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TRANSLATIONS
Always I hesitate because my
imagination may play games with me. How can I reach more
assurance; that the numbers were designed to give the patterns I
happen to notice?
Only by continuing may be the
simple answer.
So I do that. Metoro
said te pito o te henua at Aa4-38:
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 |
 |
|
Aa4-31 |
Aa4-32 |
Aa4-33 |
Aa4-34 |
Aa4-35 |
| ki te
tagata amo hia |
i te
henua |
ko te
tagata kua ui |
i tona
henua |
kua moe
ia kua huru ia |
 |
 |
 |
 |
 |
|
Aa4-36 |
Aa4-37 |
Aa4-38 |
Aa4-39 |
Aa4-40 |
|
i tona henua - kua oho te vae - ku
totohu - i tona henua - e mai tae kake hia - ki te henua
- ki uta ki te pito o te henua |
ko te
henua - ma to rima |
Aa4-34 looks even thicker than Aa4-38, but it has a top which
leans upwards (by which I interpret that light is growing).
Where else did Metoro use the word pito? At
these 5 places only:
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 |
 |
|
Bb3-41 |
Bb6-13 |
Bb7-26 |
| mai tae
vere hia - ki te pito
o te henua |
kua motu te
pito o te fenua |
kua aga ko
te pito |
 |
|
|
|
Ab8-43 |
Aa4-38 |
Aa4-39 |
| o te
pito motu |
ki te henua - ki uta ki te
pito o te
henua |
Only in A and B does pito appear.
We surely will need the information in the table later
on.
I notice
that both a3 and b3 are lines with few glyphs:
|
a1 |
90 |
b1 |
82 |
|
a2 |
85 |
b2 |
85 |
|
a3 |
76 |
b3 |
77 |
|
a4 |
82 |
b4 |
80 |
|
a5 |
83 |
b5 |
80 |
|
a6 |
84 |
b6 |
92 |
|
a7 |
85 |
b7 |
84 |
|
a8 |
85 |
b8 |
84 |
|
sum |
670 |
sum |
664 |
Noticeable is first the sequence 82, 83,
84, 85 (for the glyphs in lines a4-a7), but their sum
(334) is not immediately inspiring, Should we read 334
as 314 + 20? Should we exclude 82 and reach 3 * 84 =
252? We leave these questions for the moment.
76 in line a3 is needed in order to
assign number 288 (after Aa1-1) to
Aa4-38:
90-1 + 85 + 76 + 38 = 288
Aa4-38 is locked in its place by the 26
glyphs from Aa4-38 to Aa4-64:
64 - 38 = 26
A bird's eye
view is urgently needed:
24
* 13 is 52 less than 364.
Metoro's
words at the π glyph (Aa4-64),
kua hura i te ragi,
are worthy of note. One of the
few Polynesian words spread internationally is
hula-hula:
| Hura 1.
To fish with a small funnel-shaped net tied to the end of a pole.
This fishing is done from the shore; fishing with the same net, but
swimming, is called tukutuku. 2. To be active, to
get moving when working: ka hura, ka aga! come on, get moving! to
work! 3. Tagata gutu hura, a flatterer, a flirt, a
funny person, a witty person. Hurahura, to dance,
to swing. Vanaga.
1. Sling. In his brilliant study of the distribution
of the sling in the Pacific tracts, Captain Friederici makes this note
(Beiträge zur Völker- und Sprachenkunde von Deutsch-Neuguinea, page
115b): 'Such, though somewhat modified, is the case in Rapanui,
Easter Island. The testimony of all the reporters who have had dealings
with these people is unanimous that stones of two to three pounds
weight, frequently sharp chunks of obsidian, were thrown by the hand; no
one mentions the use of slings. Yet Roussel includes this weapon in his
vocabulary and calls it hura. In my opinion this word can be
derived only from the Mangareva verb kohura, to throw a stone or
a lance. So far as we know Rapanui has received its population in
part by way of Mangareva.' To this note should be added the citation of
kirikiri ueue as exhibiting this particular use of ueue
in which the general sense is the transitive shake. 2. Fife, whistle,
drum, trumpet, to play; hurahura, whistle. P Mq.: hurahura,
dance, divertissement, to skip. Ta.: hura, to leap for joy. Pau.:
hura-viru, well disposed. Churchill.
