the Greater
Bear.
Indeed Hesiod's
use of the word
probably was for
that
constellation,
except in two
cases ... where
he
unquestionably
referred to this
star, mentioning
its rising fifty
days after the
winter solstice,
the first
allusion that we
have to that
celestial point.
And it is
popularly
supposed that
our Arcturus is
that of the
Book of Job,
xxxviii, 32; but
there it merely
is one of the
early titles of
Ursa Major, the
Revised Version
correctly
rendering it
'the Bear' ..."
Ana-tipu
can therefore
probably be
paired with Ana-tahua-taata-metua-te-tupu-mavae,
especially as
'fifty days
after the winter
solstice' must
be changed to
'fifty days
after the summer
solstice' south
of the equator.
The guards
'stood' and
Arcturus is a
pillar to 'stand
by'.
But then we may
discern these
triplets: 4 and
6 (standing)
plus 8
(sitting), 1 and
3 (front and
end) plus 2
(middle).
Eliminating
these 6 pillars
we are left with
the following 4:
|
5 |
Ana-heu-heu-po,
the
pillar
where
debates
were
held |
Alphard,
α
Hydrae |
δ =
-08°
26' |
|
7 |
Ana-tahua-vahine-o-toa-te-manava,
pillar
for
elocution |
Procyon,
α
Canis
Minoris |
δ =
05°
21' |
|
9 |
Ana-iva,
pillar
of
exit |
Phaed,
γ
Ursae
Majoris |
δ =
53°
50' |
|
10 |
Ana-nia,
pillar-to-fish-by |
North
Star,
α
Ursae
Minoris |
δ =
89°
02' |
Obviously we
have to make a
3rd triplet of 5
and 7 plus 9
(because 10 is
the cardinal
point). 5 and 7
are
characterized by
talking. Is
there a
contrasting
connection
between talking
and exiting?
Yes, if you die
you no longer
can talk.
When you no
longer can talk,
maybe you can
whisper?
|
2.
Metoro,
on
the
other
hand,
may
very
well
have
seen
something
else.
Because
his
hare
pure
should
mean
chapel
or
'house
to
pray'
(with
pure
=
prayer).
In
spite
of
the
resemblance
with
'prayer'
pure
seems
not
to
be a
loan
word
from
the
English
language.
In
Metoro's
frame
of
reference
the
glyph
perhaps
is
seen
as
an
open
mouth.
Vaha
kai
(GD75),
'opening
for
eating',
Metoro
obviously
identified
as
an
open
mouth:
Manuscript
E
tells
about
3
spirits
(Pure
O,
Pure
Ki
and
Pure
Vanangananga)
who
fail
in
their
mission
to
return
with
the
statue
of
the
old
king
Oto
Uta
intact.
The
word
pure
therefore
seems
to
carry
also
a
meaning
of
spirit.
Pure-hiva
is
buttefly
and
butterflies
were
regarded
as
the
souls
of
the
dead
in
some
cultures.
The
voices
of
spirits
are
like
whispers,
like
the
sounds
heard
in
open
sea-shells.
On
Easter
Island
the
souls
of
the
recently
dead
'floated
around
here
and
there'
(Ha.:
puleva)
until
the
time
of
the
year
when
their
travel
could
begin.
They
were
until
then
'on
the
eve
of
going'
(Ta.:
pureva).
When
pureva
refers
to a
stone
'small
enough
to
be
thrown
by
hand'
it
can
also
be
on
the
'eve
of
going':
...
Pureva,
rock,
stone
(small
enough
to
be
thrown
by
hand).
Vanaga.
Pureva,
to
throw
a
stone.
Ta.:
Pureva,
to
be
on
the
eve
of
going.
Ha.:
puleva,
to
float
here
and
there
... |
The hyperlink
Oto Uta
leads to:
|
"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:87-90].
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!'
After
the
canoe
of
Pure
O
had
departed,
King
Hotu
contacted
his
guardian
spirits
(atua
akuaku),
namely,
first,
Kuihi
and,
second,
Kuaha
...
...
