TRANSLATIONS

TRANSLATIONS

I will add *Qb6-25 as an example of hipu to my glyph catalogue. We can compare with e.g. Eb7-2, which hipu glyph we now can see contains a toki sign:


Eb6-31	Eb6-32	Eb6-33	Eb6-34

Eb6-35	Eb6-36	Eb7-1	Eb7-2 (548)

I must also add Eb7-2 as an example of toki.

In Gb5-12 (probably representing Hanga Te Pau) there is another hipu sign ('pau') and it too can be regarded as located at a fraction of a day (0.25):


Gb5-6	Gb5-7	Gb5-8	Gb5-9	Gb5-10	Gb5-11	Gb5-12
360	361	362	363	364	365	365.25


*Qb6-23	*Qb6-24 (640)	*Qb6-25	*Qb6-26
383½	384	384½	385

Maybe hipu ('calabash') means a fraction - i.e. only a part of a 'person', a 'child not yet born', not yet visible. Eb7-2 has ordinal number 548, which can be understood as 365 + 182½ + ½.

... And when his head was put in the fork of the tree, the tree bore fruit. It would not have had any fruit, had not the head of One Hunaphu been put in the fork of the tree. This is the calabash, as we call it today ...

The ancient Chinese did not count the circle as 360º but as 365.25º, and I also remember having read somewhere that they had an important time cycle of 1½ years.

If they thought of 1½ years as 1½ * 365.25 then their important cycle would be 547.875 days long. But they may have regarded 365.25 as only an approximation, or for some reason less ideal than 548 / 1.5 = 365⅓.

For instance is 3 * 365⅓ = 1096 (like a magic formula which 10 times turns the ominous 9 upside down into a 6). It may cast some light on Hb9-36 where 9 is also connected with 6 (times 6) and where the upside down top part has at bottom a partner with an opening in front:


Hb9-33	Hb9-34	Hb9-35	Hb9-36 (1096)	Hb9-37	Hb9-38
364			365 = 1098 / 3 - 1

However, I guess their important time cycle may have been 3 times 182.5 + ½ = 548 days long. Number 3 'engenders everything' and there is a need for a fraction (the 'germ' of something new):

3 nourishing legs represent a time of growth, I guess.

Large numbers (e.g. 548) are potentially more significant than small ones, because the probability of accidentally finding a large number once more is slight. Such a small number as 3, on the other hand, will appear everywhere by pure chance and one cannot draw any conclusions from finding it once more. If it occurs again and again and again, though, doubt creeps in.

But small numbers (e.g. 3) are generally more significant than larger ones, because they will associate to so many things. They carry heavy loads of meaning. Few bits of information cannot carry much according to information theory, but in life they do carry much meaning.

3 are the number of stars in the Belt of Orion, 3 are the rocks standing in the water (Nga Kope Ririva), there are 3 great pyramids at Gizah, 3 are the stones needed to put a cauldron on, etc, etc.

Thinking of the great pyramids at Gizah it is impossible to avoid thinking of the Belt of Orion (because it has been shown how these twin triplets once were arranged uniformly). The belief in correspondences has built a vast net of associations including such a number as 3. For instance is there room for a pattern 3 + 1 before Saturn arrives:

Numbers:	3			4	5
Elements:	fire	water	wood	metal	earth
Cardinal points:	south	north	east	west	middle
Planets:	Mars	Mercury	Jupiter	Venus	Saturn
Sense organ:	tongue	ear	eye	nose	mouth
Taste:	bitter	salty	sour	rank	sweet
Crop:	beans	hirs (Setaria)	wheat	hemp	hirs (Panicum)
Animal:	hen	pig	sheep	dog	ox
Colour:	red	black	bluegreen	white	yellow

It is easy to find number 3 and I will now give another example.

The first one encounters when reading The Whirlpool, a chapter in Hamlet's Mill, is:

"Tre volte il fe' girar con tutte l'acque // alla quarta voltar la poppa in suso // e la prora ire in giu, com'altrui piacque // Infin che'l mar fu sopra noi richiuso." (DANTE, Inferno.)

My Italian is poor, but I could understand that 3 times (tre volte) are mentioned at the begining. Something turned (fe' girar) 3 times, and water (acque) was involved. Then, in the 4th round (alla quarta voltar), something occurred, but I did not grasp what.

