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TRANSLATIONS
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Tama
The little child (tamaiti)
is the new year. Counting with the lowest of the measures, it is significant to find it to be 14 * 28.5 = 399. A new 'earth'
with 4 sides each 100 days long is about to rise once again
from the 'water', spinning around its
axis.
Gb6-1 presumably
should be regarded as located at the last 'corner' of the previous
'earth: 384 = 2 * 192 and 16 * 25 = 400:
15 * 29.5 = 442.5 is
One Tea. Tao in Gb7-17 could theoretically be the beginning of
One Tea, because 15 * 28.5 = 427.5 - i.e. Tama
would
coincide with One Tea from Gb7-17 up to and including 14 * 31 = 434 (Gb7-23), see the redmarked sequence of glyphs.
However, the glyphs
tell a different story. A new era has arrived, when there no longer
is any possibility to correlate moon with the old 'earth'. Moon
herself can now define Tama as the pair of glyphs Gb7-2--3,
with the tamaiti glyph typ as number 15 counted according to
the new 'earth':
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With 'earth' I here
mean not the planet earth, neíther the part thereof which is not
covered by water.
Instead, I am using
'earth' following the Sibyl:
| ... the
name [Vindler, one of the epithets of Heimdall]
is a subform of vindill and comes from vinda,
to twist or turn, wind, to turn anything around rapidly.
As the epithet 'the turner' is given to that god who
brought friction-fire (bore-fire) to man, and who is
himself the personification of this fire, then it must
be synonymous with 'the borer' ...
The Sibyl's
prophecy does not end with the catastrophes, but it
moves from the tragic to the lydic mode, to sing of the
dawning of the new age:
Now do I see / the Earth anew / Rise all green / from
the waves again ... / Then fields unsowed / bear ripened
fruit / All ills grow better ... |
A
modern counterpart is when you have received the message 'Game
over' and decides to play once more, a new game similar in
general structure, yet quite uncertain as to its details.
Interestingly, they anciently saw the new 'earth' as a result of
the gods playing another game:
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"What
happens after (or happened, or will happen sometime, for
this myth is written in the future tense), is told in
the Völuspa, but it is also amplified in Snorri's
Gylfaginning (53), a tale of a strange encounter of
King Gylfi with the Aesir themselves, disguised as men,
who do not reveal their identity but are willing to
answer questions: 'What happens when the whole world has
burned up, the gods are dead, and all of mankind is
gone? You have said earlier, that each human being would
go on living in this or that world.' So it is, goes the
answer, there are several worlds for the good and the
bad. Then Gylfi asks: 'Shall any gods be alive, and
shall there be something of earth and heaven?' And the
answer is:
'The earth
rises up from the sea again, and is green and beautiful
and things grow without sowing. Vidar and Vali are
alive, for neither the sea nor the flames of Surt have
hurt them and they dwell on the Eddyfield, where once
stood Asgard. There come also the sons of Thor, Modi and
Magni, and bring along his hammer. There come also
Balder and Hoder from the other world. All sit down and
converse together. They rehearse their runes and talk of
events of old days. Then they find in the grass the
golden tablets that the Aesir once played with.
Two
children of men will also be found safe from the great
flames of Surt. Their names, Lif and Lifthrasir, and
they feed on the morning dew and from this human pair
will come a great population which will fill the earth.
And strange to say, the sun, before being devoured by
Fenrir, will have borne a daughter, no less beautiful
and going the same ways as her mother.'
Then, all at once, concludes Snorri's tale wryly, a
thunderous cracking was heard from all sides, and when
the King looked again, he found himself on the open
plain and the great hall had vanished." (Hamlet's Mill) |
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The Polynesians have
two different terms for 'spinning', hiri and hiro:
| Hiri
1. To braid, plait, tress (hair,
threads). 2. To rise in coils (of smoke). 3. To hover
(of birds). Vanaga.
1. To elevate, to mount. Hiriga,
to elevate; elevation, mounted, ascension, assumption,
declivity; hiriga mouga, hillside.
