This is a study of the Sāmoan number system, or rather the etymological roots of the words themselves. It became almost immediately apparent that Sumerian roots are buried deep in the Sāmoan and Hawaiian languages, which are but a few dialects of the Polynesian family of languages. The samples that follow will focus on the numbers one (1) through ten (10), multiples of ten and twelve, a few "magic numbers" from ancient religions, sexigesimal base factors, and multiples up to the greatest numbers available in both the traditional Sāmoan and Sumerian languages.
Sāmoan/Hawaiian Numbers One Through Ten (1 - 10)
ONE / TASI / 'EKAHI
TWO / LUA / 'ELUA
THREE / TOLU / 'EKOLU
FOUR / FA / 'EHA
FIVE / LIMA / 'ELIMA ('ALIMA)
SIX / ONO / 'EONO
SEVEN / FITU / 'EHIKU
EIGHT / VALU / 'EWALU ('AWALU)
NINE / IVA / 'EIWA, IWA, 'AIWA
TEN / SEFULU / 'UMI
-1-
#TASI = “one” = 𒋫𒋛 = TASI
"what?"
"as much as" (math./ quantity)
"from" [preposition]
"to fill"
"load up"
"to draw water"
"to brew beer"
"horn"
"finger"
"fret"
Translation:
#TASI (“one finger”+”as much as”) by this reckoning, literally means:
"As much as can be carried on one finger" (a small, earthenware jug with a handle)
-2-
2. 𒈦 (MAŠ) / “#twin” - perhaps a reference to "twin" pairing of architectural features as of #mastaba:
pillars arranged in colonnades (perhaps a root of the symbol for Gemini)
the quantity of burial chambers in mastaba
the number of diagonally inclined (or declined) entrance shafts to the burial chambers of mastaba. Additional clues that this is a correct interpretation is supported in that LUA means "to rend into two" in the Polynesian languages, as with LUA-KINI HEI-AU, or human sacrificial temples, or the Hawaiian martial art of LUA, which means "to break" in this context.
The alternative meanings in Sumerian for LUA are:
"#sacrificial animal for omens", and
"interest on a loan, yield, irrigation tax" as of a tax paid to the gods in exchange for favors and divine guidance read as "omen".
the MAŠ alternative reading also means "to be pure", and "purity" was a major theme of the religious system brought to Hawai'i by the mysterious priest #PAAO who sought a chief of "pure blood" to revitalize the chiefly bloodlines of Hawai'i that histories say he regarded as being in a degraded state. To that end, the legendary chief #PILI, a chief of Manu'a was invited from Sāmoa to Hawai'i at the request of Pa'ao. Together, they established the Pili line of kings and Paao line of kahuna advisors to the kings. The Pili and Pa'ao lines would became increasingly interwoven over the course of Hawaiian history culminating at last in an #Alii class that was as well-versed in the arts of war as as it was with the finer points of Hawaiian religion.
𒀀 = A = "heir", "water", "son", "strength", "arm", "power", "labor", "time"
-3-
#TOLU = “three”
The production of the Sāmoan word for three appears to be a simple math operation; literally "ONE AND TWO" 1. 𒋫 = TA = "one" (finger)
-4-
#FĀ = “four”
“slaughter” (of animals, four ritual steps to prepare meat, i.e. halal/kosher/kasher
perhaps reference to the "quartering" of meat)
“ring” (fourth finger of hand, i.e. ring finger; count of remaining fingers extended excluding the ring finger)
In 𒄭 x 𒀾 = ḪI-AŠ(2), 𒀾 can be regarded as a drawing of a hand (five lines corresponding to five fingers) with one finger NOT counted. 𒄭 represents the ring. Together they are a phonetic construction of first letter / sounds: Ḫ+A = ḪA/FĀ
this could also be:
-5-
#LIMA = "five"
𒇷 = LI / LE, gub2 = branch, twig (juniper shrub); pure; to bathe, wash (the hand - image of symbol is probably of a hand dirtied from gathering the berries/fruit of the juniper for use in fermentation of beer, implying the necessity of washing off the FIVE-fingered hand)
𒀀 = A = "heir", "water", "son", "strength", "arm", "power", "labor", "time"
𒀸 = #ASH / #AŠ = 1 (“1″ one numeric) | dili [227x]= (to be) single, unique, sole; (to be) alone 𒇹 = LIMMU(2) =
𒇷𒈠𒀸 = LI + MA + AŠ = "four" "and" "one"
-6-
#ONO = "six"
𒌦𒌑
"people", "The Land of Sumer"
possibly a reference to the six stone pillars of the Dynastic Chronicles that include a record of the Sumerian Kings List detailing the nine (9) antediluvian kings.
𒌦 = UN/UG =
𒌑 = U = pronunciation cue to lend further context to first ideogram
-7-
#FITU = "seven"
Guide for Transliterations:
/H/ = /F/ = /S/
/K/ = /T/
HIKU = FITU = SITAR
Stroke count: 7
The most obvious connection is the stroke count for morphemes in the abbreviated reading of HIKU / SITU / FITU. There are seven strokes.
