|
TRANSLATIONS
In P we can read
connections
between niu,
hua poporo
and hura:
 |
 |
 |
 |
 |
 |
|
Pa5-67 |
Pa5-68 |
Pa5-69 |
Pa5-70 |
Pa5-71 |
Pa5-72 |
 |
 |
- |
 |
|
Aa1-13 |
Aa1-14 |
Aa1-15 |
| kua tuu |
marai |
i tona ohoga - ki te ariki |
|
... |
 |
 |
 |
 |
 |
|
Ha6-101 |
Ha6-102 |
Ha6-103 |
Ha6-104 |
Ha6-105 |
'Black droplets'
in Pa5-68,
beyond the
upside down
'dead chief',
and 4 sun signs
in Pa5-72 may
tell about the
regeneration of
the 'chief'.
We must
recapitulate
some of the
earlier ideas:
|
...
In
the
'Maui
birth'
structure
he
should
stand
at
the
extreme
right
of
this
period,
i.e.
he
must
be
the
right
part
of
Pa5-72:
His
4
elder
brothers
have
names
which
tell
us
about
their
positions
in
the
cycle
of
the
year:
|
Maui mua |
the first |
1st quarter |
|
Maui roto |
the middle |
2nd quarter |
|
Maui taha |
the side |
3rd quarter |
|
Maui pae |
the edge |
4th quarter |
|
Maui tikitiki a Taranga |
formed-in-the-topknot-of-Taranga |
5th period |
As
Maui
roto
evidently
stands
in
the
middle
(roto),
he
must
be
at
midsummer
(solstice),
i.e.
he
is
standing
at
the
close
of
the
2nd
quarter
(not
at
the
beginning,
not
in
the
middle
of
the
2nd
quarter).
The
other
brothers,
therefore,
must
also
be
standing
at
the
end
of
their
periods.
This
is
affirmed
by
the
name
of
Maui
pae
(the
edge).
The
edge
is
here
to
be
interpreted
as
the
very
last
part
of
the
year.
So,
if
Maui
tikitiki
a
Taranga
is
depicted
among
the
glyphs
above,
he
must
be
seen
at
the
very
last
part
of
the
sequence
of
glyphs
-
given
of
course
that
the
glyphs
follow
parallel
with
time
... |
|
Although
I
have
not,
in
the
glyph
dictionary,
referred
to
Maui,
his
4
brothers
and
the
argumentation
above,
the
suggestions
at
tagata
agrees:
|
... The first thought, viz. about tagata illustrating a fully grown warrior and that therefore the glyph type is a proper symbol for the 'season of zenith', must be modified when other signs are added.
Still, though, a powerful 'person' (tagata) illustrates a great season. At noon the a.m. 'person' is fully grown, at autumn equinox the summer 'person' is fully grown. The idea of fully grown is what tagata signifies ...
|
Implicitly, tagata stands at the end of a season. The right 'eye' of tagata in Pa5-72 may signify that Maui tikitiki is fully grown, and the 4 'suns' (or rather 'sons') the preceding seasons.
|
|
...
The
name
Taranga,
I
think,
is
tara-ga,
i.e.
a
construction
reminiscent
of
kainga,
kai-ga.
Kai-ga
means
the
place
(-ga)
where
eating
(kai)
is
located.
The
word
kai
maybe
should
be
read
as
ká-i?
Because
ká,
according
to
Vanaga,
is
used
in
this
expression:
Ana
ká i
te
umu,
he
hahei
hai
rito
i
raro,
when
you
cook
food
(lit.:
light
the
oven)
you
cover
it
all
around
with
banana
leaves
at
the
bottom.
'Banana
leaves
at
the
bottom'
maybe
indicates
a
male
(fire)
perspective,
where
bananas
suggest
the
female
(presumably
because
of
the
boat-like
shape
of a
banana).
Earlier
I
suggested
that
maika
(banana)
was
related
to
Tuesday
(the
day
of
Mars,
the
red
planet
who
travels
as
in a
canoe
across
the
sky).
Red
means
newly
born
and
the
banana
shape
of
the
boat
suggests
his
mother
vessel.
The
new
fire
is
protected
by
the
'banana
leaves'
...
