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TRANSLATIONS
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16 |
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... |
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Kb1-12 |
Kb1-13 |
Kb1-14 |
Kb1-15 |
Kb1-16 |
Kb1-101 |
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18 |
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Ga5-10 |
Ga5-11 |
Ga5-12 |
Ga5-13 |
Ga5-14 |
Ga5-15 |
Ga5-16 |
... If Kb1-101 not is parallel to
Ga5-16, but a different kind of glyph, there
will be 28 (instead of 29) regular periods
in K. Period no. 16 will then stretch 3
glyphs further on (covering what so far has
been described as period 17). The beautiful
pattern with 36 glyphs in 10
periods (17-26) would then be destroyed, however,
and therefore the hypothesis must be that
Kb1-101 is a glyph which is parallel to
Ga5-16 - first of all in its location but
preferably also in
its type.
On the other hand, the
reconstructed ordinal number in the line for
Kb1-101 (i.e. *19) seems to be wrong. *18
would be a better choice. The situation - it may be
argued - can be saved by suggesting that
Kb1-101 has a reconstructed ordinal number
*18 and that Kb1-101 is parallel in
position and glyph type with Ga5-16 and
that its colour is 'black'.
However, as a consequence the
glyph number for period 16 in K will then be
*12 (instead of 13?) and we will have 2+3+(2+3+3)
[corrected from '9']
= 13 instead of 14 for periods 14, 15 and
the beginning of period 16. That cannot be
an acceptable solution, because 14 + 24 + 13
= 51. Another possibility is to
count only 2+3 = 5 glyphs (parallel to
periods 16-17 in G), 14 + 24 + 10 = 48:
|
K calendar |
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period no. |
number of glyphs |
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1, 2, 3 |
3 |
7+3+4 = 14 |
48 |
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4, 5, 6, 7, 8, 9, 10,
11, 12, 13 |
10 |
3+2+3+2+2+2+2+3+2+3 = 24 |
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14, 15, 16 (start) |
3 |
2+3+5 = 10 |
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16 (end) |
7 |
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17, 18, 19, 20, 21, 22,
23, 24, 25, 26 |
10 |
3+6+4+4+3+6+2+2+3+3 = 36 |
50 |
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27, 28, 29 |
3 |
5+4+5 = 14 |
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30 |
4 |
The structure
3+10+3+10+3 = 29 periods is
intact, but we have now reduced
the total number of glyphs to
98+11 =109, which indicates that
the black 'periods' are not yet
described properly.
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The reduction from
30 to 29 periods did not occur by fusing period
16 with period 17, it occurred due to
eliminating period number 30 from the count
because it has another type of end glyph. In
Tahua the end glyph Aa8-85 appears to be
like a canoe with 3 passengers onboard:
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Aa8-85 |
Ab1-1 |
The form is like the moon sickle of
waning moon (south of the equator). The
3 'passengers' probably depict 3 phases
of the yearly cycle of the sun and this
may explain the question posed by Best:
"In the Maori tongue the word
ra denotes the sun, as it does, with
some dialectic changes, throughout
Polynesia, and as it did in Babylonia and
Egypt. Komaru and mamaru also
denote the sun, but are seldom heard. These
three names are also applied to a
canoe-sail, though one fails to see any
connection between the two."
The common component in
komaru and mamaru is maru:
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Maru
Samoa:
malū,
gentle, easy, soft. Tonga:
malu,
loose, soft, mild, easy.
Uvea, Nukuoro:
malu,
tender, soft. Hawaii:
malu,
quiet. Futuna:
malŭ,
tender. Nuguria:
maru,
soft. Tahiti: maru,
soft, gentle, easy. Paumotu:
hakamaru,
to grow milder. Rapanui:
maruaki,
to decay. Churchill 2.
Maru a Pó in Tahiti
was another [in addition to
Ovakevake, Hiva
and Maori] 'place
where ákuáku
supposedly lived before
coming here'. Vanaga.
The Maori
used the same word for both
solstices, marua-roa,
'long pit', and applied the
term also to the month or
season during which the Sun
passed through its most
northerly or southerly
declination. A qualifying
word such as takurua,
'winter', or o-rongo-nui,
'summer', was usually
appended to denote which
solstice was meant. When no
explanatory word was added
marua-roa seems to
have signified the winter
solstice... Makemson.
Viti:
malua, to go gently, to
be in no hurry, by-and-by;
vakamalua, gently.
Churchill 2.
Maruaki,
to feel hungry, to be
starving, hunger; he-topa
te maruaki, to feel
hungry. Vanaga.
Maruaki,
appetite, desire to eat,
greedy, hunger, fasting,
famine, weak from hunger,
dearth, stavation;
hakamaruaki, to starve;
we note in Motu maro,
famine, dearth. Churchill.
Maruaki,
to decay. Churchill 2.
Marumaru, shady;
ka-oho ki te kona marumaru,
go in the shade. Vanaga.