The following roots represent
𒋻 = KU5, KUD, TAR = "to cut", "to cut down", "to cut off"; "to incise"; "to untie", "to loosen"; "to disperse", "to scatter"; "to break off", "deduct"; "to separate", "to decide"; "to make clear"; "disease"
TU IS A COMPLEX WORD MEANING "PRIEST" OR "SAGE"
ARKAB:
𒌅 = 𒊺+𒈨+𒀶:
𒊺 = ŠE = "grain", "barley", "fruit of the juniper bush", "sweet"
𒀶 = ARKAB = "a bird", "a bat" (see inset image)
𒈨 = ME (àm)= "I AM", "to be", "is", "was"; "being"; "divine properties enabling cosmic activities"; "rite"; "office"
HA:
HIKU:
This reading is suggestive of the #ABGAL (Sumerian), also known as the #APKALLU (Akkadian) who are described as having the bodies of fish (or garments resembling fish scales). They were the "Fish Men", or "Seven Sages", in some versions enlightened mortals who served a particular Antediluvian god, in other versions they were younger gods themselves. In all versions, they were benevolent wise men sent by Oannes (Uanna) to advise the nine or ten kings before the Flood and teach mankind all manner of civilized skills in the aftermath of the Deluge. They were:
U-an-na, "who finished the plan for heaven and earth"
U-an-ne-dug-ga, "who was endowed with comprehensive intelligence"
En-me-dug-ga, "who was allotted a good fate"
En-me-ga-lam-ma, "who was born in a house"
En-me-bu-lug-ga, "who grew up on pasture land"
An-En-lil-da, "the conjurer of the city of Eridu" (Eden/Edin)
U-tu-ab-zu, "who ascended to heaven"
Their true natures are lost to common knowledge. Perhaps they were symbolic members of an order, or perhaps they were individuals. Whoever they were, their appearance, tenureship, and eventual departure for destinations unknown are reported throughout the ancient world. Seven Sages appear elsewhere among the great ancient civilizations--Greece, οἱ ἑπτὰ σοφοί hoi hepta sophoi, among whose number included Solon, a reformer of Athens during a period of tyranny and the brother of a distant ancestor of Plato six generations removed, who is credited as being a custodian of the memory of Atlantis as well as for being the famous Lawgiver.
Unexpected clues:
The SI-TAR reading is noteworthy in its strong resemblance to the Indian stringed instrument, which customarily has seven playable strings. SI means "fret" and TAR "to loosen", "to divide"; later, in Persia (modern day Iran, formerly Babylonia) TAR came to mean also "string" and combines with SE ("three") to name an instrument called the Setar, thought to have inspired the Sitar. The Sitar has many more than seven strings, however, the strings are grouped into played strings and unplayed strings that sound out only through sympathetic resonance with the played strings.
The notion of sympathetic resonance may seem like a minor detail, but I suspect that the awareness of the phenomenon through the Lyre and Lute family of instruments have significant implications about more sophisticated original uses of resonance throughout the megalithic building periods of the ancient world. Evidence of the use of this type of musical instrument is found in many artifacts that are over 4500 years old, such as on mosaic panels inlaid on the Standard of Ur, a wooden chest unearthed from the tomb of Ur-Pabilsag, and early lyres such as The Queen's Lyre and Silver Lyre pictured below.
Theories of possible advanced uses of resonance for healing, communication, stone cutting and even transportation of megalithic stone blocks have been hypothesized by fringe researchers. Most particularly this theory is put forth as an explanation for how the pyramids of Giza could have been quarried and erected so quickly, as well as the megalithic stone structures of Pumapunku and Tihuanaco
-8-
#VALU = "eight"
𒁀𒇻
𒁀 = BA -- see also: 𒌆𒈨, 𒈨 (MAŠ as with LU), 𒄑𒁀
"to divide into shares", "share", "halve", "to allot", "to give"
"a marine creature"
"a garment"
"half", "thirty"
"tool", "a cutting tool" (Akkadian: suppīnu)
𒇻 = LU
taken as a visual of a square cut into four parts, a sense of the quartering of an object
Interpretation:
𒁀𒇻 is suggestive of a quartered item divided into halves again, which yields eight shareable parts, and thus the definition of BALU can be conceived of as "EIGHT".
-9-
#IVA = "nine"
𒄿𒁀 / I-BA
IVA is a simple visual count of the number of strokes, or wedges, required to write: I-BA
-10-
#SEFULU = "ten"
SEFULU is another simple visual: (/H/ = /F/)
SEFULU may also be arrived at through: SE-HI-U-LU (SE-HI-ULU)
𒊺 = ŠE = expanding on the aforementioned definition of ŠE as "grain", "barley"... include "wheat"; "standard of", "unit of length / area / volume / weight", root of shekel (Hebrew money). Perhaps
𒄶 = HI x U = 𒊬 = ŠÁR x U = "to write", "garden", "a unit of area", "a unit of volume", "(fruit) plantation", "orchard", "totality", "world", "to be numerous"
𒋀 = ŠES (URI(3)) = "brother", "assistant", "junior worker"
𒇻 = LU = "twin"
Interpretation:
COMING SOON!
-11-
#SEFULUMALETASI = "eleven"
-12-
#SEFULUMALELUA = "twelve"
-13-
#SEFULUMALETOLU = "thirteen"
-60-
#ONOSEFULU = "sixty"
-120-
# = "one-hundred twenty"
-100-
-1000-
-1200-
-2400-
-3600-
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