TRANSLATIONS

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The link 'an overview' has as its overt purpose to try to solve the problem of whether Sun returns from Hiva (the Underworld) directly to us through the hole in the east or whether instead we should regard it from the perspective of the year, i.e. that he first will stay with his winter maid before arriving to us.

The first page (with underpage):

 

Below is a structure which can be read as the nights of spring:

Ya1-1 (70) Ya1-2 Ya1-3
Ya1-4 Ya1-5 Ya1-6
Ya2-1 Ya2-2 Ya2-3 Ya2-4
Ya2-5 Ya2-6 (180)

The beginning comes with the 1st glyph on the snuff box, Ya1-1. Its 'day number' is 70 because we have to add 6 glyphs covering the time from winter solstice:

Yb3-1 Yb3-2 Yb3-3 Yb3-4 Yb3-5 Yb3-6 (60)

Presumably the 3 'balls' in Ya1-1 alludes to several interconnected ideas. One obvious is Nga Kope Ririva, the 3 youths standing out there in the water (i.e. the three rocks standing outside the southwest corner of Easter Island and which is the landmark of the island when arriving over the sea).

When manu tara birds returned in spring and time had arrived to search for their first eggs it was the major event of the year. It defined the arrival of the new year and should be the obvious choice for creating the glyph image at Ya1-1.

Furthermore, manu tara is a sea swallow and swallows were used symbolically as announcers of spring. Such a bird is on the lookout for dawn in front of the ship of pharaoh sailing in the Underworld (picture from Wilkinson):

The word swallow can be understood to refer to how the soul (in form of a bird) travels after having been swallowed at the horizon in the west. Of course it will then be on the lookout for the other hole at the horizon in the east, the 'reversed vaha kai'. Swallows are insectivores and insects embody the souls waiting to be reborn.

... The dream soul passes the 'white sand' (one tea) without paying attention to the crater and quarry of Rano Raraku, of outstanding importance in the history of Easter Island. Then the dream soul passes the 'bay of flies' (hanga takaura), east of Hanga Nui, and climbs up to the barren height of Poike (compare MAO. poike 'place aloft') with the summits Pua Katiki and the 'white mountain' (maunga teatea). The latter is a side crater in the northern flank of Poike ...

... From a religious point of view, the high regard for flies, whose increase or reduction causes a similar increase or reduction in the size of the human population, is interesting, even more so because swarms of flies are often a real nuisance on Easter Island, something most visitors have commented on in vivid language. The explanation seems to be that there is a parallel relationship between flies and human souls, in this case, the souls of the unborn. There is a widespread belief throughout Polynesia that insects are the embodiment of numinous beings, such as gods or the spirits of the dead, and this concept extends into Southeast Asia, where insects are seen as the embodiment of the soul ...

 

 

In my chapter for manu kake I have cited Buck, which has given us his description of 'the annual Derby'. It is instructive to compare his matter-of-fact version with that in Hancock 3:

"On the south-western tip of Easter Island, at Orongo, up near the ragged edge of the Rano Kau crater, are four small holes very precisely pecked through the bedrock just beside a large Ahu. Since Orongo is known to have been an important ritual centre, these holes attracted the attention of the Norwegian Archaeological Expedition which visited the island in 1955-56. They were studied by Dr Edwin Ferdon. After making detailed observations at the solstices and the equinoxes he concluded: 'it can definitely be stated that the complex of four holes constituted a sun-observation device'.

As well as one Ahu, Orongo also formerly had one Moai, a unique specimen, carved out of basalt, that was removed to the British Museum in 1868. Perched on a headland with a precipitous drop to the ocean on one side and the gigantic, reed-filled crater of Rano Kau on the other, the main remaining feature of the site is a conglomeration of 54 squat oval houses with massively thick walls of horizontal stone slabs and domed corbel-vaulted ceilings.

The ritual that took place in this setting was the annual 'birdman' contest which was held each September - the month of the spring equinox in the southern hemisphere. The origins of this apparently bizarre ceremony are entirely unknown. Its centrepiece was a physical quest for the egg of a sooty tern and specifically for the first tern's egg of the season to be laid on the bird island of Moto-Nui which stands offshore just under a mile to the south-west of the Orongo headland.

