Great Washington Rongorongo Tablet

April 1, 2012

Great Washington Rongorongo Tablet

Milton Kim

Abstract In this article, the hieroglyphical text segmentation of Great Washington Rongorongo tablet will be presented and the interpretation of its script which had been left by Ure Vaeiko will be provided. The crustographic structure newly identified in the third crust segmentation of GWR tablet demonstrates that Rongorongo script can be written in a highly conceptual way.

1. Introduction

Figure 1 The side a of Tablet S [from wiki]

Figure 2 The side b of Tablet S [from wiki]

S is the standard designation from Thomas Barthel who was a German epigrapher and is best known for cataloguing the rongorongo script. Tablet S also called Large or Greate Washington is a long bevelled driftwood board made of Podocarpus latifolius wood. It curves to a point at one end and the text on both sides were severely damaged by fire.

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Figure 3 Line-numbered side A

Figure 4 Line numbered side B

The recitation which was delivered by Ure Vaeiko upon being shown a photograph of tablet S by William Thomson in 1891 is used in this article as the reference.

2. Script Segmentation The script on Tablet S is divided into several segments by applying the definition of Crustography.

Figure 5 Crust Segment S1:a1-a3 (1st segment continues from line #1 to #3)

The first segment S1 is identified by two crust bands which are consisted of cascaded two glyphs. The glyphs in front of the opening crust band is regarded as the header to its following crust segment.

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Figure 6 Crust Segment S2:a3-a3

The second segment is identified by three crust glyphs of same kind. It has its header and two separated texts which are connected by a relaying crust glyph.


In the Great Washington tablet, this third segment is the most interesting one. By the definition of Crustography, a series of hieroglyphs is formed into a structured crust by crust glyphs or bands. A crust is regarded as a sentence in Rongorongo script which can be separated from other sentences. Every Rongorongo tablet ends with a crust and that ending crust is terminated by closing crust glyphs or band. Sometimes a crust ends with a delimiter glyph which depicts henua. For examples, the first segment S1 has a crust band which is consisted of two glyphs. The second segment S2 uses single crust glyph. For the third segment, several independent crusts are used to form a crust, but each crust is composed in the same structure as illustrated below.

Figure 8 Three-glyph crusts

The segment S3 is consisted of 5 independent crusts. Each crust has only three crust glyphs and they are independent from each other. Usually, when a crust is composed with crust bands, most hieroglyphs are repeatedly used with variations. For example, the Lunar Calendar crust from Mamari tablet is composed of crust bands.

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Figure 9 Lunar Calendar crust

Same glyphs are used in crust bands. By repeatedly using same glyphs, each crust or sentence can be uniquely identified from others. For the segment S3, this general rule does not apply. In this case, multiple crusts of different composition are used. In order to make it a legitimate crust, however, the consistent structural usage of hieroglyphs is applied. Each and every crust used to compose the segment S3 has only three crust glyphs. In other words, same structural composition of different glyphs can be used as crust band.


The segment S4 is consisted of two-glyph header, 4 cascaded text segments which are separated by 5 crust glyphs. The crust glyph with an extension in the second text segment is not regarded as a crust glyph since it belongs to a crust which is consisted of glyphs with same extensions.

Figure 11 Crust Segment S5:a7-b3

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It is hard to identify the segment S5 since they are so much damaged. But it seems that the first half is separated at the delimiter glyph which looks like a vertical bar, usually depicts henua. The second half is also terminated with a delimiter. It is noted that there is a long train sequence of glyphs.

Figure 12 Crust Segment S6:b3-b4

The segment S6 is composed of header and a text segment which was encapsulated by crust bands. The text segment is also a crust which has no header and is encapsulated by crust glyphs.


In the segment S7, there are two crusts. The first crust ends with a delimiter glyph. The second crust has a header and one text segment which was encapsulated by crust glyphs.


The segment S8 has two crusts. The first crust was encapsulated by crust glyphs. The second crust has a header and one long text segment which was encapsulated by crust glyphs.


The segment S9 has two crusts.

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The last segment S10 has one crust which has two-glyph header and one text segment. Even though the last glyph is so damaged as to being hard to identify, it must be a crust glyph which closes the crust.

3. Interpretation

Figure 17 Commonly used phrases through the transcript left by Ure Vaeiko

In Appendix B, the whole script transcribed by Ure Vaeiko is illustrated in the form of cross-over-line (COL) script. In order to reveal the embedded structure, some of the partial phrases are represented in short symbols as shown in Figure 17. Obviously, the script left by Ure Vaeiko is very different from the scripts left by Metoro, which I have got used to. For the interpretation of Great Washington tablet, however, I will use the same techniques that I have developed during the interpretation of Aruku Kurenga tablet. Before I get into the script, the commonly used phrases in the FIG.17 will be examined first. The first thing I need to know from them is that at which points I should pause for its evaluation. When the header phrase (referred to [H]) is compared to the number 2 phrase, Ure Vaeiko dropped Eaha from the header phrase. That means that I can pause after Eaha for its interpretation. By comparing each phrases, the header phrase can be represented by ‘Eaha – to[/te] ran – ariiki kete – mahua i uta nei’. eaha: (MP) what?, of what kind?, whatever, to do what?. {ea: (MP) an exclamation expressing surprise, to appear above water, to be brought to land, to be hauled on shore, to be produced as a crop; (Tahitian) an injection of surprise or wonder. ha: four; to breathe; (MP) breath, to hesitate in speaking, strong.} to: to rise (of the sun); (MP) to drag, pregnant, the stems of tall straight plants, thy, to set as the sun; (Samoan) to plant, to fall as rain of dew, the possessive prefix to the dual and plural of pronoun when the noun is singular; (Tongan) to fall. ran: (MP) regarded as ranga. {ranga: (MP) a deity, a company of persons, a shoal of fish, to urge forwards, to set an army in motion, to raise, to arrange. ga: preposed plural marker of rare usage; (Samoan) <nga> to pant, to breathe hard.} ariiki: <unknown>. {ari: (MP) the eleventh day of the moon's age, to hold up to view, to appear, a son of Rangi-potiki and Papatua-nuku; (Tahitian) the tribute paid to a king or principal chief; (Tongan) beautiful; (Tahitian) clear, transparent; (Mangarevan) to carry, to transport. iki: (MP) to spill; (Tongan) small, little; (Marquesan) to pour out.} kete: (MP) a basket made of strips of flax; (Tongan) the belly; (Rarotongan) a basket; (Mangarevan) to make a noise with the tongue. mahua: <unknown>. {ma: (prep) for (found in some cases instead of mo); (MP) and. hua: testicle, son, to cause a fight; (MP) a god ruling the tides, fruit, to bear fruit, the egg of a bird, to bloom, full moon. mahu: (MP) healed; (Tahitian) to cease or stop, to be quenched as thirst, satisfied as desire, to be growing as the seed that had been sown; (Hawaiian) a man who assimiliates his manners and dresses his person like a woman; (Tongan) animals, birds. a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to.} i: because of, in, on, at; (MP) used transitively to connect an active verb with its object, from, at a distance from, than. uta: higher up (from

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the coast, or from another place); (MP) the land as opposed to the water, inland, to place one thing on another; (Samoan) ashore, a landmark; (Tongan) fixed, habituated; (Mangarevan) a term signifying the shore when at sea, and towards the mountain when on land; (Tahitian) to be carried or conveyed by water. nei: here; (MP) <tenei> denoting position near the speaker; (Samoan) this, now; (Tahitian) here, in this place, now at this time. In the interpretation of Aruku Kurenga tablet, eaha is regarded as ea+ha and it is interpreted as ‘to haul four servants to the land on shore, or four servants to be brought to land’. When mahua is regarded as ma+hua, it is interpreted as ‘for being hanged over like a fruit’. If mahua is regarded as mahu+a, it will be interpreted as ‘to stop the collar-bone of the deity or airship’. Collectively, mahua can be interpreted as ‘to stop the collar-bone of the deity and hang it over like a fruit’. Therefore, ‘mahua i uta nei’ or [---nei] is interpreted as ‘to stop the collar-bone of the deity and hang it over right here on the inland’. ariiki is regarded as ari+iki and it is interpreted as ‘to transport or the transportation of the deity on the night of 11th moon phase’. In the AK tablet, the context suggests that the visitors from the master’s land arrived from the west at the Easter island on the night of 11th moon phase (ari) and the islanders hauled the deity, i.e. the visitors’ airship onto the inland. ariiki certainly describes those events. kete means ‘the belly (of the airship)’. Therefore, ‘ariiki kete’ can be interpreted as ‘on the night of 11th moon phase, the belly of the deity was transported’. [a--nei] can be interpreted as ‘on the night of 11th moon phase, the belly of the deity was transported right here onto the inland and the collar-bone of the deity was hanged over to stop’. Since the meaning of ran would not be found in the Maori-Polynesian Dictionary, it is very difficult to determine what ran means. In this interpretation, ran is an abbreviation of ranga, which can be interpreted as ‘a company of persons, to urge forward’. ga means ‘to breathe hard’ and it indicates a person or servant who breathes hard from a labour. Through the Great Washington script, there are another few words to which the same analogy applies. They are hon and han. hon is regarded as honga and han as hanga. In the interpretation of AK tablet, to and te were interpreted as indicating the islanders and the visitors, respectively. Therefore, ‘to ran’ means ‘a company of islanders’ and ‘te ran’ indicates ‘a company of visitors’. [to-nei] is interpreted as ‘on the night of 11th moon phase, a company of islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop’. [te-nei] is interpreted as ‘on the night of 11th moon phase, a company of visitors transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop’. Finally, [H] can be interpreted as ‘in order to haul four servants to land on the night of 11th moon phase and a company of four servants, islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop’. Table 1 Meaning of each phrases

Words Interpretation [---nei] to stop the collar-bone of the deity and hang it over right here on the inland

[a--nei] on the night of 11th moon phase, the belly of the deity was transported right here onto the inland and the collar-bone of the deity was hanged over to stop

[to-nei] on the night of 11th moon phase, a company of islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop

[te-nei] on the night of 11th moon phase, a company of visitors transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop

[H] in order to haul four servants to land on the night of 11th moon phase and a company of four servants, islanders transported the belly of the deity right here onto the inland and the

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collar-bone of the deity was hanged over to stop ariiki to transport or the transportation of the deity on the night of 11th moon phase ran a company of persons or servants eaha to haul four servants to the land on shore, or four servants to be brought to land

Following are the interpretation of each text segments.

