Pacific Ocean

In the Pacific, the Astronesians—as the "people of the stars", or a mythic analogue of the Anadolians as the "people of the Sun"—used celestial navigation (e.g., a stellar compass named for Πέλωρος or Pélōros, a pilot of Ḥannibaʿl and associated in myth with dolphins and the Polynesian navigator Kupe) with declination relative of the equator that locates astronomic coordinates with right ascension), avian migration (e.g., the plover, cuckoo, frigate, caladrius and larus fowl) and observation of swells (propagating at the interface of air and water), bioluminescence and the wind in their contact with the isles and the perimeter (annular circle) of the Pacific Ocean [1]. The Austronesian mariners invented the triangular layar—a sail similar to a "Latin" veil or tarik from the Mediterranean that was presented, via Arabian and Indian merchants, in the Pacific and eventually the Baltic and Atlantean (Novan and Palman) Atlantic—for nautical navigation (the manipulation and indication of tangan). With the Austronesian expansion (as maritime construction and migration that propagated to guadha or wadha, i.e. a "place of being" with submerged mountains and isles forming a crescent arc and volcanic archipelago), this connected Anadolia with its erection of capital columns for structures to the vast Ocean (the "soup").

The dolphin (cf. the citharode, Arion of Lesbos with his dithyramb, saved from pirates) is a symbol of the Palman Sea. The symbol of the cultural heritage of these navigators of the sea (kai or tai, cf. laut in Malay that displaced tasik / tacik / tahik for danau, tala(ka) or "lake" such as volcanic Atltitlan in Anadolia that is named with ligature -it- and locative -tlan) is a sailing or rowing (by paddle or oar) boat called a waka or vaʻa (often painted with the ferric oxide, iron rust haematite ochre to symbolise triumph). Their marine and aquatic way, mode, and style of life emphasised the ability to swim (kau or ʻau) in the water (wai or vai, a cognate of c(a)i(r) for "river") and wave (ngaru or nalu) of the current (au). The oil from the tui or kui nut (cf. argan and olive) was used as a protective emollient for the nets (kupenga or ʻupena) in the accumulation of fish (ika or iʻa). The people (maori or maoli for "real, genuine, normal, usual, natural, common, ordinary, native, indigenous, intelligible, veritable, fresh, clear") were known for painted tattoos (tatau or kakau) and the traditional (durable and versatile) tapa or kapa woven bark cloth. The concert chant and group dance (umele or umere and oli or ori of mimetic undulation) named the haka or haʻa (for the genu varum, not the valgum of the knee or the dysplasia of the femur in the "cube", coxa or acetabulum of the hip, haunch or ischium, which is a division of the pelvis connected to the pubis and ilium) are a spiritual (sexually and sensually) and physical ceremony for welcoming guests as hosts in hospitality and intimidating rivals as warriors in war. The former dance, unlike the fierce latter with visual contact with the eyes (mata or maka) of the head (uru or ulu), is performed with a nude torso by all sexes, whether male (tane or kane), female (wahine or vahine) or androgynous (mahu, which is similar to kathoei for "Ganymedes", hijra for xaje saray or "palatine eunuch" , and babai lalaki as coordinates connected to babalian for sramana, katulonan or "ascetic priest"). The ceremony accompanied a feast of comestibles and beverages (kai or ʻai and inu, frequently of tubers called taro or kalo and uhi, and of a root called kava or ʻawa; cf. the tuberous pia or colocasia<kolokasia for "lotus", Semitic colcas<kulkas<qulqas and Akan ode).

