The star constellations Crux [Hawaiian: Hānai-a-ka-malama / "fishnet for catching light (metaphorically: cultivated lands)"; Sāmoan: Toloa / "wild duck", passive tense of tolo "to rub sticks together to make fire"] and Scorpius are friendly neighbors two celestial house doors down from each other. Centaurus is their common neighbor. These constellations played significant roles in the jealously guarded sailing traditions of Austronesians from at least as early as the 13th century BCE until facilitating deeper forays by the post-Austronesian Polynesians into Central Polynesia (Sāmoa and Tonga) around 850 BCE.
(Quick read on Crux: https://www.windows2universe.org/.../crux.html&edu=elem)
Really gives a new sense of meaning to the words of the most famous "fisher of men":
“Then Jesus told his disciples, “If anyone would come after me, let him deny himself and take up his cross and follow me. For whoever would save his life will lose it, but whoever loses his life for my sake will find it. For what will it profit a man if he gains the whole world and forfeits his soul? Or what shall a man give in return for his soul?” (Matthew 16:24-26)
My mind jumps immediately to the epithet Maui-kisi-kisi: "dragonfly Māui". In a previous post, I wrote at length regarding my comparative research into the word kisi. I examined potential cognates throughout Southeast Asia (SEA), and Island Southeast Asia (ISEA), and picked up on a Semitic string of vocabulary. Quick reminder: I surmised that it entered into the lexicon via maritime trade with the Persians, however, it could possibly have come from a much earlier era. So, as luck would have it, I found in the classical language of Mesopotamia, a probably cognate of Austronesian/Polynesian kisi.
Akkadian: kisi (𒆜) written with Sumerian KASKAL (𒆜) which means:
1. way, road 2. journey, commercial traveling, caravan 3. conquering expedition, military campaign
I’m really starting to re-examine what the story of the crucifixion and death was really all about. The use of metaphor, allusion, parable and many other figurative devices of language begs the question of whether the crucifixion really transpired on a literal level, or rather if it was an esoteric tradition using symbolic language to conceal a deeper story of migration and flight from persecution.
Assuming Jesus was real... Was he crucified and had he died? Or did he ritually die and rather just “sail away” riding atop a “dragonfly”, which is a codeword for ships constructed of criss-cross foundational structure--i.e. double-hull catamarans and double-masted sails lying transverse the catamaran platform?
In John 14:6:
“I am the way, the truth, and the life.”
What if there is a hidden meaning in this pronouncement better understandable via Akkadian / Sumerian?
Kisi / KASKAL (𒆜) “way” Kittu / NIGGINA (𒃻𒄀𒈾) “truth”; literally “to establish.forever.stone” Napištu / ZI (𒍣) written with Sumerian ZI (𒍣) “life”, the first character of the name Ziudsura / the Sumerian Noah.
In Hebrew John 3:14 reads something like:
Ani ha-derekh, ha-yamet va-hayim (אני הדרך, האמת והחיים).
Derekh appears to be a cognate via Akkadian of Sumerian [gi]DIRIG (𒄀𒋛𒀀) “raft”. In Akkadian it is read hāmu / amu.
emet (אמת) “truth” appears to be a cognate of Akkadian/Sumerian EME (𒅴) “speech”, which is a ligature of KA (𒅗) “mouth”, with ME (𒈨) “to be”.
Interesting coincidence is that in Japanese IMI (意味) means “to mean; to signify; to imply” (Taiwan) “to get a sense of; to experience; to feel”
And hayim “life”… that’s a variant of Hayya the Sumerian Adam.
“No one comes to the father except through me.”
In Hebrew “father” is ABBA (אַבָּא).
Compare the Hebrew (which is Semitic) to the Akkadian (also Semitic):
abba (𒀊𒁀)
This appears to be a scribal play on words with the SumerianL
a-ab-ba (𒀀𒀊𒁀)
“sea” / “sea water”.
