The world has just changed : : Now, the psychopaths are equipped with bio-weapon.

 I am posting this in evening with a purpose of immense significance.

I am posting this to time with the departure of a Delhi political leader from Imphal.He landed in Imphal,in an unannounced visit,on the Manipuri Language Day(the 20th of August 2021).He is being scheduled to leave Imphal this evening itself.

His unannounced visit is meant to announce the handing of a bio-weapon to a 'patriotic organization'.The notoriety of this 'patriotic organization' is globally acknowledged. And all the alert governments of the world are constantly monitoring this organization as they suspect that this organization would bring war on global scale.

Their suspicion has just come true.

This is a foregone conclusion that this 'patriotic organization' is handing over the bio-weapon to the psychopaths of Manipur.

In the coming days there would be a lot of deaths in the ranks of important leaders of Manipur--both,overground and underground.

This unprincipled and irresponsible acts of Delhi's political class will haunt this world for decades to come.

I'm saving this date of this particular post of mine.Future generations would come searching for this date.

I am now in a shocked state of mine.

So,I am not a position to go into the details of how I come to this post.But anybody who cares to follow and study the itinerary of the Delhi leader during his stay in Imphal would be able to retrace the logical steps I had undertaken to arrive at this post--with the qualification that they must shine their efforts with the 'light' from the 'language' as the Delhi people have coded their message in 'Manipuri language'.That is the reason why the particular Delhi leader had landed on Imphal on 'Manipuri Language Day'.

Befittingly,our architects have also an appropriate riddle for the occasion---

--Nung Taoni Lashing lupkani--

In our context,'Nung' is 'specialized knowledge'.(Here,'N(a)' refers to the force that enables the manifestation of 'root'.And 'Nu' is the 'stripped down' 'N(a) with a 'hidden message'.In this particular context,'Nu' is the single-minded study of basic knowledge or basic science.Then,'Nung' is the realm of such study.We must not fail to note the allusion to 'Nung', the stone.So,here,'Nung' is realm of basic knowledge or science with stone-cold heart).

'Taoni' becomes 'Ta+To+Ni'.In this particular context,'Ta',though means 'oscillation' in general terms,should mean 'battlefield'.

So,we have -- 'specialized knowledge' in both large and small battlefields.

'Lashing lupkani' means that all 'standard knowledge' will take a backseat.

TALA-NGA-SUNG

 In all the posts discussing our language,the novel theory that shows up by itself is the talk of putting our alphabets in different quadrants of the Cartesian co-ordinates.It seems to me that the very novel theory is the basic and identifying characteristic of our language.

In the above context,it is appropriate to call our language 'TALA-NGA-SUNG',provided we keep 'Un','E' and 'Atiya' out from the list.

Our language seems to be an experiment that tries to decide what different sound might come out if we put the 15 alphabets on the 8 different faces('Sung') of 4 different quadrants.

For example,'Ch(a)' is nutrient,energy or motion according to different contexts.Accordingly,we have 'chaak','che','chin' etc when we start our discussion from the 'Ch(a)' quadrant.

But we calnalso start from 'Che' quadrant.If we do so,we find  that 'Che' is paper.So,'Chei' must mean document(not the stick).It is certainly logical because we have the words like 'Cheiraap',which incidentally,means 'Leibaakki documentki institution'.Going further,'Cheiraoba' is the day from which the 'documentation' starts for the society as a whole [Chei-(LA)-Lo] and for the individual citizen [Chei-La-(LO)].With a little innovation,we can say that 'KEI-CHEI' is our term for 'constitution'.

For my part,the journey of trying to understand this novel idea gets its impetus from the discussion of the four terms:

a) AMASUNG

b) AMADI

c) SUNGTAI

d) PAKHANGBA PAAPHAL.

a) In the post entitled,'Continuously creating Angoms and the conceptual underpinning enabling the process',we get a new idea in hand by discussing 'Ahum'.in which,we let 'Hu' decide the relationship between 'A' and 'M(a)'.We are going to deploy the same step here to understand what 'Amasung' means.But before going further,we need to find out what 'Sung' is.For this we need to go to 'Sungtai' from 'Maikei mari sungtai nipaan'.To make our road easier to negotiate,we should start from 'Yentai',which we use in our kitchen everyday.

