The long club ua was both a weapon and a staff for Rapanui chiefs (Métraux 1940: 169). An oral version of the rongorongo record, "Apai", contains a segment, e kore kaukau a ia haharua tau kapa tau kaiugoh i te an mata heuna mariunga te hou i te an mataheune mariunga te houga ma tau arapeka hoa ... hue taka haahaarua tau kape tau haiugo to piria tamu ara te uaua na Heke i kai hunue kura te nahoapu pue hatataka i te an mata... (Thomson 1891: 518) [E Kore, kaukau Ai: a Haharua. Tau kape, tau kai. Ungo hi te au mata, he una mari, unga te hou, i te au mata, he una mari, unga te hounga ma tau Ara Peka Hoa ... Hue Taka: Haharua. Tau kape, tau hai. Ungo, too piria tamu. Ara te uaua na Heke ...] 'The Initial Darkness Kore, the ancestor 'The Copulation' (Rongo): the Two Mouths. The season of the yam/arum/sweet potato, the season of the food. (The people) bring to the king of the tribe, (they) bring sweet potatoes (mari mamu, mamari kiakia) or feathers maru, (they bring) new (crops); (the people bring) to the king of the tribe, (they) bring the sweet potatoes (mari mamu, mamari kiakia) or feathers maru, (they bring) new (crops) for the season of the Skull (the month Tangaroa Uri 'Tangaroa-Progeny') -- the Friend (1) ... (The gods) Ue 'The Gourd = Rongo' (and) Taka 'The Round/Bright Red Colour = Tangaroa' (2): the Two Mouths. The season of the yam/arum/sweet potato, the season of a gift. A group of men brings, gives a portion. The road of the staff ua of (a descendant of the legendary king) Tuma Heke ...' (3). Actually, all the first fruits were presented to the king; ua was carried as a baton before the chiefs (Métraux 1937: 54; Thomson 1891: 475). Interestingly, its top is decorated with a carved double face. In I.K. Fedorova's (1981: 264; 1993: 128) opinion it is an image of the god Tangaroa in the two hypostases: in his own role and in the role of his elder brother, the god Rongo. On the other hand, F. Forment (1993: 210) suggests that the baton's top depicts the legendary character Rau Hiva with two heads. The wordplay is quite possible: cf. Rapanui rauhiva 'twins', Rau Hiva 'The creator from (the homeland) Hiva' (4). From the data obtained it may be deduced that the double head of ua is an image of the supreme sun god-creator Makemake (5) who was equal to the gods Tangaroa, Tiki and Tane as well as of the fertility god Rongo denoting the transition of the Universe from the initial Shell to the cultivated land (6). In fact, the term ua correlates with Rapanui hua 'flower; fruit; son; to bloom; to sprout', Tuamotuan ua 'to be born', Hawaiian hua 'fruit; seed; to bear fruit; to bear child', Maori hua 'fruit; progeny; abundance; to bear fruit', Tahitian hua 'flower; to bear fruit; born; egg; descendants; lineage; vulva', ua 'to sprout' and Rapanui hakauaua 'to mark with lines'. The latter word may describe the curved ridges of the double head. I have counted 26 ridges on a baton which is housed in the Musée de l'Homme, Paris, France (Orliac and Orliac 1995: 78, photo); on the other hand, according to the Rapanui calendar (7), the 26th night of moon age is Rongo, and the 27th night is Rongo Tane (Old Rapanui Tane). Moreover, the staff ua was connected with the solar cult in ancient times. The name of the king Ouaraa (Thomson 1891: 534) is O ua ra'a 'The staff ua of the sun' (8). A phrase of the Manuscript E, ra tahai a uo (Barthel 1978: 77), means '(The place) Ra Tahai (associated with the solar cult) -- the staff ua' (Rjabchikov 1997a: 30), and the place name Ra Tahai means 'The sun -- the frigate bird (the god Makemake) -- the solar rays' (Rjabchikov 1997b: 208).