A (𒀀) “water” also means “seed”, “heir”
A (𒀀) forms the root of Sumerian word:
A-IA (𒀀𒀀) or Aya / Abu
“father”
The father is in the Moana (Polynesian word for "abyss", "open ocean"). Perhaps the "father" is the Moana.
So, reconsidering the verses above, one wonders if there was a different original, concealed meaning:
“No one comes to the sea but through me.”
And the way, truth, life meant speaking the secret words that grant passage into and across the vastness of the Moana, meaning that the Moana functioned like a gateway guarded by an elect class of navigator priests.
Sāmoa Tofia.
Death occurs figuratively throughout Polynesian mythology and often occurs at "leaping off" places. I will not delve too far into the Polynesian form of this literary device, as I wish to demonstrate evidence for it in Babylonian and Sumerian myths, particularly in the story of Gilgamesh.
(Quick read: https://drive.google.com/.../1MB.../view..., from pages 772 - 773: The Babylonian Gilgamesh Epic)
Scholarship today holds that Enki’s best friend died.
From lines 175-176 of the Epic in its original language:
ĝiš.lagab.mu kur.še mu.da.šub 𒄑𒆸𒈬 𒆳𒂠 𒈬𒁕𒊒 Loosely translated as:
“wooden object.ring/circular.(of) mine” “Netherworld.to” “has fallen down” / “has been plundered”
šub (𒊒) can mean “to fall / to plunder”.
a.ba.a ma.ra.ab.e₁₁.dè 𒀀𒁀𒀀 𒈠𒊏𒀊𒇯𒁺 “who.will bring it up for me?”
ĝiš.e.kid.ma.mu 𒄑𒂊𒆤𒈠𒈬 “wooden object.song.dream.(of) mine”
ga.an.ze.er.še
𒂵𒀭𒍣𒅕𒂠
“Gãnzēr.to”/“flame.to”
GA (𒂵) “to carry” AN (𒀭) “heaven” ZI (𒍣) “remove”/“life” ER (𒅕) “to lead away” ŠE (𒂠) “to”
Later in the text of this epic Gilgamesh explicitly states that Enkidu did not die. He was seized by the Netherworld and remained there. Gilgamesh goes to Enlil the king of the gods, his own ancestor, who denies him assistance. Heavyhearted, Gilgamesh then goes to Enki, a grand uncle, the lord of waters and wisdom, and it is instead Enki who facilitates the brief reunion of Gilgamesh and Enkidu.
The Sumerian word cluster used in this text for “to (the) Netherworld” is KUR.ŠE (𒆳𒂠). An alternative way of referring to the Netherworld was KIŠI₁₁. The written form of this word is unclear, however there are alternate ways of writing KIŠI including KAS (𒆜) or KASKAL (𒆜), which sounds very similar to the Hopi word for their long lost, drowned, ancestral homeland Kásskara (Click for previous article on Hopi Kásskara vs. Akkadian KASKAL).
Another thing… Irving Finkel, the curator of the British Museum, has written and spoken at length for decades regarding the Pre-biblical version of Noah’s ark according to the Babylonian Atrahasis. He was the first person after George Smith to lay eyes on the much older cuneiform versions of the flood account and the meticulously laid out blueprints and dimensions of the ark—being round rather than boat like—are well attested.
“The ark is a huge circular coracle, 3,600 square metres in dimension or two-thirds the size of a football pitch, made like a giant rope basket strengthened with wooden ribs, and waterproofed with bitumen inside and out.” (“Babylonian tablet shows how Noah's ark could have been constructed”, The Guardian, 23 January2014)
“…the specifications of the ark's measurements, and the detail that the great ship had been round…” (“The Ark Before Noah: Decoding the Story of the Flood by Irving Finkel”, The Guardian, 13 February 2014)
Maybe the ĝiš.lagab.mu kur.še (𒄑𒆸𒈬 𒆳𒂠) “my wooden ring bound for the Netherworld” mentioned by Gilgamesh is a reference to a coracle type ark of the sort he might have voyaged on during his journey across the abyss in the company of Urshanabi the ferryman to seek out Utnapishtim / Atrahasis.