'Ya' is full of greens,throbbing with life.So,'Yen',in this context,is the 'green' which has been cut down.( For 'Yen',the chicken,the logic goes like this--in 'Ya',an all the cases,primary colours gel into making a single one and that resulting colour adorn most of the animals.But,in case of 'Yen' the primary colours remain as they are).So,'Yensaang' is the 'cut green' whose parts has got life ie,edible.So,'Yentai'is the device which makes the fresh air circulation around the 'cut green' possible.So,'TAI',in this context,is 'air oscillation',meaning air circulation.

From this,we need to deduct that 'TAI' in 'Sungtai' should also mean some form of 'oscillation'.From our daily usage,we know that 'Masung' is a quarter ie,an individual quadrant.So,'Sung' must be the conceptual device that enables us to envision a 'Masung'.So,'Sungtai' is this 'conceptual device in an oscillated state..In my mind,it should mean the process (that is,the oscillated state) which enables us to see and touch the two faces of a 'Masung'.We have 4 nos of 'Masung' and,thus,we have 8 nos of faces.

Are these 8 faces which they call the 'Sungtai Nipaan'?

In modern parlance,'Sungtai' is the 3D version of a two dimensional object.

Going a little deeper it is logical to posit that a two dimensional state of 'Sung' must a 'dead' one because we decide that 'Su' has been endowed with life (that is,they can be seen and touched),forming the term,'Sung'.

From the above discussion,we get a diagram:

So,'Su' is the origin.

When this 'Su' is made to oscillate so that we can see and touch it,we get a 3D model of it.(In the case of 'Sungtai nipaan',we also find each of the eight faces in the 'middle' or the 'origin' of every consequent quarters).

Here,we need to research further to find out if our architects has given names to the eight 'Sungtais'

Now,we are in a position to continue the discussion on 'Amasung'.

AMASUNG(continued):In our context here,if we were to equate 'A' to mean 'Atiya',then the 0-90 degrees quadrant must be the space where the existential human activities take place.Thus,if the relationship of 'A' and 'Sung'('Su' in two dimensional model) is defined by 'M(a)',then the 'Wangbren' line must be Earth's surface.In a conceptual level,it should mean that all the living creature must stay grounded to this line.This line touches the face of the 'Mashung' forming the 0-90 degrees quadrant.

Going further,should we infer that it is in the face of this 'mashung' that Pakhangba's 'face' reside?The reason is that Pakhangbe is of this earth,according to our stories.If it is the case,then Pakhangba's 'tail' also must reside there,as the the 'face' should bite the 'tail'(depicted on Pakhangba Paaphals).

b) The relationship with 'A' and 'Ti' is defined by 'M(a)'.Here,in this context,'Ti' is the power that enables the 'pushing up' and the 'compressing down' by a male penis.

We are using 'amasung' and 'amadi' interchangably.So,we have the following:

Amasung = Amati.

From the above,we can get 2 deductions:

--In the anatomical sense,'Ti' should reside above 'Su' or 'Sung'.

--In the conceptual level,'Su' or 'Sung' can be 'pushed up' and 'compressed down'.

From the above discussion,we get the following diagrams(We are taking the alphabet producing the 'Y(a)' sound as our case study).

From the above diagram,it can be inferred that if the 'Y(a)' is 'pushed up' beyond the line of 45 degrees,it becomes 'Yi'.So,if 'Y(a)' is 'compressed down' below the line of 45 degrees,what it become?

Here,we arrive at the crucial point of our discussion.At this point of our discussion,we fail to re-connect with the logic developed by our architects in trying to answer the above question.

The next option we have in our hands is to look up to our common usage.The terms 'Ku',Lu','Chu' etc,all in their anatomical sense,seems to refer to something signifying 'below'.

So,in the above diagram,if the 'Y(a)' is 'compressed down' below the 45 degrees line,it becomes 'Yu'.Thus,we have a new diagram:

As the 'Pakhangba Paaphal' tells us that the 'face' must meet the 'tail',we have another 'Ya'(the 'Y(a)' which have already traveled towards the -x axis),in yet another diagram:

If we reach this point,we have only to find out the mirror images of 'Yi','Yu' and 'Ya' to complete the whole picture.we have the final diagram below:

In discussing the 'Y(a)' root,it is of utmost necessity to find out how 'Yennaba'(division) comes forth.As of now,it can only be explained in one specific condition.The condition--when 'Su' (origin) and 'Siyayo' (zero) overlap each other.To make the illustration easier,we start from 'Ayomba' or 'Yomsinba'.

