TRANSLATIONS

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The preliminary explanations (in the glyph dictionary) of why hua poporo appears at summer solstice proceeds by the following (much too complicated) steps:

1

Tears for joy when meeting again is typically Polynesian.

December (He Koró) is a month for feasting.

Koro means circle.

2

Hua poporo coincides with vero.

Because of the ordinal number 19 in Ca1-19.

In period 11 of the E calendar vero appears, therefore it is not strange to find hua poporo in K at the same season.

3

The vero in Mamari are surrounded by glyphs resembling those surrounding vero in G and E, notably mauga.

Confirmation via counting in Mamari that vero occurs where major seasons change.

4

Ure Honu as inheritor of the role as king.

The similar situation in ancient Egypt, with Upwaut resembling kiore uri.

Coordinating the Ure Honu story with the calendar.

5

Banana plantations and Hawaiian Ulu (breadfruit)

Body parts and the calendar.

6

The bird-nester.

These explanations are not enough. And I think it would be better to begin with the glyphs in the rongorongo texts, not with He Koró.

I suspect koró should be read as ko-ró, where may mean - I guess - the 'skull' of the sacrificed person. I. e. solstice is the Golgotha of the old 'year'.

golgotha ... graveyard ... Vulgate L. ... Gr. golgothá ... Aram. form of Heb. gulgōleţ skull ... (English Etymology)

"... Although usage since the sixth century has been to designate Calvary as a mountain, the Gospels call it merely a 'place'.

The word 'calvary' is only found in the King James Version of the English Bible in Luke 23:33. The word 'calvary' is not from the original Greek versions, but is a gloss from the Latin Vulgate. The original Greek versions instead use 'golgotha'. The location called 'skull' is mentioned in all four of the accounts of Jesus' crucifixion in the Christian canonical Gospels ..." (Wikipedia)

The graveyard (golgotha, the skull place) reminds me about the ancient Egyptian graveyards on the west bank of the Nile:

... The idea of a connection between dead people and mountains is widespread, e.g. in ancient Egypt:

Hathor emerging through the side of a mountain = the necropolis. (Wilkinson)

Hathor = hat hor, the house of Horus, is a suitable name for the fact that sun has entered inside:

... In the inscriptions of Dendera, published by Dümichen, the goddess Hathor is called 'lady of every joy'. For once, Dümichen adds: Literally ... 'the lady of every heart circuit'. This is not to say that the Egyptians had discovered the circulation of the blood. But the determinative sign for 'heart' often figures as the plumb bob at the end of a plumb line coming from a well-known astronomical or surveying device, the merkhet. Evidently, 'heart' is something very specific, as it were the 'center of gravity' ... See Aeg.Wb. 2, pp. 55f. for sign of the heart (ib) as expressing generally 'the middle, the center'.

And this may lead in quite another direction. The Arabs preserved a name for Canopus - besides calling the star Kalb at-tai-man ('heart of the south') ... Suhail el-wezn, 'Canopus Ponderosus', the heavy-weighing Canopus, a name promptly declared meaningless by the experts, but which could well have belonged to an archaic system in which Canopus was the weight at the end of the plumb line, as befitted its important position as a heavy star at the South Pole of the 'waters below'. Here is a chain of inferences which might or might not be valid, but it is allowable to test it, and no inference at all would come from the 'lady of every joy'.

The line seems to state that Hathor (= Hat Hor, 'House of Horus') 'rules' the revolution of a specific celestial body - whether or not Canopus is alluded to - or, if we can trust the translation 'every', the revolution of all celestial bodies. As concerns the identity of the ruling lady, the greater possibility speaks for Sirius, but Venus cannot be excluded; in Mexico, too, Venus is called 'heart of the earth'. The reader is invited to imagine for himself what many thousands of such pseudo-primitive or poetic interpretations must lead to: a disfigured interpretation of Egyptian intellectual life ... (Hamlet's Mill)

Let us now proceed with the glyphs (instead of tears of joy and He Koró):

In Mamari we find hua poporo associated with the season of vero:
19
Ga5-17 Ga5-18 Ga5-19 Ga5-20 Ga5-21
19 means atumn equinox, the fall of the sun.
Ca1-19 Ca1-20

By way of vero in period 11 in the calendar of E we can confirm the existence of a relationship between the glyph types vero and hua poporo:

9 4 means 'earth' (alluding to its 4 'corners')
Ka5-4
11
Eb4-2 Eb4-3 Eb4-4 Eb4-5

Period 11 in E arrives immediately before the summer turnaround point of the calendar, just as period 9 in the G and K calendars does.

We should here take the opportunity to list the vero glyphs in the Mamari text. It will be useful later on.

We note how mauga ('mountain' or 'the graveyard') glyphs appear to be synonymous with hua poporo (the 'sarcophagus canoe') glyphs. We are very close to ancient Egypt:

"The basic myth of dynastic Egypt was that of the death and resurrection of Osiris, the good king, 'fair of face', who was born to the earth-god Geb and sky-goddess Nut. He was born together with his sister-wife, the goddess Isis, during the sacred interval of those five supplementary days that fell between one Egyptian calendric year of 360 days and the next. He and his sister were the first to plant wheat and barley, to gather fruit from trees, and to cultivate the vine, and before their time the races of the world had been savage cannibals. 