3.1 1st Script Segment

Eaha to ran ariiki kete mahua i uta nei ? E tupu tomo a mata mea e rangi ran e tuatea to ran ariiki kete mahua i uta nei. Ane rato mani rata karata te tuatea, karata te rangi ran karata te tupuna.

e: (MP) a particle, generally preceding a word used as a verb, to express the future tense; a sign of vocative case, preceding words used as nouns. tupu: shoot, sprout, bud; to sprout; pregnant; (MP) to spring up, to grow, to be firmly fixed, to be born. tomo: to berth (a boat), to reach the anchoring-ground; (MP) to enter, to be filled, a large basket; (Samoan) to sink in; (Tongan) to project. a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to. mata: tribe, people, the eye, mesh, raw (uncooked); (MP) the face, the edge, the point; (Samoan) to look at; (Tahitian) to commence anything. mea: gill of fish; (MP) a thing; (Tahitian) anything previously mentioned, to do (a word used as a convenient substitute, instead of naming the action); (Hawaiian) an external object. rangi: (MP) Heaven or Sky, the great father of men, the sky. ran: (MP) regarded as ranga. {ranga: (MP) a deity, a company of persons, a shoal of fish, to urge forwards, to set an army in motion, to raise, to arrange. ga: preposed plural marker of rare usage; (Samoan) <nga> to pant, to breathe hard.} tuatea: (MP) the break of the crest of a wave, a large wave, a heavy swell, paleanxious, distressed; (Mangarevan) a great heap of anything exposed to view. to: to rise (of the sun); (MP) to drag, pregnant, the stems of tall straight plants, thy, to set as the sun; (Samoan) to plant, to fall as rain of dew, the possessive prefix to the dual and plural of pronoun when the noun is singular; (Tongan) to fall. ane: (Samoan) the white ant; (Hawaiian) the name of a small insect that eats wood, but is not itself visible; (Mangarevan) dirt or scurf on the skin. {a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to. ne: (MP) an interrogative of emphasis, what?, how?; (Hawaiian) crying, fretting, sickly.} rato: (MP) to be all served or provided, to serve; (Tahitian) to haul. mani: (MP) a bird, manu in Waigiou. rata: (MP) the name of a tree, tame, quiet, familiar, friendly, a well-known hero or demi-god of Polynesian legend; (Tahitian) the Tahitian chesnut tree and its fruit; (Mangarevan) to frequent, to do often; (Malay) level, even. karata: <unknown>. {kara: wing of bird; (MP) an old man, a secret plan, to call, a salutation; (Mangarevan) a round heavy stone; (Paumotan) flint. ta: (MP) a maul, to beat, the stern of a canoe; (Tahitian) belonging to.} te: the (singular definite article); (MP) to crack, to snap; (Samoan) to be split open, to burst open. tupuna: (MP) also Tipuna, an ancestor; (Tahitian) a grandfather or grandmother. {tupu: shoot, sprout, bud; to sprout; pregnant; (MP) to spring up, to grow, to be firmly fixed, to be born. na: (MP) a word used to call attention at the commencement of a tale, by, made by, belonging to, to be satisfied; (Tahitian) standing before nouns represent a limited plural number.} Translation

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The structure of ‘e ~ e ~ e [~]’ is a typical arrangement used to encapsulate transcribed rongorongo text segments and they can be considered like punctuation marks such as ‘,’ (comma), or ‘-‘ (hyphen) used in modern roman texts. ‘a’ indicates an airship as a deity and it is interpreted as ‘the collar-bone of a deity’. ‘tomo a’ is interpreted as ‘to berth the deity, or to put the deity into the anchoring ground’. mea indicates an area on the deity with an external object. Since a deity is described as a fish when it was moored to the ground or a structure on the ground, mea can be interpreted as ‘an external object on a deity’. On the contrary, when a deity is airborne, it is described as a bird like manu. mata is interpreted as ‘the tribal people on the edge’. ‘mata mea’ can be interpreted as ‘the tribal people on the edge of an external object called mea’. tupu means ‘to be firmly fixed and overhung like a fruit’. Therefore, ‘tupu tomo a mata mea’ is interpreted as ‘the deity was pulled into the anchoring ground and its collar-bone was firmly fixed and overhung like a fruit by the tribal people on the edge of an external object called mea’. tuatea depicts a ground structure which had an extended arm over to the midair like the creast of a wave. ‘to ran’ is interpreted as ‘a company of servants gathered on the ground side’ since to is used to indicate the islanders. ‘rangi ran’ can be interpreted as ‘a company of servants gathered on the deity which was hovering in the midair’. Likewise, ‘tuatea to ran’ is interpreted ‘a company of servants gathered at the ground structure with an extended arm over to the midair’. ‘E tupu tomo a mata mea e rangi ran e tuatea to ran’ is finally interpreted as ‘The deity was pulled into the anchoring ground and its collar-bone was firmly fixed and overhung like a fruit by the tribal people on the edge of an external object called mea. A company of servants gathered on the deity which was hovering in the midair. A company of servants gathered at the ground structure with an extended arm over to the midair.’ Ane is regarded as ‘the servants working like ants’. In Waigiou, mani indicates manu and it means ‘the bird as a deity’. More specifically, manu was the airship by which the group of visitors traveled. ‘Ane rato mani’ can be interpreted as ‘the working ants hauled the deity manu’. karata is regarded as kara+ta and it is interpreted as ‘the wing of a deity at the stern, or the tail wing of a deity’. ‘rata karata’ is interpreted as ‘to level the tail wing of a deity’. Since rata also means a kind of tree, ‘rata karata’ indicates ‘the tail wing made of a tree’. tupuna is regarded as tupu+na and it can be interpreted as ‘to be firmly fixed with a satisfaction, or to be fixed firmly and satisfactorily’. karata was used to form a structure of ‘karata ~ karata ~ karata ~’ list like e. It means that any text after karata will belong to the same context, which is ‘Ane rato mani rata karata’. ‘karata te rangi ran’ indicates that the servants worked on the deity to level the tail wing, not by the servants on the ground since te is used instead of to. The passage of ‘Ane ~ te tupuna’ is interpreted as ‘the servants working like ants hauled the tail wing of the deity manu and leveled it in the midair, and satisfactorily the deity was firmly fixed and overhung to the extended arm of the ground structure’. Translated Text [1] – ‘[In order to haul four servants to land on the night of 11th moon phase and a company of four servants, islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop.]

The deity was pulled into the anchoring ground and its collar-bone was firmly fixed and overhung like a fruit by the tribal people on the edge of an external object called mea. A company of servants gathered on the deity which was hovering in the midair. A company of servants gathered at the ground structure with an extended arm over to the midair.

[On the night of 11th moon phase, the belly of the deity was transported right here onto the inland and the collar-bone of the deity was hanged over to stop.]

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The servants working like ants hauled the tail wing of the deity manu and leveled it in the midair, and satisfactorily the deity was firmly fixed and overhung to the extended arm of the ground structure.’ Salmon’s translation [1] – ‘What power has the Great King on the land? He has power to make the plants grow and to change the sky to different colors. All hail the power of the Great King who makes us lenient to the young plants, to admire the skies of different colors, and to behold the clouds that rise.’ Related Indus Valley Glyphs

Figure 18 Indus Valley glyphs matches the text segment S1

The first hieroglyph on the left from Indus Valley corpus depicts a deity as a fish. The vertical short line indicates the backbone of a deity, or the servants in a row as in ‘te rangi ran’. The 4th glyph depicts tuatea as in ‘the crest of a wave, or a ground structure with an extended arm on which a deity was being fixed and overhung’. In the above relational diagram, the third hieroglyph can be combined by two glyphs, i.e. ran and tuatea and it depicts ‘tupu tomo’ as in ‘to be pulled into the anchoring ground and overhung to the extended arm of a ground structure’.

3.2 2nd and 3rd Script Segments

[02] Eaha to ran ariiki kete mahua i uta nei ? E ura e poopoo e koiro e nohoe e to ran ariiki kete mahua i uta nei. Ane rato mani rata karata te ura ki kara te poopoo e nehe e riku e kava-kava atu.