Su = siyayo.

From the second diagram above,we infer that a 'Yi 'produces the 'father' who,in his turn,produces the 'kid'.But in the mirror image,the 'kid' 'attacks' the 'father' to produce the 'Yi'.

This is exactly what division means.

COROLLARY:In the post entitled,'Pena' we have already produced the following diagram.

If we do the 'pulling' along,above and below the 45 degrees line,we will get 'sliding' sound.Some of them are given below:

All said and done, I honestly think all the above points I have brought out to the public domain should be put under rigorous scrutiny.

Such a scrutiny will help us in bringing forth a robust synthesis.

CORIGENDUM

In the first diagram of  'Yennaba' depiction,the written word on it was 'Siyayo'.But the written word should be 'Yiyayo'.

Pena

 At this point of time,it occurs to me that 'Pena' is what the English word 'Art' expresses.In one of blogposts,I wrongly wrote that there is no word in our vocabulary to mean what 'art' is.But the problem is that we mistakenly use 'Pena' to mean a musical instrument.I also  thought any word that tries to portray the meaning of art,literature,drama or aesthetics should come from the root alphabet,'Ph'(a)'.

Our architects have decisively prove me wrong. They bring out the term portraying 'art' from the root alphabet,p(a).They are creative beyond our imagination.

Let's try to re-trace the likely logical taken by our architects in creating the term,'Pena'.

a) We can symbolically and graphically represent the activity of 'Pa' in protecting the eyeball as the following:

b) We assume that our existential world('lairam') is located in the 0-90 degrees quadrant.So,the following diagram:

c) Now we are 'pulling' the graphical 'Pa' towards the -x-axis.

But,why this 'pulling' stuff?

Because we are deploying 'exaggerated imagination',which is logical in our context here as we are trying to express what 'art' means.Upon undergoing this exercise we get the bonus point of producing a mirror image as well.That's it--an exaggerated state and mirror image(Please refer to my post--'Exaggerated state and mirror image').

So,'Pena'is--

d) In literal term,'Pena' is making the process of producing the 'Pe' to blossom.

Corollary-1

'Pena muk lai'.

It can take this form--'Pena mmk lai'.In this context,the sound 'mm' means basic minimum needs(as is evident in our daily life in time of feeding kids).So,'mmk' is making our 'mm' balanced.In our context,a person who cannot go beyond the negotiating the daily basic minimum needs.It is the opposite of 'exaggerated imagination'.

'Lai',in this context,is something that is just plainly lying in front of our eyes.Not complicated things like 'mirror image'!

Here our architects are at their favourite game again! They are trying to present 'Pena' to the world by juxtaposing with their respective opposite traits.Great sense of humour!!

Corollary-2

'Samu mathun pena khongba'.

a)'Samu' is 'Samm'.It comes from 'MmS(a).We find 'S(a)' as a suffix to 'Mm' ie the 'basic needs'.In our context,it is reasonable to take 'S(a)' to carry the meaning of 'saiba',meaning 'neinaba'.So,it becomes the man who can 'analyze' his basic needs so that he can devise pathways to move up the next level of living standard.

when we bring the 'S(a)' as a prefix,the whole thing carries the meaning that the man now cannot do this 'analysis'(besides,striving all the while,to procure all those basic needs).

b) 'Mathun' is ''MaTh(a)Th(a)N(a).In our context,it means the person who spends all his working hours in repetitive set of processes.In other words,he is someone who cannot afford to be creative because he has no time and resource for that.

Reading (a) and (b) together,we have--

--It is futile to talk art to the people defined by (a) and (b).

Siyayo

 

 This is 'lei-e'.It graphically represents a tongue with no activity.

This is 'e-lei'.It is tongue in action.

This one symbolizes a proper and an intelligent expression.We may call it 'e-lei-lei-e'.

These graphical representation constitute the numerical system of the 'Tillam'.

So,the numerical system of our 'Lairam' should start from 'Lim',which is the world of 'vibration'.(My post entitled 'Continuous creation of Angoms and the conceptual underpinning to enable the process').In our society,it is more than reasonable to bring in 'Pena' to represent anything connected with 'vibration'.To make the clearer,I am coming out with a separate post to be entitled,PENA.