Four specimens ua contain glyphs that confirm the above-mentioned facts (Rjabchikov 1997a: 26).
1. A staff ua is housed in the National Museum of New Zealand, Wellington, New Zealand (Forment 1993: 207, figure 130). On this figure there is glyph 44 ta(h)a 'frigate bird'. Here it is the name Taha 'The Frigate Bird', an epithet of the sun deity Makemake and a designation of the sun. There is the following lexical parallel in the Samoan language: tafa means 'to be visible; to begin to ripen'. This interpretation is in excellent agreement with the opinion of H.-M. Esen-Baur (1993: 150) that the frigate bird is a fertility symbol. The combination of the ideas 'light/fertility' associated with the frigate bird may be obtained from the following words: cf. Maori whiti 'to shine', whitinga 'rising', Rapanui hitihanga 'the sunrise', hiti 'to rise; to appear'.
The Frigate Bird as a symbol of the sun is presented in rongorongo records. A solar eclipse is described in the parallel texts of the Great St. Petersburg tablet and the Great Santiago tablet, see figure 1.
1 (Pv 9): 23 4 44 17 5 69 23 4 44 63 17 5 69 51 5-5 23 4 44 72 17 5 39 4 ...
2 (Hv 8): 23 4 44 17 5 69 23 4 44 63 17 5 69 5-5 23 4 44 72 17 5 ... 4 ...
Fragment 1 reads Ura atua Taha. Te atua Moko. Ura atua Taha Kapa. Te atua Moko -- ke. Tutu, ura atua Taha MANU. Te atua Ra'a-atua... 'The god 'The Frigate Bird' (the sun) is shining. The god 'The Lizard' (Hiro). The god 'The Frigate Bird -- the Bird Kapakapa' (the sun) is shining. The god 'The Lizard' (Hiro) -- the sunset. The god 'The Frigate Bird' BIRD (the sun) is shining. The god 'The sun deity'...' (9).
Fragment 2 reads Ura atua Taha. Te atua Moko. Ura atua Taha Kapa. Te atua Moko. Tutu, ura atua Taha MANU. Te atua ... atua... 'The god 'The Frigate Bird' (the sun) is shining. The god 'The Lizard' (Hiro). The god 'The Frigate Bird -- the Bird Kapakapa' (the sun) is shining. The god 'The Lizard' (Hiro). The god 'The Frigate Bird' BIRD (the sun) is shining. The god '[a damaged segment] deity'...'.
2. A staff ua is housed in the National Maritime Museum, Greenwich, U.K. (Forment 1993: 207, figure 131). On this figure there is the combination of glyphs 67 pi and 34 ra'a 'the sun' as well as glyph 3 Hina 'the moon goddess'. The word pi correlates with Maori pi 'eye' and Rapanui pipi 'young branches; shoot; sprout; to bud'. The sign pi 'eye' as a symbol of the sun is seen in an Easter Island string figure design (Rjabchikov 1997c: 44). Besides, Rapanui mata 'eye; face' is included in several Easter Island place names connected with the cult of the sun god Makemake (Rjabchikov 1996a: 142; 1997d). As has been shown earlier, the petroglyphs of the Eyes/Face and the Moon depict the sun god Makemake and the moon goddess Hina. It should be borne in mind that the permanent companions Makemake and Haua (Métraux 1940: 313-4) were the sun god and the moon goddess respectively; according to the Tuamotuan mythology (Buck 1966: 452), the name of the moon goddess was Hauone.
A story about the sun which produces a fruit/child (h)ua is presented on the Great St. Petersburg tablet, see figure 2, fragment 1. The two parallels of this text are presented on the Tahua tablet, see fragments 2 and 3.
1 (Pr 5/6): 45 34 25 6 50 56 43 40 6 5 5 5 8 17 43 75 28 49 6 7 4 7 11 ...
