TRANSLATIONS

next page previous page up home

Next pages:

 

These are the toki glyphs I once located in the G text, and obviously they are of two kinds, the single glyph at the beginning of line a2 on one hand and on the other hand the remaining 2 + 4 = 6 glyphs spread out from ordinal number 200 to 219 (counted from Gb8-30):

Ga2-1 (32)
Ga7-30 (200) Ga7-34
Ga8-4 Ga8-9 Ga8-12 (216) Ga8-15

32 is equal to 2 * 2 * 2 * 2 * 2, and a geometric progression of growth can also be imagined in the order perceived for these 1 + 2 + 4 toki glyphs.

However, the last glyph (Ga8-15) should not be counted together with the other 1 + 2 + 3 = 6 glyphs. Its toki sign is different - a broad and 'wellfed' ('pregnant') type which indicates a new season has arrived. The progression is arithmetical.

In my glyph catalogue I have warned the user to also search for toki signs in other places, and therefore we should take a quick look at GD32 (hakaturou), GD51 (hipu), GD57 (rima aueue), GD78 (vaero), and GD84 (rona). This will be done in a separate page.

 

 

I have redmarked 3 glyphs which for me appear to suggest toki signs, but it is hard to judge:

Ga2-11 (42) Ga7-2 Ga7-9 Ga8-16 Gb1-1 Gb1-10
 
Gb1-13 Gb1-18 (248) Gb2-15 Gb2-29 Gb2-30
Ga3-7 Ga7-33 (203) Gb2-27 Gb3-30 Gb4-17 Gb4-30
Gb5-3 Gb5-12 Gb6-18 Gb7-26 Gb8-3 Gb8-6
 
Gb8-7
Ga1-29 Gb4-22 Gb5-5 Gb8-19
Ga4-18
Gb1-13

 

8 stations are apparently initiated with tagata toki in Ga2-1 and below I have redmarked 7 glyphs and blackmarked 1. Furthermore, I have tried to give an overview by ordering the glyphs after the best of my ability:

Ga2-1 (96) Ga2-2 Ga2-3 Ga2-4
Ga2-5 (100) Ga2-6 Ga2-7 Ga2-8 Ga2-9 Ga2-10
Ga2-11 Ga2-12 Ga2-13 Ga2-14 Ga2-15 Ga2-16 (111)

The redmarked toga variants with open hands (instead of the normal Y-sign) seem to be a characteristic of glyph line a2. They are ordered in pairs according to the design of their left parts. Though Ga2-8 and Ga2-10 also form a pair by cause of their thicker thumbs and reversed hand orientations. This 'double-talk' enables us to identify tagata in Ga2-7 as important. He stands at the beginning of the last 4 of 10 glyphs. His left mata has gone and his left arm is formed into a Rogo sign (cfr Ca4-8 commented upon at koti). Probably the first 10 glyphs in line a2 form a list of 5 double months.

The last of the redmarked glyphs could allude to 216 (= 6 * 6 * 6), which perhaps is a sign telling us that the sequence is ending here. With ordinal number 17 ('one more' than 472 / 29.5) a new 'sentence' begins:

Ga2-17 Ga2-18 Ga2-19 Ga2-20
Ga2-21 Ga2-22 Ga2-23 (118)

Ariki in Ga2-21 has no feathers on his head. Counted from Rogo in Gb6-26 four dark months are ending (4 * 29 = 116), but a more exact measure is 4 * 29.5 = 118 where haś informs us in detail of what is ending. The number of feather marks are 4 (dots) + 2 (great) + 8 (normal) + 2 (dots) = 16.

Moreover, if we count by the moon - from tamaiti in Gb7-3 - then we will find that light is generated at Ga2-26:

61 50
Gb6-26 (1) Gb8-29 Gb8-30 (64) Gb8-30 (65) Ga2-21 (116)
56 55
Gb7-3 (1) Gb8-29 Gb8-30 (59) Gb8-30 (60) Ga2-26 (116)

Counting from Gb8-30 and adding 64 will give Ga2-16 ordinal number 111, which - we can suspect - means 3 (toru) as in the number of next glyph line. It can also allude to Nga Kope Ririva.

Ga2-11 Ga2-12 Ga2-13 Ga2-14 Ga2-15 Ga2-16 (111)

Hakaturou in Ga2-11 apparently has an upside down toki sign, of that we can be fairly sure because of its position in station number 1 beyond those 10 for the Sun. With 6 more added to the 10 Sun stations we will reach the number for the full cycle (16).

The end is a new beginning and the last 10 glyphs of line a2 will carry us to the 'fire generator' and to number 26. At the top end of the last 3 glyphs fingers are shown, which ought to refer to the 'fire' of Spring Sun:

Ga2-24 Ga2-25 Ga2-26 (121)

The following 3 glyphs are evidently introducing the 3rd (toru) line:

Ga2-27 Ga2-28 Ga2-29 (124)
298
Ga3-1 Gb5-6 (424)
300

The idea of toki as a symbol for male (Sun) power and an instrument of renewal gains support from tagata toki in Ga2-1. Hakaturou with an upside down toki (pointed like a fishhook) could refer to the Moon.