The following is the graphical representation of 'Pena'.It must also be the first numeral of our 'Lairam'.

Then,two--

Three--

Four--

Five--

Six--

Seven--

Eight--

Nine--

At this point,we need to slow down a little.We have the pre-conceived idea of '10',which necessiates the deployment of the idea defined by zero.But our main task here is to throw away our pre-conceived ideas and instead,try to creep inside the mind of our architects and find out what might their stream of thought regarding this step be.

So,we are revisiting our Thaabal Leerol'.the second part says--

'Yaangken Sambal

Siyayo siyayo'.

As was already discussed in my two posts with 'Yaoshang','Yaangken' is 'e-lei' and 'Sambal','lei-e'.

1) So,we must search for 'siyayo' in 'e-lei-lei-e'.As we have already noted,'siyayo' represents a 'full and intelligent expression.Thus,'Siyayo' must locate itself at the spot where the transition of 'thought' to 'expression' happens.

To my mind,this perfectly logical.

2) Taking the cue from (1),it is reasonable to posit that 'Siyayo' must also station itself at the transition point between 'Tillam' and 'Lairam'.We have already discussed that the numeral 1 to 3 belong to 'Tillam' domain.So, the transition of 'Tillam' to 'Lairam' happens at the spot where the numeral '3' ends and '4' starts.

3) For 'lairam purpose,we must start with 'Lim'.Reckoning from 'Lim',the spot we are searching for is foundbetween 'Ngaam' and 'Ma-nga'.In its intrinsic value,'Ngaam' is negative and 'Ma-nga',positive.So,our architects say that 'Siyayo' is to be found between the 'negative' and the 'positive'.

This perfectly agrees with our pre-conceived idea of zero.

4) Now,let's try to find our 'Siyayo' from the precept 'Thawai ma-nga meega thana taruk'.

We need to go to our alphabets.

Next,let' choose six alphabets(in their original order) which would be best suited to represent the 'thawai ma-nga and mee'.

Let's draw a line connecting the first five elements.

Then,another one,connecting all the six elements.

Finally,let's arrange a 'meeting' of these lines.

This is two straight lines joining together to make enable piggy-backing a circle.

We can also see two numbers of 'Yaangken' and 'sambal'.

5) Continuing with our main discussion,what should be he graphical representation of our 'Tala'? Should it be like the following?

For finding this answer,we need to visit our 'Thaabal Leerol' for the second time:                                           

'Yaangken Sambal

Siyayo siyayo'.

At the first glance,we notice that the term 'siyayo' is repeated.And,it is quite resonable to think that they are doing it for 'rhyming' purpose.

Is there another lausible reason for the repeat mention of 'Siyayo'?

It might be a riddle pointing towards a 'cue'.To my mind,the 'cue' is directing us to study more minutely the 'second' object.Of course,the second is 'Sambal'.

a) In our daily usage,'Sambal' is fence,which needs to stand erect('lei-e') to serve its purpose.

b) 'S(a)' is something situated in the 'middle'.So,'Sam' is a group of things in the middle.'P(a)' is the protective force,which,together with 'L(a) becomes the 'expanse' of the 'protective' force.This force protects the group og things in the middle.This is quite logical.

c) Now,let's come to our final context.Here,'Sam' becomes the face or the identity of 'S(a)'.And,'Pal' becomes the institutionalized or established knowledge.To know 'Sam' we have to take the help of this kind knowledge.

If we look at the 18th diagram above with the eyes of an 'institutionalized or established knowledge',it takes the following form:

This is two lines forming x and -x axis and at the same piggybacking a circle.Now,let's add the y-axis.

So,the y-axis passes at the centre of the circle but the x-axis and -x-axis do not.This only means that our circle is not the origin.A circular object which DOES not mark down the origin but,at whose centre, the y-axis passes through--what is that?

Definitely,zero.

So,our 'Thaabal Leerol' says that the following depicts our 'Tala'.

POSTSCRIPT

I was so busy drawing diagrams that I had failed to explain the logical steps in developing the numerals.

1. It is derived from the graphical representation of Pena.The reason is that the world of vibration('Lim') can be represented by Pena.