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[03] Eaha to ran ariiki kete mahua i uta nei? E nehe e riku e kava atua to ran ariiki kete mahua i uta nei. Ane rato mani rata karata te nehe karata riku karata rain kava atua.

e: (MP) a particle, generally preceding a word used as a verb, to express the future tense; a sign of vocative case, preceding words used as nouns. ura: (MP) to be red or brown, to glow, especially of dawn; (Tahitian) red, a blaze, a flame of fire, red feathers, formerly sacred to the gods; (Hawaiian) a lobster, the redness of then flesh when rubbed off; (Mangarevan) flame, to burn. poopoo: also see pokoia; (Tahitian) deep or sunk as a hole in the ground, to be sunken; (Hawaiian) to be deep, to be lower down, a ball of an oval shape. koiro: (MP) also ngoiro, the Conger-Eel; (Mangarevan) the name of a long fish. nohoe: <unknown>. {no: (MP) from, of, belonging to, until. hoe: (MP) to press away, to push away with the hand; (Tahitian) a paddle, to row, to reject. noho: to sit, to stay, to wait; (MP) to dwell; (Tahitian) to abide; (Mangarevan) to remain.} to: to rise (of the sun); (MP) to drag, pregnant, the stems of tall straight plants, thy, to set as the sun; (Samoan) to plant, to fall as rain of dew, the possessive prefix to the dual and plural of pronoun when the noun is singular; (Tongan) to fall. ran: (MP) regarded as ranga. {ranga: (MP) a deity, a company of persons, a shoal of fish, to urge forwards, to set an army in motion, to raise, to arrange. ga: preposed plural marker of rare usage; (Samoan) <nga> to pant, to breathe hard.} ane: (Samoan) the white ant; (Hawaiian) the name of a small insect that eats wood, but is not itself visible; (Mangarevan) dirt or scurf on the skin. {a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to. ne: (MP) an interrogative of emphasis, what?, how?; (Hawaiian) crying, fretting, sickly.} rato: (MP) to be all served or provided, to serve; (Tahitian) to haul. mani: (MP) a bird, manu in Waigiou. rata: (MP) the name of a tree, tame, quiet, familiar, friendly, a well-known hero or demi-god of Polynesian legend; (Tahitian) the Tahitian chesnut tree and its fruit; (Mangarevan) to frequent, to do often; (Malay) level, even. karata: <unknown>. {kara: wing of bird; (MP) an old man, a secret plan, to call, a salutation; (Mangarevan) a round heavy stone; (Paumotan) flint. ta: (MP) a maul, to beat, the stern of a canoe; (Tahitian) belonging to.} te: the (singular definite article); (MP) to crack, to snap; (Samoan) to be split open, to burst open. ki: to, towards, after, for, in order to; (MP) full, high (of the tide), to say, very, not yet. kara: wing of bird; (MP) an old man, a secret plan, to call, a salutation; (Mangarevan) a round heavy stone; (Paumotan) flint. nehe: (MP) ancient times, the rafter of a house; (Hawaiian) to make a rustling noise, a rustling sound; (Marquesan) perhaps. riku: <unknown>. {ri: (MP) to shut out with a screen, a sacred mark set up to prevent people from passing; (Tahitian) to hang or suspend, to lodge as a tree or branch in the branches of another; (Paumotan) to hang, to hang up. ku: verbal prefix, used for past events the effects of which are still lasting; (MP) silent, to make a low sound, to be tired, to be utterly worn out; (Hawaiian) to arise, to rise up, to anchor, to stop still.} kava: sour, salty, to turn sour; (MP) bitter, unpleasant to the taste, sweat, to perspire. {ka: particle of the affirmative imperative, of cardinal numerals; (MP) when, as soon as, to burn, to be lighted, to take fire; (Mangarevan) to kindle. va: (MP) local extension, distance, interval, a region, an indefinite interval, the time, season, to be far advanced; (Tongan) a laughing noise, to laugh and make a noise.} atu: particle of meaning opposite to that of "mai"; it refers to the second or third person; (MP) away, others, from, to show, to point out. atua: lord, God, gentleman. {atu: particle of meaning opposite to that of "mai"; it refers to the second or third person; (MP) away, others, from, to show, to point out. a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to.} rain: <unknown>. {raina: (MP) there, yonder. ra: the sun, a day, the east, a sail, daylight, by way of; (MP) the Solar-Deity, that, there; (Tahitian) the side toward the east, an ornament put up in the marae (sacred place) when sacrificing a man; (Samoan) daylight, to be intensely hot; (Fiji) the west point of the heaven. i: because of, in, on, at; (MP) used transitively to connect an active verb with its object, from, at a distance from, than.} Translation When ura is regarded as u+ra, it is interpreted as ‘to firmly seize the Solar-Deity’. In Maori-Polynesian, ura means ‘red feathers, a lobster’. In the context of Aruku Kurenga tablet, tuura as tu+ura in Br9-5 crust was interpreted as ‘a fish trap (with latches like lobster hands) or seizing structure on the ground to which an airship is being restrained’. poopoo is interpreted as

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‘a sunken area of an oval shape’. koiro means a fish. When koiro is regarded as koi+ro, koi in Japanese means ‘a fish (carp)’ and ro in Maori-Polynesian means ‘an ant’. koiro can be interpreted as ‘an ant-shaped fish or airship’. When nohoe is regarded as no+hoe, it is interpreted as ‘until being pushed away with hands’. If nohoe is regarded as noho+e, it can be interpreted as ‘to stay, remain’ and ‘e’ is considered as a part of “e ~ e ~ e”. Collectively, ‘E ura e poopoo e koiro e nohoe e’ is regarded as ‘ura poopoo koiro nohoe’ can be interpreted as ‘the ant-shaped deity was firmly seized up by a fish trap with latches like lobster hands at the sunken area of an oval shape and stayed until being pushed away’. ‘Ane rato mani rata karata’ is interpreted as ‘the working ants hauled the deity manu and leveled the tail wing of a deity’. ‘te ura ki kara te poopoo’ is interpreted as ‘the fish trap gets to the wing at the sunken area of an oval shape’. nehe is interpreted as ‘with a rustling sound’. riku is regarded as ri+ku and it can be interpreted as ‘to hang to stop still’. In Bv8-2 of AK tablet, kava was interpreted as ‘the extension glowing by the light of fire, liquid fertilizer, or tacky substance’. In other words, kava means ‘an extension through which tacky substances were poured out’. kava-kava indicates two-extensions. ‘kava-kava atu’ is interpreted as ‘two extensions were shown, or revealed’. ‘e nehe e riku e kava-kava atu’ is regarded as ‘nehe riku kava-kava atu’ and it is interpreted as ‘with a rustling sound, the deity was hung to stop still and two extensions were revealed’. atua is regarded as atu+a and it is interpreted as ‘to show on the collar-bone of a deity’. ‘kava atua’ can be interpreted as ‘the extension on the collar-bone of a deity is revealed’. ‘E nehe e riku e kava atua’ is interpreted as ‘with a rustling sound, the deity was hung to stop still and the extension on the collar-bone was revealed’. ‘Ane rato mani rata karata te nehe karata riku karata rain kava atua’ is regarded as ‘Ane rato mani rata karata - te nehe riku rain kava atua’. Regarding rain, ‘rain kava atua’ ‘rain kava atu+a’ ‘raina kava atu’. raina means ‘there, yonder’ and ‘raina kava atu’ can be interpreted as ‘the extension was revealed there, or where the extension was revealed’. Finally, ‘te nehe riku rain kava atua’ can be interpreted as ‘with a rustling sound, the deity was hung to stop still and there the extension was revealed’. Translated Text [2] – ‘[In order to haul four servants to land on the night of 11th moon phase and a company of four servants, islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop.]

The ant-shaped deity was firmly seized up by a fish trap with latches like lobster hands at the sunken area of an oval shape and stayed until being pushed away.

[On the night of 11th moon phase, a company of islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop.]

The working ants hauled the deity manu and leveled the tail wing of a deity. The fish trap had got to the wing at the sunken area of an oval shape. With a rustling sound, the deity was hung to stop still and two extensions were revealed.’ [3] – ‘[In order to haul four servants to land on the night of 11th moon phase and a company of four servants, islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop.]

With a rustling sound, the deity was hung to stop still and the extension on the collar-bone was revealed.


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The working ants hauled the deity manu and leveled the tail wing of a deity. With a rustling sound, the deity was hung to stop still and there the extension was revealed.’ Salmon’s translation [2] – ‘What power has the Great King on the land ? He has the power to create the lobsters, white-bait, eels, ape-fish, and everything in the sea. All hail the power of the Great King who gives us the knowledge to catch the lobsters, white-bait, eels, ape-fish, and all marine animals.’ [3] – ‘What power has the Great King on the land? He has power to make the plants grow and to change the sky to different colors. All hail the power of the Great King who makes us lenient to the young plants, to admire the skies of different colors, and to behold the clouds that rise.’ Related Indus Valley Glyphs

The above picture illustrates some Indus Valley hieroglyphs that match to the interpretation of text segments. 1. The glyph looks like a fish indicates the deity. 2. The glyph has two extensions on both side around its head, which presumed to indicate kava-kava atu as of ‘two extensions were revealed’. 3. The glyph has an inside line connecting two extensions right above its tail, which indicates riku as ‘to hang to stop still’. 4. The glyph indicates poopoo when viewed from the perspective of people on the ground. 5. The glyphs indicates koiro as of ‘an ant-shaped fish or airship’ which has two extensions look like wings. It depicts ‘mahua i uta nei’ as ‘to stop the collar-bone of the deity and hang it over right here on the inland’. Combining both glyphs 2 and 3 back-to-back, it describes that the deity came to stop still and reveal its two extensions. It also suggests that the Indus Valley corpus should be read inwardly starting from both ends up to those fish glyphs depicting the deity.