But Osiris's evil brother, Set, whose sister-wife was the goddess Nephtys, was mortally jealous both of his virtue and of his fame, and so, stealthily taking the measure of his good brother's body, he caused a beautifully decorated sarcophagus to be fashioned and on a certain occasion in the palace, when all were drinking and making merry, had it brought into the room and jestingly promised to give it to the one whom it should fit exactly. All tried, but, like the glass slipper of Cinderella, it fitted but one; and when Osiris, the last, laid himself within it, immediately a company of seventy-two conspirators with whom Set had contrived his plot dashed forward, nailed the lid upon the sarcophagus, soldered it with molten lead [i.e. the metal of Saturn], and flung it into the Nile, down which it floated to the sea. 

Isis, overwhelmed with grief, sheared off her locks, donned mourning, and searched in vain, up and down the Nile; but the coffin had been carried by the tide to the coast of Phoenicia, where, at Byblos, it was cast ashore. A tamarisk immediately grew up around it, enclosing the precious object in its trunk, and the aroma of this tree then was so glorious that the local king, and queen, Melqart and Astarte - who were, of course, a divine king and queen themselves, the local representatives, in fact, of the common mythology of Damuzi and Inanna, Tammuz and Ishtar, Adonis and Aphrodite, Osiris and Isis - discovering and admiring its beauty, had the tree felled and fashioned into a pillar of their palace. 

The bereaved and sorrowing Isis, meanwhile, wandering over the world in her quest - like Demeter in search of the lost Persephone - came to Byblos, where she learned of the wonderful tree. And, placing herself by a well of the city, in mourning, veiled and in humble guise - again like Demeter - she spoke to none until there approached the well the handmaidens of the queen, whom she greeted kindly. Braiding their hair, she breathed upon them such a wondrous perfume that when they returned and Astarte saw and smelt the braids she sent for the stranger, took her into the house, and made her the nurse of her child. The great goddess gave the infant her finger instead of breast to suck and at night, having placed him in a fire to burn away all that was mortal, flew in the form of a swallow around the pillar, mournfully chirping.

But the child's mother, Queen Astarte, happening in upon this scene, shrieked when she spied her little son resting in the flames and thereby deprived him of the priceless boon. Whereupon Isis, revealing her true nature, begged for the pillar and, removing the sarcophagus, fell upon it with a cry of grief so loud that the queen's child died on the spot. Sorrowing, then, the two women placed Osiris's coffer on a boat, and when the goddess Isis was alone with it at sea, she opened the chest and, laying her face on the face of her brother, kissed him and wept. 

The myth goes on to tell of the blessed boat's arrival in the marshes of the Delta, and of how Set, one night hunting the boar by the light of the full moon, discovered the sarcophagus and tore the body into fourteen pieces, which he scattered abroad; so that, once again, the goddess had a difficult task before her. She was assisted, this time, however, by her little son Horus, who had the head of a hawk, by the son of her sister Nephtys, little Anubis, who had the head of a jackal, and by Nephtys herself, the sister-bride of their wicked brother Set. Anubis, the elder of the two boys, had been conceived one very dark, we are told, when Osiris mistook Nephtys for Isis; so that by some it is argued that the malice of Set must have been inspired not by the public virtue and good name of the noble culture hero, but by this domestic inadventure. 

The younger, but true son, Horus, on the other hand, had been more fortunately conceived - according to some, when Isis lay upon her dead brother in the boat, or, according to others, as she fluttered about the palace pillar in the form of a bird. The four bereaved and searching divinities, the two mothers and their two sons, were joined by a fifth, the moon-god Thoth (who appears sometimes in the form of an ibis-headed scribe, at other times in the form of a baboon), and together they found all of Osiris save his genital member, which had been swallowed by a fish. 

They tightly swathed the broken body in linen bandages, and when they performed over it the rites that thereafter were to be continued in Egypt in the ceremonial burial of kings, Isis fanned the corpse with her wings and Osiris revived, to become the rule of the dead. He now sits majestically in the underworld, in the Hall of the Two Truths, assisted by forty-two assessors, one from each of the principal districts of Egypt; and there he judges the souls of the dead. These confess before him, and when their hearts have been weighed in a balance against a feather, receive, according to their lives, the reward of virtue and the punishment of sin." (Campbell)

It is useful to once in a while reread the key myths. A tamarisk grew around the sarcophagus, and the tree was later on felled, to become a pillar holding up the roof of the palace. In contrast to a disgusting odor (pipiro) the tamarisk had a glorious aroma. From the pillar the sarcophagus was removed and placed on a boat (this time not drifting alone on the sea).

We can associate to the Osiris myth from the different kinds of hua poporo glyphs, sometimes with what looks like a tree, sometimes in the shape of a canoe.