TRANSLATIONS

next page previous page up home
 

At last I may be prepared to go forward and leave hua poporo. The nagging doubts have vanished. My extremely slow and painstaking efforts seem to work - reliable results are reached.

I will now present the first (preliminary) pages at ragi in the glyph dictionary:

A few preliminary remarks and imaginations:

1. The sky (the 'tree' in the middle) is adorned with the crescent of the moon, sailing along like a canoe (as it looks when observed from a point close to the equator).

Another interpretation is that this canoe is the ship of the sun, sailing on top of the air, as if it was sailing on water. The ship of the sun can be regarded as the crescent of the moon, but the moon sign in GD22 presumably indicates that we are looking at the night sky. The 'horns' of this crescent canoe are the only parts visible and they are like the 'adornments' (rei) at the bow (mui) and stern (mura) of a Polynesian vessel.

The illuminated part of the moon, the crescent, is in GD22 always oriented in 'living' position, i.e. looking like a travelling canoe (with upside open against the sky and bottom closed against the sea).

A canoe turned upside down is a 'dead' canoe, not moving. Movement is a sign of life. Death means being still. Waxing moon appears in the west close to the horizon, looking as if riding on the waves. Waning moon is instead to be seen in the east. Moon is 'born' in the west and 'dies' in the east, travelling in the opposite direction compared to the diurnal path of the sun.

Waning moon could then be expected to look like a canoe turned upside down. However, waning moon in the east still looks as if riding right side up, because the eastern horizon - which the eye now is using as a reference - is below the moon. The moon canoe is never turned upside down, it is always 'living'.

When GD22 glyphs are without any sign of the crescent, Metoro never said ragi, e.g. Cb7-19:

Mostly he instead said vero (the season of the 'spear' - when 'light is killed'). The vero glyph type was used to indicate the time at the beginning of autumn when sun 'disappears'.

GD22 with crescent sign therefore ought to mean the opposite of vero - i.e. 'light is being born'.

Sun is being born at new year, at winter solstice, and 'lives' - it seems - during 10 'sunlit' lunar months (280 nights). Around autumn equinox sun 'dies'.

The vero type of glyph was discovered and documented earlier (at henua ora in the glyph dictionary):

Metoro's readings are helpful in this instance, because at Eb4-2 he said vero:

 
Eb4-2 Eb5-10 Ga5-17
te vero kua tu te Ao -
11 19 19

Eb4-2 (in period 11) follows upon henua ora (period 10) and Eb5-10 (in period 19) follows upon the autumn equinox (17-18). (Metoro did not have the opportunity to read tablet G for Bishop Jaussen.)

Vero has three meanings: 1) a spear or dart, 2) to turn upside down, 3) name of a lunar month (the 10th on Marquesas, about April on Hawaii).

To turn upside down symbolizes death (... Ulu fell on his face and died ...). Spears lead by way of association to the obsidian spear heads (matá) on Easter Island, an instrument for killing in the tribal wars. The 10th month on Marquesas (veo) suggests that rongorongo writers may have used this glyph type to indicate the 'death' of a season.

In the 10th period of E the same story is told by henua ora - the sun canoe has been drawn up on the beach and does not move. It is still, i.e. 'dead'. There is no vero glyph in G here (midsummer), because only half of the 6-month long summer 'year' has passed. In the E calendar the 'years' are defined by the solstices in G by the equinoxes.

As to 'kua tu te Ao' at Eb5-10 we need not worry too much about that for the moment, but ao means, among other things, 'nightfall'. It is strange how 'fall' in nightfall (and in the season fall = autumn) is English picture language quite similar to that used in the expression: Ulu fell on his face - i.e. the 'black cloth' covered his head (as when a black cloth is put over a bird-cage to silence the bird).

The little moon sickle (like a reaping-hook) at the bottom of Eb5-10 indicates darkness - the time of the moon. Presumably the moon sickle has been added to intensify the idea of 'darkness'. Autumn equinox means not only the 'death' of sun's canoe but also that the dark season has arrived and moon now is fully in command.

The discovery of this important glyph type persuaded me to create a special 'door' in the glyph dictionary (though not in the glyph catalogue) for vero:

 

pito

ure

humu

vero

takaure

tamaiti 

hakaua  

ihi  

In the glyph dictionary vero glyphs are to be discussed later on, not at ragi.

My statement that sun is being born at new year, at winter solstice, and 'lives' - it seems - during 10 'sunlit' lunar months (280 nights) is not securely established. But I wrote 'it seems'. If every statement must be firmly 'proven', then the process of 'reading' the rongorongo texts cannot go on fast enough.

At honu I wrote:

... The modern calendar of Easter Island has two autumn months Vaitu nui (April) and Vaitu poru (May). Equally, there are two early spring months with similar names: Hora iti (August) and Hora nui (September). Probably there once were only 10 months and 12 names was introduced by splitting up the old months Vaitu and Hora ...