Pure
O
picked
up a
large
round
stone
(pureva)
and
hit
the
top
of
the
figure.
Because
of
the
stone,
the
neck
of
Oto
Uta
was
broken.Then
the
wind
started
blowing,
the
billow
rose,
the
waves
broke,
the
rain
started
falling,
the
flame
(i.e.,
lightning)
shone
brightly,
and
the
thunder
rolled.
As
soon
as
the
wind
started
blowing,
the
waves
broke,
the
rain
fell,
and
thunder
rolled,
King
Hotu
knew
that
Pure
O
had
done
harm
to
Oto
Uta.
Hotu
spoke:
'These
fellows
have
done
a
mean
thing
to
King
Oto
Uta!'
After
the
neck
of
Oto
Uta
had
been
broken,
Kuihi
and
Kuaha
arrived.
They
picked
up
the
neck
of
King
Oto
Uta,
took
it,
and
brought
it
with
them.
They
arrived
out
in
the
bay,
in
Hanga
Rau.
(There)
Kuihi
and
Kuaha
left
(the
fragment).
After
the
neck
of
Oto
Uta
had
been
brought
on
land,
out
in
the
bay
of
Hanga
Rau,
the
wind,
the
rain,
the
waves,
and
the
thunder
subsided.
Kuihi
and
Kuaha
arrived
and
told
the
king
the
following:
'King
Oto
Uta
is
out
in
the
bay
of
Hanga
Rau'.
Hotu
said
to
his
servant
(tuura)
Moa
Kehu,
'Go
down
to
king
Oto
Uta
and
take
him
up
out
of
the
bay
of
Hanga
Rau!'
Moa
Kehu
arose,
went
down,
picked
up
(the
fragment),
and
carried
(it)
on
his
shoulders
to
the
house.
There
he
left
it
for
King
Hotu.
King
Hotu
sat
down
and
wept
over
King
Oto
Uta.
This
is
Hotu's
lament
(tanginga):
ka
hati
toou
ngao
e
oto
uta
e te
ariki
e /
mo
tau
papa
rangaranga
o
haho
i te
tai
/ mo
tuu
huehue
rangaranga
o
haho
i te
tai
/ mo
tau
hahave
rere
ai
ka
pae
/ mo
tae
ngu
rere
ai
ka
pae
/ mo
te
ika
aringa
riva
nei
he
aku
renga
ai
ka
pae
Broken
is
your
neck,
oh
Oto
Uta,
oh
king!
/
Floating
(?)
like
a
raft
(?)
out
at
sea.
/ To
be
erected
for
the
drifting
huehue
(fish)
out
at
sea.
/
Able
(?)
to
put
an
end
to
the
flight
of
the
flying
fish
hahave;
/
Able
(?)
to
put
and
end
to
the
flight
of
the
flying
fish
ngu;
/
Put
an
end
to
this
fish,
a
dorado,
with
the
good
face!
(E:87-90)"
(Barthel
2) |
|
"The
transportation
of
the
stone
figure
from
Hiva
is
not
a
historical
authentic
voyage
because
all
the
protagonists
are
spirits.
Kuihi
and
Kuaha,
the
guardian
spirits
of
the
immigrant
king,
who
are
at
his
side
at
crucial
moments
(Oroi
conflict,
hour
of
death),
transport
the
(deliberately
severed)
head
of
the
stone
figure
to
the
beach
of
the
royal
residence.
From
there,
a
servant
of
the
king,
who
is
mentioned
by
name,
carries
the
fragment
of
Oto
Uta
to
Hotu
Matua's
house.
If
the
last
segment
of
the
tradition
is
to
be
taken
literally,
the
stone
ancestor's
head
did
not
weigh
more
than
what
a
man
can
carry.
The
three
'fellows'
(kope),
commissioned
by
the
king
to
bring
the
figure
of
Oto
Uta
unharmed
from
Hiva,
all
have
names
of
spirits
(akuaku)
that
live
in
the
sea
near
Vai
Hū
and
Hanga
Tee
on
the
southern
shore.
