TRANSLATIONS

TRANSLATIONS

2. One of the common traits in vae and haati is the 'knee joint', hatiga in Mangarevan.The knee is where the leg is 'broken in two', and it therefore can symobolize the point where one time period is ending and another beginning.

The kuhane station Hatinga Te Kohe (breaking of the 'bamboo') is located at such a place. 12 * 29.5 = 354 is at Gb4-33 (if counted from the last glyph of side b), and the evident reversal (or break in time) presumably refers to Hatinga Te Kohe:


Gb4-28	Gb4-29	Gb4-30	Gb4-31	Gb4-32

Gb4-33	Gb5-1	Gb5-2	Gb5-3	Gb5-4

In the long text of Tahua we probably have to count 2 glyphs per day, and 2 * 354 = 708, which means we will reach Ab1-37 (if we count from the last glyph of side b):


Ab1-35	Ab1-36	Ab1-37	Ab1-38	Ab1-39	Ab1-40

Neither of these two text sequences is using a haati glyph to illustrate the break. But this is no important argument, because such an event can be shown in different ways (as is proven above). If we count from o te pito motu at Ab8-43 (instead of from Ab8-84) we will find Hatinga Te Kohe (708) to be located at Aa8-80, in the neighbourhood of which there are several variants of haati:


Aa8-68	Aa8-69	Aa8-70	Aa8-71	Aa8-72	Aa8-73

Aa8-74	Aa8-75	Aa8-76	Aa8-77	Aa8-78	Aa8-79

Aa8-80	Aa8-81	Aa8-82	Aa8-83	Aa8-84	Aa8-85

A rongorongo text probably contains several calendars defined from different points of departure, and Hatinga Te Kohe can therefore appear in more than one place in the same text. Moreover, the concept of hatinga te kohe presumably is not connected with the cycles of any special celestial 'person', as for instance is proven by the Mamari moon calendar.

The full moon (Omotohi, 'End-of-sucking') glyph is expressing the concept of break in time - here between waxing and waning moon - by using a broken 'stick' (the sign inside at bottom of the oval):

Ca7-24

Omo

To suck; omoaga, bulky cloud; ragi omoaga cumulus; omoomo; to suck repeatedly, to suckle; omotahi, to win everything at a game (lit: to suck whole): omotahi-mai-á e au, he has cleaned me out; omotohi, full (of the moon); ku-omotohiá te mahina, the moon is full. Vanaga.

Rima omo, infidelity, faithless, unfaithful. Omoomo, to smack the lips, to suck the breast, to smoke tobacco, to taste of; hakaomoomo, to suckle, to paint. Churchill.

Ta.: Omotu, an ember, a coal. Mq.: komotu, omotu, firebrand. Churchill.

Tohi

Omotohi, full (of the moon); ku-omotohiá te mahina, the moon is full. Vanaga.

Mgv.: tohi, to cut breadfruit paste. Ta.: tohi, a chisel, to cut, to split. Mq.: tohi, to cut up. Sa.: tofi, a chisel, to split. Ma.: tohi, to cut, to slice. Churchill.

Ha.: kōhi. 1. To gather, as fruit; to break off neatly, as taro corm from the stalk with a stick or knife; to split, as breadfruit; to dig; splitter, as stick, stone, knife. Nā wāhine kōhi noni, the noni-gathering women (an insult to Pele, perhaps likening her disposition to sour noni fruit). (PPN tofi.) 2. Fat, rich, as food; fatness. Nā kōhi kelekele o Kapu'u-kolu, the rich foods of Ka-pu'u-kolu (Kaua'i, famous for abundance). 3. To fill or heal, of a wound. Ke kōhi maila ka 'i'o, the flesh is beginning to heal. 4. To hold back, check, restrain: to strain, especially as in childbirth, to travail; to hold or hold back by pressing a person's arm, as in withholding consent, or as in urging someone not to be generous; labor pains, travail. Fig., agony, fear. Cf. haukōhi, kāohi, ho'o kōhi. Also ha'akōhi. 5. Prolonged, as a sound; long. He kōhi ka leo, the sound is long. Wehewehe.

A baby sucking (omo) will grow. Growth will stop if the connection is cut off (tohi). The little person inside the oval possibly is drawn with thumb in mouth.

The baby sun is sucking the embers (maramara) from the moon (marama).