 

 

Among a total of 44 glyphs of this type 18 are in line a2. If we in order to be fair exclude those in G, the numbers change to 10 out of 36:

Aa2-13 Aa2-24 Aa2-27
Bb10-37 Bb11-40 Bb12-12 Bb12-20
Ca2-13
Da4-112 Db2-109 Db3-107
Eb5-15 Eb8-2 Eb8-5 Eb8-18
Ga2-2 Ga2-4 Ga2-6 Ga2-8
Ga2-10 Ga2-12 Ga2-16 Ga2-24
Ha1-37 Ha2-10
I2-61 I5-23 I6-132
I7-131 I11-147 I13-165
Ka2-12 Ka2-14 Ka3-4 Ka3-12
Pa2-3 Pa4-52
Ra4-24 Rb2-15 Rb8-16 Rb8-17
Sa7-416 Sb3-203
Ua2-103

 

According to Manuscript E (and Barthel 2) the kuhane (dream soul) of Hau Maka first arrived to the 3 rocky islets outside the southwest corner of Easter Island before she reached the mainland:

... The dream soul of Hau Maka countinued her journey and, thanks to her mana, reached another land. She descended on one of the small islets (off) the coast. The dream soul of Hau Maka looked around and said: 'These are his three young men.' She named the three islets 'the handsome youths of Te Taanga, who are standing in the water'.

The dream soul of Hau Maka continued her journey and went ashore on the (actual Easter) Island ...

I have earlier argued (cfr at poporo) for a connection between these 3 islets and the maitaki glyph in Ga7-8:

31
Ga7-5 Ga7-6 Ga7-7 (177) Ga7-8 Ga7-9 Ga7-10

Maitaki comes immediately after a henua ora which identifies 6 * 29.5 = day number 177 according to the moon (and counted from Gb8-30). 8 + 8 feathers makes this identification quite certain. It is the last (31st) of the regular 'henua periods'. And ariki in Ga7-6 marks the end of 8 months counted from Rogo:

114 123
Gb6-26 Ga2-21 Ga7-6
116 = 4 * 29 124 = 4 * 31
240 = 8 * 30

If we add 59 to 177 (i.e. count from tamaiti in Gb7-3) we will reach 8 * 29.5 = 236 at Ga7-7, which agrees with 8 + 8 feathers. It means maitaki in Ga7-8 will correspond to day 237, or the 1st day of the 2nd half of 472 days.

The 3 rocky islets are not named after Hau Maka, they belong to an earlier 'generation', to Taanga (which sounds very much like Taranga, the mother of Maui tikitiki a Taranga). Possibly the 'front side' stretches to day 192 (= 8 * 32 - 64). Or maybe to Ga7-34 where we can count 73 * 4 = 292 and then continue to 2 * 92 = 184 (= 204 - 20). Several alternatives compete for our attention:

Ga7-11 Ga7-12 Ga7-13 Ga7-14 Ga7-15 Ga7-16 (186)
Ga7-17 Ga7-18 Ga7-19 Ga7-20 Ga7-21 Ga7-22
Ga7-23 Ga7-24 Ga7-25 Ga7-26 Ga7-27 (197) Ga7-28
Ga7-29 Ga7-30 Ga7-31 Ga7-32 Ga7-33 Ga7-34 (204)

When Moon takes over after Sun has done his job it is time for the stations of Hau Maka, the kuhane has reached the mainland.

The 'youths' (ga kope) are 'bursting' from the water (tutuu vai). One way to understand it is to imagine that 'hot spring' has fallen from his highest (like Ikaros) down into the sea - the rain period has arrived. The adult face of the sun is the rain and Sun is now a Rain God. Prior to that we can find 100 days 'free from clouds':

96
Ga3-17 (77) Ga3-18 Ga3-19 Ga7-6 Ga7-7 (177) Ga7-8
100

The 5 glyph lines Ga3--Ga7 do not belong to the Moon and the stations do not belong to Hau Maka. The period of rain (Moon) commences with the arrival of Matariki, the Pleiades (which in classical times were associated with rain).

If we count with doublemonths, we can associate also line Ga2 with spring sun, because he should have 3 doublemonths (a2-a3, a4-a5, a6-a7). To find an allusion to Nga Kope Ririva in number 111 counted from Rogo is therefore not unreasonable:

Ga2-11 Ga2-12 Ga2-13 Ga2-14 Ga2-15 Ga2-16 (111)

Let us finish this 'proof' with a peculiar children's game described some time ago in a locat newspaper (and fetched from an old book):

All the natives of the South Sea islands are great swimmers. Both men, women and children could almost be called amphibians, because they spend a good portion of their day swimming, diving, bathing and doing all those and similar sports in the midst of the breakers and the surging sea rolling in over the coral banks. The more the sea is heaving, the more the islander feels at home in this his right element. 

These islanders seem to be very fond of children, especially their neighbours', which they until quite recently did not hesitate to eat. That, in addition to the repulsive murder of their own children, especially as regards girls, results in a quite considerable reduction in their number. But otherwise the children are as merry and free from sorrow as their parents.