Hirihiri, a swing, seesaw. P. Pau.: iri, to
be put up in a place, to lodge. Mgv.: iri, placed
in a higher position than the observer, as a box on a
high shelf. Ta.: iri, to lodge or stick up in a
place. The germ signification is 'above, higher'. In
Samoa it is used most commonly in a tropical sense, but
the primal sense is sufficiently retained in the
signification to lodge, to stick in, to show general
concord with Rapanui and particular harmony with the
other languages of Southeast Polynesia. 2. To make a
bag; taura hiri, to make a cord; rauoho hiri,
plaited hair; hirihiri, frizzed; rauoho
hirihiri, lock of hair. P Mgv.: hiri, wo
weave, to plait; akahiri, to make a mat. Mq.:
hii, large plait of coconut fiber. Ta.: firi,
to plait, to braid. When we interpret in the sense of
local conditions Père Roussel's definition 'to make a
bag' the concord is perfect, for bags are woven. The
germ sense is plainly the act of twining in and out,
over and under, which, with specific differences due to
manner and material, may result in plaiting or weaving;
see hiro. 3. To go, to walk, to voyage, to arrive, to
appear; hiri tê reka, to go without noise;
hiri koroiti, to go softly; hiri tahaga no mai,
to go without a halt. Hiriga, voyage, journey;
hiriga hakapa, to go by twos; hiriga hipa, to
go obliquely; hiriga kokekoke, to go by sudden
steps; hiriga okorua, to go by twos; hiriga
tahataha to go across; hiriga tekiteki, to go
on hopping; hiriga tê mataku, to go on
fearlessly; hiriga totoro, to go on all fours;
hiriga varikapau; to go in a ring; hiriga
veveveve, to go boldly. Churchill.
Pau.: Hirinaki. 1. To incline,
to slope. Ta.: hirinai, to rest upon. Ma.:
irinaki, to rest upon. 2. To be apprehensive. Ta.:
hirinai, to apprehend. Churchill.
Mgv.: Aka-hiria, to enquire
after. Sa.: sili, to ask, to demand. Hirihiri,
to fish for turtle. Mq.: fiifiii, a small net for
taking turtle. Churchill. |
| Hiro
1. A deity invoked when praying for rain
(meaning uncertain). 2. To twine tree fibres (hauhau,
mahute) into strings or ropes. Vanaga.
To spin, to twist. P Mgv.: hiro,
iro, to make a cord or line in the native manner
by twisting on the thigh. Mq.: fió, hió,
to spin, to twist, to twine. Ta.: hiro, to twist.
This differs essentially from the in-and-out movement
involved in hiri 2, for here the movement is that
of rolling on the axis of length, the result is that of
spinning. Starting with the coir fiber, the first
operation is to roll (hiro) by the palm of the
hand upon the thigh, which lies coveniently exposed in
the crosslegged sedentary posture, two or three threads
into a cord; next to plait (hiri) three or other
odd number of such cords into sennit. Hirohiro,
to mix, to blend, to dissolve, to infuse, to inject, to
season, to streak with several colors; hirohiro ei
paatai, to salt. Hirohiroa, to mingle;
hirohiroa ei vai, diluted with water. Churchill.
Ta.: Hiro, to exaggerate. Ha.:
hilohilo, to lengthen a speech by mentioning
little circumstances, to make nice oratorial language.
Churchill. |
When the moon is
rising from the water at the western horizon the night is Ohiro
(the first night of the moon according to Englert). The name
presumably alludes to her rising being the result of a kind of
waterspout, spinning around itself
(pú ohirohiro).
Fornander has traced
the word back to the old Indo-European languages, and his synopsis
is good to remember when trying to read rongorongo texts:
"HILI, v.
Haw., to braid, plait, twist, turn over,
spin; wili, id.; wili, s.
a ribbon a roll; wili-wili, to
stir round, to mix; another dialectical
variation is hilo, to twist,
turn, spin.
Sam., fili, to plait, as sinnet;
filo, to mix, s. twine, thread;
vili, a gimlet a whirlpool.
Marqu., fau-fii,
twist, braid.
N. Zeal., wiri,
id.
Rarot., iro,
id.