I believe the identity of the Netherworld will be revealed by close scrutiny of Austronesian and Polynesian words that are cognates of KISI. It’s a land attained by agency of double-strong [KAS (𒆜) KAL (𒆗)] boats that crisscross [KASKAL (𒆜)] the Absu / Abyss.
Enkidu was punished to go to the Netherworld for his role in the slaying of the Bull of Heaven. And he is returned by the agents of Enki, at the gods command. So it is water that holds dominion over the way to the Netherworld.
Let's revisit the semantic and phonetic cluster around KAS / KASKAL and KISI.
To do this, I must take you on a brief detour through a related word for "birds", which was how I stumbled onto the kisi connection.
From: ŠE (𒊺) “grain”, “barley” NA (𒈾) “free” MUŠEN (𒄷) “bird”
ŠEG₅ (𒍋) “bird”
ŠEG₅ (𒍋) is a ligature of IRI / URU (𒌷) “city”, and TŪ (𒌅) “priest”, “sheep”, “to give birth”, “to create a statue”. That the cuneiform appears to portray sheep or priests either entering or residing within the walls of a city suggests some kind of #flocking, or shepherding activity or even pilgrimage. Perhaps this is a religious term applied to the #congregation of multitudinous members of a particular species of bird / MUŠEN (𒄷).
In šeššeku / “bird” it is reduplicated, which usually suggests in most languages one of the following:
1. the intensification of a root word, i.e. “bird’s bird” 2. the diminution of its chief qualities, i.e. “bird-ish” 3. emphasis on the behavior of the nounal form of a word as a verb, i.e. “to bird around” 4. emphasis on the behavior of the nounal form of a word as an adjective, i.e. “bird-like”
Perhaps it means “migratory bird”, “swarming bird”, “sussuration bird”.
Phonetically ŠEG₅ (𒍋) and sēna (𒊺𒈾𒄷) bear a remarkable likeness to SEGA, the word accorded to various species of Pacific parrot / parroquet / parakeet.
Š = s = S = H E = ē = E = E G = n = G= NG (a)=a = A = A
The Sega-Sāmoa bird is / was found in Sāmoa and is commonly called the blue-crowned lory / scientific nomenclature: Coriphilus fringillaceus.
The legends relate that it was brought to Manu’a or stolen from Fiji by one of the sons of Tagaloa-a-Ui / Māui. And if you are familiar with Māui stories he was able to shapeshift into various kinds of birds and often traffics with magical birds of both visible and invisible kinds. Note that the word “HUNA” / “FUNA” means “hidden”, “to hide”, “to cover” and is a root of the word for “priest” / “sorcerer” / “magician” as in KAHUNA, which also forms from the word KAHU / TAFU “nurse”, “caretaker”, “agent”, “steward”. If the mythologized birds are stand-ins for various priestly offices, then their “invisible” status would be HUNA.
There is a legend wherein Māui is visited by invisible birds that he tricks into revealing their secrets and then acquires their shapechanging and invisibility magic.
As for the Lory, it is featured as a part of the name of the island of ‘Olosega “fort of Sega” in the Manu’a group of Sāmoa. ‘OLO is a cognate of ‘ORO and KORO, which range in meaning from “man”, “person”, “to be inside”, “within”, to “longing”, “desire”. Its red feathers were much prized for ornamentation of elite ceremonial objects and totemistic fetishes such as state mats, headwear, and even pragmatic applications such as fish lures. Likely the name ‘OLOSEGA refers to the desire of Tagaloa-a-Ui’s son to possess the Sega bird culminating in his theft of the tapu animal from Tui Fiti in legendary times.
In Sumerian: ŠEG variants seem to all refer to various kinds of animals, including insects as in the case of:
ŠEG₉ / kiši₆ (𒊾) “insect”, “ant” ŠEG₉ / kiši₁₃ (𒄴𒆜) “insect”, “ant” ŠEG₉ / kiši₁₅ (𒆜𒄴) “insect”, “ant”
This kiši series of words is really *f#@%^*-g* interesting…
Tongan:
KISIKISI means “dragonfly” (an insect).