H. Hula, a swelling, a protuberance under the
arm or on the thigh. Churchill 2. |
| Kiri
Skin; bark; husk; kiri
heuheu, downy skin; kiri mohimohi
(also kiri magó), smooth
hairless skin. Kirikiri miro,
multicoloured. Vanaga.
Skin, hide, bark,
surface; kiri ekaeka, leprous;
kiri haraoa, bran; kiri hurihuri,
negro; kiri maripu, scrotum;
kiri ure; prepuce. P Pau.: kiri,
bark. Mgv.: kiri, skin, bark,
leather, surface, color, hue. Ta.:
iri, skin, bark, leather, planking.
Kirikiri, pebble, gravel, rounded
stone, sling stone; kikiri,
pebble. P Pau.: kirikiri, gravel,
stony, pebbly. Mgv.: kirikiri,
gravel, small stones, shingle. Ta.:
iriiri, gravel, stony, rough.
Kirikirimiro: ragi kirikirimiro,
sky dappled with clouds. Kirikiriteu,
soft gray tufa ground down with
sugar-cane juice and utilized as paint
T. Kiriputi (kiri -
puti) cutaneous, kiriputiti,
id. Kirivae (kiri - vae
1), shoe. Churchill. |
| Ue
Uéué, to move
about, to flutter; he-uéué te kahu i te tokerau, the clothes
flutter in the wind; poki oho ta'e uéué, obedient child. Vanaga.
1. Alas. Mq.: ue,
to groan. 2. To beg (ui).
Ueue: 1. To shake (eueue);
kirikiri ueue, stone for
sling. PS Pau.: ueue, to
shake the head. Mq.: kaueue,
to shake. Ta.: ue, id. Sa.:
lue, to shake, To.:
ue'í, to shake, to move;
luelue, to move, to roll as a
vessel in a calm. Niuē: luelue, to
quake, to shake. Uvea: uei, to shake; ueue, to move. Viti:
ue, to move in a confused or tumultous manner. 2. To lace.
Churchill. |
If the
sky (ragi) is shaken (ueue) or
leaping (hura), that sounds a lot like
when mother Earth is shaking her breasts:
... It was an old Maori belief that
a change of seasons was often facilitated by earthquakes. Ruau-moko, a
god of the Underworld, was said to bring about changes of season, punctuating
them with an earthquake. Or as another Maori saying summed up the matter, 'It is
the Earth-mother shaking her breasts, and a sign of the change of season.' ...
| Ru A chill, to shiver, to shudder, to quake; manava
ru, groan. Ruru, fever, chill, to shiver, to shake, to
tremble, to quiver, to vibrate, commotion, to apprehend, moved, to
agitate, to strike the water, to print; manava ruru, alarm;
rima ruru, to shake hands. P Pau.: ruru, to shake, to
tremble. Mgv.: ru, to shiver with cold, to shake with fever, to
tremble. Mq.: ú, to tremble, to quiver. Ta.: ruru, to
tremble. Churchill.
Ruru, to tremble, an earthquake. Sa.: lūlū,
lue, to shake. To.: luelue,
to roll; lulu, to shake. Fu.:
lulū, to tremble, to shake,
to agitate. Niuē: luelue, to
shake; lūlū, to shake, to be
shaken. Nuguria: ruhe, motion
of the hands in dancing; luhe henua,
an earthquake. Uvea, Ha.: lu,
lulu, lululu,
to shake, to tremble, to flap. Fotuna: no-ruruia,
to shake. Ma.: ru,
ruru, to shake, an earthquake. Ta.,
Rarotonga, Rapanui, Pau.: ruru,
to shake, to tremble. Mgv.: ru,
to tremble; ruru, to shake.
