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) |