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TRANSLATIONS
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The Rosetta Stone has Greek text in parallel with the Egyptian hieroglyphs, therefore it was possible to decipher the meaning of the hieroglyphs. The meaning of the Polynesian word plays can be deciphered by using myths. The 'language of myth' is like the Greek text on the Rosetta Stone - a key to understanding the unknown 'wordplay language'. Remarkably, the language of myth is global and not limited to any special spoken language. It is a koiné (common language) like the Greek of Hellenistic times. I will give another example: "Mysingr ('son of the Mouse') loaded Grotte on his ship, and with him he also took the giantesses. He ordered them to grind again. But this time they ground out salt. 'And at midnight they asked whether Mysingr were not weary of salt. He bade them grind longer. They had ground but a little while, when down sank the ship,' 'the huge props flew off the bin, // the iron rivets burst, // the shaft tree shivered, // the bin shot down, // the massy mill-stone rent in twain.' 'And from that time there has been a whirlpool in the sea where the water falls through the hole in the mill-stone. It was then that the sea became salt.' Here ends Snorri's tale. Three fundamental and far-reaching themes have been set: the broken mill, the whirlpool, the salt. As for the curse of the miller women, it stands out alone like a megalith abandoned in the landscape. But surprisingly it can also be found, already looking strange, in the world of Homer, two thousand years before. It is the last night in the Odyssey which precedes the decisive confrontation. Odysseus has landed in Ithaca and is hiding under Athena's magic spell which protects him from recognition. Just as in Snorri, everybody sleeps. Odysseus prays to Zeus to send him an encouraging sign before the great ordeal. Straightaway he thundered from shining Olympus, from on high from the place of the clouds; and goodly Odysseus was glad. Moreover, a woman, a grinder at the mill, uttered a voice of omen from within the house hard by, where stood the mills of the shepherd of the people. At these handmills twelve women in all plied their task, making meal of barley and of wheat, the marrow of men. Now all the others were asleep, for they had ground out their task of grain, but one alone rested not yet, being weakest of all. She now stayed her quern and spake a word, a sign to her Lord (epos phato sema anakti). 'Father Zeus, who rulest over gods and man, loudly hast thou thundered from the starry sky, yet nowhere is there a cloud to be seen: this is surely a portent thou art showing to some mortal. Fulfill now, I pray thee, even to miserable me, the word that I shall speak. May the wooers, on this day, for the last and latest time make their sweet feasting in the halls of Odysseus! They that have loosened my knees with cruel toil to grind their barley meal, may they now sup their last!' 'The weakest of all', yet a giant figure in her own right. In the tight and shapely structure of the narrative, the episode is fitted with art, yet it stands out like a cyclopean stone embedded in a house. There are many such things in Homer." (Hamlet's Mill) We have found one such 'cyclopean stone' already, viz. 22. Fornander has shown that to 'open the mouth' (like a thunderclap or to utter a curse) is equal to render apart: HAKI, v. Haw., also ha'i and ha'e, primary meaning to break open, separate, as the lips about to speak, to break, as a bone or other brittle thing, to break off, to stop, tear, rend, to speak, tell, bark as a dog; hahai, to break away, follow, pursue, chase; hai, a broken place, a joint; hakina, a portion, part; ha'ina, saying; hae, something torn, as a piece of kapa or cloth, a flog, ensign ... At 'midnight', when all are sleeping, a new 'day' will 'see the light' and the 'knees' of the mill woman have come loose: ... They that have loosened my knees with cruel toil to grind their barley meal ... It could be that the twin 'knee-caps' are the two sons of next cycle being separated (hati):
At the 'knee' in Aa8-81 a little 'eye' has appeared, 12 glyphs earlier it was not there. Ma to ua mata said Metoro and he may have seen the crest of a wave in the sea (as if rolling up on the reef - the new land emerging from the waters). The sound of breakers thundering up on the reef will be heard far away. Aa8-80 is the first of the twin glyphs at day number 354 (counted from te pito motu). A 'little clod of earth' is separating at the top. Aa8-72 shows hoea at left and haati at right. It looks like a hanged person, the old 'wave' from which the head will be taken in order to secure a new one:
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