3.3 4th Script Segment

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Eaha to ran ariiki kete mahua i uta nei ? E a hao nei e kahi e atu e ature. Ane rato mani rata karata te kahi kaharta ahi rarata te ature ane rato.

e: (MP) a particle, generally preceding a word used as a verb, to express the future tense; a sign of vocative case, preceding words used as nouns. a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to. hao: (MP) to draw round, to grasp greedly; (Tahitian) to encircle. nei: here; (MP) <tenei> denoting position near the speaker; (Samoan) this, now; (Tahitian) here, in this place, now at this time. kahi: tuna, two sorts; (MP) (also tahi) together, throughout, to sweep; (Hawaiian) (akahi) one, someone, to rub gently with the finger and thumb, to comb as the hair, to shave as the beard, to cut as the hair. {ka: particle of the affirmative imperative, of cardinal numerals; (MP) when, as soon as, to burn, to be lighted, to take fire; (Mangarevan) to kindle. hi: (MP) to hiss, to make a hissing noise, to catch with hook and line; (Samoan) to hoist; (Tahitian) to gush out as water, to burst out suddenly, (faa-hi) a pump, a syringe; (Hawaiian) a flowing away; (Marquesan) to fish with a line.} atu: particle of meaning opposite to that of "mai"; it refers to the second or third person; (MP) away, others, from, to show, to point out. {a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to. tu: to crush into puree; (MP) to stand, to be served, the manner, the way of performing or executing anything, the part of a fishing-net which is first in the water, the girdle to which the maro was attached.} ature: <unknown>. {a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to. ture: (MP) law, order, rule; (Tahitian) a rule of conduct, a code of laws, to be honored.} ane: (Samoan) the white ant; (Hawaiian) the name of a small insect that eats wood, but is not itself visible; (Mangarevan) dirt or scurf on the skin. {a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to. ne: (MP) an interrogative of emphasis, what?, how?; (Hawaiian) crying, fretting, sickly.} rato: (MP) to be all served or provided, to serve; (Tahitian) to haul. mani: (MP) a bird, manu in Waigiou. rata: (MP) the name of a tree, tame, quiet, familiar, friendly, a well-known hero or demi-god of Polynesian legend; (Tahitian) the Tahitian chesnut tree and its fruit; (Mangarevan) to frequent, to do often; (Malay) level, even. karata: <unknown>. {kara: wing of bird; (MP) an old man, a secret plan, to call, a salutation; (Mangarevan) a round heavy stone; (Paumotan) flint. ta: (MP) a maul, to beat, the stern of a canoe; (Tahitian) belonging to. ka: particle of the affirmative imperative, of cardinal numerals; (MP) when, as soon as, to burn, to be lighted, to take fire; (Mangarevan) to kindle. rata: (MP) the name of a tree, tame, quiet, familiar, friendly, a well-known hero or demi-god of Polynesian legend; (Tahitian) the Tahitian chesnut tree and its fruit; (Mangarevan) to frequent, to do often; (Malay) level, even.} te: the (singular definite article); (MP) to crack, to snap; (Samoan) to be split open, to burst open. kaharta: <unknown>. {kaha: (MP) strong, loud, strong-voiced, a net, a snare; (Samoan) a rope. ka: particle of the affirmative imperative, of cardinal numerals; (MP) when, as soon as, to burn, to be lighted, to take fire; (Mangarevan) to kindle. ha: four; to breathe; (MP) breath, to hesitate in speaking, strong.} ahi: fire; (Tahitian) a species of cockle (small, edible saltwater clam). rarata: <unknown>. {rarata: (MP) quiet. ra: the sun, a day, the east, a sail, daylight, by way of; (MP) the Solar-Deity, that, there; (Tahitian) the side toward the east, an ornament put up in the marae (sacred place) when sacrificing a man; (Samoan) daylight, to be intensely hot; (Fiji) the west point of the heaven. rata: (MP) the name of a tree, tame, quiet, familiar, friendly, a well-known hero or demi-god of Polynesian legend; (Tahitian) the Tahitian chesnut tree and its fruit; (Mangarevan) to frequent, to do often; (Malay) level, even.} Translation ‘a hao nei’ is interpreted as ‘the collar-bone of a deity encircles or is secured with ropes here’. kahi indicates the deity as a fish. When kahi is regarded as ka+hi, it can be interpreted as ‘the imperative (for servants) to catch with hook and line and hoist’. In other words, when the deity as a hovering airship is secured with ropes and tied down to the ground structure, it is represented as a fish in the context of Rongorongo script. atu is regarded as a+tu and it is interpreted as ‘the deity to be served’. ature is regarded as a+ture and it can be interpreted as ‘the deity to be honored’. Therefore, ‘E a hao nei e kahi e atu e ature’ can be interpreted as ‘the collar-

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bone of deity was secured with ropes here, the deity was caught with hook and line and hoisted, the deity was served and honored by servants’. ‘Ane rato mani’ was interpreted as ‘the working ants hauled the deity manu’. ‘rata karata’ is interpreted as ‘to level the tail wing of a deity’. Altogether, ‘Ane rato mani rata karata’ is interpreted as ‘the working ants hauled the deity manu and leveled its tail wing’. kaharta is regarded as ka+ha+r[a]ta and it can be interpreted as ‘the imperative for four servants to bring it to an even level’. ‘te kahi kaharta’ is interpreted as ‘four servants were ordered to catch the deity with hook and line and hoist it and they brought it to an even level’. ahi means ‘fire’. When ahi is regarded as a+hi, it can be interpreted as ‘the collar-bone of a deity to catch with hook and line and hoist’. Collectively, ahi can be interpreted as ‘under the light of fires, the collar-bone of a deity was caught with hook and line and hoisted’. rarata is regarded as ra+rata and it is interpreted as ‘to level on the side toward the east’. Therefore, ‘ahi rarata’ is interpreted as ‘under the light of fires, the collar-bone of manu was caught with hook and rope, hoisted, and leveled on the side toward the east’. ‘te ature ane rato’ is interpreted as ‘the working ants served to haul the deity and honored it’. The transcribed text of Great Washington tablet was written in the structure of ‘[H] ~ Ane rato mani ~ ane rato’. Clearly, the text can be divided into two paragraphs and each paragraph was written in a different structure. The first half has the structure of ‘e ~ e ~ e [~]’. The second half was written in ‘Ane rato ~ ane rato’. Each paragraph contains a word kahi indicating a fish. The way how it was transcribed gives a strong impression that the script was made rather on an Indus Valley corpus than on Rongorongo tablet since it is the typical characteristic for Indus Valley corpus to have two fish hieroglyphs belly to belly in the middle. Translated Text [4] – ‘[In order to haul four servants to land on the night of 11th moon phase and a company of four servants, islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop.]

The collar-bone of deity was secured with ropes here, the deity was caught with hook and line and hoisted. The deity was served and honored by servants.

The working ants hauled the deity manu and leveled its tail wing. Four servants were ordered to catch the deity with hook and line and hoist it and they brought it to an even level. Under the light of fires, the collar-bone of manu was caught with hook and rope, hoisted, and leveled on the side toward the east. The working ants served to haul the deity and honored it.’ Salmon’s translation [4] – ‘What power has the Great King over the sea? He has the power to create the mighty fish that swim in the deep water. All hail the power of the Great King who has given us the strength and skill to catch the fish of the mighty deep.’


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Eaha to ran ariiki kete mahua i uta nei ? E ufi e tra e kumaro to ran ariiki mahua i uta nei. Ane rato karata te ufi kumara toa e mahua i uta nei, ane rato maru.

e: (MP) a particle, generally preceding a word used as a verb, to express the future tense; a sign of vocative case, preceding words used as nouns. ufi: (Samoan) to cover, a lid or cover, to conceal, the yam. tra: see helatra. {helatra: (Malagasy) (tra = suffix) lightning, curuscation, flash. hela: (Hawaiian) redness of the corner of the eye.} kumaro: <unknown>. {kuma: (Hawaiian) a word used for "standing in company with". ro: (MP) the name of an insect, in, into, inherent; (Tahitian) the ant.} to: to rise (of the sun); (MP) to drag, pregnant, the stems of tall straight plants, thy, to set as the sun; (Samoan) to plant, to fall as rain of dew, the possessive prefix to the dual and plural of pronoun when the noun is singular; (Tongan) to fall. ran: (MP) regarded as ranga. {ranga: (MP) a deity, a company of persons, a shoal of fish, to urge forwards, to set an army in motion, to raise, to arrange. ga: preposed plural marker of rare usage; (Samoan) <nga> to pant, to breathe hard.} ariiki: <unknown>. {ari: (MP) the eleventh day of the moon's age, to hold up to view, to appear, a son of Rangi-potiki and Papatua-nuku; (Tahitian) the tribute paid to a king or principal chief; (Tongan) beautiful; (Tahitian) clear, transparent; (Mangarevan) to carry, to transport. iki: (MP) to spill; (Tongan) small, little; (Marquesan) to pour out.} mahua: <unknown>. {ma: (prep) for (found in some cases instead of mo); (MP) and. hua: testicle, son, to cause a fight; (MP) a god ruling the tides, fruit, to bear fruit, the egg of a bird, to bloom, full moon. mahu: (MP) healed; (Tahitian) to cease or stop, to be quenched as thirst, satisfied as desire, to be growing as the seed that had been sown; (Hawaiian) a man who assimiliates his manners and dresses his person like a woman; (Tongan) animals, birds. a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to.} i: because of, in, on, at; (MP) used transitively to connect an active verb with its object, from, at a distance from, than. uta: higher up (from the coast, or from another place); (MP) the land as opposed to the water, inland, to place one thing on another; (Samoan) ashore, a landmark; (Tongan) fixed, habituated; (Mangarevan) a term signifying the shore when at sea, and towards the mountain when on land; (Tahitian) to be carried or conveyed by water. nei: here; (MP) <tenei> denoting position near the speaker; (Samoan) this, now; (Tahitian) here, in this place, now at this time. ane: (Samoan) the white ant; (Hawaiian) the name of a small insect that eats wood, but is not itself visible; (Mangarevan) dirt or scurf on the skin. {a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to. ne: (MP) an interrogative of emphasis, what?, how?; (Hawaiian) crying, fretting, sickly.} rato: (MP) to be all served or provided, to serve; (Tahitian) to haul. karata: <unknown>. {kara: wing of bird; (MP) an old man, a secret plan, to call, a salutation; (Mangarevan) a round heavy stone; (Paumotan) flint. ta: (MP) a maul, to beat, the stern of a canoe; (Tahitian) belonging to.} te: the (singular definite article); (MP) to crack, to snap; (Samoan) to be split open, to burst open. kumara: (MP) the sweet potato, god, plant. {kuma: (Hawaiian) a word used for "standing in company with". ra: the sun, a day, the east, a sail, daylight, by way of; (MP) the Solar-Deity, that, there; (Tahitian) the side toward the east, an ornament put up in the marae (sacred place) when sacrificing a man; (Samoan) daylight, to be intensely hot; (Fiji) the west point of the heaven.} toa: (MP) the male (of animals), victorious, a brave man, courage, success attained by courage, to throw up a stalk, to gambol; (Tahitian) a stone, a rock, a coral rock, the Ironwood tree, clots of blood, the south wind. {to: to rise (of the sun); (MP) to drag, pregnant, the stems of tall straight plants, thy, to set as the sun; (Samoan) to plant, to fall as rain of dew, the possessive prefix to the dual and plural of pronoun when the noun is singular; (Tongan) to fall. a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to.} maru: (MP) shaded, sheltered, a shield, a safeguard, a deity known as a war-god, bruised, crushed; (Tahitian) covert of a rock or tree, soft, gentle. Translation