In
the
female
perspective
everything
is
turned
upside
down:
the
bottom
becomes
the
top,
and
the
fire
will
be
in
the
topknot
(as
seen
in
Pa5-67). As
to
-i
(in
ká-i)
we
should
remember
Vakai
(the
pregnant
wife
of
Hotu
Matu'a):
'The
final
-i
cannot
be a
preposition,
therefore
the
probable
explanation
is
that
we
should
read
-î,
the
meaning
of
which
is
explained
by
Vanaga
as:
Full;
ku-î-á
te
kete
i te
kumara,
the
bag
is
full
of
sweet
potatoes.
2.
To
abound,
to
be
plentiful;
ki î
te
îka
i
uta,
as
there
are
lots
of
fish
on
the
beach.
3.
To
start
crying
(of
a
baby):
i-ûi-era
te
ma-tu'a
ku-î-á
te
poki
mo
tagi,
he-ma'u
kihaho,
when
a
mother
saw
that
her
baby
was
starting
to
cry
she
would
take
it
outside.
Vakai
then
becomes
the
'canoe'
which
is
full
(of
life)
-
like
Noah's
ark.'
The
great
Tara
is
maybe
the
mother
of
the
great
Tama.
The
place
of
Tara
is
Taranga,
whereas
we
find
Tama
at
the
seashore
coloured
red
in
the
early
dawn.
Taranga
presumably
means
the
mother
of
the
sun.
She
is
located
at
the
beginning
of
the
X-area
and
another
name
for
her
is
niu
(the
coconut
palm).
Trees
are
women.
Taranga
is
the
Sycomore
Lady
and
she
is
named
'niu'
by
Metoro.
The
'serpent'
(Tuna)
has
made
her
pregnant
(as
we
can
see
by
the
bulbous
bottom
part
of
GD18)
... |
|
When
a
canoe
is
turned
upside
down
it
becomes
a
house,
the
inside
of
which
is
utterly
dark
and
'female'.
The
fire
will
be
inside
the
topknot,
not
outside
in
form
of
feathers.
In
vai
glyphs
the
'canoe'
shape,
which
sometimes
appears
in
the
center,
can
therefore
either
depict
a
canoe
or a
hare
paega.
Possibly
a
single
rim
means
hare
paega,
while
a
double
rim
means
the
canoe
right
side
up -
with
sun
fire
burning
inside.
The
umu
kitchen
fires
on
Easter
Island
were
always
on
the
outside
(but
down
in
the
earth).
Canoes
had
fire
places
on
board
(fully
visible
I
suppose). |
|
...
Now
we
must
introduce
another
grand
concept
and
the
best
way
to
start
is
by
way
of
The
White
Goddess:
The
town
of
Eleusis,
where
the
most
famous
mysteries
of
all
took
place,
was
said
to
be
named
after
the
Attic
King
Eleusis.
Eleusis
means
'Advent'
and
the
word
was
adopted
in
the
Christian
mysteries
to
signify
the
arrival
of
the
Divine
Child;
in
English
usage
it
comprises
Christmas
and
the
four
preceding
weeks
...
We
observe
with
interest
that
4
appears
again.
First
4
(regular)
periods
of
waiting,
then
the
5th
crucial
period
with
new
birth,
a
time
for
the
female.
Death
is
the
other
side
of
the
coin.
That
is
the
task
of
the
male.
To
make
room
for
a
new
child
someone
has
to
die.
We
should
remember
the
threatening
figure
in
front
of
Snake,
Taweret,
the
'Thigh'
of
the
bull,
and
the
3
vertical
'Beams':
The
left
part
of
Pa5-68
appears
to
show
the
same
3
vertical
beams
(probably
to
be
read
as
sun
beams):
|
|
|
Pa5-68 |
The
appendix,
on
the
other
hand,
means
'darkness',
but
also
strongly
indicates
3.
We
should
understand
the
'beams'
to
belong
to
the
dark
time
of
the
year.
The
1st
day
time
glyphs
used
similar
types
of
beams:
Beams
which
are
'unfinished',
i.e.
have
no
short
ends
incised,
are
'female'.
Only
in
the
(strong)
daylight
may
definite
limits
be
measured
... |
|
...