Other salutations are benevolent expressions of "love" (aroha or alofa) and "life, health" or "being, existence" (ora or ola). The physical salutation where two people jointly press their noses and foreheads (hongi or honi) to exchange the breath of life or unite the animal soul (mauri or mauli) of spiritual force, energy, potency or essence (mana). This animism relates to the panpyschism of Palmaism. Nature unites humanity with the divinities (atua or akua and aitu or aiku, as cognates of tu(h)an and hantu) whose emergence (pora or bora and pola or bola) from original fonts (rua or lua) of profundity (raro or lalo, as cognates of dalem) of the Ocean is joined by kupu or ʻupu (cognates of buku or wuku for nodal articulation and connection in an accumulation collection of puku or putu). The social organisation unit of Astronesian culture is a people (family, tribe or nation) called a domestic "nest" of skeletal "bone" (iwi) and arboreal "origin" (pu), or known in their language (reo or leo of the lingual tongue, arero or alelo) as kohanga or ʻohana, that controls territory. The family is the entity ((w)hanau or fanau) that a person is appropriated (hangai or hanai) into by natal cultivation or cultural adoption as an exultation (hokotama or hoʻokama) of mutual affection, relation, conjugation, inclusion, reciprocation and provision. With the importance of great abundance (nui) universal to all human beings or persons, the pathway (ara or ala), the home (hainga or ʻaina), and the house (whare or fale, cognates of balai / walai
with stone batu, w(h)atu, haku dissimilar to a kubu or kuwu in the fields or camp) with a courtyard (marae or malae) and warm (fana or hana) fire (ahi) are central. The ocean (moana), star (whetuʻu or fetuʻu), wind (matangi or makani), flower (pua and bunga), mountain (maunga or mauna), island (motu or moku) and hound (kuri or ʻuli, compare to the Austronesian asu) are symbolic to the name (ingoa or inoa) of the people. Distinct from the tribal chief noble (ariki or aliʻi), the spiritual master or expert of cognisance (matau or makau, which is related to the Malay tahu, of wananga or vanana for "oration, education, instruction, information"), irrespective of gender, of Astronesian society was called a tohunga or kahuna. Possessions with property and personality are guarded riches and treasures (taonga or kaona) of the inclusive and fiducial community. The primary human (protoplast) of divine natural creation was named tiki or kiʻi, who is sculpted in humanoid form (mokai or moʻai). Genealogy (ancestry, lineage and descent) is whakapapa or faʻapapa (for "manner, fashion, mode, style, way" and "terrestrial world, Earth"), which is important in Astronesian oral history.

The Astronesians introduced their nautical vessel as tumurakau or kumulaʻau (for "foundation, base, basis timber", which is related to the Malay dahan kayu with an additional cognate of kau or ‘au for "shaft, staff, stem" for the manual hand) that became tomoloʻo constructed with redwood (a ligneous example of megaflora, which is a term that includes species of palms, eucalyptus and ficus). Similar to asphalt, the pitch of pine (a resin of sap or tar) was used to firm the arboreal wood and repel the oceanic water. The currents of the sea and the wind were the commercial course of these vehicles. The Astronesian pacific and oceanic expansion proliferated the coco species of the palm, the erect (columnar) and sempervirent conifer (similar to a pine with its cones of nuts), and the kuru or ʻulu as the domestication of a fruit (with a texture that resembles bread or cakka) of the fig family that originates from the Asiatic muluk islands of spice and bhanda ("good", not bandha for "band"). They transported the floral hibiscus ((w)hau, fau, waru and baru, not a "breeze") and the domestic sugar cane (to, ko and tebu), rice (padi, pari or pali, for which the karabaw or boubalos is required), fruits (kahika and kaʻika), gingers (zingiber(i(s)) from the Indic krama of Prakrit simgivera, itself from the Sanskrit srngavera for "corn corpse" and the Dravidian inci in a possible cognate of Austrosiatic khin and kha like the Sinitic, with the lengkuas and the kuning halia and laia for temu and kunkuma related), hounds (kuri, ʻuli and asu), fowl (manu(k) and ayam), swine (puaka, puaʻa and babui), peppers (from the Sanskrit pippali, pippala for "fig") and tubers. The exchange introduced the production and consumption of an alcoholic wine from the fermentation (with a distillation for potent concentration of ebrious intoxication) of the sap of the palm (in Sanskrit and Prakrit, tada, in comparison to cane).