My
informants
(Laura
Hill
and
Vincente
Pons)
gave
me
the
names
of
four
spirits,
'Pure
Henguingui',
'Pure
Ki',
'Pure
O'
and
'Pure
Vanangananga',
in
connection
with
the
traditional
instruction
to
speak
softly
while
gathering
mussles
at
night
on
the
beach
(of
the
same
coastal
stretch).
The
instruction
can
be
explained
in
the
following
way:
pure
means
both
'cowrie'
(PPN.
*pule
'cowrie')
and
'prayer'
- in
the
Easter
Island
script
both
are
represented
by
Rongorongo
25 -
while
the
qualifying
additions
refer
to
various
ways
of
speaking.
RAP.
henguingui
is
synonymous
with
MGV.
henguingui
'to
whisper,
to
speak
low'
and
goes
back
to
west
Polynesian
forms
(SAM.
fenguingui
'to
talk
in a
low
tone';
UVE.
fegui
'murmurer').
In
many
of
the
Polynesian
languages,
ki
is
the
spoken
word;
in
some
few,
ki
refers
to
the
process
of
thinking
(MGV.,
MAO.,
HAW.);
and
in
some
instances,
it
indicates
special
noises
(MQS.
ki
'to
whistle
with
two
fingers';
SAM.
'i
'to
call
like
a
bird';
TON.
ki
'to
squeal').
Generally,
o
is
the
affirmative
answer
to
the
caller,
while
vanangananga
indicates
repeated
speaking.
The
four
spirits
represents,
on
one
hand,
the
sound
scale
of
empty
conch
shells
and,
on
the
other
hand,
a
classification
of
types
of
prayers
..."
(Barthel
2) |
The link 'souls
of the recently
dead':
|
"At
Mangaia
the
spirits
of
those
who
ignobly
died
'on
a
pillow'
wandered
about
disconsolately
over
the
rocks
near
the
margin
of
the
sea
until
the
day
appointed
by
their
leader
comes
(once
a
year).
Many
months
might
elapse
ere
the
projected
departures
of
the
ghost
took
place.
This
weary
interval
was
spent
in
dances
and
revisiting
their
former
homes,
where
the
living
dwell
affectionately
remembered
by
the
dead.
At
night
fall
they
would
wander
amongst
the
trees
and
plantations
nearest
to
these
dwellings,
sometimes
venturing
to
peep
inside.
As a
rule
these
ghosts
were
well
disposed
towards
their
own
living
relatives;
but
often
became
vindictive
if a
pet
child
was
ill-treated
by a
stepmother
or
other
relatives
etc.
...
Eventually
the
spirits
would
depart
from
known
reinga,
spirit
leaping-places.
Such
leaping-places
also
existed
on
other
islands.
Even
after
this
departure
some
spirit
intrusions
from
the
underworld
were
possible."
(Oral
Traditions) |
|
"...there
are
many
little
heaps
of
stones
here
and
there
on
the
bank
along
the
Sea
Coast,
two
or
three
of
the
uppermost
stones
of
these
piles
are
generally
white,
perhaps
always
so
when
the
pile
is
compleat:
it
can
hardly
be
doubted
but
these
piles
of
stones
have
some
meaning
tho'
we
do
not
know
it."
(Beaglehole
II)
Beaglehole
states
that
these
piles
of
stones
are
temporary
burial
places. |
Pure
maybe should be
imagined as
pú-re, where
pú is
'hole'. Vaha
kai
('opening for
eating', i.e.
mouth) is a
similar glyph
type and vaha
means about the
same thing as
pú:
|
Vaha
Hollow;
opening;
space
between
the
fingers
(vaha
rima);
door
cracks
(vaha
papare).
Vahavaha,
to
fight,
to
wrangle,
to
argue
with
abusive
words.
Vanaga.
1.
Space,
before
T;
vaha
takitua,
perineum.
PS
Mgv.:
vaha,
a
space,
an
open
place.
Mq.:
vaha,
separated,
not
joined.
Ta.:
vaha,
an
opening.