2. World of no vibration.The graphical representation is a 'dead' Pena.

3. If we flip the graphical representation of Pena vertically,it will become 'unstable'('Ngam').

4. We 'stabilize' (3).

5. This graphical idea is that it represents the 'pulled' 'Pa' from x-axis towards the -x-axis(trying to convey the message that 'K(a)' ie the 'positive' travels towards 'T(a)',the 'negative')

6. It is the mirror image of (5).

7. It is the graphical representation of 'P(a).

8. Here,we 'stabilize' (7).

9. The graphics here tries to portray the journey of a point from near the origin towards the x-axis(courtesy of Pena graphics).

Continuous creation of Angoms and the conceptual underpinning enabling the process.

 I have been itching to blog.But I have not been able to pull myself up just doing do--because so many are dying every day and the positivity rate is way above 10 percent.If I were to blog at this moment,it must be something to do with mitigating these problems.

But the imperialistic power display enacted in New Delhi just a few days ago have forced my hands.

So far,psychopaths,here in Imphal valley,run amok but,with one important qualification,--they are working under some sort of a unified leadership,how so ever,amorphous and rag tag that leadership might be.(By the way,'Saamba' is the Manipuri term for psychopath).

But the new power re-alignment,as hinted by that imperialistic power display,have given the deathly blow to that amorphous and rag tag unified leadership.Right at the moment it is crumbling down.

From now on,numerous and nimble groups of psychopaths will be running amok.

Coincidentally,I have been putting in a lot of thought on the subject of the necessity of a conceptual mooring for a small population society to stay united.Or even a commonly shared conceptual mooring that might help bring about unity amongst small population societies.

Initially,my curiosity got tickled when I learn that the tiny strip land,called the Imphal valley,,has nearly 700 'laibungs'.Why so many?

To my mind,big picture interpretation of 'Lai Haraoba' is--'Keep creating Angoms'.

So, our architects' priority seems to be the sending out the message--'Keep creating Angoms'--to the coming generations.In other words,they seem to think that creating more 'Angoms' should be utmost priority of our society.

This premises got me asking questions:

a) If they are saying that creating more 'Angoms' is our utmost priority,do they give us some theoretical tools to keep those newly created 'angoms' to stick to the centrifugal force of our society?

b) In the present day society,can we find some conceptual asset for achieving the above objective?

For the past several months I have been trying to understand how our numerical system works.In a most surprising turn of events,the effort to answer the above questions and my ongoing study of the our numerical system got intertwined.

1) When we feed an infant we do so with a sound,'Am'.On a philosophical plane,'Am' should be first line of communication from  those endowed with speech to those speechless.Going further,from the philosophical to the mundane.From the heavenly to the earthly.Like they have done with 'Yaoshang',our architects have kept the anatomy of the primordial sound hidden in the process as mundane as feeding an infant.Our architects have done an incredible job.(It would amount to dereliction of my duty if I fail to mention here that our primordial sound 'Am' has a striking similarity with the Sanskrit word,"Aum').

Now,we should assume that 'Am' just acts like all our root alphabets,in that they all produce a unique sound of their own.For example,'Y(a)' produces its own sound and it sits near the origin of a Cartesian co-ordinate--but in two places of the opposite quarters('Sungs') occupying the 0-90 degrees and 270-360 degrees.For the 'Y(a)' to serve any worldly purpose,it should travel outwards from the origin('Su') along the x-axis.There it becomes 'Ya'.(Here,we should hasten to propose that we should call our numerical system as 'Nuya').

Thus traveled along the x-axis,our primordial sound 'Am' becomes 'Ama'--our first numeral.

It is to be noted here I am coming out with a separate post discussing in detail the above logical steps.

2) 'Ani' says 'A' is defined by 'Ni'.

It expresses the following statements:

a) For us earthlings(that is,those residing inside the 0-90 degree quadrant),heavenly or Godly stuff can be detected within our imagination only.

b) Abstraction without imagination is not good.

c) Philosophical treatise should go hand in hand with a robust humane imagination.

3) 'Ahum' says the relation between 'A' and 'M(a)' is defined by 'Hu'.

For our particular context here,we can put it in this way:The relation between the heavenly or Godly stuff and the ones related with our world (that is,of the 0-90 degrees quadrant) is defined by 'Hu'.