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‘E ufi e tra e kumaro’ is regarded as ‘E ufi tra kumaro’ for its interpretation. In Malagasy, tra is used as a suffix in helatra, which means lightning. Other than that, there is no reference found in the Maori-Polynesian Dictionary so that the meaning of tra in the transcription is widely unknown. In an attempt to determine the value of tra, the idea of probable connection between Indus Valley and Easter Island will be stretched a little bit over. In 1952, the existence of an old text was revealed by G. R. Joyser and it was named Vaimanika Shastra later, which means ‘shastra on the topic of Vimanas’. The text claims that the vimanas mentioned in ancient Sanskrit epics were advanced aerodynamic flying vehicles. Sastra or Shastra is also a Sanskrit term used to denote rules in a general sense. The word is generally used as a suffix in the context of technical knowledge. Also, yantra is a Sanskrit word that is derived from the root yam meaning to control or subdue. tra is an indoeuropean suffix meaning ‘instrument’ [From Wiki]. In the context of Rongorongo script, tra will be interpreted as ‘instrument’ and it is regarded indicating the deity itself or a specific part of the deity. By the way, vaimanika or vimanika can be interpreted as ‘the deity manu made of iron to be lighted (vi+mani+ka); the local extension on the deity manu to be lighted (va+i+mani+ka)’.

vi: (MP) iron. vai: water, liquid, juice. {va: (MP) local extension, distance, interval, a region, an indefinite interval, the time, season, to be far advanced; (Tongan) a laughing noise, to laugh and make a noise. i: because of, in, on, at; (MP) used transitively to connect an active verb with its object, from, at a distance from, than.} mani: (MP) a bird, manu in Waigiou. ka: particle of the affirmative imperative, of cardinal numerals; (MP) when, as soon as, to burn, to be lighted, to take fire; (Mangarevan) to kindle.

When kumaro is regarded as kuma+ro, it is interpreted as ‘standing in company with the ants or working servants’. Therefore, ‘E ufi e tra e kumaro’ can be interpreted as ‘the instrument of deity standing in company with the working servants was covered’. ‘to ran ariiki mahua i uta nei’[to--nei] is interpreted as ‘on the night of 11th moon phase, a row of islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop’. ‘Ane rato karata’ is interpreted as ‘the working ants hauled the deity manu by the part belonged to its tail wings’. kumara is regarded as kuma+ra and it is interpreted as ‘standing in company with the side toward the east’. In the interpretation of Bv4-1 with Aruku Kurenga tablet, toa was interpreted as ‘the male end of the pierced mooring stick’. ‘te ufi kumara toa’ can interpreted as ‘the cover was standing in company with the male end of the pierced mooring stick on the side toward the east’. ‘mahua i uta nei’ is interpreted as ‘to stop the collar-bone of the deity and hang it over right here on the inland’. ‘ane rato maru’ can be interpreted as ‘the working servants hauled and shltered the deity’. Translated Text [5] – ‘[In order to haul four servants to land on the night of 11th moon phase and a company of four servants, islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop.]

The instrument of deity standing in company with the working servants was covered. [On the night of 11th moon phase, a company of islanders transported the belly of the deity right

here onto the inland and the collar-bone of the deity was hanged over to stop.] The working ants hauled the deity manu by the part belonged to its tail wings. The cover

was standing in company with the male end of the pierced mooring stick on the side toward the

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east. In order to stop the collar-bone of the deity and hang it over right here on the inland, the working servants hauled and shltered the deity.’ Salmon’s translation [5] – ‘What power has the Great King on the land? He has the power to produce the yams, potatoes, and sugar-cane. All hail the power of the Great King who enables us to use as food yams, potatoes, and sugar-cane.’


Eaha to ran ariiki kete mahua i uta nei ? E honu e kea e pane te ran ariiki kete mahua i uta nei. Ane rato karata te honu te kea te pane.

e: (MP) a particle, generally preceding a word used as a verb, to express the future tense; a sign of vocative case, preceding words used as nouns. honu: (MP) the turtle, the terrapin, more generally applied to the sea-turtle. kea: (MP) the name of a bird, mucus, discharge from the nose; (Hawaiian) semen, white, clear, a cross (one post upright, the other transverse), to hinder or object to. {ke: (MP) different, strange, in or to a different place, in a different direction, at a different time, differently to what one expected, in a different character or appearance. a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to.} pane: (MP) the head, a variety of the sweet potato; (Hawaiian) the joint of the head with the bones of the neck, to open the mouth; (Mangarevan) the forehead, the front of cliffs. te: the (singular definite article); (MP) to crack, to snap; (Samoan) to be split open, to burst open. ran: (MP) regarded as ranga. {ranga: (MP) a deity, a company of persons, a shoal of fish, to urge forwards, to set an army in motion, to raise, to arrange. ga: preposed plural marker of rare usage; (Samoan) <nga> to pant, to breathe hard.} ariiki: <unknown>. {ari: (MP) the eleventh day of the moon's age, to hold up to view, to appear, a son of Rangi-potiki and Papatua-nuku; (Tahitian) the tribute paid to a king or principal chief; (Tongan) beautiful; (Tahitian) clear, transparent; (Mangarevan) to carry, to transport. iki: (MP) to spill; (Tongan) small, little; (Marquesan) to pour out.} kete: (MP) a basket made of strips of flax; (Tongan) the belly; (Rarotongan) a basket; (Mangarevan) to make a noise with the tongue. mahua: <unknown>. {ma: (prep) for (found in some cases instead of mo); (MP) and. hua: testicle, son, to cause a fight; (MP) a god ruling the tides, fruit, to bear fruit, the egg of a bird, to bloom, full moon. mahu: (MP) healed; (Tahitian) to cease or stop, to be quenched as thirst, satisfied as desire, to be growing as the seed that had been sown; (Hawaiian) a man who assimiliates his manners and dresses his person like a woman; (Tongan) animals, birds. a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to.} i: because of, in, on, at; (MP) used transitively to connect an active verb with its object, from, at a distance from, than. uta: higher up (from the coast, or from another place); (MP) the land as opposed to the water, inland, to place one thing on another; (Samoan) ashore, a landmark; (Tongan) fixed, habituated; (Mangarevan) a term signifying the shore when at sea, and towards the mountain when on land; (Tahitian) to be carried or conveyed by water. nei: here; (MP) <tenei> denoting position near the speaker; (Samoan) this, now; (Tahitian) here, in this place, now at this time. ane: (Samoan) the white ant; (Hawaiian) the name of a small insect that eats wood, but is not itself visible; (Mangarevan) dirt or scurf on the skin. rato: (MP) to be all served or provided, to serve; (Tahitian) to haul. karata: <unknown>. {kara: wing of bird; (MP) an old man, a secret plan, to call, a salutation; (Mangarevan) a round heavy stone; (Paumotan) flint. ta: (MP) a maul, to beat, the stern of a canoe; (Tahitian) belonging to.}

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Translation honu indicates the rock which looks like the turtle head on the west promontory as illustrated in the following picture.

Figure 19 The area of honu and pane

In the upper middle of the picture, there is a rock in the shape of turtle head, which is presumed to be ‘nuku honu’ referred to in the script of Aruku Kurenga tablet. ‘te honu’ as ‘the rock of turtle head’ indicates this location. On the lower left corner, there is a rock in the shape of a person who looks in another direction. It was referred to tauuru in the script of Aruku Kurenga tablet. When tauuru is regarded as tau+uru, it exactly means ‘a head which looks in another direction’. In Maori-Polynesian, kea means ‘the name of a bird; mucus discharging from the nose’. As a bird figure, kea indicates the deity, i.e. manu or mani. The script of Aruku Kurenga describes about a deity named manu visiting the island and the purpose of its visit was to deliver some kind of liquid fertilizer. The mucus was poured out of some kind of vent. kea specifies the deity which came to provide the island with liquid substances for growing plants. When kea is regarded as ke+a, it can be interpreted as ‘a deity in a different appearance from a bird’. pane is interpreted as ‘the cliff at the bones of the neck’. Finally, ‘E honu e kea e pane’ can be interpreted as ‘the deity that had come to the island to provide liquid fertilizer was hauled onto the cliff at the neck of turtle’s head’. ‘ane rato karata’ is interpreted as ‘the working ants hauled the deity manu taken by the part belonged to its tail wings’. ‘ane rato karata te honu te kea te pane’ is interpreted as ‘the working ants hauled the deity with the supply of mucus taken by the part belonged to its tail wings and over to the place of the turtle head at the cliff’.