The quest was undertaken on behalf of noble patrons by young champions called hopu manu ('servants of the bird') and officiated by the learned keepers of the inscribed Rongorongo tablets. On a signal from these scribes the hopu manu clambered down the cliffs of Orongo and paddled themselves out to the island on small conical reed floats called pora.

The first to return with a sooty tern's egg would then hand it triumphantly to his patron, who would forthwith be declared the 'Tangatu-Manu' - the sacred 'birdman'. He would be honoured as a king throughout the following year, during which he would shave his head and paint it bright red. At the same time a curious petroglyph of a long-beaked bird-headed man would be carved to represent him on the rocks of Orongo."

The 'servants of the bird', hopu manu, is a somewhat misleading translation. The main word is hopu which means 'to bathe':

Hopu

1. To wash oneself, to bathe, 2. Aid, helper, in the following expressions: hopu kupega, those who help the motuha o te hopu kupega in handling the fishing nets; hopu manu, those who served the tagata manu and, upon finding the first manutara egg, took it to Orongo. Vanaga.

Bath; to bathe, to cleanse (hoopu). Pau.: hopu, bath; to bathe. Ta.: hopu, to dive. Churchill.

Mq.: hopu, to embrace, to clasp about the body. Ma.: hopu, to catch, to seize. Churchill.

Tara (in manu tara) probably is related to our tara glyph:

The summary at tara:

 
The standard tara glyph type - without extra signs in form of 'toes', 'deformities' etc - stands at winter solstice and means 'point of return'.
 
The humpback whales coming up from the depths of the sea, surfacing for a moment, then to dive down again, offer a picture of what tara means - one movement (up) will not continue forever. After a while the reversed movement (down) will come.
 
Another picture is the pendulum, where one movement inevitably will come to full stop, then to reverse - a dynamic cyclical pattern.
 
Or like sailing in a canoe when there are moments where the movement must stop in order to tack and continue forward in the opposite direction.

Tara means 'thorn, spike, corner' etc. The new year appears - becomes visible - when the 'canoe' arrives at the southwest corner of the island. That is where Hotu Matua arrived.

Tara

1. Thorn: tara miro. 2. Spur: tara moa. 3. Corner; te tara o te hare, corner of house; tara o te ahu, corner of ahu. Vanaga.

(1. Dollar; moni tara, id.) 2. Thorn, spike, horn; taratara, prickly, rough, full of rocks. P Pau.: taratara, a ray, a beam; tare, a spine, a thorn. Mgv.: tara, spine, thorn, horn, crest, fishbone. Mq.: taá, spine, needle, thorn, sharp point, dart, harpoon; taa, the corner of a house, angle. Ta.: tara, spine, horn, spur, the corner of a house, angle. Sa.: tala, the round end of a house. Ma.: tara, the side wall of a house. 3. To announce, to proclaim, to promulgate, to call, to slander; tatara, to make a genealogy. P Pau.: fakatara, to enjoin. Mq.: taá, to cry, to call. 4. Mgv.: tara, a species of banana. Mq.: taa, a plant, a bird. Ma.: tara, a bird. 5. Ta.: tara, enchantment. Ma.: tara, an incantation. 6. Ta.: tara, to untie. Sa.: tala, id. Ha.: kala, id. Churchill

There he untied (tara) the two canoes from each other

... The two hulls were no longer kept lashed together (i.e., they were separated for the rest of the journey). Hotu called out to the canoe of the queen: 'Steer the canoe to the left side when you sail in. Teke will jump over on board (your) canoe to work his mana when you sail through the fishing grounds!'

Teke jumped on board the second canoe, (that) of the queen. The king's canoe sailed to the right, the queen's to the left. Honga worked his mana in the fishing grounds. (List of five fishing grounds that belong to Hotu and Honga.) Teke worked his mana in the fishing grounds to the left side. (List of nine fishing grounds that belong to Hotu and Teke.)

The men on board the royal canoe looked out from Varinga Te Toremo (the northeastern cape of the Poike peninsula). Then they saw the canoe of the queen, the canoe of Ava Rei Pua, as it reached Papa Te Kena (on the northern shore, east of Hanga Oteo). Honga came and gazed in the direction below (i.e., toward the west). He called out to the noteworthy ruler (? ariki motongi) Hotu: 'There is the canoe of the queen! It will be the first one to land!' ...

Hotu Matua went one way and his queen the other way. Together they encompassed the whole island. They were no longer united, they were untied. In between them the land appeared. It is the old myth about Ragi and Papa being separated to let in the light.