2 (Aa 1): 5-24 27 5 45 25 43 6
3 (Aa 1): 5 5 5 8 17 43 75 28 6 68 7 4 7 6 11 ...
Fragment 1 reads Pu ra'a hua. Haipo ma ere/are Hoa. Ata, ata, ata Matua te makonga; (Ariki) Mau a tuu, ata tuu Mango ... 'The sun produces a fruit/child. A marriage for a child/flower of the Friend (the sun deity Makemake). The three marks (the three bright stars in the Belt of Orion) of the feast Koro; the star Antares, the mark/star of the Shark/Dryness (Makemake)/Child ...' (10).
According to K. Routledge (1998: 234-5), a great festivity, Koro, was given for a father either living or dead; and the feast was held in certain month only determined by stars. As the feast Paina which was celebrated the memory of a dead parent, generally a father (Métraux 1940: 343) occurred before the summer solstice, in December (month Koro) (Rjabchikov 1999b: 19), the feast Koro also occurred in December (month Koro). Really, the initiation rites took place in December ("the correct month was December"); then the initiated children "returned to their home, had a feast, and gave more food to the professionals. The tangata-tapa-manu subsequently repeated the ritual at any koro which were being held in the island; the object apparently being to make public the child's initiation" (Routledge 1998: 267). It immediately follows that the feasts Koro were held in December (also Koro in Rapanui). Perhaps Paina was another name or a version of feasts Koro, cf. Rapanui Koro 'December-January; the time of the summer solstice' and Maori paina 'to warm oneself, to bask; to dry' (Rjabchikov 1998a: 56). I.K. Fedorova (1976: 209) correctly reasons that the summer month Koro presumably was the month of feasts Koro. As has been shown earlier, the star Antares was a herald of the month Koro.
The heliacal (morning) risings of Antares occurred, e.g., on December 2, A.D. 762 and on December 18, A.D. 1773 (I have used the RedShift 2 computer program).
Fragment 2 reads Turi rau, tupu hua ma Hoa. 'The sea gull (an incarnation of the god Makemake) multiplies, produces a fruit/child for the Friend (the sun deity Makemake)' (11).
Fragment 3 reads Ata, ata, ata Matua te makonga; a Honu tuu, ata tuu a Mango 'The three marks (the three bright stars in the Belt of Orion) of the feast Koro; the Pleiades, the mark/star of the Shark/Dryness (Makemake)/Child ...' (12).
The first setting of Aldebaran (Alpha Tauri) before the sunset occurred, e.g., on December 11, A.D. 762 and December 26, A.D. 1773. The first setting of Pleiades before the sunset occurred, e.g., on November 25, A.D. 762 and on December 11, A.D. 1773. It is known that tower-like structures, tupa, were both burials and lookout stations whence the movements of turtles could be watched (Thomson 1891: 484). I think that such tupa were the observatories, and the turtles were indeed the Pleiades. A name of a tupa, Ko te Kura Hihi (Langdon 1994: 76), means 'The red colour of the solar rays' (13).
The Atan manuscript (Heyerdahl and Ferdon 1965: figure 118, 6) contains glyphs 25 with the native Marama's reading as he io toromiro 'a piece of toromiro tree' (Kondratov 1965: 414). In fact, these glyphs read hua, here they are a designation of the staff ua. It is known that such artifacts were manufactured from pieces of Sophora toromiro or Thespesia populnea (Orliac 1994; Orliac and Orliac 1995: 78).
The Atan manuscript (Heyerdahl and Ferdon 1965: figure 121, 1) contains glyph 44 with the native Marama's reading as poki manu 'child bird man' (Kondratov 1965: 415). A. Métraux (1940: 105) interprets this expression as 'bird children'. Glyph 44 reads Taha 'The Frigate Bird'.