Mq.: uu, to shake the head in
negation; uuuu, to shake up.
Uvea: ue i, to shake;
ueue, to move. Rapanui:
ueue, to shake. Churchill 2. |
Birds
have two eyes, so let's try to look at the other
side:
A preliminary inspection makes me
infer that the π glyph quite possibly might be Ab4-69, i.e. we
should start the counting with Ab1-1. We have already earlier discussed Ab4-69:
... Ab4-49 appears to mark a
turning point, and Ab4-79 is the first of the hau tea after that. As
Ab4-79 is located in the 2nd 9-glyph group (see in the sequence Ab4-63--80 ...)
the 1st 9-glyph group maybe tells about the situation around the turning point,
and Ab4-69 then may illustrate 'before' while Ab4-68 may illustrate 'after':
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Ab4-68 |
Ab4-69 |
Yet, Ab4-69 has '2' on top and
cannot be painted red. It is a mixture of side b (top) and side a (bottom)
...
...
At Ab4-69, where the bottom part of GD43 opens to the right, Metoro seems
to have arrived at a similar explanation as we, i.e. that the bottom part of the
glyph signals 'red':
|
Mea
1. Tonsil, gill (of
fish). 2. Red (probably because it is the colour of gills); light
red, rose; also meamea. 3. To grow or to exist in abundance
in a place or around a place: ku-mea-á te maîka, bananas grow
in abundance (in this place); ku-mea-á te ka, there is plenty
of fish (in a stretch of the coast or the sea); ku-mea-á te tai,
the tide is low and the sea completely calm (good for fishing);
mau mea, abundance. Vanaga.
1. Red; ata mea,
the dawn. Meamea, red, ruddy, rubricund, scarlet, vermilion,
yellow; ariga meamea, florid; kahu meamea purple;
moni meamea, gold; hanuanua meamea, rainbow; pua ei
meamea, to make yellow. Hakameamea, to redden, to make
yellow. 2. A thing, an object, elements (mee); e mea,
circumstance; mea ke, differently, excepted, save, but; ra
mea, to belong; mea rakerake, assault; ko mea,
such a one; a mea nei, this; a mea ka, during; a
mea, then; no te mea, because, since, seeing that; na
te mea, since; a mea era, that; ko mea tera,
however, but. Hakamea, to prepare, to make ready. 3. In order
that, for. 4. An individual; tagata mea, tagata mee,
an individual. 5. Necessary, urgent; e mea ka, must needs be,
necessary; e mea, urgent. 6. Manners, customs. Churchill. |
The earlier suggested 'turning
point' (Ab4-49) is the 8th hau tea on side b and has two eyes (mata):
... The double 'suns' in Aa7-79
(perhaps alluding to rising Matariki) has an extraordinary long
central line, but on side b we find that Ab4-49 on the contrary has a short
vertical line, a trait which also Ab8-53 exhibits:
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|
11 |
8 |
15 |
|
Aa7-79 |
Ab4-49 |
Ab8-53 |
Possibly Ab4-49 indicates where
a new season is succeeding an old season. A complete cycle seems to be shown
in the double 'suns' and number 8. 7 glyphs (double-nights?) further on we
find Ab8-53, at a location corresponding to new moon. The fading light
glyphs ... tell us that. Moon has two main phases: waxing and
waning, whereas sun has just one season (during the rest of the year he is
absent). The short middle vertical line maybe indicates a weakness - at 8
the old moon dies and at 15 the new moon is being born ...
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|
Ab4-42 |
Ab4-43 |
Ab4-44 |
Ab4-45 |
Ab4-46 |
Ab4-47 |
Ab4-48 |
Ab4-49 |
Ab4-50 |
|
286 |
287 |
288 |
289 |
290 |
291 |
292 |
293 |
294 |
|
287 |
288 |
289 |
290 |
291 |
292 |
293 |
294 |
295 |
Ab4-42 is a marker for
period end / beginning and so is Ab4-47, I think. Therefore Ab4-43--46 should be
regarded as a group.