PA-KISI means “thin (in proportion to height, length)”, “slim”, “slender” (like a dragonfly”
Sāmoan: TIFI (KIFI) means “adorn” TIFIGA (KIFIGA) “adornings” TIFITIFI (KIFIKIFI) is the Chaetodon / “Butteryfish” which has distinct stripe like patterns in the arrangement and coloration of its scales that are evocative of the crosshatch pattern.
Compare with Malay: KISI: “lines of bars, posts, palings, trellis, window bars” KISI-KISI: “lattice-work”
The implication in the KISI word complex entails thin shafts of wood arranged in crisscross or parallel fashions, that is at right angles or in upright or stacked arrangements. This word describes the morphology of the dragonfly whose wings lie transverse to its long, slender body like a cross as viewed from the side and when viewed from behind the wings resemble an ”x”.
Why…the dragonfly is nothing other than a metaphor for a catamaran / double-hull or other outrigger canoe with hulls affixed together horizontally by parallel struts to a central upraised platform and double crab claw sails attached vertically at right angles to the body, just like the wings of a dragonfly.
Māui-kisi-kisi was a master sailor.
Kisi-kisi is a cognate of KI’IKI’I, TI’ETI’E and TIKETIKE all of which are built around the root KI’E, TI’E, TIKE meaning “height, tallness” and ”to ride upon” (as a child on his father’s shoulders).
This is featured in the story of Māui-Akalana, Tagaloa-Atalanga and his son Māui Junior.
Here Atalanga could be derived from a few variant etymologies.
ATA: “image”, “reflection”, “shadow” LAGA / LANGA / RANGA: “to raise up as on the shoulders” (implying the separation of earth and heaven in the legendary account of TĀNE / Māui-Akalana / Māui-Ataranga / Tagaloa-Atalaga, the Sky Lifter)
This is none other than Atlas of Greek mythology holding aloft the sky, although in Polynesia Atalaga holds the earth on his shoulders and his feet reach into the sky. Remembering that Tāne was a god of forests and carpenters, we readily see the arboreal mystery here is referring to lumber technology as trees roots dig deep into the earth and their tall trunks rise up, branch out into feet and thereby lift up the canopy of the sky. This is the symbolism of the epithet of “Tāne-Mahuta”, from:
MAHUTA “to jump, to rise up onto a higher place; to shine” MAFUTA “to rise up as pigeons” MAHUKA “to flee away, to escape from; a runaway”
This notion of escape and sanctuary is a critical point and comes back around to the purpose of large, oceangoing vessels, which were basically exploratory and colonial expeditions. It is also a subtle element featured in the Akkadian word šeššeg (𒆜𒄴), which emerges only through analysis of the visual elements of the cuneiform itself.
KASKAL (𒆜): “way, road, journey, commercial traveling caravan, conquering expedition, military campaign”.
This is a ligature of the number two (𒈫 or 𒌋𒌋) transversing the number two (𒈫 or 𒌋𒌋) at right angles. Therefore it is also a lattice. Also, it is an esoteric reference to both the number four, two-by-two, and the number forty (𒌋𒌋𒌋𒌋) where U (𒌋) means “10”. “40” (written: 𒌋𒌋𒌋𒌋) was the Akkadian shorthand for the name of the god of wisdom and waters, and master of the saltwater, the god Eā / 'I'a (𒀭𒂍𒀀), known in Sumerian as Enki (𒀭𒂗𒆠). “40” is the number of purification and rebirth, of renewal and is a recurring motif throughout ancient near eastern religion including Abrahamic religions. Thus, “4” symbolism and “40” symbolism are unified ingeniously in this culture.