Tah., firi,
id.; hiro, id.
Fiji., siri,
askew, not nicely in a row, wrong, in
error.
Tagal and Bisays,
hilig, a woof.
Greek, είλω,
to roll up, to press together, pass to
and fro, to wind, turn round;
έλισσω,
turn round or about, roll, whirl;
έλιξ,
adj.,
twisted, curled;
s.
anything of a spiral shape, twist, curl,
coil; ίλλω,
to roll, of the eyes, to squint, look
askance; ίλλος,
squinting;
ίλλας,
a rope, band;
ίλιγξ,
a whirlpool.
Sanskr., vel,
vehl,
to shake, tremble;
vellita,
crooked;
anu-vellita,
a bandage. To this Sanskrit
vel
Benfey refers the Greek
είλω,
the Latin volvo,
and the Gothic
walojan.
Liddell and Scott also incline to
connect είλω
and volvo
with the same root.
To
me it would seem as if the Sanskrit
vrij,
whose 'original signification', Benfey
says, is 'to bend', and the Sanskrit
vrit,
whose 'original signification', Benfey
says, is 'to turn', were nearer akin to
the primary form from which the Greek
είλω,
ίλλω,
and the Polynesian hili,
wiri,
descend: that primary form being
vri,
now lost to the Sanskrit, with a primary
sense of to bend, twist, turn over,
braid, and of which vel,
vell,
or vehl,
is possibly another secondary and
attenuated form. With such a Sanskrit
vŗi.
surviving in vŗij
and vŗit,
the derivation of the Latin
filum,
thread, as twisted, spun; of the Latin
varus,
bent asunder, parting from each other,
varix,
crookedness; of the Saxon wile,
deceit; of the Swedish willa,
confusion, error, wilse,
astray, becomes easy and intelligible."
(Fornander)
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What did Metoro think when
he said viri? I will not
try to answer that question. But I imagine there is a kind of connection
with a glyph type which I just decided to name puo, a variant of
pu characterized by the absence of holes:
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pu |
puo |
These two words have
influenced me in my choice of a name for the new glyph type:
| Pu'o
(Also pu'a); pu'o nua, one who covers
himself with a nua (blanket), that is to say, a human being.
Vanaga.
1. To dress, to clothe, to dress the hair; puoa,
clothed; puoa tahaga, always dressed. 2. To daub, to besmear
(cf. pua 2); puo ei oone, to daub with dirt, to smear.
3. Ata puo, to hill up a plant. Churchill. |
| Puoko
1. Head; tagata puoko hiohio, hard-headed,
opinionated person. 2. Skull (also: pakahera puoko). Vanaga.
Head, skull, crown of a hat; puoko garuru,
headache; kiri puoko, scalp. T. Mgv.: upoko, head (men
or animals). Mq.: upoko, upoó, head. Ta.: upoó,
human head. (Sa.: ulupo'o, skull. To.: uluboko, id.
Niuē: ulupoko,
id.) Churchill. |
Metoro said puo also
at mea ke glyphs:
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Ba1-47 |
Ba3-10 |
Ba3-31 |
Ba6-22 |
Ba7-30 |
Ba7-33 |
Ba8-37 |
| koia - kua hakahiri ia |
ki te mea ke mai ruga |
ki te tauuru
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kua tupu ko te mea ke |
e kua
puo ia i te ahine - kua vaha
mea - kua vaha mai ki te Raa (covers Ba7-30--34) |
eko te tagata rima oho |
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Ba9-4 |
Bb1-21 |
Bb1-23 |
Bb1-30 |
Bb3-24 |
Bb3-25 |
Bb4-20 |
| ko te tagata kua haga |
kua haga ia ki te mea o
tona hare pure |
kua haga - te mea ke |
kua haga i te mea ke |
ki tona mea ke - kua oho
koia ki te haga |
mai moe koia ki te mago -
kua haga i tona mea ke |
mai tae atu ki te tagata
puo
pouo - koia kua mau i te maro |
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puo
= 2 / 14 |
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Bb4-30 |
Bb5-29 |
| ko te ika - kua haga ki
tona hagahaga |
kua hua koia |
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mea ke
= 0 / 6 |
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Ab2-62 |
Ab3-66 |
Ab4-19 |
Ab4-27 |
Ab6-67 |
Ab7-21 |
| no te tagata - vero |
ma te vae Rei - aia - te ui
mai (includes Ab3-67) |
e ika |
ma te ika |
tona inoino |
kua hanau ia - ki tona
marama |
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Aa3-60 |
Aa3-68 |
Aa3-75 |
Aa4-19 |
Aa4-20 |
Aa4-21 |
Aa4-22 |
| te huki hoi ko te manu
(includes Aa3-61) |
ko to tino |
to tino hakahanau.