We notice that Ab4-43
resembles Ab4-71 (28 glyphs forward). This interesting glyph type (GD58) appears
to be labeled manu kake by Metoro:
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|
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|
Ab4-43 |
Ab4-71 |
|
eaha te
manu kake |
kua kake
te manu |
| Kake
Kakea, to come near, to embark. P Pau.: kake, to
climb, to ascend. Mgv.: kake, the arrival of shoals of spawning
fish. Mq.: kake, to climb up a valley. Ta.: ae, to climb,
to ascend. Churchill.
Sa.: a'e, upward, to go up; sa'e, to
elevate one leg, as in the act of falling in a club match; 'a'e,
to ascend, to rise. To.: hake, upward, to ascend. Fu.: ake,
up, to ascend; sake, ro raise the leg at one in derision or mockery;
kake, to climb, to ascend. Niuē:
hake, up, going up. Uvea:
ake, up; kake,
to go up. Ma.: ake, upward;
kake, to climb, to ascend.
Mq.: ake, on high, upward;
kake, to ascend. Mgv.:
ake, upward. Bukabuka: ake,
up. Ta.: ae, up, to go up, to
ascend, to climb. Ha.: ae, to
raise, to lift up, to mount. Fotuna: no-jikijiake,
to lift up; no-tukake, to
stand upright. Nukuoro: kake,
to go up. Nuguria: kake, up;
hanage, northwest. Rapanui:
kake a, to go abroad. Vi.:
thake, upward;
thaketa, to dig or lift up. Churchill
2. |
One wonders what difference in meaning there may be between GD11 (manu rere,
the 'flying bird') and GD58 (manu kake, the 'climbing bird').
In
Ab4-44--46 the not so often seen GD47 (tôa) appears. I guess that there
is a connection in thought between Ab4-44 and Aa1-44 (in the middle of the
night):
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|
Ab4-44 |
Aa1-44 |
Aa1-45 |
|
ki te
henua |
e ia toa tauuru |
i te
fenua |
The shape of Ab4-44 suggests that it is a compound between GD47 and GD48.
Ab4-50 (GD49) may be related to Ab4-70
(GD31), according to what Metoro said:
|
|
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|
Ab4-50 |
Aa4-70 |
|
ma te ua
tahi |
te ua
roa |
If ua means ûa (rain), then
te ua tahi would be 'the first rain', while te
ua roa would be 'the great rain'. If ua means
u'a (wave) there would be a similar progression
from 'first' to 'great'.
|
Ua
1. Cause, reason why something happens or is
done; he ûa te ua, au i-ta'e-iri-ai ki tooku hare,
because of the rain, I did not go home; ua kore, without
cause, without reason. 2. Ceremononial stave with a human face
carved at one extremity. Vanaga. Cfr toko.
A long club T. Churchill. |
| Ûa
Rain; 1. ûa hakamito, persistent, but not
strong, rain; 2. ûa kura, fine rain, drizzle; 3. ûa
matavaravara, strong rain; 4. ûa parera, torrential
rain; 5. ûa tai, rain followed by fair weather at sea.
Ehu ûa, drizzle. Vanaga.
Ûaûa.
Tendons, muscles. 1. Hau ûaûa kio'e, line
made from rats' tendons. 2. Ûaûa toto, vein, artery. 3.
Ûaûa piki, spasm. Vanaga.
1. Rain; hoa mai te ua, to rain; mou
te ua, to cease raining. P Mgv., Mq., Ta.: ua, rain.
2. Vein, artery, tendon (huahua
1) (uha G);
ua nene,
puls; ua nohototo,
artery, ua gaei,
pulse. Uaua, vein,
tendon, line; kiko uaua,
muscle T. Hakauaua,
to mark with lines. P Pau.:
tare-ua, tendon. Mgv., Mq., Ta.:
uaua, vein, tendon.
