TRANSLATIONS

TRANSLATIONS

A mummy has lost bodily weight in the process of drying out. Therefore a mummy can be used as a symbol for the difference between 30 and 29.5 - only half is left.

There is no moon night O-hata, but the 2nd night of the moon is O-ata. Âta means 'shadow', 'image' and so on:

Ata, âta

Ata 1. Dawn, first light before sunrise; ku-hamu-á te ata , dawn has broken; ku-tehe-á te ata, it's already dawn (lit.: the lights have flown). 2. Particle inserted between the imperative prefix ka and the verb to signify 'well, carefully, intelligently': ka-ata-hakarivariva, prepare it well. Between the prefix e and kahara it expresses 'to make sure that, to take good care that...' : e-ata-kahara koe o oona, be careful not to get dirty; e-ata-kahara koe o kori te moa o te tahi pa, be sure not to steal chickens of another property. 3. More: iti, small; ata iti, smaller; he-ata-ata iti-iti ró, the smallest of all. Vanaga.

Âta 1. Shadow: he-veveri te poki, ana tikea toona âta, the child is frightened at seeing his shadow; person's reflection (in mirror, in water): he âta oou-á, it's your own reflection. 2. To be frightened by a shadow: he-âta te îka, the fish are frightened (and they flee) by people's shadows. Vanaga.

1. Image, picture, portrait, design; to draw, to paint (shadow sense). P Mgv: ata, image, likeness, portrait, shadow of a human being, form, shape, appearance, imprint, impression. Mq.: ata, image, statue, portrait, shadow, surface; to design, to mark. Ta.: ata, shade, shadow appearance, form, representation of an object, cloud, cloudy. 2. Transparency, end of day, sunset (bright sense); e ata, red clouds; ku ata, transparent; ata mea, ata tea, ata tehe, dawn, daybreak, sunrise; ataata, end of day, sunset. P Mgv.: ata, morning or evening twilight, daybreak, dawn; ata haihai, evening twilight, a beautiful sunset; ataiai, twilight, clouds red with the sunset; atakurakura, a beautiful sunrise or sunset; atareureu, dawn, the first peep of day, morning twilight. Mq.: ata, to appear, to rise, to shine (of stars); ata uá, morning twilight; ataata, diaphanous, transparent. Ta.: ata, twilight. 3. A designation of space; ata hakahohonu, abyss; ata hakaneke mai, nearby, close at hand; ata tapa, lateral, marginal. 4 ? Ata kimikimi, to inquire; ata puo, to hill a plant; ata ui, to examine, to taste. Churchill.

Atahenua (ata 3 - henua 1), landscape, countryside. Atakai: 1. Generous, hospitable, beneficent, indulgent, liberal, obliging; prodigality, indulgence; rima atakai, benevolent, generous, open-handed; gift, liberality. 2. Calm, unperturbed, grateful. Churchill.

Ata-ta T, evening (? ataata). Atatehe (ata 2 - tehe 1), dawn; popohaga atatehe, morning, early in the morning. Churchill.

The meanings 'dawn' and 'evening' presumably are derived from the meaning of 'shadow'. We should remember the two last stations in the 2nd list of place names:

58 ata popohanga toou e to ata hero e

'Yours is the morning shadow' refers to an area in Ata Hero where the house of Ricardo Hito is now located.

59 ata ahiahi toou e honu e

'Yours is the evening shadow' belongs to a 'turtle'. I could not obtain any information about the location, but I suspect that the 'turtle' refers to a motif in the narration of Tuki Hakavari (the turtle is carved in stone in a cave along the bay of Apina).

The contrasting pair 'morning shadow vs. evening shadow' establishes a definite spatial relationship ...

The 'turtle' who owns the evening shadows sounds like the Marquesan nako ('calipash and calipee').

calipash ... calipee ... correl. words denoting (i) upper/lower shell of the turtle, (ii) gelatinous substance next to these ... (English Etymology)

With a divison of the month into growing and declining phases (and following that a division of the year into 1st and 2nd half year also at 'full moon') the two carapaces of a turtle are natural symbols.

Both at full moon and at new moon the carapaces meet. In Aa8-30 we can see the 'shadow' ('spirit') of the old sun and in Aa8-31 the 'shadow' has suddenly come alive again - notice how similar the shapes of the 'arms' are:


Aa8-30	Aa8-31
615	616

Close inspection reveals that the 3 'fingers' at top left in Aa8-30 form a pattern 1 + 2. The curious shape of the 'shadow' of the old sun reminds me about Aa6-67 half a year later (or earlier), and the 6-feathered mauga in Aa8-31 will then correspond to a 4-feathered mauga shark 'nose' in Aa6-70:


Aa6-64	Aa6-65	Aa6-66	Aa6-67	Aa6-68	Aa6-69	Aa6-70
480	481	482	483	484	485	486

615 - 483 = 132 = 4 * 33. 616 - 486 = 130 = 10 * 13.

615 = 5 * 123 = 15 * 41. 616 = 7 * 88 = 14 * 44 = 28 * 22 = 56 * 11.

483 = 3 * 161 = 21 * 23. 486 = 6 * 81 = 9 * 54.

The numbers do not agree with my suggestion of a connection between Aa6-67 and Aa8-30. A numerical relationship between 486 and 616, on the other hand, maybe is intended. 10 * 13 is suggestive.