The Atan manuscript (Heyerdahl and Ferdon 1965: figure 121, 2) contains glyph 11 with the native Marama's reading as poki take 'child (for rite)' (Kondratov 1965: 415). A. Métraux (1940: 105) interprets this expression as 'bird children'. Glyph 11 reads poki 'child'.
The Atan manuscript (Heyerdahl and Ferdon 1965: figure 121, 3) contains glyphs 44-30 with the native Marama's reading as he tagata uruuru hoa 'man is looking for refreshments' (Kondratov 1965: 415). I translate it as 'man of the head of Hoa (Makemake / Tangaroa, Tiki, Tane)'. Indeed, word 44-30 reads Tane (14).
The Atan manuscript (Heyerdahl and Ferdon 1965: figure 116, 9) contains glyphs 6 25 14 with the native Marama's reading as he tagata e gua i te ao 'rough man gained the victory (?)' (Kondratov 1965: 414). I translate it as 'man is reciting for a group ao celebrating bird/initiation rites (15)'. Glyphs 6 25 14 read a (h)ua hau 'the staff ua of the king'.
The parallel texts are presented on the Great St. Petersburg tablet and on the Great Santiago tablet, see figure 3.
1 (Pr 3/4): ... 51 4 18 25 14 17 50 17 6 103 ...
2 (Hr 4): ... 51 51 4 18 25 14 17 50 17 24 6 103 ...
Fragment 1 reads ... Ketu te (h)ua STAFF hau, te hi, te Hoa PE ... '... the staff ua of the king, the sun, the Friend (the sun god Makemake) RIPENESS ... are taking ...' (16).
Fragment 2 reads ... Keketu te (h)ua STAFF hau, te hi, te Ai, Hoa PE ... '... the staff ua of the king, the sun, the Copulation (the fertility god Rongo), the Friend (the sun god Makemake) RIPENESS ... are taking ...'.
These texts compare with the Rapanui place name Mata Ketu (Lee 1990: 78) 'The Face (the sun deity) is taking', cf. also another variant of this name, Ahu Mataa ketu (Barthel 1962: 103).
3. A staff ua is housed in the Museum für Völkerkunde, Berlin, Germany (Ayres and Ayres 1995: 91-2, plates 6, 7). On this figure I have distinguished glyph 42 (40) ere, see figure 4.
This word is synonymous with the term (h)ua mentioned above, cf. Mangarevan akaere 'to recite genealogies; to show descent', Maori rere 'to be born', reretahi 'one child born at a birth', Rapanui are 'flower' and Old Rapanui (h)ere 'child' (Rjabchikov 1995b; 1999c; 2000). This glyph may correlate with the following segment of the Great St. Petersburg tablet (Pr 5): 40 6 ere/are Hoa 'a child/flower/staff ua of the Friend (the sun deity Makemake)'.
4. A staff ua is housed in a private collection, Paris, France (Orliac and Orliac 1995: 79, photos). On this figure I have distinguished glyphs 4 atua 'deity' and 15c roa 'great' inscribed separately, see figure 5.
The chief weapon was a club paoa also decorated with a carved double face (Métraux 1940: 169). This term derives from Rapanui pa'o 'to sever, to cut by striking' (Ayres and Ayres 1995: 137). A paoa is housed in the Museum für Völkerkunde, Berlin, Germany (Ayres and Ayres 1995: 133, 136-7, plates 34, 35). On this figure I have distinguished the magical formula 108b 35 (h)iri pa(o) 'the club is moving', see figure 6.
Glyph 35 pa represents an adze, cf. Marquesan paopao 'adze'. On a wall of the cave Ana o Keke (Lee 1992: 47, figure 4.2) there is glyph (petroglyph) 35 resembling that of the club.
Besides, a design of a short club (Brown 1996: 152, figure) has the form of a circle. I believe that it is glyph 39 ra'a 'the sun' or 115 taka 'sphere (the sun); bright red'. Maybe it is a designation of the sun deity Makemake / Tangaroa, Tane, Tiki or of the tribe (mata) Raa.