The convergence of cuisine in the Atlantean Palman Sea—similar to almojábana from the Andalusian المُجَٰبَّنَة‎ or al-mujábbana for "[bread] made of cheese" by the Atlantic and to migas ("crumbs" as fragments and parts for "fractions", "portions", "partitions" and "sections") with chilli, atl, quilitl and tlaxcalli of the Pacific that is "passed" or bayat bread (pain, not "pane") toasted (baked in a bakehouse for bakery, not cooked in a cookhouse) and sopped in its (entropic, not energetic) journey of retrogradation and recrystallisation—reinforced agridoce (sweet and sour, as douce acid, not acrid, but as in the arboreal acer) in the culinary palate or table of Palmans. This dialectic of savour (sapour) is noted in Sinitic cookery as 甜 or tian / tiam / diam (from 舌 or si(a)t for lingua and 甘 or gan / gam / kan / kam for "sugar", "fruit", "syrup", gyclos) and 酸 or suan / so(a)n(g) (for "vinegar", from 酉 or y(o)u / iu / jau for "vessel" of alcoholic wine, 醋 or c(h)o / c(h)u as synonym of 葡萄 or pu / bu / po / bo dau / tau / to(u) / do(u) from Iranian or Aryan Bactria, which is compared to باده or bâde for می or mey and مل or mol as a "mead" of an uvular wineberry, druve, druf, t(h)rube, drappe, trappe that models, imitates or emulates kroppe, krappe, croppe, crappe, grappe). The tax and gust is similar to an ocular berry (龍眼 or long / leng (n)gan / (n)geng / kan / keng) and ovular langsat (transliterated to lanzón as the Hispanic augmentative of lancia, lanza, l(l)anç(i)a, lance for spicule, spike or (e)spiga with its acina or acinus, similar to the Malay rambutan from rambut for "pile, spine" compared to the lutung macaque or makaku). In its botanic family is the guaraná and an "apple" of the Akye people. Their name is a corruption for nkyene for "[Mediterranean] salt", which was exchanged for gold via the Sahara and the Sahel, in the language of Akan (cf. asante for "bellicose" and adanase for "edifices of creation", the origin of construction and instruction in the mundane World). They were a source of the "grain" or "pepper" (of ginger and piquant pigment, neither the berry and drupe nor the case and capsule) compared to meleghetta, malagueta, maniguette (from melega<meliga<melica of Media for the granular sorg(h)o of Syria). The African region populated by the Mandinka, through the factorial fruits of commerce, prospered and flourished as an empire with merchants, warriors, serfs and an imperial urban centre whose nobles controlled routes, coasts, and tributary or periphery territory (i.e., as a suzerain, not sovereign, with clients or satellites of tribal chiefs) because of the ghani (غَنِي) metal mines and mineral treasure (i.e. the rich wealth and song as noted by the ethnic historian al-Bakri or البكري of Andalusia).

The Chinese dynasties referred to the sovereign state (polity, principalities, municipality or city) of an archipelago (a pearl of the pacific sea) of maritime merchants as 麻逸 (m(u)a / ba / mo(a) yi / ig / i(a)t / iak / jat, with the indigenous script related to the Brahmic script of the Pallava dynasty of southern India that is named in Sanskrit for a helical and spiral cirrus, circle or tender vine). It was one of the social (politic) and commercial (economic) groups formed in the migration of oceanic Malay (Austronesians related to the Polynesian Astronesians, with an element of their origin in Melanesia, or a oceanic region with a genetic and mimetic isolation from the Australian population). These local communities originated in the coastal, littoral, piscatorial and riverine colonies established by nautical vessel (barangay, which is similar to the Turkic kayık) with rivers central for their water. The Astronesians developed climatic, economic and politic divisions of land from mountains to sea delimited by an ahu or afu (altar and garden) for the tribute and commerce of the population to create and cultivate harmony (pono and bener for "serene excellence"). Regal nobilities developed as structures (organisations and functions of hierarchal and central authority dependent on a consensual delegation and mutual integration of personal fidelity and tribal loyalty by individual chieftains elected in an exercise of a democratic system, and in the deferential reciprocity of assistance and alliance without the territorial coercion and institution of absolute command and control) in these bahayan (from balay, balai or "house, family, domicile") with contact with other cultures (cultivations, populations and nations). The Han Chinese peoples who spoke Min and Hakka immigrated to these islands from the imperial Ming dynasty.