The 'feathers' in Aa6-70 and Aa8-31 are 4 + 6 = 10 (as in 10 * 13). The 'feathers' in Aa6-69--70 are 5 + 4 = 9 (as in 9 * 54).

Next page in the glyph dictionary (following from the link 'Mamari'):

Ca4-16 is without doubt showing a 'feathered mountain' at left:


Ca4-14	Ca4-15	Ca4-16	Ca4-17	Ca4-18	Ca4-19

The number of 'feathers' (7) and the ordinal number (16) indicates the moon, not the sun.

When classifying glyphs according to types I had difficulties with the type of sign at left in Ca4-18, but in the end I decided to define it as a variant of mauga. 'Feathers' on both sides should qualify the sign as mauga, while 'feathers' on only one side would put the glyph in the tapa mea group. Classifying glyphs has nothing to do with their meanings.

The three pairs of glyphs above suggest the left part in Ca4-18 is a sun 'mauga'. 18 is the sun equivalent of 16 in the meaning of maximum ('full sun' respectively full moon). 19 respectively 17 suggest decline has began.

There are 7 'feathers' in Ca4-16 and 6 + 5 = 11 in Ca4-18, both odd (and therefore 'bad') numbers. Probably we should add 7 + 11 to reach the even number 18. By this operation a message of 'moon' (7 in Ca4-16) will be integrated into the main subject, viz. the sun and its 'seasons'.

The 3 hau tea glyphs all indicate 'increasing darkness' (by way of the vertical lines becoming shorter). But hau tea comes later in the glyph dictionary so I have not mentioned this fact. Likewise the double 'eyes' in Ca4-15 (agreeing with ordinal number 15) have not been mentioned. The 3 henua glyphs are alike in the top ends being straight while the bottom ends are 'hollow'. There are no other such henua signs in the C text. The opposite - bottom ends straight and top ends 'hollow' - does occur, however:


Cb11-14	Cb11-15	Cb13-5

The great henua in Cb13-5 is surrounded by glyphs which suggest the end of the year ('sails' at left and henua convex at right):


Cb12-21	Cb12-22	Cb12-23	Cb12-24	Cb12-25	Cb13-1	Cb13-2

Cb13-3	Cb13-4	Cb13-5	Cb13-6	Cb13-7	Cb13-8	Cb13-9

Maybe the straight end means 'in the sun light', while the 'hollow' end means 'in the moon light'. We remember the midnight henua, Aa1-43:

Maybe the 'hollow' ends are the 'carapaces' ('calipash and calipee')? English Etymology suggest calipash possibly has come from carapace, while calipee is left without explanation. I guess π could be that 'pee'.

We leave the henua glyphs. More important is the fact that in Mamari we can see a possible gradual development of 'feathered mauga' in Ca4-18 into a glyph type which I have classified as hua poporo:


Ca4-14	Ca4-15	Ca4-16	Ca4-17	Ca4-18	Ca4-19	Ca4-20

The pairs of glyphs suddenly dissolve into another pattern, where it is hau tea rather than henua which is the first of the twins. Realizing this, we must include also Ca4-13 into the group:


Ca4-13	Ca4-14	Ca4-15	Ca4-16	Ca4-17	Ca4-18	Ca4-19	Ca4-20

But then the pattern snaps back into place again: henua comes before hau tea. There are 8 glyphs in a pattern 1 + 3 * (1 + 1) + 1.

The number of 'feathers' in Ca4-13 and Ca4-20 are 6 + 6, totally 24.

The 12 glyphs preceding Ca4-13 appear to belong to another group:


Ca4-1	Ca4-2	Ca4-3

Ca4-4	Ca4-5	Ca4-6	Ca4-7	Ca4-8	Ca4-9

Ca4-10	Ca4-11	Ca4-12

The 5 glyphs following also appear to be a separate group:


Ca4-21	Ca4-22	Ca4-23	Ca4-24	Ca4-25

Yet, Ca4-25 (with only 6 + 5 = 11 'feathers', probably to be added to the 3 in Ca4-24) obviously reconnect to Ca4-13 and Ca4-20. Likewise moko in Ca4-23 reconnects to Ca4-5 and Ca4-11.

The 6 glyphs Ca4-14--19 belong as a subgroup in a larger pattern, beginning at Ca4-1 and possibly ending at te pito in Ca5-20. The number of glyphs will then be 29 (in line Ca4) + 20 (Ca5-20) = 49 = 7 * 7.

There are 6 glyph lines with 29 glyphs in Mamari:

a1	26	b1	24
a2	25	b2	25
a3	25	b3	22
a4	29	b4	23
a5	35	b5	21
a6	28	b6	29
a7	31	b7	27
a8	29	b8	29
a9	27	b9	30
a10	29	b10	22
a11	32	b11	22
a12	27	b12	25
a13	20	b13	30
a14	29	b14	19
sum	392	sum	348

All are located in glyph lines with even numbers.

348 - 2 * 29 = 290 = 10 * 29. Side b has 12 * 29 glyphs. Together with the 4 * 29 on side a that makes 16 * 29.

Side a has 392 = 8 * 49 glyphs. 8 * 49 - 4 * 29 = 276 = 12 * 23.