At pure I suggested that the metamorphoses in the life cycle of a butterfly (egg, caterpillar, pupa, and imago) were used to illustrate the changes over a year, and I quoted from English Etymology in order to get some perspective on 'pupa', the station before the buttery finally can can rise towards the sky:

pupa ... chrysalis ... modL. use by Linnæus (1758) of L. pūpa, doll; cfr PUPPET.

puppet ... †doll; (human) figure jointed and moving on strings or wires ... lathe-head ...

chrysalis ... form taken by an insect in the stage between larva and imago ... L. chrysal(l)is ... Gr. khrūsallis gold-coloured sheath of butterflies, f. khrūsós gold ...

imago ... (entom.) final stage of an insect ... Mod. use (by Linnæus, 1767) of L. imāgō IMAGE.

image ... artificial representation of an object, likeness, statue; (optical) counterpart ... mental representation ... rel. to IMITATE ...

The unknown meaning of Italian la poppa made me imagine it had something to do with a doll. In the center of an eye the black pupil will reflect a picture of the viewer, like a little doll, an image of himself.

... And then the bone spoke; it was there in the fork of the tree: Why do you want a mere bone, a round thing in the branches of a tree? said the head of One Hunaphu when it spoke to the maiden. You don't want it, she was told. I do want it, said the maiden. Very well. Stretch out your right hand here, so I can see it, said the bone. Yes, said the maiden. She stretched out her right hand, up there in front of the bone. And then the bone spit out its saliva, which landed squarely in the hand of the maiden.

And then she looked in her hand, she inspected it right away, but the bone's saliva wasn't in her hand. It is just a sign I have given you, my saliva, my spittle. This, my head, has nothing on it - just bone, nothing of meat. It's just the same with the head of a great lord: it's just the flesh that makes his face look good. And when he dies, people get frightened by his bones. After that, his son is like his saliva, his spittle, in his being, whether it be the son of a lord or the son of a craftsman, an orator.

The father does not disappear, but goes on being fulfilled. Neither dimmed nor destroyed is the face of a lord, a warrior, craftsman, an orator. Rather, he will leave his daughters and sons. So it is that I have done likewise through you ...

We can also consider the meaning of pupil - the one who follows in your footsteps. English Etymology:

pupil¹ ... orphan who is minor and hence a ward ... one under instruction ... L. pūpillus, -illa orphan, ward ... of pūpus boy, pūpa girl ...

pupil² ... circular opening in the iris of the eye ... L. pūpilla ... secondary dim. of pūpa, girl, doll, pupil of the eye ... The application of the L. words to the pupil of the eye is based on, or parallel to, that of Gr. kórē maiden, girl, doll, pupil (the allusion being to the tiny images of persons and things that may be seen therein) ...

Furthermore, one of the meanings of va'e (often equal to leg), is pupil.

Reading on a translation into English is given:

Dante kept to the tradition of the whirlpool as a significant end for great figures, even if here it comes ordained by Providence. Ulysses has sailed in his 'mad venture' beyond the limits of the world, and once he has crossed the ocean he sees a mountain looming far away, 'hazy with the distance, and so high I had never seen any.' It is the Mount of Purgatory, forbidden to mortals.

'We rejoiced, and soon it turned to tears, for from the new land a whirl was born, which smote our ship from the side. Three times it caused it to revolve with all the waters, on the forth to lift is stern on high, and the prow to go down, as Someone willed, until the sea had closed over us.' The 'many thoughted' Ulysses is on his way to immortality, even if it has to be Hell.

The engulfing whirlpool belongs to the stock-in-trade of ancient fable. It appears in the Odyssey as Charybdis in the straits of Messina - and again, in other cultures, in the Indian Ocean and in the Pacific. It is found there too, curiously enough, with the overhanging fig tree to whose boughs the hero can cling as the ship goes down, whether it be Satyavrata in India, or Kae in Tonga.

3 quarters in the light and 1 in darkness, I thought. The process of regeneration cannot be seen, a dark cloth hides it (like the sea water which folds over your head when you sink).

A canoe going down with prow first was also how the Mayans saw it. And only the stern of Argo is depicted in the sky.

The prow of a ship comes first and the stern at the end (mua respectively muri). The end must be the last part seen, and the 4th hidden stage comes beyond mua, roto, and muri.

The 4th hidden stage is not of this world. In the 29th night of the moon she is hidden in order to be regenerated. I have argued at hoea for Roto Iri Are to be a corresponding kuhane station. The day numbers should be raised by 1, though, because also Gb8-30 must be counted, and then we will find day number 383 at Gb5-29:

Roto Iri Are (13 * 29.5 = 383½)
					23
Gb4-33 (354)	Gb5-1	Gb5-2	Gb5-3	Gb5-4	23

Gb5-28	Gb5-29 (383)	Gb6-1	Gb6-2

The reversed hau tea at Gb5-1 shows how the last light has disappeared with the end of Hatinga Te Kohe (12 * 29.5 = 354). The sky roof has fallen down when the supporting pillar broke. At left in Gb6-1 is a tail formed like the waxing moon. Moon has been revitalized, while the head and front member of the bird in the preceding Gb5-29 are invisible.