Marumaru, shade,
thicket, somber, umbrella;
koona marumaru,
sheltered spot, copse;
hakamaru, to cover with
shade; hakamarumaru,
to shade. P Pau.:
hakamaru, to shadow.
Mgv.: maru, shade,
shadow, obscurity. Mq.:
maú, shade, shadow,
shelter. Ta.: maru,
shade. Churchill. |
The end of the year seems to
be denoted both by maru and maro
- while feathers (maro) can signify
the fiery aspect of the sun, maru
signifies the shadowy aspect. No shadow
without a fire.
I decide to collect all glyphs similar to
Aa8-85 under GD98 in the glyph dictionary.
The label will be ihi:
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Ihi
1. Line of
singing women at a feast or
an êi. 2. Ihi,
ihi-ihi, to break up
into small pieces, to
crumble, to tear to pieces;
he-ihi i te maúku, to
separate fibres. Vanaga.
Ihiihi,
to hop. Churchill. |
To crumble (ihi) may
be a description of how the reign of old sun
is breaking up. A sinister feast may
accompany, where he is torn to pieces (ihi).
And the line of women sing (ihi).
Another label which I considered possible
for GD98 was tuku:
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Tuku
1. To leave
something lying spread on
the ground; to spread,
unfurl, unroll something on
the ground; tukuga,
mat spread on the ground;
tukuga tagata, mat on
which have been put pieces
of cooked human flesh. 2.
Tuku kupega, a fishing
technique: two men drag
along the top of a fishing
net doubled up, spread out
on the bottom of a small
cove, trapping the fish into
the net; tukutuku, to
fish while swimming, holding
a basket-shaped net. 3.
Tuku huri, to sit with
one's buttocks resting on
one's heels, soles flat on
the ground. Figuratively:
ka tuku! pay attention!
(literally: sit still!). 4.
Tuku rîu, to sit in
the posture typical of choir
singers in rîu
festivals or singing
festivals in general, which
was sitting on one's heels.
Tukuturi, to sit with
one's buttocks resting on
one's heels, soles flat on
the ground. Vanaga.
To give,
to let go, to deliver, to
accord, to go back to the
boat, to dedicate; rima
tuku, to bend at the
elbow (? tuke). P
Pau.: tuku, to lay
down, to place, to deliver
up. Mgv.: tuku, to
give, to deliver, to let
alone. Mq.: tuku, to
give, to let go. Ta.: tuu,
id. Tukuga, plate,
ladle, pottinger, legacy, to
dedicate (tukaga).
Churchill.
H.:
Ku'u ku'u 1. Redup. of
ku'u 1; to let down
gradually, slack off a
little at a time. See ala
ku'uku'u. Ho'o
ku'uku'u lenient,
permissive; to pay out, as a
fishline. Kī ho'oku'uku'u,
slack key, as on a guitar (kī
hō'alu is more common).
Ua ho'oku'uku'u loa na
mākua i keiki, parents
are too lenient with
children. (PPN tukutuku.)
2.Small, short-legged
spider, so called because it
lowers itself (ku'u)
on a single string fiber.
Ke alanui a ke ku'uku'u,
the path of the spider (a
name for the Equator).
Ho'o ku'u ku'u, same as
above. 3. Boomerang.
'U'uku, tiny, small;
few. 'U'uku iho,
undersized, smaller. Ho'o
'u'uku, to make small,
reduce, lessen. Wehewehe.
Maori:
tuku, to
subside, to settle down.
Tahiti:
tuutuu, to
slacken or ease a rope.
Hawaii:
kuu, to let
down, to slacken. Tonga:
tuku, to
slacken, to let go as a
rope;
tukutuku, to
sink in the sea. Futuna:
tuku, to put
down. Niuē:
tuku, to bury.
Rarotonga: tuku, to
let down, to let out, to
drop down. Mangareva:
tuku, to throw the
fishing net of fillet.
Paumotu: tuku, to lay
down. Sikayana: tuku,
to put down. Nukuoro:
tuku, to permit, to
allow. Manahiki, Fakaafo:
tuku, to place. Nuguria:
tuku, to set.
Rapanui: tuku, to
give, to accord. Churchill
2. |
To leave something lying
spread on the ground sounds like the dead
body of the sun after the feast.
We leave these speculations and return to
the glyphs.
Kb4-10 has a design which looks closer to
that in Aa8-85:
There are 3 'passengers'
in Kb4-10 and the 'canoe' is like waning
moon. The numbers give help: 10 means (I
guess) finished, i.e. the period with 3
subperiods is 'moving away'.
18 presumably marks
the end of the solar year and the 2 'sails'
means that both half-years are 'on board'.
The Kb4-18 canoe is high up
in the glyph line, a way to tell us that we
have reached the top of the solar year. The
summit (sun-mit) is balancing between waning
and waxing and therefore the outline of the
canoe is symmetric and seen as if from
below.