Conquest from Kalamanthana (Sanskit kala for "time, seasons", manthana for "churning" in the varuna or "water, not fire" of the sumudra and sagara for the "Ocean") resulted in control of archipelagic city-states. They constructed Jawi from the Persian Arabic script to adopt additional letters for the Malay language from the isle of Jawa, one of the lands of Sunda. The Sunda realm, which as Sundara (Shuddha) is separate from Varuna and Sulabesi and was the successor of the Taruma(nagara) and Salaka(nagara), rivalled the mixed Galuh ("gem", with a k(e)raton noted for a fermented paste or sauce of belacan, terasi, ngapi or kapi from oceanic marine crustaceans), which was adjacent to Mataram with the Srivijaya and Sanjaya dynasties in Suvarnadvipa (Lamuri) and Yavadvipa (Sailendra). Suvarnabhumi ("earth of good thatch, land of gold") covered territory of the Tai people (in Ahom, Asam, Shyama, Siama and 暹, which is connected to the lao, rao, lau, rau, kra and 交 or "human beings"). They were rivals of the Khmer (from kshema for "home", similar to the Viet with the Sinitic influence from the Yue, whose kampong were related to the Malay and Jawa kampung, desa, dusun or kota as إِقَامَة or ʾiqāma of وِلَايَة or wilāya and دَائِرَة or dāʾira) and Brahmadesha (with the Dravidian Trilinga from Tenungu and Telungu, and the non-Sinitic Mranma from the Indic Ramannadesha as the desha of the Ramans).

Rose Island in the Pacific Ocean—or more exactly in the Rose Sea and at the coast of San Francesco—is compared to the Tuscan archipelago between the Mediterranean seas of Italian Liguria and Tyrrhenia (i.e., Etruria with Etruscan Pisa). This Palman isle is similar to isle of Ilva (Aethalia, and with others those with the names for the gorgon, the divine moon, a mount of Jovis, the aegis of capros<kapros, the aedis and aether of a temple and edifice, the pigment of ochre) because of its mythic history of "Argonauts" (Astronesians), pirates and exiles. The isle is a vestige (kapanga or ʻapana for "part or portion") of a submerged continental and terrestrial mass covered the melt of glaciers (in the phase transition of solid ice to liquid water) that elevated the sea level. A population of pygmy (dwarf or, in Celtic, cor) mammoths (from Greek πυγμή or pugmḗ for "fist" as a cognate of Latin pugnus) existed on the isle [2]. This nano species became extinct contemporaneously with the extinction of megafauna (in density and diversity) that coincided with changes in ecological climatic conditions, and human migrations. It swam in natation to colonise the isle as an insular descendent (in the process of evolution) of the gigantic animal and mammal mammoth (from the Uralic Yugran mā-ānʹt for "Earth horn"), which is related in adjacent vicinity of the Asian elephant, in comparative distance to the African elephant, and in additional distance to the mastodon (named for molars similar in form to a mammary and dental "breast tooth" from μᾰστός or mastós and ὀδούς or odoús). The fossil skeletons of these elephants, with their facial nasal orifice that is central to two cranial ocular orbits or cavities for eyes (not their eburnean ivory), are argued to have inspired the monocular giants of the Cyclopes (Κύκλωπες or Kýklōpes, a mythic creature whose name, whilst its superficial decomposition is κύκλος or kúklos for "circle" and ὤψ or ṓps for "eye", originates from the Indic European substrate that is a cognate of the Latin pecus, peculium or pecunia for "money, treasury, fee, fief, feud, private property, domestic animal" and the Hellenic κλώψ or klṓps and κλέπτης or kléptēs for "person who steals", which are synonymous to λῃστής or lēistḗs and πειρατής or peiratḗs for "pirate") of Greek mythology (the myth of religious Hellenic rites and cults propagated in the oral poetic, epic and lyric tradition that influenced culture, sculpture and literature). Similarly, Hellenic contact with the Scythians who discovered and encountered the petrified vestiges of the Protoceratops dinosaur (related to the avian pterosaurs) has been suggested to be the basis of the image of the chimaeric griffin. The Anadolians used the icon of the infernal skeleton (mictlan with the cranial tzontecomatl of miquiliztli or "death") in their symbolic connection of sanguine sacrifice with aquatic agriculture by the animal spirit (ehecatl or "wind"), the manual palm and the solar cycle.