NOTES
1. See Rjabchikov 1999a. The skull was an incarnation of the god Makemake (Métraux 1940: 312-3). Hoa 'Friend' (cf. the name of the statue Hoa-hakananaia and the name of the god Rarai a Hoa 'The sun of the Friend') is an epithet of the sun deity Makemake / Tangaroa, Tiki, Tane (Rjabchikov 1993a). According to Hawaiian myths, the god Kane-hoa-lani and the goddess Ka-hina-li'i (or Haumea) bore the goddess Pele (Beckwith 1970: 170). Considering that the Hawaiian sound 'k' corresponds to the sound 't' in other Polynesian languages, here there is the god Tane with epithet Hoa; moreover, the interchangeable names of the goddess, Hina and Hau Mea, compare with the Rapanui name Haua of the moon goddess.
2. See Rjabchikov 1998a: 57.
3. Corrections of this interpretation are possible, cf. Hawaiian hahalua 'full of holes, depressions', Maori harua 'depression, valley', Rapanui rua 'hole; ditch', ku kai a te ra'a 'solar eclipse', kapakapa 'name of a bird', kape 'yam; arum; sweet potato', Tahitian hau 'king', Rapanui mata 'face', paka hara 'skull', hue 'heap', taka pau 'to swell', Maori takataka 'to make ready', Rapanui unga, too mai 'to bring', too 'to take', too tahi 'to give a portion of one's own', pirihanga 'league', Pipiri 'the star Canopus', tama 'group of men'.
4. Cf. Maori whakarau 'to multiply', Samoan malaulau 'to grow vigorously', Rapanui raua 'to form' and Tahitian rahu 'to create'.
5. According to Rapanui legends (Thomson 1891: 528; Felbermayer 1948: 7-9), this god was connected with the homeland. Perhaps petroglyphs of two-headed frigate birds correlate with two-headed staffs. The Atan manuscript (Heyerdahl and Ferdon 1965: figure 115, 8) contains a glyph representing a two-headed frigate bird with the native Marama's reading as rauhiva ariga erua 'twins with two faces' (Kondratov 1965: 414). Indeed, the gods Tangaroa and Rongo were twins. This combination is also comparable with the name of the Maori god Rongomatane '(The god) Rongo and (the god) Tane' associated with kumara 'sweet potato' (Buck 1966: 439). Besides, the Atan manuscript (Heyerdahl and Ferdon 1965: figure 121, 4) contains glyphs (two-headed) 44 taha and 25 hua with the native Marama's reading as he tagata e amoa i te taropa uhi 'man is carrying a basket with yam' (Kondratov 1965: 415). Indeed, they are designations of the twins Tangaroa and Rongo (the staff ua) and the staff ua. This text describes a presentation of the first-fruits (for example, yams) to the king (Métraux 1937: 54).
6. Cf. Rapanui rona 'drawing; wooden or stone figure', ronarona 'representation'. According to a Rapanui myth (Englert 1974: 130), the god Makemake united his shadow (cf. Rapanui ata 'shadow; image; picture; design', it is synonymous with rona, ronarona) and the bird (one of his incarnations). A Primordial Pair of the god Rangi 'The Sky(-father)' and the goddess Papa 'The Earth(-mother)' (cf. Rapanui papa 'flat rock') can be compared with another Primordial Pair of twins, the god Tangaroa, a pre-existing one living inside a shell (then the god of the sun and ocean) and the god Rongo of the land. In the Maori mythology (Buck 1966: 439), the god Tanemahuta '(The god) Tane and the height (the sun, east)' who was associated with rakau 'trees' and manu 'birds' separated the Sky(-father) from the Earth(-mother). In the Marquesan mythology (Handy 1923: 245), the god Tono-Fiti 'The Winter -- the Sun' lifted the Sky. So in the ancient Polynesian mythology, the symbols of the initial Supreme Being were (the deities) Tangaroa, Tane, Tonga-Hiti and Rangi; the symbols of the initial Shell/rock (then the cultivated land) were (the deities) Rongo and Papa.