The 29th period in K (given that we do not
fuse together period 16 with period 17) is
closely connected with the '30'th period:
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29 |
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Kb4-10 |
Kb4-11 |
Kb4-12 |
Kb4-13 |
Kb4-14 |
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'30' |
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Kb4-15 |
Kb4-16 |
Kb4-17 |
Kb4-18 |
Kb4-19 |
I
have here added Kb4-19 although I earlier
have regarded it
as beyond 'period number 30'. The inverted
henua ora tells about (I have guessed)
the new life, which probably explains the
lost head of the 'person'.
The synodic month has a
length of ca 29½ days. It would therefore be
appropriate to locate the finish (Kb4-18)
halfway into 'period 30'. Given that, we
ought to find 2 more glyphs at right (beyond
Kb4-19). But that is not the case, because
in Barthel's description of line Kb4 there
is no obliterated glyph beyond Kb4-19 - it
is the last glyph in the line.
Therefore I believe the
10 glyphs above are to be regarded as a
group.
It
seems all very orderly and possible to
understand. With confidence we return to the
similar situation when the 1st half year is finished:
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16 |
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Kb1-7 |
Kb1-8 |
Kb1-9 |
Kb1-10 |
Kb1-11 |
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Kb1-12 |
Kb1-13 |
Kb1-14 |
Kb1-15 |
Kb1-16 |
I
have here subtracted the glyphs
beyond Kb1-16 - they are destroyed and the
numbers also tell me to subtract - the 16th period and
glyph number 16 in the line. Moreover, 10
glyphs is used at the end of the year
(Kb4-10--19).
Kb1-13 ought to mark the end
of the 1st half year. The canoe is oriented
at 'sun-mit' and the 2 'passengers'
indirectly announce how the waxing phase is
at its end; they 'sit' to the right of the
'canoe' and the waxing phase - south of
the equator - has the form of the letter C.
In Kb1-9, on the other hand,
the 'sails' are oriented to show waning
phase, supposedly of the 1st half year:
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distance 4 |
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Kb1-9 |
Kb1-13 |
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distance 8 |
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Kb4-10 |
Kb4-18 |
Both at the end of the 1st
and at the end of the 2nd half year the
waning phase is shown in the '3-passenger
canoe', while in the 'summit canoes' the 2
'sails' seem to indirectly indicate waxing
phase (Kb1-13) respectively waning phase
(Kb4-18). However, the 'canoes' in Kb1-13
and Kb4-18 directly tell us not to think
about waxing or waning. Instead, the symmetric
'canoe' with 'sails' at right probably tells
about the middle of the year, while 'sails'
at left probably tells about the end of
the year.
29½ divided by 2 results in 14¾.
Yet we find both Kb1-9 and Kb1-13 in
period 16. Wouldn't it be more harmonious to
have them in period 15?
The system with
calendars using 'years' (i.e. half-years)
appear even more clear if we compare period
15 with the similarly located period 28:
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15 |
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Kb1-4 |
Kb1-5 |
Kb1-6 |
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28 |
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Kb4-6 |
Kb4-7 |
Kb4-8 |
Kb4-9 |
The upward pointing wedges
inside the two 'summit canoes' in Kb1-4--5
can be contrasted with the downward wedges
inside the single 'summit canoe' in Kb4-8.
Here 'up' presumably means the high position
of sun, while down presumably means the low
position of sun.
While 'up' in the glyph line
for the 'light summit canoe' (in Kb4-18)
occurs in midwinter, the 'up' inside the 'dark
summit canoes' (Kb1-4--5) occurs at the
height of the sun. Inside implies reversal.
Can we continue
one step further, comparing period 14 (from 27/2
= 13½ = 14) with period 27? Possibly, but we
cannot yet understand the glyphs enough to
tell for sure.
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13 |
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Ka5-13 |
Ka5-14 |
Kb1-1 |
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14 |
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Kb1-2 |
Kb1-3 |
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27 |
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Kb4-1 |
Kb4-2 |
Kb4-3 |
Kb4-4 |
Kb4-5 |
Barthel's
description of the end of line Ka5 agrees
exactly with how Fischer has depicted it.
Therefore, it is quite possible that the
headless state of the 'person' in Ka5-13 was
intentionally drawn so (while the missing
parts in Kb4-1 and Kb4-3 presumably are just
the effects of time). The similarities
between Ka5-13 and Kb4-19 are obvious:
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13 |
|
'30' |
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|
Ka5-13 |
Kb4-19 |
In Ka5-13 two maro
feathers indicate 'finish', while in Kb4-19
the opposite message is conveyed by reversed
henua ora.
Kb1-1 consequently not only is located at
the beginning of side 2 of London Tablet,
but also marks the beginning of the 2nd
'year'. The rei miro in Ka5-14 is
'stripped of its signs of life' and the
'person' in Kb1-1 is decapitated.
The design of glyphs are relatively secure ground compared
with my numerical fancies. Let us therefore
return to them and see if they survive.
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