Next page:

2. The form of the 'tree' in GD22 may depict a spear used as a gnomon. If GD22 really means the sky (ragi), we should expect observations to be done in the night (not in the daytime when the stars are drenched in the light from the sun). Van Tilburg:

"In Hawaii, the rising of the Pleiades was the signal for the beginning of the Makahiki major harvest festival which centered upon Lono (Rongo). For Rapa Nui, as for the Maori, the Mangarevans and the rest of the people of the Southern Hemisphere, the rising of the Pleiades is almost simultaneous with the Austral June solstice. The Rapa Nui calendar begins with the month of Anakena (the name of the landing site of Hotu Matu'a). Anakena was said by Thomson to mean August, but Métraux corrected that to July. Taking into consideration the conflicting evidence of the timing of Orongo ceremonies and based upon consultation with noted Pacific astronomer Will Kyselka, I think it is probable that the Rapa Nui ritual calendar, as that of the Maori, Mangarevans, Samoans, Tongans and other Polynesians began in July following the rising of the Pleiades. On Rapa Nui and many other islands, the Pleiades were called Matariki."

"The Orongo rituals are thought to have begun in the AD 1400-1500s, and the use of Orongo as a ritual site intensified some fifty years later. If we take AD 1500 as a baseline, we find that the sun's declination was 23º26', while the declination of the Pleiades was 22º37'. This means that the Pleiades led the sun into the sky by about two hours, and that the two risings were over the same geographical feature a mere 0º49' apart. The ethnographies do not mention Orongo as a site from which the skies were watched. Let us presume however, on the basis of the site's special qualities and uses, that the old men may have watched the skies from Orongo. In the year AD 1500, they would have seen the Pleiades at 18º above the horizon at the end of astronomical twilight on hua, the twelfth night of the moon in the Rapa Nui month of Te Maro (The Loincloth). The Rapanui word hua means 'the same, to continue' and 'to bloom, to sprout, to flower', with a germ sense of both plants and human progeny growing and thriving."

"The rising Pleiades led a twinkling procession of bright stars into the sky: Aldebaran first, then the stars of Orion (called Tautoru by the Rapa Nui). Sirius (Reitanga in Rapanui), at a declination of 16º 42', is the brightest star in the sky on this and every other morning, and travels a path that takes it over the centre of Polynesian culture, Tahiti.

The Pleiades set at 2:00 pm in the afternoon of that day and in the direction of the solstitial sunset, but the event was not visible. If the sunset was viewed from Poike it would have taken place in the direction of Anakena, the name of the first month of their calendar, the landing place of Hotu Matu'a, the birth place of the island culture and the traditional home of the ariki mau."

If the ragi glyph type was used in such parts of the rongorongo texts which describe or allude to star watching, we can expect to find GD22 glyphs around midwinter (and at night when sun does not interfere). The beginning of the year (Anakena) ought to be located at the beginning of calendars for the year and there we also ought to find ragi glyphs.

"I became curious about this star ... called Nuutuittuq [= 'never moves'] ... So, on the lee side of our uquutaq (a snow windbreak) I positioned a harpoon pointing directly at this particular star to see if it would move. In the morning I checked it and discovered that the Tukturjuit (Ursa Major) had changed their position completely but the harpoon still pointed at this star ... I had discovered the stationary star ... " (Abraham Ulayuruluk of Igloolik according to Arctic Sky.)

"The most ancient of all astronomical instruments, at least in China, was the simple vertical pole. With this one could measure the length of the sun's shadow by day to determine the solstices ... and the transits of stars by night to observe the revolution of the sidereal year. It was called pei or piao, the meaning of the former being essentially a post or pillar, and the latter an indicator. Pei can be written with the bone radical ... or with the wood radical, in which case it means a shaft or handle. Ancient oracle-bone forms of the phonetic component show a hand holding what seems to be a pole with the sun behind it at the top ...

so that although this component alone came to mean 'low' in general, it may perhaps have referred originally to the gnomon itself. This is after all an object low on the ground in comparison with the sun, and shows the long shadow of a low sun at the winter solstice, the moment which the Chinese always took as the beginning of the tropic year." (Needham 3)

This picture (from Needham 3) shows how even today in Borneo they measure the shadow of the sun with a gnomon and a gnomon template to determine summer solstice. Notice the little figure on top of the gnomon, maybe a representation of the sun (with protruding belly?).

"gnomon ... indicator, esp. of a sundial ... Gr. gnōmikós (perh. through F. gnomique), f. gnōmē opinion, judgment, f. *gnō- ... see KNOW." (English Etymology)

The little figure on top of the gnomon ought to be the sun himself. At summer solstice he is like the Chesire Cat smiling at the top of the 'cosmic tree'. Then he slowly vanishes, until only his smile is left.

