TRANSLATIONS

TRANSLATIONS

In the glyph dictionary we have now arrived at that part of hakaturou where the rongorongo texts must be used to exemplify the use of the glyph type. The first example certainly must be Ga2-11 and Ka2-21 which have been mentioned earlier (at pure) in the dictionary:

The suggested connection between hakaturou glyphs (with a fish hook shape) and 'middle' implies that Ga2-11 and Ka2-21 ought to be 'midstations' (with 6 similar 'stations' following later):

1			1
1	Ga2-1	Ga2-2	1	Ka2-11	Ka2-12
2			2
2	Ga2-3	Ga2-4	2	Ka2-13	Ka2-14
3			3
3	Ga2-5	Ga2-6	3	Ka2-15	Ka2-16
4			4
4	Ga2-7	Ga2-8	4	Ka2-17	Ka2-18
5			5
5	Ga2-9	Ga2-10	5	Ka2-19	Ka2-20
6			6
6	Ga2-11	Ga2-12	6	Ka2-21	Ka2-22

However, there seems to be only 2 stations following:

7			7
7	Ga2-15	Ga2-16	7	Ka3-3	Ka3-3
8			8
8	Ga2-23	Ga2-24	8	Ka3-11	Ka3-12

We should not be confused. The ordinal numbers in G tell us another half indeed is following: Ga2-24 has 24 (as ordinal number in the glyph line) and Ga2-12 has 12; 12 + 12 = 24.

In K a new glyph line (Ka3) disturbs the picture. But the old glyph line ends with Ka2-22 and we can therefore easily confirm the pattern 12 + 12 also in G.

A connection with Eb7-36--Eb8-12 was noted earlier (at tara):

Glyph sequences are evidently longer than what we may call 'text segments'. Using the experience just gained from comparing the end of side b on E with the beginning of side a of K (and G), it is possible to break down the glyph sequences into text segments:

A				*cfr Ka1-22--24**				1
	Eb7-36	Eb7-37	Eb7-38
B							cfr Ka2-5--10	3
	Eb7-39	Eb7-40	Eb7-41	Eb7-42	Eb8-1
C							cfr Ka2-11--22	4
	Eb8-2	Eb8-3	Eb8-4	Eb8-5	Eb8-6
D							cfr Ka2-1-4	2
	Eb8-7	Eb8-8	Eb8-9	Eb8-10	Eb8-11	Eb8-12

For some reason the creator of E decided to put the equivalent of the 2nd text segment in K (see numbers at right) at the end of these four text segments. The redmarked area, on the other hand is described in the same order in E and K (and G).

The lesson is important - parallel glyph sequences are not showing where parallel texts begin and end, the latter can stretch longer than what is evident from the parallel glyph sequences.

There is no hakaturou in Eb8-2--6, but looking ahead we can find a special hakaturou in Eb8-25:

					Eb8-12 'equals' Ka2-4, Eb8-14 'equals' Ka2-3 and therefore Eb8-13 probably 'equals' Ka2-5.
Eb8-10	Eb8-11	Eb8-12	Eb8-13	Eb8-14

Ka2-2	Ka2-3	Ka2-4	Ka2-5	Ka2-6	Ka2-7	Ka2-8	Ka2-9	Ka2-10

Eb8-15	Eb8-16	Eb8-17	Eb8-18	Eb8-19	Eb8-20

Eb8-21	Eb8-22	Eb8-23	Eb8-24	Eb8-25	Eb8-26	Eb8-27	Eb8-28	Eb8-29

The two heads presumably refer to a takurua position. Metoro said te goe at Eb8-25, once again (cfr Aa6-66) at a special hakaturou glyph:


Aa5-77	Aa6-66	Eb8-25
e kua moe te goe* e hiko*	e he goe* kua moe*	te goe

3 out of 9 glyphs gave the response goe at hakaturou (and 6 mago).

There are similarities between Eb8-24--26 and the 'middle' sequences of glyphs in Tahua (as if Eb8-25 was a fusion between Ab7-39 and Aa5-18):


Ab7-33	Ab7-34	Ab7-35	Ab7-36	Ab7-37	Ab7-38	Ab7-39
			-		-
Aa5-14	Aa5-15	Aa5-16	-	Aa5-17	-	Aa5-18

The 'snout' in Ab7-39 is up and in Aa5-18 down, maybe meaning that the 'jaw' in the Milky Way is up respectively down. Or according to the view of the inhabitants on Pukapuka: The Shark of Winter has his head up and the Shark of Summer his head down.