(includes Aa3-76) |
te ahine
poopouo |
no ona ahine
poopouo |
kua oho oia |
kua oho |
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Aa4-23 |
Aa4-24 |
Aa4-25 |
Aa4-26 |
Aa6-8 |
Aa6-10 |
Aa6-37 |
| te ahine oho |
e ahine rogo |
ki te tau maka |
ko koe ra e te ahine e -
kua hia |
mea roa te tai o te henua |
ki te pepe |
tokotokona i heke mata
(covers Aa6-36--38) |
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poopouo
= 2 / 14 |
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Ca1-6 |
Ca6-11 |
Ca9-20 |
Ca9-25 |
Ca10-8 |
Ca11-30 |
Ca13-4 |
| tagata honui |
te heheu ke - te niu kua
huri |
ko koe ra |
kua iri kua
puo |
te moko |
te hokohuki - kua haga te
mata o te moko |
tagata ma te kihikihi |
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puo
= 2 / 12 |
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Ca13-9 |
Cb2-14 |
Cb6-19 |
Cb8-26 |
Cb12-10 |
| haki pu |
kua pua to hau |
kua tupu te mea ke
(covers Cb6-19--21) |
te ahine
poo
puo |
ka moe te ravarava hiku
haga hia |
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puo
= 0 / 2 |
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Ea8-106 |
Eb3-24 |
| kua haga - ki vai o ura hia |
te hatu |
The puo glyphs:
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Ba7-29 |
Ba7-31 |
Bb7-33 |
Bb8-1 |
| e koia ura ia |
e kua
puo ia i te ahine - kua vaha mea - kua vaha mai ki
te Raa (covers Ba7-30--34) |
e tagata - hua era |
Kua hua ia |
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puo
= 1 / 7 |
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Bb8-9 |
Bb9-21 |
Bb9-25 |
| e mauga - rere ragi -
maitai hura hia |
ko te metimeti - ma to ragi
- kua hua ia i raro |
e huarae - ma to rima - ki
te ragi |
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Ab2-66 |
Ab3-58 |
Ab4-34 |
Ab4-48 |
Ab6-77 |
| ki te henua |
kana mea |
kake kua kake te tagata
- ki te henua ko mata tuna vai
(includes Ab4-33) |
e moa noho |
e te tagata - ka mau
uke i tana mea |
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puo
= 1 / 9 |
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Aa2-72 |
Aa6-21 |
Aa8-22 |
Aa8-43 |
| kua hua ia - ma to ipu
- kua tuu te rima (includes Aa2-71) |
e haki
puo |
ma te hokohuki |
kua hua ia - ma te aa
(includes Aa8-44) |
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puo
= 0 / 2 |
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Ca1-5 |
Ca3-11 |
| haga i te mea ke - ki
te henua (includes Ca1-4) |
kua hua |
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puo
= 0 / 2 |
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Ea9-7 |
Ea9-30 |
| tagata kupega - kua mau
ko te Rapa (includes Ea9-6) |
kua hua |
There are just two puo
glyphs at which Metoro said puo. But he never said puo
at pu glyphs with holes. To
be covered (puo) could be a description of the absent holes, the
'plant' is 'hilled up' (ata puo). Both mea ke and viri
are connected with darkness, and perhaps the same goes for the puo
glyph type. The final glyph in the G text could then very well function in a
way similar to viri:
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Gb8-30 |
When the 'game is over', it is
time for a new game.
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