TRANSLATIONS

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The glyphs surrounding Aa2-7:

 

Clearly the beginning of the new glyph line at Aa2-1 is the beginning of this sequence of events. There are 90 glyphs in line a1 and the last of them ends in a 'spooky' state:

Aa1-90 Aa2-1 Aa2-2 Aa2-3 Aa2-4 Aa2-5
kua oho. Ko te ohoga i vai ohata eko te nuku erua - no te tagata vero tahi
Aa2-6 Aa2-7 Aa2-8 Aa2-9 Aa2-10
ma te hupee ka pu te ipu ka pu - i te mahigo ka pu i te tamaiti e tai

At the 10th glyph (henua ora) it is all over. It ends in the 'sea' (tai). The ordinal number is 100.

The hipu sign at left in Aa2-7 contains a little sun child (tamaiti) not yet born, a separate entity from the tagata at right in the glyph. According to Metoro Aa2-7--9 is a triplet group ('ka pu'). In Aa2-9 the child (tamaiti) has been born. I have earlier classified the glyph as pito (navel string). In Aa2-8--9 we see the process of birth and in Aa2-10 comes death, of the mother?

Tagata in Aa2-6 (96 = 4 * 24 = 6 * 16) stands at the final of a cycle and the preceding glyphs tell about a dark sky (Aa2-4) above a great droplet. Aa2-2--3 describe a deep watery haga hole below which there is a world (nuku), the underworld.

In Aa2-1 the gesture of eating has not yet been developed, it is still a closed fist. Aa2-6--7 are standing en face, while in Aa2-8 time has started to move, to go (oho). The bent leg in Aa2-7 is mirrored in the bent leg of hakaturou in Aa2-8. There is a 'mirror' between Aa2-7 and Aa2-8, a break in time. Aa2-7 ends in a ghostly state, exactly as Aa1-90.

Aa2-10 is like a singularity, presumably located at day 50 (= 100 / 2). The newborn sun is blocked from view (cfr Aa2-9). With 2 glyphs per day it is apparent that Aa2-6--7 must be a pair (as day 48 = 96 / 2) - the 'mirror' between Aa2-7 and Aa2-8 effectively cuts time.

Summer (hora) is then announced in Aa2-11:

Aa2-11 Aa2-12 Aa2-13 Aa2-14 Aa2-15
ka hora ka tetea ki te rima ki te manu vaero ika - ma te kotokotona

 Next comes the glyphs around Aa6-43:

 

Dividing by 2 in order to reach the number of days will reveal that day 224 = 2 * 112 comes at glyph number 448, which is Aa6-32 (where 6 * 32 = 192 = 224 - 32). Then follow glyphs where Metoro said tokotokona - whatever it means it should be contrasted with his kotokotona at Aa2-15.

Aa6-31 Aa6-32 (448) Aa6-33 Aa6-34 Aa6-35 Aa6-36 Aa6-37 Aa6-38
te manu ariga piri erua ma te maitaki ko to tagata - mai te maitaki tokotokona ma te heke nuku ma to pare tokotokona i heke mata
Aa6-39 Aa6-40 Aa6-41 Aa6-42 Aa6-43 (459) Aa6-44 Aa6-45
a tau avaga ma to ihe kua hoko te rima kia ia etahi noho mata - kua hakanaganagana gagata - e kua rere te manu

A relationship between the glyphs around Aa6-43 and Aa2-7 has thereby been established - by tagata pau, by numbers, and by Metoro's words.

459 / 2 = 229.5 and day 230 will be Aa6-44--45. In the text of G day number 230 is at the beginning of side b:

Ga8-21 Ga8-22 Ga8-23 Ga8-24 Ga8-25
Ga8-26 Gb1-1 (230) Gb1-2 Gb1-3 Gb1-4

Aa6-43 is the last glyph 'on side a'. The correct procedure is, it seems, to count from Aa1-1 (as number 1) up to and including Aa6-43, but not to go any further. We can, however, also lean on the parallel text in R:Aa6-43 is the last glyph 'on side a'.

Ra2-14 Ra2-15 Ra2-16 Ra2-17 Ra2-18 Ra2-19
Ra2-20 Ra2-21 Ra2-22 Ra2-23 Ra2-24

In Ra2-21 a tagata pau stands en face, while the following Ra2-22 moves on. Destroyed glyphs earlier in the text makes it impossible to count the ordinal numbers.

Impossible or not, we can always try. A quick count through the glyphs of R results in the following table:

 

a1 30* b1 17*
a2 24 b2 24*
a3 30* b3 21*
a4 26* b4 23*
a5 30* b5 26*
a6 29* b6 33
a7 31* b7 29*
a8 26* b8 21*
sum 226* sum 194*

226 + 194 = 420 (and I admit that I at first reached 421). But 7 * 60 is a better number.

Ra2-20 will then be glyph number 50 and Ra2-21 number 51. I imagine that Ra2-22 (in an intact glyph line) must have position zero. Although R is a rather short text it appears that we maybe should count 2 glyphs per day also in R. But the glyphs seem to suggest that we should count 3! 420 / 3 = 140.

When Metoro said heke mata at Aa6-36 and Aa6-38 in contrast to heke nuku at Aa6-34, we can identify the probable main reason being the difference perceived at bottom left in the three glyphs. Nuku seems to imply the dark earth, while mata could mean light from fiery eyes:

 

Aa6-34 (450) Aa6-35 Aa6-36 Aa6-37 Aa6-38
tokotokona ma te heke nuku ma to pare tokotokona i heke mata

On the other hand the light fingers are turned downwards - not possible to see from above.

Maybe pare alludes to parera, the sea bottom. Down under the apron (pareu), in the crotch of mother earth (at Mahuika), everything is being dissolved.

A very straight henua at the bottom is a reality, though not possible to see. 'Ghosts' are open, very straight glyphs are real but invisible, normal glyphs are in between - they have closed perimeters but are not perfect. The ua billows at the top are drawn horizontally, because they describe the sea waves (not the vertical rain water).

 

Pare

Half raw, badly cooked. Parehaoga, food prepared in the earth oven (umu parehaoga) for a feast or for people whose help is needed for some work or for organizing a feast. Parehe, piece, bit; to fall, break into pieces. Parei, dirty, to have a dirty face and eyes, someone who gets up without washing. Parera, sea bottom. Vanaga.

Parehe, to break, a crack. Parei, 1.  (paré), dressed up. 2. To sparkle (of the eyes). Parera, 1. A shallow, a reef. 2. Deep water, profound, gulf; parera tai, deep sea; tai parera, high tide; hohonu parera, fathomless, unsoundable. 3. To lead astray. Hakaparera, to frighten, to scare. Pareu, skirt, apron. Mgv., Mq., Ta.: pareu, loincloth, apron. 4. Pau.: parego, to drown oneself. Ta.: paremo, drowned. Ma.: paremo, id. 5. Ta.: pare, a fort, a place of refuge. Ma.: parepare, a breastwork in a stockade. Churchill.

In Aa6-38 the middle 'finger' is drawn vertical, a sign functioning like a demarcation line. 6 * 38 = 228 = 12 * 19. But we have located Aa6-38 at 454 = day 227. Maybe we should start counting 2 glyphs earlier than at Aa1-1. This is an important question and we should visualize the situation.

I happened to notice that in S there is a sequence of glyphs including tagata pau:

 
Sa3-118 Sa3-119 Sa3-120 Sa3-121 Sa3-122 Sa3-123
Sa3-124 Sa3-125 Sa3-126 Sa3-127 Sa3-128

I have not registered Sa3-126 as hipu in my glyph catalogue and will do so now.