The smile, it seems, is not just a product of Carroll's imagination, but a part of human culture. We remember how the wife of 'Mercury' (The Mad Hatter) according to Inuit myth tried to make the victims smile:

 ... Finally, at one time, he could really be heard to enter to them, he, the poor cousin of the Moon, the entrail-snatcher, carrying a dish and a large knife, in order to try to snatch the entrails of the human being. And look! At the window his wife stood and kept on saying: 'She smiles!' The entrail-snatcher began to dance a drum dance, with ridiculous movements, and they only looked at him, while he sang: My little dogs, I get them food, / My little dogs, I get them food, / ha-ahing, ha-ahing, ha-ahing. While he acted thus, his poor wife all along stood at the window saying: 'She smiles, she smiles, she smiles!' ...

To smile means to be like the sun. The equality would enable 'the poor cousin' to use his knife. I identify the Mad Hatter with Mercury not only because of his position (at autumn - where water falls from heaven, running downwards like the heavy mercury liquid), but also because of Carroll's decision to include the character at the T table:

"The '10/6' on the Hatter's hat means ten shillings and six pence, the price of the hat in pre-decimalised British money and acts as a visual indication of the hatters trade. The name 'Mad Hatter' was undoubtedly inspired by the phrase 'as mad as a hatter'. There is some confusion as to the origins of this phrase, however there is scientific evidence behind the link between the hatters and insanity. Mercury was used in the process of curing felt used in some hats. It was impossible for hatters to avoid inhaling the mercury fumes given off during the hat making process. Hatters and mill workers often suffered mercury poisoning as residual mercury caused neurological damage including confused speech and distorted vision. It was not unusual then for hatters to appear disturbed or mentally confused, many died early as a result of mercury poisoning ..." (Wikipedia)

A gnomon is formed like an L:

"... Gnomon is also a mathematical term that describes the part of a parallelogram that remains when a similar parallelogram is removed from one of its corners. Also, gnomon is the name given to an aesthetic process utilized by James Joyce in his set of short stories Dubliners, whereby the whole of the character is revealed by a single part ..." (Wikipedia)

Inevitably, my imagination turns to the letter system in the Latin alphabet:

A Α I Ι Q Ρ Y
B Β J Κ R Σ Z
C Γ K Λ S Τ
D Δ L Μ T Υ
E Ε M Ν U Φ
F Ζ N Ξ V Χ
G Η O Ο W Ψ
H Θ P Π X Ω

G = Θ, i.e. the table for the Latin alphabet ought to have 7 (not 8 as in the Greek alphabet) letters in each column.

A Α H Θ O Ο V Χ
B Β I Ι P Π W Ψ
C Γ J Κ Q Ρ X Ω
D Δ K Λ R Σ Y
E Ε L Μ S Τ Z
F Ζ M Ν T Υ
G Η N Ξ U Φ

J is inserted into the Greek order, creating a displacement, as seen for instance in K and M. L, the gnomon, is lambda.

Xi (Ξ), on the other hand, is deleted, thereby firmly establishing the position of O also in the Latin alphabet.

In Q we can imagine the 'tadpole' of rho (ς). The portal of pi (Π) is referred to with P (as in portal).

T is in position 20 ('finished') and 20 + 1 is U (= Φ, the Greek version of hua poporo).

26 letters in the Latin alphabet and 24 in the Greek alphabet are numbers we recognize from the rongorongo texts.

The gnomon (L) has position 12, the time when sun (☺) has reached his halfway station. At that time a little part of the sun (with the same form) is removed, creating a gnomon. Later, beyond the U (20 + 1) station also his smile (canoe, gnomon) will have vanished into darkness (☻).

J maybe was inserted to indicate the turnover due with the 10th position? T (as in Twenty) makes us remember the fate of Hercules:

... The manner of his death can be reconstructed from a variety of legends, folk-customs and other religious survivals. At mid-summer, at the end of a half-year reign, Hercules is made drunk with mead and led into the middle of a circle of twelve stones arranged around an oak, in front of which stands an altar-stone; the oak has been lopped until it is T-shaped. He is bound to it with willow thongs in the 'five-fold bond' which joins wrists, neck, and ankles together, beaten by his comrades till he faints, then flayed, blinded, castrated, impaled with a mistletoe stake, and finally hacked into joints on the altar-stone. His blood is caught in a basin and used for sprinkling the whole tribe to make them vigorous and fruitful. The joints are roasted at twin fires of oak-loppings, kindled with sacred fire preserved from a lightning-blasted oak or made by twirling an alder- or cornel-wood fire-drill in an oak log.

The trunk is then uprooted and split into faggots which are added to the flames. The twelve merry-men rush in a wild figure-of-eight dance around the fires, singing ecstatically and tearing at the flesh with their teeth. The bloody remains are burnt in the fire, all except the genitals and the head. These are put into an alder-wood boat and floated down the river to an islet; though the head is sometimes cured with smoke and preserved for oracular use. His tanist succeeds him and reigns for the remainder of the year, when he is sacrificially killed by a new Hercules ...

His head was sometimes used for oracular purposes, just as the turtle shell was used for predicting the future in ancient China. During the dark (tanist) season the future will be determined.

Y is, though, the proper place to put the head. The dry tree must be made to flower.