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Translated Text [6] – ‘[In order to haul four servants to land on the night of 11th moon phase and a company of four servants, islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop.]

The deity that had come to the island to provide liquid fertilizer was hauled onto the cliff at the neck of turtle’s head.

[On the night of 11th moon phase, a company of visitors transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop.]

The working ants hauled the deity with the supply of mucus taken by the part belonged to its tail wings and over to the place of the turtle head at the cliff.’ Salmon’s translation [6] – ‘What power has the Great King on the land? He has the power to clothe the turtles in hard shell, the fish with scales, and protects every living thing. All hail the power of the Great King who enables us to overcome the defense of the turtles, fish, and all reptiles.’

3.6 7th and 8th Script Segments

Eaha to ran ariiki kete mahua i uta nei ? E hetu e range e han e na e raa e mahua te ran ariiki kete mahua i irunga nei. Ane rato karata te rangi e hon e na e raa e mahua.

e: (MP) a particle, generally preceding a word used as a verb, to express the future tense; a sign of vocative case, preceding words used as nouns. hetu (or whetu): (Marquesan) a star. {he or whe: (MP) a dwarf, a caterpillar; (Mangarevan) a kind of locust which eats the leaves of the cocoanut. tu: to crush into puree; (MP) to stand, to be served, the manner, the way of performing or executing anything, the part of a fishing-net which is first in the water, the girdle to which the maro was attached.} range: <unknown>. {ra: the sun, a day, the east, a sail, daylight, by way of; (MP) the Solar-Deity, that, there; (Tahitian) the side toward the east, an ornament put up in the marae (sacred place) when sacrificing a man; (Samoan) daylight, to be intensely hot; (Fiji) the west point of the heaven. nge: (MP) a noise.} han: (MP) regarded as hanga. {hanga: (MP) to make, build, work, create. ga: preposed plural marker of rare usage; (Samoan) <nga> to pant, to breathe hard.} na: (MP) a word used to call attention at the commencement of a tale, by, made by, belonging to, to be satisfied; (Tahitian) standing before nouns represent a limited plural number. raa: (Tahitian) sacred; (Hawaiian) to be holy, to be devoted to destruction or to be set apart for holy purposes. {ra: the sun, a day, the east, a sail, daylight, by way of; (MP) the Solar-Deity, that, there; (Tahitian) the side toward the east, an ornament put up in the marae (sacred place) when sacrificing a man; (Samoan) daylight, to be intensely hot; (Fiji) the west point of the heaven. a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to.} mahua:

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<unknown>. {ma: (prep) for (found in some cases instead of mo); (MP) and. hua: testicle, son, to cause a fight; (MP) a god ruling the tides, fruit, to bear fruit, the egg of a bird, to bloom, full moon.} te: the (singular definite article); (MP) to crack, to snap; (Samoan) to be split open, to burst open. ran: (MP) regarded as ranga. {ranga: (MP) a deity, a company of persons, a shoal of fish, to urge forwards, to set an army in motion, to raise, to arrange. ga: preposed plural marker of rare usage; (Samoan) <nga> to pant, to breathe hard.} ariiki: <unknown>. {ari: (MP) the eleventh day of the moon's age, to hold up to view, to appear, a son of Rangi-potiki and Papatua-nuku; (Tahitian) the tribute paid to a king or principal chief; (Tongan) beautiful; (Tahitian) clear, transparent; (Mangarevan) to carry, to transport. iki: (MP) to spill; (Tongan) small, little; (Marquesan) to pour out.} kete: (MP) a basket made of strips of flax; (Tongan) the belly; (Rarotongan) a basket; (Mangarevan) to make a noise with the tongue. i: because of, in, on, at; (MP) used transitively to connect an active verb with its object, from, at a distance from, than. irunga: <unknown>. {i: because of, in, on, at; (MP) used transitively to connect an active verb with its object, from, at a distance from, than. runga: (MP) also Ruka, the top, the upper part; (Rarotongan) upon, on, over.} nei: here; (MP) <tenei> denoting position near the speaker; (Samoan) this, now; (Tahitian) here, in this place, now at this time. ane: (Samoan) the white ant; (Hawaiian) the name of a small insect that eats wood, but is not itself visible; (Mangarevan) dirt or scurf on the skin. rato: (MP) to be all served or provided, to serve; (Tahitian) to haul. karata: <unknown>. {kara: wing of bird; (MP) an old man, a secret plan, to call, a salutation; (Mangarevan) a round heavy stone; (Paumotan) flint. ta: (MP) a maul, to beat, the stern of a canoe; (Tahitian) belonging to.} rangi: (MP) Heaven or Sky, the great father of men, the sky. hon: (MP) regarded as honga. {honga: (MP) to incline, to slant, to tilt on one side. ga: preposed plural marker of rare usage; (Samoan) <nga> to pant, to breathe hard.} Translation When hetu is regarded as he+tu, it can be interpreted as ‘to be served by a servant looking like a small dwarf in the distance’. range is regarded as ra+nge and it is interpreted as ‘to call out on the side toward the east’. From the FIG.19 above, the side toward the east faces the cliff. As ran was handled as ranga above, han is regarded as an abbreviation of hanga and the meaning of it would be ‘worker, builder, creator’. When raa is regarded as ra+a, it is interpreted as ‘the collar-bone of deity on the side toward the east’. mahua was interpreted as ‘to stop the collar-bone of the deity and hang it over like a fruit’. ‘e han e na e raa e mahua’ is considered same as ‘e han na raa mahua’ and it can be interpreted as ‘the builders or visitors who belonged to the sacred deity worked on the collar-bone facing the east to overhang like a fruit’. Collectively, ‘E hetu ~ e mahua’ is interpreted as ‘the visiting creators who looked like dwarfs in the distance called out on the side toward the east and they belonged to the sacred deity worked on the collar-bone facing the east to overhang like a fruit’. ‘Ane rato karata’ is interpreted as ‘the working ants hauled the deity manu taken by the part belonged to its tail wings’. ‘te rangi’ means ‘the sky where visitors are’. hon is regarded as an abbreviation of honga and it is interpreted as ‘a worker who is tilting on one side’. ‘te rangi e hon e na e raa e mahua’ can be interpreted as ‘in the midair, the visitors who belonged to the sacred deity tilted on the side toward the east in order to overhang like a fruit’. Translated Text [7] – ‘[In order to haul four servants to land on the night of 11th moon phase and a company of four servants, islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop.]

The visiting creators who looked like dwarfs in the distance called out on the side toward the east and they belonged to the sacred deity worked on the collar-bone facing the east to overhang like a fruit.

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[On the night of 11th moon phase, a row of visitors transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop]

The working ants hauled the deity manu taken by the part belonged to its tail wings. In the midair, the visitors who belonged to the sacred deity tilted on the side toward the east in order to overhang like a fruit.’ Salmon’s translation [7] – ‘What power has the Great King in the universe? He has the power to create the stars, the clouds, the dew, the rain, the sun, and the moon. All hail the power of the Great King who enables us to appreciate the blessings of the bright stars, the lowering clouds, the gentle dew, the falling rain, and the light of the sun and moon.’

Eaha te ran ariiki kete mahua i uta nei ? E anuga nei karata te hehun rangi han na raa mahua. Ane rato karata te hehuu rangi han na raa mahua.