Tagata in Gb6-2 possibly indicates the 31th day from the onset of the 'dark cloth' (or the disappearance of the 'great ship' below the surface of the water). The end of the solar year (by whatever measure used) lies in Roto Iri Are.

But at right in the central hua sign in Gb5-3 there are 3 feathers of fire (5), maybe illustrating the coming new sun (son) - beyond the mountains (mauga) in Gb5-4 and Gb5-28.

As to la poppa, English Etymology has the answer once again:

Poop ... stern of a ship ... It. poppa ... for L. puppis, stern.

Below I have rotated the picture (from Maya Cosmos) a quarter of a turn to the left in order to make more room for it on the page:

Behind the god who is paddling are 3 passengers, in front there are 2. The canoe is sinking to the alarm of those in front.

"At midnight the Milky Way was stretched across the sky from east to west in the form of the Cosmic Monster ... It suddenly occurred to me that this configuration could also be the canoe, and that during the four hours after midnight the Cosmic Monster canoe 'sinks' as the Milky Way turns and brings the three hearth stones of Orion to the zenith just before dawn ... (Maya Cosmos)

The blade of the paddle has a sign, and it can be recognized - I think - as a symbol for the Sun. It basically means 'yellow' (kan) but according to Gates it was also used instead of 'sun' (kin).

So, I deduce it is the Sun God who is paddling. He has 3 at his back and 2 in front, which I read as spring behind him and autumn in front. Although we are used to think of spring as coming before autumn it is possible to accept this picture - given that we think the year is beginning in high summer. The front of the year will then be autumn. The paddling Sun is located at high summer (in the middle of the year regarded as a canoe) and he will have the rainy season in front of him. He will primarily be a Rain God.

And primarily the canoe with its captain and passengers describes the year. Only by the logic of correspondences will it be possible to apply it to one aspect of the Milky Way.

... Miro-oone, model boat made of earth in which the 'boat festivals' used to be celebrated ... on the first day of the year the natives dress in navy uniforms and performs exercises which imitate the maneuvers of ships' crews ...

"... The Ship appears to have no bow ... Aratos wrote:

Sternforward Argō by the Great Dog's tail // Is drawn; for hers is not a usual course, // But backward turned she comes, as vessels do // When sailors have transposed the crooked stern // On entering harbour; all the ship reverse, // And gliding backward on the beach it grounds. // Sternforward thus is Jason's Argō drawn.

This loss of its bow is said to have occurred

... when Argō pass'd // Through Bosporus betwixt the justling rocks -

the Symplegades, the Cyanean (azure), or the Planctae Rocks at the mouth of the Euxine Sea. Yet Aratos may have thought it complete, for he wrote:

All Argō stands aloft in sky.

and

Part moves dim and starless from the prow // Up to the mast, but the rest is bright;

and it has often be so illustrated and described by artists and authors ..." (Allen)

We have seen that in rongorongo a glyph facing backwards as a rule defines the end (the 'poppa'), for instance in Gb8-5 and Qa6-26:


Gb7-31	Gb8-1	Gb8-2	Gb8-3	Gb8-4	Gb8-5


Qa6-26 (231)	Qa6-27	Qa6-28	Qa6-29	Qa6-30	Qa6-31 (236)

At ihe tau I have cited Starzecka:

…to enter a war canoe from either the stern or the prow was equivalent to a 'change of state or death'. Instead, the warrior had to cross the threshold of the side-strakes as a ritual entry into the body of his ancestor as represented by the canoe. The hull of the canoe was regarded as the backbone of their chief. In laments for dead chiefs, the deceased are often compared to broken canoes awash in the surf ...

When a ship goes down it therefore necessarily means its Captain (its head) must go down too.

To beach a sinking ship will save the situation. The front may be under water but the poop will remain on dry land. In Qa6-27 both arms are held high and the hands are like dry crotches.

When Aratos wrote that the Gread Dog's tail was drawing Argo backwards (a sign of 'back'-to-back) into a safe harbour it corresponds very well with what we can see in Gb5-29 and Gb6-1:

Roto Iri Are (13 * 29.5 = 383½)
					23
Gb4-33 (354)	Gb5-1	Gb5-2	Gb5-3	Gb5-4	23

Gb5-28	Gb5-29 (383)	Gb6-1	Gb6-2

The Great Dog ought to be Canis Major (with Sirius) which rises one hour earlier than Puppis (the Stern). The tail of the Great Dog explains the left part in Gb6-1 and as a whole the glyph will illustrate a dog. The similarity with the 'climber' coming 60 days later is evident:


Gb6-1 (384)	Gb8-2 (444)