The geography of the island has Nga Kope Ririva located at the southwest corner. That is the direction of the setting sun, his way to the Underworld. When he returns again it is from the same direction. He does not appear at the horizon in the east. This means Nga Kope Ririva is referring to the yearly return of the sun king, not to his return as a baby in the northeast.

Though, to break the shell of an egg the little one inside also needs a tara - an eggtoth:

Everything belongs together in the old world of magic. There was no shortsighted analytic view of the world, images are wholes and should be perceived as such.

This ancient marvellous world view was basically the same all over the world. It was so important for survival that it accompanied man wherever he went. It was like the fire.

So far we have only had glimpses of it. We need to tie them together and therefore we must here also repeat a story about Raven:

... In the morning of the world, there was nothing but water. The Loon was calling, and the old man who at that time bore the Raven's name, Nangkilstlas, asked her why. 'The gods are homeless', the Loon replied. 'I'll see to it', said the old man, without moving from the fire in his house on the floor of the sea.

Then as the old man continued to lie by his fire, the Raven flew over the sea. The clouds broke. He flew upward, drove his beak into the sky and scrambled over the rim to the upper world. There he discovered a town, and in one of the houses a woman had just given birth. The Raven stole the skin and form of the newborn child. Then he began to cry for solid food, but he was offered only mother's milk. That night, he passed through the town stealing an eye from each inhabitant. Back in his foster parents' house, he roasted the eyes in the coals and ate them, laughing. Then he returned to his cradle, full and warm.

He had not seen the old woman watching him from the corner - the one who never slept and who never moved because she was stone from the waist down. Next morning, amid the wailing that engulfed the town, she told what she had seen. The one-eyed people of the sky dressed in their dancing clothes, paddled the child out to mid-heaven in their canoe and pitched him over the side. He turned round and round to the right as he fell from the sky back to the water. Still in his cradle, he floated on the sea. Then he bumped against something solid. 'Your illustrious grandfather asks you in', said a voice. The Raven saw nothing. He heard the same voice again, and then again, but still he saw nothing but water. Then he peered through the hole in his marten-skin blanket. Beside him was a grebe.

'Your illustrious grandfather asks you in', said the grebe and dived. Level with the waves beside him, the Raven discovered the top of a housepole made of stone. He untied himself from his cradle and climbed down the pole to the lowermost figure. Hala qaattsi ttakkin-gha, a voice said: 'Come inside, my grandson.' Behind the fire, at the rear of the house, was an old man white as a gull. 'I have something to lend you', said the old man. 'I have something to tell you as well. Dii hau dang iiji: I am you.'

Slender bluegreen things with wings were moving between the screens at the back of the house. Waa'asing dang iiji, said the old man again: 'That also is you.' The old man gave the Raven two small sticks, like gambling sticks, one black, one multicoloured. He gave him instructions to bite them apart in a certain way and told him to spit the pieces at one another on the surface of the sea. The Raven climbed back up the pole, where he promptly did things backwards, just to see if something interesting would occur, and the pieces bounced apart. It may well be some bits were lost. But when he gathered  what he could and tried again - and this time followed the instructions he had been given - the pieces stuck and rumpled and grew to become the mainland and Haida Gwaii ...

These gambling sticks which had to be bit apart, then to sail on the surface of the sea, resemble (not by accident) the two parts of the double-canoe of Hotu Matua. The black stick is the stick of night and the multicoloured one is the stick of day.

But for the Haida Gwaii the story was told from the other direction: Land grew because the pieces stuck together, tied instead of untied. I think the opposite Easter Island version is an adaptation to local 'geography'.

In ancient Egypt the uniting of the two parts of 'land' was illustrated thus:

Wilkinson says that the coloured sign means 'uniting', sema. On top is Ramses III and he as king is uniting upper and lower Egypt. Horus (left) should be the day (the upper part) and Seth the night, the lower part close to the sea.

The word sema is related to hemi (in hemisphere), to demi (in demigod), to semi (in semicircle), and also to words with the first vowel as a instead of e:

"... Skr. sāmi, and OS. sām-, OHG. sāmi-, OE. sām- (as in sambærned half-burnt, samcwic 'half-alive', half-dead, samsoden partly cooked ..." (English Etymology)

Sticks we will be able to return to at toki.