Sa.:
vasa,
space,
interval.
To.:
vaha,
vahaa,
id.
Fu.:
vasa,
vāsaà,
id.
Niuē:
vahā.
2.
Muscle,
tendon;
vahavaha,
id.
Vahahora
(vaha
1 -
hora
2),
spring.
Vahatoga
(vaha
1 -
toga
1),
autumn.
Churchill. |
What, then, is
re? We
have it in
rere (to
'fly'), and
Rei maybe
means re-î
(full of
re). Could
it be the same
're' as in
re-generation? I
make an effort
to document some
new words in my
Polynesian
dictionary.
First I notice
repureva,
a word vibrating
not only with
re but also
with pure
and pureva:
| Repureva
Neck ornament of women made of shells strung on hair G.
Churchill. |
Shells strung on
hair reminds us
of the cowries
on the kava
bowl string.
Another word
with ornament
and women's hair
is rehau
(re-hau,
I suppose):
| Rehau
Head ornament of women's hair. Churchill. |
'On the eve of
going' (pureva),
can be read as
pú-reva
and reva
means (among
other things)
'shadow':
| Reva To hang down; flag, banner. Revareva, 1. To be hanging
vertically; to detach oneself from the background of the landscape, such
a person standing on top of a hill: ku-revareva-á te tagata i ruga i
te maúga. 2. To cast itself, to project itself (of shadows);
revareva-á te kohu o te miro i te maeha o te mahina, the shadow of
the tree casts itself in the light of the moon. 3. Uvula. Vanaga.
To
hang, to suspend, flag, banner; hakareva, to hang up;
hakarereva, to hang up, to balance; hakarevareva, to wave ...
any light object hung up in the island air under the steady tradewind
will flutter; therefore the specification involved in the wave sense is
no more than normal observation. Churchill.
Ta.: Reva, the firmanent, atmosphere. Ha.: lewa,
the upper regions of the air, atmosphere, the visible heavens.
Churchill. |
'...
the wind
started
blowing, the
waves broke,
the rain
fell, and
thunder
rolled ...'
when king
Oto Uta
'died'. He
became a
'shadow'. To
waver (hakarevareva)
is to begin
falling
down.
|
... The dream soul went on and came to Hua Reva. She named the place 'Hua Reva A Hau Maka O Hiva' [9 Hua Reva]. The dream soul went on and came to Akahanga. She named the place 'Akahanga A Hau Maka O Hiva' [10 Akahanga].
'With the aid of my key informant, I was also able to chart the less well known places. The dream soul names 'Te Piringa Aniva', east of Hanga Pau Kura, 'Te Pei', a few hundred meters farther on and across from Motu Roa, and 'Te Pou', east of Vaihu.
The names 'Huareva' and 'Akahanga' are well known and are used in two recitations (Barthel 1960:843 f and g; Campbell 1971:411).' 
|
Stations of the dream soul of Hau Maka: |
My associations: |
The night calendar in P: |
|
10 Akahanga |
At 11 (Hatinga te Kohe) the kuhane of Hau Maka broke the 'bamboo' (kohe) with her feet (i.e. 10 must be a part of 'kohe', and kohe is in the same row as maika - banana - telling us '2', night).
"... Among Hotu Matua's last accomplishments were his attempts to dig wells (anga i te vai, TP:53) along the shore of Akahanga ..." |
10
|
|
9 Hua Reva |
"... The dying king has his foster child bring him his last drink of water (vai maunga mo unu) from neighboring Huareva ..." |
| ... Hua Reva and Akahanga surely must belong together, both at the end of the life of the king and both also with the subject of fresh water. Water and life (thereby also death) belong together, cfr hakaunuora = water (to give life). In the calendar of the year Hua Reva and Akahanga are connected with Hora Iti (August) according to Barthel. In August we have not yet reached spring equinox, the equivalent of dawn. We are therefore still in the watery region ('kohe').
The rule of water - symbolized by the 'bamboo leg' - breaks at dawn (daybreak). The wife of Hotu Matu'a accordingly also 'dies' there... |
|
|