e: (MP) a particle, generally preceding a word used as a verb, to express the future tense; a sign of vocative case, preceding words used as nouns. anuga: <unknown>. {anu: (MP) (myth) Space, cold, coldness; (Tahitian) to be chilly. a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to. nu: (Hawaiian) to groan, to grunt, the roar of strong wind, to meditate, to shake, to be agitated; (Mangaian) the cocoanut palm. ga: preposed plural marker of rare usage; (Samoan) <nga> to pant, to breathe hard.} nei: here; (MP) <tenei> denoting position near the speaker; (Samoan) this, now; (Tahitian) here, in this place, now at this time. karata: <unknown>. {kara: wing of bird; (MP) an old man, a secret plan, to call, a salutation; (Mangarevan) a round heavy stone; (Paumotan) flint. ta: (MP) a maul, to beat, the stern of a canoe; (Tahitian) belonging to.} te: the (singular definite article); (MP) to crack, to snap; (Samoan) to be split open, to burst open. hehun: <unknown>. {he or whe: (MP) a dwarf, a caterpillar; (Mangarevan) a kind of locust which eats the leaves of the cocoanut. hun: (MP) regarded as hunga. hunga: (MP) a company of persons, people, vassal.} rangi: (MP) Heaven or Sky, the great father of men, the sky. han: (MP) regarded as hanga. {hanga: (MP) to make, build, work, create. ga: preposed plural marker of rare usage; (Samoan) <nga> to pant, to breathe hard.} na: (MP) a word used to call attention at the commencement of a tale, by, made by, belonging to, to be satisfied; (Tahitian) standing before nouns represent a limited plural number. raa: (Tahitian) sacred; (Hawaiian) to be holy, to be devoted to destruction or to be set apart for holy purposes. {ra: the sun, a day, the east, a sail, daylight, by way of; (MP) the Solar-Deity, that, there; (Tahitian) the side toward the east, an ornament put up in the marae (sacred place) when sacrificing a man; (Samoan) daylight, to be intensely hot; (Fiji) the west point of the heaven. a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to.} mahua: <unknown>. {ma: (prep) for (found in some cases instead of mo); (MP) and. hua: testicle, son, to cause a fight; (MP) a god ruling the tides, fruit, to bear fruit, the egg of a bird, to bloom, full moon.} ane: (Samoan) the white ant; (Hawaiian) the name of a small insect that eats wood, but is not itself visible; (Mangarevan) dirt or scurf on the skin. rato: (MP) to be all served or provided, to serve; (Tahitian) to haul. hehuu: <unknown>. {he or whe: (MP) a dwarf, a caterpillar; (Mangarevan) a kind of locust which eats the leaves of the cocoanut. hu: to catch fire, to burn, to blow strongly, to be furious; (MP) mud, swamp, a promontory, to click the tongue (as the horse), to bubble up; (Tahitian) to be damp or wet. u: to make a loud, thundering noise; (MP) to be fixed, not to be easily shaken or moved, the female breast; (Tahitian) milk, the breasts of anything that gives milk, to be damp, moist, wet.} Translation anuga is regarded as a+nu+ga and it is interpreted as ‘shaking the collar-bone of deity to make the roar of strong wind, or a person who is responsible of handling the collar-bone of deity’. hehun is regarded as he+hun[ga]. hunga means ‘a company of persons’ and hehun is

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interpreted as ‘a company of dwarfs’. ‘karata te hehun rangi’ is interpreted as ‘the wings of deity belonged to the company of dwarfs in the midair’. ‘han na raa mahua’ was interpreted as ‘the builders or visitors who belonged to the sacred deity worked on the collar-bone facing the east to overhang like a fruit’. Collectively, ‘E anuga ~ raa mahua’ can be interpreted as ‘shaking the collar-bone of deity made the roar of strong sound, here came the wings of deity belonged to the company of dwarfs in the midair, the builders who belonged to the sacred deity worked on the collar-bone to overhang on the side toward the east’. ‘Ane rato karata’ is interpreted as ‘the working ants hauled the deity manu taken by the part belonged to its tail wings’. hehuu is regarded as he+hu+u and ‘te hehuu rangi’ can be interpreted as ‘the dwarfs strongly blew a loud thundering noise in the midair’. Collectively, ‘Ane rato ~ raa mahua’ is interpreted as ‘the working ants hauled the deity manu taken by the part belonged to its tail wings, the dwarfs strongly blew a loud thundering noise in the midair, the builders or visitors who belonged to the sacred deity worked on the collar-bone facing the east to overhang like a fruit’. Translated Text [8] – ‘[In order to haul four servants to land on the night of 11th moon phase and a company of four servants, islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop.]

Shaking the collar-bone of deity made the roar of strong sound. Here came the wings of deity belonged to the company of dwarfs in the midair. The builders who belonged to the sacred deity worked on the collar-bone to overhang on the side toward the east.

The working ants hauled the deity manu taken by the part belonged to its tail wings. The dwarfs strongly blew a loud thundering noise in the midair. The builders or visitors who belonged to the sacred deity worked on the collar-bone facing the east to overhang like a fruit.’ Salmon’s translation [8] – ‘What power has the Great King upon the land? He has the power to populate the earth, to create both kings and subjects. All hail the power of the Great King who has created the human beings, given authority to kings, and created loyal subjects.’

3.7 9th Script Segments

Eaha to ran ariiki kete mahua i uta nei ? E ariiki e tapairu to ran ariiki kete i mahua i mua nei. Ane rato karata to ariiki te tapairu.

e: (MP) a particle, generally preceding a word used as a verb, to express the future tense; a sign of vocative case, preceding words used as nouns. ariiki: <unknown>. {ari: (MP) the eleventh day of the moon's age, to hold up to view, to appear, a son of Rangi-potiki and Papatua-nuku; (Tahitian) the tribute paid to a king or principal chief; (Tongan) beautiful; (Tahitian) clear, transparent; (Mangarevan) to carry, to transport. iki: (MP) to spill; (Tongan) small, little; (Marquesan) to pour out.} tapairu: (MP) the first-born female of a chief-family, a female ariki, a nephew or niece, any girl or woman as a complimentary

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phrase; (Tahitian) a young woman who is an attendant on a chief woman. {tapa: side, corner, edge, to recount the years, the months; (MP) the brim of a vessel, to call, to name, to pulverize soil, a split or cut; (Marquesan) native cloth. iru: <unknown>. i: because of, in, on, at; (MP) used transitively to connect an active verb with its object, from, at a distance from, than. ru: (MP) an earthquake, to shake, a rumbling sound, to cause to shake; (Tahitian) violent hurry, impatience; (Mangarevan) to be eager, to hasten, to shiver with cold; (Moriori) two.} to: to rise (of the sun); (MP) to drag, pregnant, the stems of tall straight plants, thy, to set as the sun; (Samoan) to plant, to fall as rain of dew, the possessive prefix to the dual and plural of pronoun when the noun is singular; (Tongan) to fall. ran: (MP) regarded as ranga. {ranga: (MP) a deity, a company of persons, a shoal of fish, to urge forwards, to set an army in motion, to raise, to arrange. ga: preposed plural marker of rare usage; (Samoan) <nga> to pant, to breathe hard.} kete: (MP) a basket made of strips of flax; (Tongan) the belly; (Rarotongan) a basket; (Mangarevan) to make a noise with the tongue. i: because of, in, on, at; (MP) used transitively to connect an active verb with its object, from, at a distance from, than. mahua: <unknown>. {ma: (prep) for (found in some cases instead of mo); (MP) and. hua: testicle, son, to cause a fight; (MP) a god ruling the tides, fruit, to bear fruit, the egg of a bird, to bloom, full moon. mahu: (MP) healed; (Tahitian) to cease or stop, to be quenched as thirst, satisfied as desire, to be growing as the seed that had been sown; (Hawaiian) a man who assimiliates his manners and dresses his person like a woman; (Tongan) animals, birds. a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to.} mua: (MP) the front, first. nei: here; (MP) <tenei> denoting position near the speaker; (Samoan) this, now; (Tahitian) here, in this place, now at this time. ane: (Samoan) the white ant; (Hawaiian) the name of a small insect that eats wood, but is not itself visible; (Mangarevan) dirt or scurf on the skin. rato: (MP) to be all served or provided, to serve; (Tahitian) to haul. karata: <unknown>. {kara: wing of bird; (MP) an old man, a secret plan, to call, a salutation; (Mangarevan) a round heavy stone; (Paumotan) flint. ta: (MP) a maul, to beat, the stern of a canoe; (Tahitian) belonging to.} te: the (singular definite article); (MP) to crack, to snap; (Samoan) to be split open, to burst open. Translation ariiki was interpreted as ‘to transport or the transportation of the deity on the night of 11th moon phase’. tapairu is regarded as tapa+i+ru. tapa means ‘the brim of a vessel’ and ru is interpreted as ‘to shake the land with a rumbling sound’. tapairu can be interpreted as ‘the brim of deity shook the land with a rumbling sound’. Therefore, ‘E ariiki e tapairu’ can be interpreted as ‘on the 11th moon phase, the deity was transported and the brim of deity shook the land with a rumbling sound’. to of ‘to ariiki’ indicates the 11th moon phase on the island. te of ‘te tapairu’ indicates the brim of deity. te is used in a form of reverence. ‘Ane rato karata’ is interpreted as ‘the working ants hauled the deity manu taken by the part belonged to its tail wings’. Translated Text [9] – ‘[In order to haul four servants to land on the night of 11th moon phase and a company of four servants, islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop.]

On the 11th moon phase, the deity was transported and the brim of deity shook the land with a rumbling sound.


The working ants hauled the deity manu taken by the part belonged to its tail wings. On the 11th moon phase, the deity was transported and the brim of deity shook the land with a rumbling sound.’ Salmon’s translation

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[9] – ‘What power has the Great King upon the land? He has the power to create maggots, flies, worms, fleas, and all creeping and flying insects. All hail the power of the Great King who enables us to withstand the attacks of the maggots, flies, worms, fleas, and all manner of insects.’