The current topic is instead the 3 rocks. I have one more story (The Consequence) to cite, from Tongatapu and from Legends of the South Seas:

"Listen, you of enlightended minds, // While I tell you a tale of the shore. // Two sisters who lived together Hava and Ila, // They were wives of Naa ana moana. // They lived together then they quarrelled. // What a sad thing is jealousy - Ala!

Here in Tongatapu long ago a chief named Naa ana moana had two wives who were sisters, Hava and Ila. They-two came from across the sea at Nukunukumotu, and Ila was the favourite wife.

These wives went fishing for Naa's food, they always tried to please him with their catch. When there was a raui on fishing in the lagoon, they went out on the reef for crabs. But the time came for the raui to be lifted, therefore they tied up leaves for torches and went nightfishing in the lagoon once more. But they went off separately, those two.

Hava went along the shore past the mangroves and Ila went on the shallow part of the lagoon. With their spears and torches they looked for good food.

Beyond the mangroves, Hava came to a cave in the land, and in that cave she found a hole that was covered with a stone.

Came and opened it, // She thought it was a crab-hole. // Looking in she saw the fish with pouting mouths. // Brought her basket, // Opened it out, // Chose the biggest fish, // Lifted up her load, // Wishing to have something to take to her husband.

Indeed Hava lifted the stone from that hole and found that it was filled with mullet: all the mullet of the world were in that hole. Therefore she fetched her basket and picked out the biggest fish and took them to Naa. When she had gone the hole was teeming with mullet again.

Now Ila her sister brought home only crabs that night, and when she saw the many mullet which Naa was scaling and cutting she was jealous, for Naa was pleased with Hava.

Those wives again went fishing on another night, and Ila thought there was something Hava knew. They-two went down to the mangroves and they fished there for a while. Then Ila set off for her lagoon-place again, and seeing her go, Hava left her torch burning on a mangrove tree and went on to her cave.

Ila also deceived her sister. She too left her torch burning in a mangrove tree, and in the dark she followed Hava.

And Hava, thinking that she was alone, went in and lifted up the stone and filled her basket to the brim with fish. Then she returned to her husband.

Ila went in also and lifted the stone, she filled her basket with fish to take to Naa. But she was angry with Hava, angry because of her secret. Therefore she threw away the stone and called to the fish: 'You come out and you go!'

And all those mullet came, they streamed in thousands from the hole and leapt into the sea. They were the first mullet in the world.

When Hava reached their house at midnight she was cold. She therefore put on clothes while Naa cleaned the fish. But while he was doing that Hava heard a great rushing sound like thunder and she cried. 'The fish! The mullet! They have all been let out by Ila!'

Straight off she rushed, she dashed out in the night to prevent her mullet from escaping.

She looked for rocks to block their way, that woman. And with her hands indeed she pulled in the islands Kanatea and Nuku to close the cave. When they would not do so she pulled Houmaniu close. The the teeming fishes turned in their flight and like a wind they rushed to the other shore, which caused the small bay which is there today.

Then Hava seeing them escaping pulled with all her strength at Toa as well, but the fishes sped back to Folaha, and dented that shore also with their rushing force.

Still Hava persevered, she pulled the ends of the land, Haaloausi and Haoumatoloa. She also tugged at Mataaho, the island where the giant ironwood tree is growing; but that tree would not move:

Was nearly dragged along the toa tree; // But the fish turned, // Which made the inlet at Lifuka, // And the inlet at Faihavata, // And the beach at Fatufala - Ala!

Pulled out Haaloausi, // Turned the fish to the other side, // Which caused the inlet at Umusi // Near to the rock called Tuungasili, // Afterwards known as Tui - Ala!

When daylight came and the flowing of the fish had not been stopped Hava grew intensely angry, she cried out to her own land across the sea, to Nukunukumotu, for all her people to come and catch the fish.

All the Nukunukumotu stood and waited for the fish, but they escaped at Fota, Nukunukumotu could not stop them, those mullet utterly escaped.

Then indeed Hava turned herself into a coral rock. And the mullet escaped and increased, and mullet thenceforward were everywhere.

After this Hava was a coral rock for ever, but her husband joined her. From his love for her, Naa also became a stone. And Ila said what is the use of living and became a stone as well.

They are standing together in the lagoon-entrance of Tanumapopo, Hava on the one side and Ila on the other, and Naa ana moana in between them. This is true."