So,what is 'Hu'?

At the first instance of hearing the sound 'Hu' meaning 'poison',we immediately get the feeling that it is something to do with 'chemical'.

Going further,'Hui' should be the flesh and blood edition of 'Hu'.'Doggy' and 'chemical'--you must be kidding!But we should not intimidated by this knee-jerk(but natural) reaction.Two things come out:

a) Wagging of a dog's tail is the 180 degree vibration along an axis.Here,it is very intriguing that a 'Hummai' acts in the way as that of a wagging of a dog's tail.

b) Dog is very obedient.It could mean that it,like a chemical process,strictly obeys a set of rules.

So,what now?

We can still re-inforce our argument by studying 'Huigang Thaangba'.

'Huigang Thaangba' annouonces the death of a dog.In it,the leash of a dog is made to pass through a hollowed out bamboo pole.The practical purpose is that the dog cannot come near you if you hold it by the bamboo pole.

Here,we are confronted with an astonishing stuff.We can assume the dog's leash as something 'flexible' and hence, capable of producing vibration.The very act of making it passed though a bamboo pole means it is being prevented from producing vibrations.

Now,'Huignag Thaangba' says that if there is no vibration,there will be no chemical process.

It is astonishing! We have just arrived at 'String Theory'!! We have accomplished this by studying 'Hui' and 'huigang Thaangba'.

How our architects have the knowledge of 'String Theory' in those olden times! It is totally astonishing!!(More astonishing stuff--we arrive at the same conclusion by studying 'E-nga-hari nong-naang').

So,our 'Ahum' says all the stuff of this universe is the same but we are all differentiated by chemical configuration only.

When we reach this stage we need to slow down a little.The reason is that we have just reached the transition point of 'Tillam' and 'Lairam'.

Going further,we are confronted with an important statement:

a) 'Tillam' is always 3 steps ahead of 'Lairam'.

b) We need to understand the concept of 'general vibration'.We will discuss it in 'Mari'.

c) We also need to understand the concept of the vibration of the 'unstable mater'.We will discuss it in 'Ma-nga'.

d) We finally need to understand the concept of the 'vibration represented as a graph on a paper'.We will discuss it in 'Tara'.

Now,let's go to the concepts of 'Tillam' and 'Lairam'.It's better to go straight to an example.

'Pee'(tear) is 'Lairam'.And,the conditions(both inside our eyes and outside of it) that facilitates the emergence of 'Pee' is the 'Tillam'.There should be a seeding stage of the factors encompassing the 'conditions'.Then,the growing-up stage.Finally,the stage where it gains maturity.This is the reason why 'Tillam' is always three steps ahead of 'Lairam'.

So,in our numerical system,one,two and three situate in the doamin of 'Tillam'.So,for us living in 'Lairam'(ie,those of us inside the 0-90 degrees quadrant) are left with only seven numerals.How to solve this this?We can do it by the following steps:

a) 'Lim' is the world of vibrations.So,'mali' or 'mari' is the world of no vibration.

b) 'Ngam' is the world of unstable matters.So.'Ma-nga' is the world of stable matters.

c) 'Lat' is 'La' osvillated.'La' can only be oscillated by abstraction and then, by putting it on a piece of paper.In this sense,'Lat' is the movement of a point,near the origin,outwards the x-axis.So,'Tara' must be the return journey of our point towards the origin.So,in this sense,'Tara' is completion of a cycle or the gaining of maturity.

Now, we manage to produce three extra numerals.These three,together with the remaining seven,should constitute the numeral of our 'Lairam'--the 'Nuya'.I am coming with a full and separate post dealing with the logical steps deployed to arrived at the above points. 

We can easily live with the above interpretations of 'Lim/Mari' and 'Lat/Tara'.When we come with 'Ngam/Ma-nga' we are again confronted with astonishing stuffs of our architects.

a) We should start with 'Lemlei Nga'.In our context,'Lem' is the world of negatively charged matters.'Lei'here,is knowledge.So,it says,to understand the world of negatively charged matters,look to 'Nga'(fish).'Nga' has no feet,it leans on the water.So,it symbolizes unstable matter(fissile material).

b) It is common knowledge that heavy water is used to control the unstable character of the fissile material(usually Uranium),just like our 'Lemlei Nga'.

c) Searching for fission equation,we come to this:

 C235/92U+1/0n--141/36Ba+92/36Kr+3 1/0n+Q.

