TRANSLATIONS

TRANSLATIONS

There are two more glyph sequences which ought to be mentioned because Metoro said rutu there. Both are located towards the end of side b in Aruku Kurenga:


Bb11-14	Bb11-15

Bb11-16	Bb11-17	Bb11-18	Bb11-19

Bb11-20	Bb11-21	Bb11-22	Bb11-23	Bb11-24

Bb11-25	Bb11-26	Bb11-27	Bb11-28	Bb11-29

Bb11-30	Bb11-31	Bb11-32	Bb11-33	Bb11-34

Bb11-35	Bb11-36	Bb11-37	Bb11-38	Bb11-39

Bb11-40	Bb11-41	Bb11-42	Bb11-43

Bb12-1	Bb12-2	Bb12-3	Bb12-4

Bb12-5	Bb12-6	Bb12-7	Bb12-8

Bb12-9	Bb12-10	Bb12-11	Bb12-12

At Bb11-40 he said ma to rutu and at Bb12-12 mai tae rutu hia i te pahu - mai tae oho te rima.

The two 'rutu' glyphs (Bb11-40 and Bb12-12) define the beginning and end of a 16-glyph long sequence, which continues what possibly is a 26-glyph long sequence (Bb11-14--39). If so, then 26 (sun) + 16 (moon) = 42 (sun + moon) may indicate the events are occurring at the last stage of the ruling king (and queen).

Henua in Bb11-14 is convex towards right - the final will soon arrive. Rutu also means 'to gather in great numbers of people'. It reminds me of the 6th kuhane station, Piringa Aniva:

... The cult place of Vinapu is located between the fifth and sixth segment of the dream voyage of Hau Maka. These segments, named 'Te Kioe Uri' (inland from Vinapu) and 'Te Piringa Aniva' (near Hanga Pau Kura) flank Vinapu from both the west and the east. The decoded meaning of the names 'the dark rat' (i.e., the island king as the recipient of gifts) and 'the gathering place of the island population' (for the purpose of presenting the island king with gifts) links them with the month 'Maro', which is June.

Why are there sounds of drums at the beginning of side b in the Tahua and Mamari texts while the drums are sounding at the end of side b according to the text of Aruku Kurenga?

Ab1-1	Te hoea - rutua* te pahu* etc
Cb1-5	rutua - te pahu etc
Bb11-40	ma to rutu
Bb12-12	mai tae rutu* hia i te pahu* etc
The end of side b is the opposite of the beginning of side b. Given that the texts have the same overall structure a pair of glyphs in B can be explained as the opposite of a single glyph (in A respectively C).

Next page in the glyph dictionary:

There are 3 glyphs between the last of the viri (with 'cut-off' upper 'tail') and the pair Aa8-30--31:

3			53			520		752
	Aa8-30	Aa8-31		Aa8-85	Ab1-1		Ab7-26		Aa8-26
*2 29**				*522 = 18 29**			*754 = 26 29**

Counting from Ab1-1 we will find Aa8-31 to be glyph number 1280. 521 + 754 + 5 = 1280. Aa8-31 is the 5th glyph beyond the last viri.

Counting in groups of 5 (which is the natural way to do it, using one hand to look at and the other to count with), and in the beginning being restricted to simple addition and subtraction, how do we reach such a large number as 1280?

Before true multiplication could be grasped indefinitely large numbers could be reached by doubling. 1 seed of grain on the first square of the chess board, 2 on the second, 4 on the third etc will within a short time lead to astronomically large numbers.

Fact is, the series 1, 2, 4, 8, 16, 32, 64, 128, 256 ... was used for conveniently reaching large numbers. The Mamari moon calendar has 8 periods and the 16th is the last night of growing moon. 64 is the number of squares on a chess board and 16 is also a square number - square as the earth (which moon resembles).

256 is also a square: 16 * 16 = 256. (All terms in the series 1, 2, 4, 8 etc which have odd ordinal numbers are squares.) The 'earth year' - when sun is close instead of being far away and the season is 'in the water' - ought to be 256 days (like a 'great growing moon' season). If we double the number of fingers on one hand 8 times we reach 5 * 256 = 1280.

There are 54 glyphs between Aa8-30 and Aa8-85 (and of course, between Aa8-31 and Ab1-1). If the whole glyph sequence can be divided in pairs, then there must be an even number of glyphs between the pairs. 53 cannot be divided into pairs.

Aa8-26 does not belong to the 2 * 29 = 58 glyph long sequence at the end of the text. Therefore, it appears that the black glyph Aa8-27 is an odd glyph, without a following 'partner':


Aa8-27

Aa8-28	Aa8-29

Aa8-30	Aa8-31

Its 'partner' presumably follows in Aa8-78:

	50
Aa8-27	50	Aa8-78

The 'fish tail' in Aa8-27 (corresponding to the 27th kuhane station of the future king) is symmetric, while that in Aa8-78 (6 * 13 = 78) is open towards right, indicating that winter solstice is an event in the past.

Yet, there are still glyphs remaining:


Aa8-77	Aa8-78	Aa8-79	Aa8-80	Aa8-81

Aa8-82	Aa8-83	Aa8-84	Aa8-85

Suppose the viri glyphs are connected backwards and that they are the 2nd element in pairs of glyphs. It seems to be so with Ab1-1. Metoro was silent at Aa8-85, possibly because he had already talked about the drums:

58			520		752
	Aa8-85	Ab1-1		Ab7-26		Aa8-26
*2 29**	*522 = 18 29**			*754 = 26 29**

If so, then e.g. Ab7-26 is connected backwards into a pair with Ab7-25:


Ab7-25	Ab7-26

Together they inhabit the border line between 18 and 26, making a unity of 44 * 29 = 1276. But Aa8-25 and Aa8-26 belong to the same multiple of 29, they do not connect 26 with 2:

		ka hura ia - te hura - mau uau - kua viri
Aa8-25	Aa8-26	ka hura ia - te hura - mau uau - kua viri

It is time to wind up (viri) the thread of time - the 26th station of the kuhane is the last one for the ruling king.