They learn to swim almost as soon as they begin to walk. The children are very amused by swinging and by sending up paper kites. They also have a rather peculiar game, which consists of keeping their eyes wide open with the help of a stiff straw of grass pushing their eye-lids apart.

The stiff straw is - I believe - the same type of sign as the vertical straight line in maitaki glyphs. It illustrates how the eye (mata) can be 'propped up' like the spring sky. The 3 mata in maitaki are the 3 sunny doublemonths of spring.

 

 

"Maui was the fifth and youngest of his parents' sons, yet when he was born his brothers knew nothing of it. They first learned that they had a brother when he was discovered one night standing behind them in the great meeting house.

Everyone was present, the four brothers, their mother Taranga, and all the relations, and there was dancing going on, when little Maui crept into the house unseen, and went and sat behind his brothers. When it came to their turn to dance, and their mother stood them up and counted the so as to be ready, he stood up with them.

'One, that's Maui mua; two, that's Maui roto; three, that's Maui taha; four, that's Maui pae', she said; these names mean Maui the first, Maui the middle, Maui the side, and Maui the edge. Then she saw this other child standing with them, and cried out, 'Hullo, where did this one come from?'

'I'm your child too', Maui replied. So she counted them again and said, 'Oh no, there ought to be only four of you. This is the first I've seen of you.'

And so there was a scene, with little Maui and the old woman arguing about it in the middle of the rows of dancers. In the end she became annoyed with him. 'Now, come on, out of the house!' she said. 'You are no child of mine, you belong to someone else. Go home!'

But little Maui stood up for himself. 'Well then, I'd better go, I suppose', he said. 'Since you say so, I must be someone else's child. But I did think I was yours, because I know I was born at the edge of the sea, and you cut off a tuft of your hair and wrapped me in it and threw me in the waves. After that the seaweed took care of me and I drifted about in the sea, wrapped in long tangles of kelp, until a breeze blew me on shore again, and some jelly-fish rolled themself around me to protect me on the sandy beach. Clouds of flies settled on me and I might have been eaten up by the maggots; flocks of seabirds came, and I might have been pecked to pieces. But then my great-ancestor Tama nui ki te rangi arrived. He saw the clouds of flies and all the birds, and he came and pulled away the jelly-fish, and there was I, a human being! Well, he picked me up and washed me and took me home, and hung me in the rafters in the warmth of the fire, and he saved my life. And I grew, and  eventually I heard about the dancing you have here in this house, and that is what brought me here tonight.'

Now Taranga listened to all this in amazement. For in the custom of our people, if a child was born before it finished growing in its mother's womb and died without knowing any of the pleasures of life, it was supposed to be buried with special prayers and ceremonies, otherwise it became a kind of evil spirit, always doing mischief to the human race and hurting them out of spite, because of having missed the happiness that they enjoy. All the evil spirits had a beginning of this sort. So Maui was a little demi-god of mischief. The story he had told was true, and as his mother listened she remembered it all.

'From the time I was in your womb,' Maui went on, 'I have known the names of these children of yours. Listen,' he said as he pointed to his brothers in turn. 'You are Maui mua, you are Maui roto, you are Maui taha, and you are Maui pae. And as for me, I am Maui potiki, Maui-the-last-born. And here I am.'

When he had finished, Taranga had to wipe her eyes because there were tears in them, and she said: 'You are indeed my lastborn son. You are the child of my old age. When I had you, no one knew, and what you have been saying is the truth. Well, as your were formed out of my topknot you can be Maui tikitiki a Taranga.'

So that became his name, meaning Maui-formed-in-the-topknot-of-Taranga. And this is very strange, because women in those days did not have topknots. The topknot was the most sacred part of a person, and only men had them."

(Maori Myths)

 

Taanga appears also at the beginning of Manuscript E. In the 'king list' (cfr at toga in the dictionary) he seems to appear twice:

ko oto uta 1 ko ataranga.a tuu kumā 6
ko tangaroa.a oto uta 2 ko harai.a ataranga 7
ko tiki hati.a tangaroa 3 ko taana.a harai 8
ko roroi.a tiki hati 4 ko matua.a taana 9
ko tuu kumā.a roroi 5 ko hotu.a matua 10

Ataranga should be at the beginning of spring, somewhere in the text of G:

96
Ga3-17 (77) Ga3-18 Ga3-19 Ga7-6 Ga7-7 (177) Ga7-8
100
114 123
Gb6-26 Ga2-21 Ga7-6
116 = 4 * 29 124 = 4 * 31
240 = 8 * 30
61 50
Gb6-26 (1) Gb8-29 Gb8-30 (64) Gb8-30 (65) Ga2-21 (116)
56 55
Gb7-3 (1) Gb8-29 Gb8-30 (59) Gb8-30 (60) Ga2-26 (116)

I have only 1 tara glyph in G, and it is Ga1-1 (a rather questionably identification). We can equally well propose that Ga2-26 is a tara glyph:

Ga1-1 tara Ga2-26