To
continue
one
step
more
with
the
Eleusinian
Mysteries
according
to
The
White
Goddess:
At
an
early
stage
of
the
yearly
Eleusinian
Mysteries
the
Divine
Child,
son
of
the
Wise
One
who
came
from
the
Sea,
was
produced
by
mystagogues,
dressed
like
shepherds,
for
the
adoration
of
the
celebrants.
He
was
seated
in a
liknos,
or
osier
[Weeping
Willow]
harvest-basket
...
(picture
from
Wikipedia)
...
To
judge
from
the
corresponding
myths
of
Moses,
Taliesin,
Llew
Llaw,
and
Romulus,
the
mystagogues
declared
that
they
found
him
on
the
river
bank
where
he
had
landed
after
sailing
over
the
flood
in
this
same
harvest-basket,
caulked
with
sedge
...
(Sedge
-
picture
from
Wikipedia:
'The
most
distinctive
feature
which
distinguishes
members
of
the
sedge
family
from
grasses
or
rushes
is
that
members
of
the
sedge
family
have
triangular
stems...')
...
It
will
shortly
be
mentioned
that
the
liknos
was
used
not
only
as
harvest-basket,
manger
and
cradle,
but
also
as
winnowing
sieve;
the
method
was
to
shovel
up
the
corn
and
chaff
together
while
the
wind
was
blowing
strong
and
sieve
them
through
the
osiers;
the
chaff
was
blown
away
and
the
corn
fell
in a
heap.
The
Mysteries
probably
originated
as a
winnowing
feast,
for
they
took
place
some
weeks
after
the
wheat-harvest,
and
at
the
time
of
the
equinoctial
winds
... |
Red sedge, we
now know, is
connected with
the 1st of the
'two swords' of
pharaoh, Lower
Egypt.
After this
recapitulation,
I would like to
learn more about
niu.
Maybe coconuts
can be depicted
as vai?
Maybe the 'sweet
water' alludes
to the delicious
drink inside?
A first
introduction to
the coconut tree
can be gained
from a picture
in Buck's book
about
Kapingamarangi:
|
a |
b |
c |
d |
e |
|
tree |
leaf
parts |
flower
parts |
mature
fruit |
growing
nut |
The details
are referred
to by
numbers and
their names
in the
Kapingamarangi
dialect are
given:
|
a.
tree |
1 |
2 |
3 |
4 |
5 |
|
trunk |
base
of
trunk |
roots |
leaf |
center
leaves |
|
rakau |
tona |
aka |
rou
niu |
tira |
|
b.
leaf
parts |
1 |
2 |
3 |
|
midrib |
leaflet |
leaflet
midrib |
|
takai
niu |
mata
rou
niu |
tuaniu |
|
c.
flower
parts |
1 |
2 |
3 |
4 |
|
whole
flower |
flower
sheath |
stalk
of
nut |
stalk
of
bunch |
|
karoro |
taume |
pa
karihi |
kauroro |
|
d.
mature
fruit |
1 |
2 |
3 |
4 |
5 |
6 |
|
outer
skin |
husk |
shell |
flesh |
fluid |
nut
stalk |
|
kiri
taha |
puru |
ipu |
kaniu |
nia
wai
(plural) |
pa
karihi |
|
e.
growing
nut
(homo) |
1 |
2 |
3 |
4 |
5 |
|
roots |
leaf
stipule |
leaf |
central
leaf |
spongy
interior |
|
aka |
kaka |
rou
homo |
tira
homo |
upu |
The mature
fruit has
been given
most names
(6) and only
the name of
its fluid is
noted as
being
plural.
A few
immediate
reflections:
The shell
(d. 3) of
the mature
fruit is
named ipu,
while the
spongy
interior (e.
5) of the
growing nut
is named
upu.
Their names
are similar
but in a way
opposite,
quite as
their
meanings
(mature/growing,
hard/spongy,
container/interior).
The flower
sheath (c.