We should take a look (again?) to see if counting only 1 glyph per day in Tahua will give results supporting the statement that probably 2 glyphs represent 1 day:

a1	90	91	132
a2	85	176	217
a3	76	252	293
a4	82	334	354
a4	82	334	375
a5	83	354	458
a5	83	417	458
a6	84	501	542
a7	85	586	627
a8	85	671	712
sum	670

Aa5-20 respectively Aa4-61 are the glyphs which receive day number 354 if 1 glyph is equal to 1 day:


Aa5-14	Aa5-15	Aa5-16	Aa5-17	Aa5-18

Aa5-19	Aa5-20	Aa5-21	Aa5-22	Aa5-23


Aa4-55	Aa4-56	Aa4-57	Aa4-58	Aa4-59	Aa4-60	Aa4-61	Aa4-62

Both these places indicate important points in time. Aa4-59 should be the center, however, not Aa4-61.

Likewise, Aa5-18 - rather than Aa5-20 - ought to be the glyph of turning around. Which means the counting (if with 1 glyph per day) should start from Ab8-82 instead of from Ab8-84:


Ab8-77	Ab8-78	Ab8-79	Ab8-80	Ab8-81	Ab8-82	Ab8-83	Ab8-84

Counting from Ab8-82 will give day number 354 to Aa5-18. But why not count from Ab8-80? It would mean day number 354 will arrive at the great bird in Aa5-16. 8 * 80 = 640 and 5 * 16 = 80. Moa are crying out both in Ab8-79 and in Ab8-81.

No firm conclusions can be drawn from these manipulations of the numbers connected with Aa5-18 and adjoining glyphs. Given 1 glyph per day. With 2 glyphs per day, we will have 354 / 2 = day number 177 (= 6 * 29.5) instead. Which means there is a reason for the break in time also with 2 glyphs per day:


Aa5-14--15 (174)		Aa5-16--17 (175)

Aa5-18--19 (176)		Aa5-20--21 (177)

5 * 20 = 100 seems to be the right kind of number for an important break in time. The elbow ornament in Aa5-21 (number 177 if counted from Aa1-1) is a tao sign, meaning a new season is set into motion.

The tagata rere ('flying person') at left in Aa5-19 holds light (hau tea) in front.

174 = 6 * 29 is the day for the 'π' glyph Aa5-14 (where 5 is 'fire' and 14 a fortnight). Henua ora has at front bottom a new kind of 'leg', more substantial than the 'strings'. At left there are 4 'string legs' at right 2 + 1 = 3 limbs (presuambly indicating spring). The middle vertical straight line is drawn as a separate unit, probably to make clear that it is a separate sign, viz. to indicate the point to which the measurement (counting) is to be done.

The spirit of the old season is rising into the sky in Aa5-16, where day numer 175 is equal to 7 * 25. The head of the sitting 'person' in Ga5-17 has been cut off, and instead only a gaping empty 'shell' remains. It is a very special tara. The pendulum of time has stopped.

Only one other tara glyph exists which has a separate empty 'shell':


Fb3-101	Fb3-102	Fb3-103	Fb3-104	Fb3-105	Fb3-106	Fb3-107

In the preceding Fb3-106 a rima aueue sign is found, but reversed compared with that in Aa5-20. Also, Fb3-107 has a fish tail, not the foot of a person. The pendulum of time is here going to swing in the opposite direction.

Let us now return to counting from te pito motu:


Aa4-55--56 (174)		Aa4-57--58 (175)

Aa4-59--60 (176)		Aa4-61--62 (177)

Aa4-55 does not belong to the preceding sequence of glyphs, it must belong here. (Likewise Aa4-62 does not belong to the following sequence.) We can see the birth of a new season. Manu rere has an undulating wing at left. At right the perceived undulation instead could be a variant of toki, an implement which maybe is necessary to create a new season - cfr Aa5-14.

Both Aa4-57 and Aa4-58 refer to the old season. 5 'feathers' at the top in Aa4-58 will be changed into 6 in Aa4-60. 8 * 29 = 232 = 4 * 58 (= 8 * 29).

In Aa4-61--62 the old season is in the past. Two Y-hands are held high instead of one. The left of the 'eyes' in Aa4-55 has disappeared. Instead focus is now on the peculiar right one, probably showing the sky roof being high in front. With Nga Kope Ririva (at 6 * 29.5 = 177) high summer is beginning. Spring sun has run to his ruin and rain will come.

We have now demonstrated that these 8 glyphs constitute a group of 4 double-glyphs, quite possible to understand with 2 glyphs per day. If we insist on 1 glyph per day, the group will remain:

The message should be the same - given that we have interpreted the glyphs correctly.