7. See Métraux 1940: 50; Green 1985: 15; Rjabchikov 1989: 124.
8. One can translate this name as 'A son (fruit) of the sun', too.
9. Cf. Rapanui ura 'fire; burning; to be in flames', keke '(of the sun) to set', tutu 'to light; to set fire', Mangarevan, Marquesan tutu 'to burn; to set fire'. The Lizard was an epithet of the chthonic god Hiro (Barthel 1978: 251). The bird (kapa)kapa may be another fertility symbol: cf. Rapanui kape 'yam; arum; sweet potato'.
10. Cf. Rapanui tutu 'to light; to set fire', Mangarevan, Marquesan tutu 'to burn; to set fire', Old Rapanui pu 'to produce', Rapanui haipoipo 'marriage', Rapanui matua 'father', Old Rapanui koro 'father', Rapanui makona 'to feast', Old Rapanui tuu 'star', Rapanui mango 'shark', Old Rapanui pakia 'shark', Rapanui paka 'dry', poki 'child'. Cf. Maori Tautoru 'Orion's Belt (three bright stars)' (Best 1955: 39), lit. 'Three fires'. According to RedShift 2, the full moon of November or December was usually situated near these stars during the 8th-20th centuries (Rjabchikov 1999b: 19). The name 'The Shark' may be a designation of the Milky Way, too, cf. Maori Te Mangoroa 'the Milky Way', lit. 'The great Shark' (Best 1955: 39; Lee 1992: 75).
11. The bird turi 'sea gull' (turi is a name of several birds in the Polynesian languages) may be another fertility symbol: cf. Rapanui tuitui koviro 'yam's variety', tuitui koviro 'sweet potato's variety', ketu turi, tuitui koviro 'taro's varieties', and turi haro uo, tuitui koviro 'sugarcane's varieties' (Barthel 1978: 108, 110, 111, 112). The name turi haro uo may be decoded as 'The sea gull (an incarnation of the god Makemake) of the face of the staff ua'. The name of the Tahua tablet corresponds to a kind of rongorongo known as tau 'tablets recording feasts Koro'. Moreover, Tomenika's text -- another tau record (Routledge 1998: 250) -- contains indeed a report about the Koro feast/month Koro (Rjabchikov 1996b: 36).
12. The term Honu 'Turtle' is a symbol of the Pleiades in Tuamotuan and Easter Island belief systems (Lee 1992: 80; Rjabchikov 1993b: 23; 1993c: 5; Rjabchikov 1997c: 46).
13. Cf. Maori hi 'dawn', hihi 'ray of the sun', Japanese hi 'the sun'.
14. Cf. Samoan ulu, Maori uru 'head'. See Rjabchikov 1995a.
15. See Routledge 1998: 267. Here ao is comparable with Maori ao 'day', aro 'to face, to turn towards', aroaro 'front', Tahitian ao 'day; light', aro 'front; face', Samoan alo 'front', ao 'head; day', Rapanui aro 'front; forehead; face'. Moreover, stylized masks -- perhaps the images of the sun deity Makemake -- are depicted on Rapanui ceremonial paddles ao, see Rjabchikov 1998a: 55. Let us examine an Easter Island tattooing motif (Brown 1996: 172, photo; Rjabchikov 1998b: 71). Here three figures of the moon (cf. glyph 61 hina 'the moon') -- the symbols of the months -- are visible. Glyph 34 (sail) 'the sun' denotes the month Ruti 'November-December'; the sign of the paddle ao denotes the month Koro 'December-January'. The mythological character, Aroaro-a-manu 'The Face of the Bird', corresponds to the summer season in the Maori mythology (Best 1955: 18).
16. Cf. Tahitian pe 'ripe', Rapanui hakapee no kai hoao 'abundance'.
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