2) looks
like a canoe
and its name
taume
reminds me
about
tapume,
the 21st
night
(according
to my
interpretation):
| 6th period |
 |
 |
see right |
 |
 |
 |
 |
 |
| Ca8-4 |
Ca8-5 |
|
Ca8-6 |
Ca8-7 |
Ca8-8 |
Ca8-9 |
Ca8-10 |
| |
Tapume |
Matua |
Orongo |
According to
Englert it
was the 20th
night and
according to
Métraux the
24th. It is
the 51st
glyph in the
Mamari
calendar. It
presumably
stands at
the
beginning of
the waning
season:
| waxing |
full moon |
waning |
|
period 1 |
8 |
period 4 |
8 |
period 6 |
7 |
|
period 2 |
11 |
full moon |
period 7 |
11 |
|
period 3 |
9 |
period 5 |
10 |
period 8 |
8 |
|
sum |
28 |
sun |
18 |
sum |
26 |
28 + 18 + 26
= 72, which
number
agrees with
the ordinal
number of
Pa5-72.
From this it
becomes
possible to
regard hua
poporo
in Ka5-4 as
corresponding
to the
ta(p)ume
season:
In Ca8-6 the
canoe at the
back of the
tired old
bird has
left and no
longer any
contact with
the old
bird.
Full moon
season is
over and at
the
beginning of
the waning
season a
canoe ought
to be
visible.
Rei
glyphs are
normally
used at the
beginning of
a new
'direction',
but in the
moon
calendar
another
canoe sign
evidently
was used.
The
canoe-shape
in the
middle (of
hua
poporo)
may be the
sheath of
the coconut
flower (taume).
The 4
'berries'
will then
correspond
to
kauroro
(c. 4) and
we can
imagine a
word play
involving
roro and
poro.
Roro
is the soft
inside of
the 'skull':
| Roro Head, skull, brain. T Pau.: taka-roro, headache. Mgv.: roro, the head, the cranium, milk, coconut milk. Mq.: roro, óó, brains. Ta.: roro, id. There are three senses in this word ... 1. Coconut milk, as in Mangareva, a Proto-Samoan signification; note that coconut milk employed by writers who know the South Sea does not mean the natural water within the nut, which is limpid, but is a tincture obtained by maceration of the bruised kernel, which is white and heavy and thickens to a custardy consistency when cooked. 2. The Tongafiti sense is the brain, palpably the soft contents of the calvarium, sometimes very soft indeed; this sense is lacking to Mangareva but is found in Rapanui. 3. A designation of the hard part of the head, found only in Mangareva and Rapanui, so violently sundered from the germ sense underlying 1 and 2 as to indicate confusion with a stem of similar form but diverse meaning. Churchill.
Mgv.: Roroi, to milk, to squeeze or press with the hands. Mq.: oi, to milk, to knead, to dilute. Sa.: loloi, taro kneaded with coconut water. Ma.: roroi, to grate to a pulp. Churchill. |
Amazingly, I
then found
an item
about the
palolo
worms:
| Palolo
... The lolo reappears in such parts of Nuclear
Polynesia as have the animal as a component of Samoa palolo,
Tonga balolo, Viti mbalolo. I cite a note on this subject
which I wrote out for Dr. William McMichael Woodworth, who identified
the palolo as the posterior epitokal part of Eunice viridis
(Gray):
Stair's derivation from pa'a-lolo, luscious
crab, is out of all consideration; it is on all fours with the classic
definition of a crab as a small red fish that walks backward, for
pa'a (paka) could not in the Samoan system of word structure
undergo such a syncopation as to cut itself in two. As the bit beastie
is in no sense a crab, and I must claim for my islanders that their
intelligence is sufficiently high to prevent them from putting two such
dissimilar animals together, so in turn is lolo not luscious. The
organs of sense perception by which the Samoans apperceives lolo
lie, not in the peripheral nerve endings of the tongue, but of the
fingers; it is a matter of touch and not of taste such as luscious
principally connotes. I got a very instructive glimpse at this word from
my cook boy and a dish of vermicelli soup. After it had served my uses
the tureen went back to the kitchen. I found the servitor dabbling his
fingers in the dish, which he pronounced to be fa'alolo. I regard
the primal significance as one of consistency, somewhat custardy, a
substance partially solid that may to a certain extent be grasped in the
fingers yet which seems to slip out and elude the grasp. That, it will
be noticed, is a thread that can be run through all the significations.
It applies equally well to the palolo as you feel it in the water
on the great day of its appearance. In the slightly specialized sense of
slippery it applies similarly to its other two compounds in the Samoan,
ngalolo and umelolo, both being fishes and the latter a
variety of Naseus lituratus or unicornis. Churchill 2. |
|
 |
|