3.8 10th Script Segments

Eaha to ran ariiki kete mahua i uta nei ? E oi e potupotu e ugarara e hata to ran ariiki kete mahua i uta nei. Ane rato karata main rata e oi e potupotu e ugarara e hata to ran ariiki kete mahua i uta nei.

e: (MP) a particle, generally preceding a word used as a verb, to express the future tense; a sign of vocative case, preceding words used as nouns. oi: (MP) to shout; (Samoan) to disturb; (Tahitian) to knead as dough, to mingle different substances by working with the hand in a dish, sharp as the edge of a tool; (Hawaiian) to limp, to walk stiffly, to project out, or over; (Tongan) to grind, to pulverize; (Mangarevan) to stir. potupotu: <unknown>. {potu: small stick, extremity or remainder of something.} ugarara: <unknown>. {uga: to lead, to take (someone); (Mangarevan) to send. rara: (MP) a twig, a small branch, a rib, to make a continued sound, a harsh or rushing sound, to be spread out on a stage; (Tihitian) to scorch over or on the fire.} hata or whata: to deposit, to set, to place, to treat someone with respect, to honor, to sing in honour of someone. {whata: (MP) a platform or raised storehouse in which food is kept, an altar, to elevate, to support; (Samoan) a shelf, a hand-barrow; (Tahitian) a scaffold put up for any purpose.} to: to rise (of the sun); (MP) to drag, pregnant, the stems of tall straight plants, thy, to set as the sun; (Samoan) to plant, to fall as rain of dew, the possessive prefix to the dual and plural of pronoun when the noun is singular; (Tongan) to fall. ran: <unknown>. {ari: (MP) the eleventh day of the moon's age, to hold up to view, to appear, a son of Rangi-potiki and Papatua-nuku; (Tahitian) the tribute paid to a king or principal chief; (Tongan) beautiful; (Tahitian) clear, transparent; (Mangarevan) to carry, to transport. iki: (MP) to spill; (Tongan) small, little; (Marquesan) to pour out.} kete: (MP) a basket made of strips of flax; (Tongan) the belly; (Rarotongan) a basket; (Mangarevan) to make a noise with the tongue. mahua: <unknown>. {ma: (prep) for (found in some cases instead of mo); (MP) and. hua: testicle, son, to cause a fight; (MP) a god ruling the tides, fruit, to bear fruit, the egg of a bird, to bloom, full moon. mahu: (MP) healed; (Tahitian) to cease or stop, to be quenched as thirst, satisfied as desire, to be growing as the seed that had been sown; (Hawaiian) a man who assimiliates his manners and dresses his person like a woman; (Tongan) animals, birds. a: (MP) the collar-bone, to drive, to urge, God, the Deity, plural of particle ta, prefix to proper names, of, belong to.} i: because of, in, on, at; (MP) used transitively to connect an active verb with its object, from, at a distance from, than. uta: higher up (from the coast, or from another place); (MP) the land as opposed to the water, inland, to place one thing on another; (Samoan) ashore, a landmark; (Tongan) fixed, habituated; (Mangarevan) a term signifying the shore when at sea, and towards the mountain when on land; (Tahitian) to be carried or conveyed by water. nei: here; (MP) <tenei> denoting position near the speaker; (Samoan) this, now; (Tahitian) here, in this place, now at this time. ane: (Samoan) the white ant; (Hawaiian) the name of a small insect that eats wood, but is not itself visible; (Mangarevan) dirt or scurf on the skin. rato: (MP) to be all served or provided, to serve; (Tahitian) to haul. karata: <unknown>. {kara: wing of bird; (MP) an old man, a secret plan, to call, a salutation; (Mangarevan) a round heavy stone; (Paumotan) flint. ta: (MP) a maul, to beat, the stern of a canoe; (Tahitian) belonging to.} main: <unknown>. {mai: a particle denoting action toward the speaker, (Hawaiian) towards a person speaking, hither. nga: (MP) the plural article, the plural of te, to breathe.} rata: (MP) the name of a tree, tame, quiet, familiar, friendly, a well-known hero or demi-god of Polynesian

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legend; (Tahitian) the Tahitian chesnut tree and its fruit; (Mangarevan) to frequent, to do often; (Malay) level, even. Translation potupotu is interpreted as small sticks in plural. ‘oi potupotu’ is interpreted as ‘to mingle different substances by working with small sticks’. ugarara is regarded as uga+rara and it can be interpreted as ‘to send and spread out on a stage or platform’. hata is regarded as whata and it means ‘a scaffold put up for any purpose’. Collectively, ‘E oi e potupotu e ugarara e hata’ can be interpreted as ‘a company of servants were sent and spread out on a scaffold which was put up for them to mingle different substances with small sticks’. main is regarded as main[ga] and it is further divided into mai and nga. It is interpreted as ‘toward working person’. ‘main rata’ is interpreted as ‘toward the person who works on leveling the deity’. Finally, ‘Ane rato karata main rata’ can be interpreted as ‘the working ants hauled the deity manu taken by the part belonged to its tail wings toward the servants who worked on leveling the deity’. Translated Text [10] – ‘[In order to haul four servants to land on the night of 11th moon phase and a company of four servants, islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop.]

A company of servants were sent and spread out on a scaffold which was put up for them to mingle different substances with small sticks.


The working ants hauled the deity manu taken by the part belonged to its tail wings toward the servants who worked on leveling the deity.

[On the night of 11th moon phase, a company of islanders transported the belly of the deity right here onto the inland and the collar-bone of the deity was hanged over to stop.]’ Salmon’s translation [10] – ‘What power has the Great King? All hail the unlimited power of the Great King.’ Related Indus Valley Glyphs

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1. The glyph represents someone who holds a small stick. 2. Indicates two sticks. 3. Indicates different substances. 4. Indicates mingling different substances with small sticks.

4. Conclusion As compared to Aruku Kurenga tablet that described about the travelers who visited the island for 6 nights, the Great Washington tablet described only one night, i.e. the 11th moon phase when the visitors arrived at the island. When the script was examined in the cross-over-line format, it can be noted that each text segment can be divided into two sections. In the first half, the format of ‘e ~ e ~ e ~ e’ was used. In the second half, the format of ‘ane rato karata ~ ane rato karata ~’ was used. In this article, the script was divided into 10 test segments and the hieroglyphs on the tablet were grouped into 9 crust blocks. It is uncertain which text segments would be assigned to which crust block.

Vocabulary Common Passages eaha to haul four servants to the land on shore, or four servants to be brought to

land mahua to stop the collar-bone of the deity and hang it over like a fruit mahua i uta nei to stop the collar-bone of the deity and hang it over right here on the

inland ariiki to transport or the transportation of the deity on the night of 11th moon

phase kete the belly (of the airship) ariiki kete on the night of 11th moon phase, the belly of the deity was transported rarangi a row, a rank; on the east side of the deity (hovering) in the sky hakararangi to form a row of four servants like teeth on the east side of the deity in the

sky ran a company of servants to ran a company of islanders te ran a company of visitors

S1 (first segment) a the collar-bone of a deity tomo a to berth the deity, or to put the deity into the anchoring ground mea an external object on a deity mata the tribal people on the edge mata mea the tribal people on the edge of an external object called mea tuatea a ground structure which had an extended arm over to the midair like the

creast of a wave to ran a company of servants gathered on the ground side

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rangi ran a company of servants gathered on the deity which was hovering in the midair

tuatea to ran a company of servants gathered at the ground structure with an extended arm over to the midair

Ane the servants working like ants mani manu Ane rato mani the working ants hauled the deity manu karata the wing of a deity at the stern, or the tail wing of a deity rata karata to level the tail wing of a deity; the tail wing made of a tree tupuna to be firmly fixed with a satisfaction, or to be fixed firmly and satisfactorily

S2 – S3 ura to firmly seize the Solar-Deity; red feathers, a lobster tuura a fish trap (with latches like lobster hands) or seizing structure on the

ground to which an airship is being restrained poopoo a sunken area of an oval shape koiro a fish (carp); an ant; an ant-shaped fish or airship nohoe until being pushed away with hands; to stay, remain ura poopoo koiro nohoe

the ant-shaped deity was firmly seized up by a fish trap with latches like lobster hands at the sunken area of an oval shape and stayed until being pushed away

Ane rato mani rata karata the working ants hauled the deity manu and leveled the tail wing of a deity

te ura ki kara te poopoo the fish trap gets to the wing at the sunken area of an oval shape

nehe with a rustling sound riku to hang to stop still kava the extension glowing by the light of fire, liquid fertilizer, or tacky

substance; an extension through which tacky substances were poured out kava-kava two-extensions kava-kava atu two extensions were shown, or revealed atua to show on the collar-bone of a deity kava atua the extension on the collar-bone of a deity is revealed raina there, yonder

S4 a hao nei the collar-bone of a deity encircles or is secured with ropes here kahi the imperative (for servants) to catch with hook and line and hoist atu the deity to be served ature the deity to be honored kaharta the imperative for four servants to bring it to an even level te kahi kaharta four servants were ordered to catch the deity with hook and line and hoist

it and they brought it to an even level ahi the collar-bone of a deity was caught with hook and line and hoisted under

the light of fires rarata to level on the side toward the east

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ahi rarata under the light of fires, the collar-bone of manu was caught with hook and rope, hoisted, and leveled on the side toward the east

S5 tra instrument vaimanika the local extension on the deity manu to be lighted (va+i+mani+ka) vimanika the deity manu made of iron to be lighted (vi+mani+ka) kumaro standing in company with the ants or working servants kumara standing in company with the side toward the east toa the male end of the pierced mooring stick te ufi kumara toa the cover was standing in company with the male end of the pierced

mooring stick on the side toward the east ane rato maru the working servants hauled and shltered the deity

S6 te honu the rock of turtle head kea the name of a bird; mucus discharging from the nose; a deity in a different

appearance from a bird pane the cliff at the bones of the neck

S7 hetu to be served by a servant looking like a small dwarf in the distance range to call out on the side toward the east han, hanga worker, builder, creator raa the collar-bone of deity on the side toward the east hon, honga a worker who is tilting on one side

S8 anuga shaking the collar-bone of deity to make the roar of strong wind, or a

person who is responsible of handling the collar-bone of deity hehun, hehunga a company of persons; a company of dwarfs hehuu strongly blow a loud thundering noise

S9 tapairu the brim of deity shakes the land with a rumbling sound

S10 potupotu small sticks oi potupotu to mingle different substances by working with small sticks ugarara to send and spread out on a stage or platform hata, whata a scaffold put up for any purpose main, mainga, mai nga

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toward working person main rata toward the person who works on leveling the deity

Appendix A. Hieroglyph Segmentation

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B. COL (cross-over-line) Script

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Great Washington Rongorongo Tablet

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