Churchill. |
| U'a
Of the tide, to reach its maximum; tai u'a,
high tide. Vanaga.
Wave, surge; tai ua, high tide.
Churchill. |
| Uá
Ata uá, morning
twilight. Uáuá,
to reside; resident; noho uáuá to settle somewhere;
ina koe ekó noho uáuá, do not establish yourself there.
Vanaga. |
We continue by presenting the 10
glyphs after Ab4-47 and up to Ab4-57:
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|
Ab4-48 |
Ab4-49 |
Ab4-50 |
Ab4-51 |
Ab4-52 |
|
292 |
293 |
294 |
296 |
297 |
|
e moa noho |
i te hau tea |
ma te ua tahi |
ki te vai |
no te manu |
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|
Ab4-53 |
Ab4-54 |
Ab4-55 |
Ab4-56 |
Ab4-57 |
|
298 |
299 |
300 |
301 |
302 |
| ka hauhaua |
te hetuu ka ha
i te ragi |
ko te mauga |
i ruga i te
hetuu |
ko te kaiga |
Eye-catching is
number 300, the image of sun hiding behind a tree, I guess. The meaning may
be that sun is in a shadowy state, possible due to a cardinal (i.e. chaotic)
phase. The symmetry (with GD12, hetu'u glyphs at left and right) is
presumably meant to focus the attention of the reader on Ab4-55, while at
the same time stating that the subject is the sun (or another celestial
fire, like the moon). We here also (possibly) receive confirmation that we must count
from Ab1-1 (and not from Ab1-2).
Ab4-48 is a strange
Janus-variant of GD32 (hakaturu) and Metoro said moa noho, which I
interpret as a confirmation: the moa (i.e. probably sun or moon) has stopped
moving:
| Noho
1. To sit, to stay, to remain, to live
(somewhere), to wait; ka-noho, you stay! (i.e.
'good-bye', said by the person leaving). 2. Figuratively: he
noho te eve, to be calm, at peace; he noho te mana'u,
to concentrate on something, to fix one's attention on;
ku-noho á te mana'u o te tagata ki ruga ki te aga, the man
thinks constantly of his work. Vanaga.
Seat, bench, dwelling, marriage, position,
posture, situation, session, sojourn; to sit, to dwell, to
reside, to rest, to halt, to inhabit;
noho hahatu, to sit
cross-legged; noho hakahaga,
apathy; noho heenua,
countryman; noho kaiga,
native; noho kenu,
married; noho ke noho ke,
to change place; noho muri,
to stay behind; noho noa,
invariable; noho opata,
to stand on a cliff; noho pagaha,
badly placed; noho pepe,
table; noho tahaga,
bachelor, unmarried; noho vie,
married, noho no,
apathy, stay-at-home, colonist, idler, inhabitant, inactive,
immobile, settler, lazy, loiterer.
Hakanoho, to abolish, to
rent, to lease, to enslave, to dissuade, to exclude, to exempt,
to install, to substitute, hostage.
Hakanohohia, stopped.
Nohoga, seat.
Nohoturi, to kneel,
genuflexion. Nohovaega,
to preside. Churchill. |
Ab4-53 has 10
'feathers', which maybe indicates 10 * 14 = 140 as the number of nights
accounted for.
Ab4-51 (GD75,
vai) possibly says that a circle has been closed. Though vai
suggests a connection either to rain (ûa) or to waves (u'a).
The watery region in the sky may be meant. Is there a
causal connection between the rainy season on earth and the watery region in the
sky?
Ab4-52 is a strange
variant of GD54 (manu moe), suggesting time to got to bed. The
curious bottom part could indicate GD33, viri, in an early
evolutionary phase. I haven't noticed this before and therefore will now add
Ab4-52 to the GD33 glyphs in my catalogue.
I look among the GD54 glyphs in Tahua
to see if there are any more of this sort and find two more:
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