ḪI (𒄴) is a ligature of:
DUG (𒄭) / ḪI (𒄭) meaning “knee, lap”; “to be good, pleasing, enjoyable; to be sweet; to enjoy, relish”
NUN (𒉣) meaning “best, foremost, noble, Prince”
In other words, ḪI (𒄴) literally means with a gloss “(the) best (ride upon the) knee (of)” and as a stand-alone cuneiform ḪI (𒄴) means “insect, bug, moth, louse”.
Therefore ŠEG₉ / kiši₁₅ (𒆜𒄴) “insect”, “ant” on a literal level is a graphic representation of insects scattering to the four corners of the world.
Now here’s an interest twist, in America, the Hopi Indians’ oral traditions relate that they dwelled with the Ant people in two previous worlds. In the second world they lived underground. In the third world they lived with the Ant people on an island surrounded by a blue, watery continent. Each world came to a cataclysmic end. One of these worlds was named KÁSSKARA.
K = K A = A ss= S K = K A = A R = L A = A
#KASKAL (𒆜): “way, road, journey, commercial traveling caravan, conquering expedition, military campaign”.
And #KÌISI / KISI / #KIS in Hopi means "shade", "shadow", "field hut", "something that makes shade, umbrella, parasol, canopy". That something is lattice work.
Pay attention to the overhead latticework of the internal support structure of the traditional Pueblo home, which is a 1,000-years old or older practice in traditional architecture. The KISI, or "something that makes the canopy", is organized in the crosshatch pattern with several support beams running transverse to a parallel array of thinner sticks.
There is a reason the Four Corners, Four Directions, Four Colors, Medicine Wheel symbolism permeates every aspect of Native American spirituality as well as Polynesian. It is shared with the Mesopotamian civilizations and came either from them or was mutually diffused to each sphere / continent from a common watery ancestor now lying beneath the ocean in Sundaland as I have previously discussed.
It all came from Kasskara.
The Hopi stayed with the “ant” people, and ants are insects. Another word pairing in Hopi is "Ant Friend" or "Anu Nati". In Polynesian languages NATI (NA ATI, NGATI, NA AKI) means "the descendants of", particularly chiefly lineages. NATI doesn't mean "friend" in Hopi, it means "descendants". Possibly this is a trace back to the A.NUN.NA.KI:
A (𒀀) "descendant", "seed", semen", "water" NUN (𒉣) "best", "foremost", "noble", "prince", "ruler" NA (𒈾) "man" KE₄ (𒆤) "air, wind, open air, outdoors, open country"
Here I present two locales in which insect semantics are affixed to the phonological constructs kiši , kisi, kisi-kisi and suggest the locales are readily identifiable as Mesopotamian and Oceanic in nature. Furthermore, there exists an element of intentional secrecy embedded in the words themselves as a means of constructing a lattice / ladder, understood as metaphor for a network of vessels cruising back and forth across the Pacific. The construction of the vessels themselves are built of lattices stretching out beneath the central platform, a deck called in Sāmoan FOLAU. Interestingly the word FOLAU means “a voyage”, “to spread out”, but also means “to die”.
(HORA + U - “to spread out” + “to reach land by water”)
Here we have the cthonic theme of a ship of death, the Polynesian Charon, the ferryman, the boatman between the world of light and the living and the realm of the “dead”. Now, when we read the legends and the legends say that such-and-such a hero “died”, we have to re-evaluate which form of death was intended. I have long suspected that when Māui “died” in his grandmother’s or mother’s country (or in her mouth or vagina as the various versions relate) that he instead sailed to place from one of the leaping-off places. This is the same case with Pili, who “died” in Sāmoa and whose name reappears in Hawai’i as well as in the Nahuatl language for words meaning "noble, child, nobility" like PIPILLI, PIPIL, PILLI, PILI.
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Edit: comments I made elsewhere with a few add'l suppositions:
I strongly believe that "Dragonfly" metaphorically refers to the crossbeam structure of the kata-maram / catamaran / kau-lua / 'alia / vaka-tau types of ships, drawing from an analog related to the slender body of the dragonfly lying across the axis of the four wings.