This is exactly 5+1,just like our 'Thawai Ma-nga meega thana taruk'.

This is totally astonishing! How our architects,in their ancient time,manage to come to grip with the idea of unstable material and fission!!

4) 'Taruk' says the relation between 'T(a)' and 'K(a)' is defined by 'Lu'.

'Lu' brings us the world of 'L(a)l(a)'.We come to this conclusion by studying the 'Paakhangba Paaphal',where the mouth bites the tail.I am coming with a full and detailed discussion on this in a separate post.

'T(a)',being oscillation,represents an unstable condition.And,'K(a)',a stable one.

It says when we bring a stable matter towards its unstable condition,we will get 'Lal'.As in our common usage, 'Lal' is wealth.So,the 'Lal' in our 'taruk' should mean energy.

So,our 'Taruk' says that we should understand the huge amount of energy kept hidden inside the matters of the universe.

5) 'Talet' is the stylized form of 'Tale' and 'Let'.

'Talet' says the same thing as 'Taruk' but in another style.So,our seventh step is superfluous or redundant.Although,in rhyme with our custom of 'Heiram taret,leiram taret',why is there a superfluous step?

In my mind,its main purpose is to remind us the huge responsibility of handling the tremendous energy obtained by 'Taruk'.It warns that all of the humankind might be wiped out by the energy obtained by 'Taruk'.

7) 'Nipaan' says that the relation between 'Ni' and 'N(a)' is defined by 'Pa'.

Here,we must remind ourselves that the protection provided by 'Pa' to the eyeball represents a complete eco-system.Thus,in our context,'Pa' can be taken to mean an institution.

'Ni' is imagination.Bad imagination is greed."N(a)',here,denotes a root.In our context,it can mean the 'condition of staying grounded to reality'.

So,our 'Nipaan' says that 'greed' should be brought to 'staying grounded to reality condition' with the help of well-established institutions.

6) 'Maapan' says that,in case we pass though 'Nipaan' successfully,we must arrive at an society('here 'Ma',meaning world or society) where we all manage to 'stay grounded' being facilitated by well-established institutions.

Reading all the above points together,we note that three things stand out:

a) All the Holy Books of the world(that includes the Bible,the Koran,the Talmud and the Gita) DO NOT teach their adherents the depth and breadth of the knowledge as laid down in our NUYA.

b) The only problem with our NUYA is that it is not presented to us in a written form.That is understandable in the context that our architects correctly foresee the coming meeting of minds of,and eventual collaboration between,the Puya 'Meitharois' and the library 'meitharois'.Our architects seems to be paranoid of the 'meitharois' of the world.

c) In a practical plane,we need to quickly tabulate all the numerals of all the small population communities living in North East India and along the geographical space encompassing all those from the Chittagong hills upto the border with Yunnan.Such a tabulation will bring forth the common features with our numerals.Equipped with this data,we should examine if our NUYA can serve as the conceptual underpinning of puting all these people in a smoldering cauldron.Here,we should not forget to give emphasis to one,five and six of the numerals.

Nura Khudonglei

 

The big picture interpretation of 'Nura Khudonglei' runs like this--

--There would come a time when the 'Nga' would attempt to catch and eat the 'Uchek'.Exactly at this time 'Nura Khudonglei' will start to blossom.---

It must be noted here that the 'Nga' points us to the 'psychopaths'(being derived from the story of Koubru and his out-of-wedlock daughter).

a) Nula--'Nu' points us towards the plane of 'N(A)N(a)'.Here,'La' is world.So,Nura becomes the 'world of nannaba'.That exactly is our NUYA(My last post).

b) 'Khu' becomes 'Kh(a)Kh(a)',meaning 'deep discussion'.

c) 'Tong' is 'lively and very active discussion teams or groups'.

d) 'Lei' is,in our context, a synthesis.

Reading (a) to (d) together--

--There should emerge a lively and very active interactive teams discussing the numerical system (our NUYA).This team would come forward with a synthesis.---

Again---

---'Nura Khudonglei' being on our 'pheeral' means that if we adopt our NUYA as the guiding concept for our cauldron/melting pot, we would arrive at our 'pheeral mamai chumba condition'---