KISI also forms part of words for "sticks", "parallel fence posts".
In the American Southwest, KÌISI / KISI / KIS refers to the support structure of the 1,000+ years old traditional native Hopi field hut, shade, and KIVA / home as well as any kind of structure for creating shade -- shelter from the sun in the high desert of the Southwest was lifesaving. So, "'shade", "shadow", "shelter". All made from long rows of thin sticks lying transverse several crossbeams. This is the inverse structure for the double-hull waka.
In ISEA / Malay KISI / Indonesian KISI / Javanese KISI means variously "lattice-work", "secrecy", "whisper", and thin sticks of wood, or shoreline wood such as from mangrove used for making such latticed structures, which leads me to think that there is a specific place where some Hopi legendary migration elements trace back to.
Indonesian: ULAR KISI: striped keelback (Coluber melanzostus/vittatus)
KISI is also used in Akkadian: kiši₆; kiši₇; kiši₈; kiši₉; kiši₁₃; kiši₁₅ (𒄴𒆜 / 𒊾 / 𒆜𒄴) “insect”, “ant”, which is also read as Sumerian ŠEG₉ (𒄴𒆜 / 𒊾 / 𒆜𒄴), a general prefix for various kinds of animals, insects, and birds with attributes that number "4", like "four colors", "four legs", "four colors”, “four wings" just like the dragonfly.
The first cuneiform is KAS / KASKAL (𒆜), which means: 1. way, road - (crossroads symbol - 4 ways) 2. journey, commercial traveling, caravan 3. conquering expedition, military campaign
All of which perfectly describe the utility of a "Dragonfly" ship. AND as KASKAL (𒆜) resembles the Hopi word for their long, lost ancestral homeland, “Kasskara” now lying drowned beneath the waves.
I'm inclined to think that the Hopi legend about their seeking help from the "ant" people refers to our Austronesian & Polynesian ancestors, since one of the occasions, the 2nd and final occasion that the Hopi dwelled with them was on an island in the middle of a vast blue continent of water during the phase of their migration story referred to as the "Third World".
Then they moved on hopping across the water continent through various islands until they emerged in the Grand Canyon region they call Sipapune, which means "place of emergence" in Hopíikwa. America is the "Fourth World". If you break it down in Gagana Sāmoa, SI'I-PA-PU-NE'E means "to lift up, burst forth, hole, to bear up". If NE'E is substituted for NA "to conceal", to form Sipapuna, the other way of saying "Grand Canyon", then it is a story of emergence that was performed in secrecy. Of course, there's Hawaiian PUNA, which means "spring (of water)", "to spring up", which works as well, "lift up, burst forth, spring up out of a watery hole".
All of these interpretations are true of the Hopi and the Anasazi (which are the Hopi's "enemy ancestors") emergence story into Grand Canyon via the Colorado River system, which passes through California, easily within range of the Tongva / Gabrielino / Chumash, etc.. Much of their origin story is linked to attempts at evading the Powaqa (Hopi), whom I believe were PŌ-VA'A / PŌ-WA'A sorcerers / night priests. Te Pō is a frightening phase of Polynesian creation stories as well from Hawai'i to Sāmoa to Aotearoa. This word pops up in Nahuatl as well with POHUA "to be lofty, haughty, arrogant". Hopíikwe and Nahuatl are both Uto-Aztecan.
=== Edit: 2023/02/01 06:41 Upon closer scrutiny, the polysyllabic word KASKAL written (𒆜), can also be written logographically as DA.NA (𒁕𒈾) meaning "double length", "double-distance", "double-hour", "double-mile". And in Akkadian is #bêru.
KASKAL = DA-NA, DANNA, dana₂ (𒁕𒈾) KASKAL = DANA.BU (𒆜𒁍) "double long"
Another way of writing KAL "powerful" is #dannu.
Indonesian / Javanese: KASKAYA: 1a. power, capacity 1b. wealth, means
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