The pastoralism of the hills and grassland, with its corrals for the rodeo (muster or assembly) of beasts by apt lace (laccio, lazo, llaç, laço, lacs), is a distinct development from the Anadolian civilisation [3]. Originating in the fortified hills from the fashion of the nobles, the cap known as the beret (berretto, berretta, birreta, birrete, barret(t)(e), béret from birr(us)) is common. The gaucho, Spanish from the Arabic waḥša (وحشة) for "wild, grimm, barbaric, fierce, feral, savage desolation", horserider and pastoral herder is an icon of the rural culture of Mesopotamia, an extension of the Po Plain region of Alpenburg. Compare the Arabic ʿajam (عَجَم, for a non-Arab Persian or Iranian) to a "barbarian" as a feral stranger and aboriginal savage of culture denoted for a strange impotence (not necessarily a potential incapacity as connoted in the pejorative) of common language and described by the Latin balbus or barbarus (for a non-Roman) from the Greek bárbaros (βᾰ́ρβᾰρος, for a non-Greek, i.e. the Medians and the Persians) as an Indic European cognate of the Sanskrit barbara (for a non-Aryan). The Arabic name ḥanīf (حَنِيف‎) refers to a person (Muslim) with an inclination to the religious orthodoxy (tradition and civilisation of Islam) in an inverse transformation from the Syriac (a dialect of Aramaic) word for hellene (Hellenistic religion), heathen, pagan, gentile and infidel (كَافِر or kāfir, and the name of a non-hybrid species of the citrus genus, which is dissimilar to the lime, lemon and orange cultivars). The terms of gabacho, gavatx, gavache were used to refer to the indigenous internal strangers of the alpine mountains and forests (chontalli) near this north central lake) in an approximate adoption of the Gallic Celtic gauta, gaba for "crop, pap, cap, calix, buccal cheek" that is related to gavetta, gaveta, gabeta (from the European Latin cavus and gabata, which is from the Phoenician qbʿ for "chalice, cup, vessel" via the Hellenic γαβαθόν or gabathón).

The exchange of music occurred between the Atlantic and the Pacific with the cavaquinho (a diminutive of cavaco or the pejorative of a material "cave" for a guitar compared to the "leap, fly" of the "pedicular louse" by the Astronesians) of "fatal" Portuguese music and the Austronesian orchestra (as the conjoined ensemble with the gamelan) with a form associated with the malandrino or buaya ("crocodile" of (da)rat or "littoral terrain") that is not disciplined ((ja)ha(t)). This developed in the religious traditions of the Muses and the dances of Jawa and Bali (Validvipa or Walidwipa) by the handsome (俊 or chun(g) / zun(g) / shun(g) / jun(g) / zon(g)) and pacific (安 or (ng)an / (ng)on) Chinese dancer (from Indonesia in Austronesia, or an archipelago of Nusantara from nusa for "isle" and antara for "alternate, proximate, intimate, intermediate") named in Malay for an effigy of divination and the education of humans with cultural influences from drag, masks, the flamenco of Europe, theatre of Asia, and the natya of India. Through an multicultural exchange as commercial 皮欽 (p(e)i / bi / pue / phi / phe kin / k(h)im / kham / jam for the "busy pip" and "cheap" of affairs, negotiation and occupation, not "pigeon"), "chop-chop" for "quick" (a repetition of 速 or suk / sug / sok / sog, not "chap" for "stamp, sigil" and not the utensil 箸 or z(h)u / c(h)u / tu / ti / zi as a term evited by mariners because the anathema in diction of the residual 住 or diu / tiu / deu / ceu) and "aiya" for surprise and ennui (喪 or san(g) / song for "grave, grief, infortune, malchance, perdition, depreciation, privation, destruction, deterioration, degradation, decrepitude, lassitude, decadence, perishable, vincible") in Novan English originates from the Chinese 哎呀 of the port (香港 or xian(g) / hoeng / hiong / hiang gang / gong / kong / kan(g) for "fragrant, perfumed, aromatic harbour") and pearl (珠 or zhu / ch(i)u / z(i)u / cyu for "gem, jewel" of a bivalve mollusc) river in the region of Canton (derived from the Portuguese cantão for 廣 or guang / g(w)ong / guong / kuong / kuan(g) / k(w)ong for "expansive, broad, wide, imperial" city (市 or s(h)i / c(h)i) and canton of the relative Orient recognised by Almaçudi (ٱلْمَسْعُودِيّ‎ or al-Masʿūdī), an Arab geographer and historiographer of the Islamic Golden Age who described experiences with Jews, Europeans, Persians, Iranians and Indians in his voyages). The port city consisted of an island (島 or dao / dau / do(u) / to) and a peninsula named for its mountains (龍 or l(i)ong / l(i)ung / leng for "dragons"), with a bank of the river bay area (estuary or delta) named for its profound (深 or s(h)en / sam / c(h)im / c(h)ing) irrigation furrows (圳 or chun / zun(g) / zan / zhen). This has been compared in poetics to the bay (a term from the Iberian Basque badia, not the Celtic bayos>baius for a colour of red and brown) of San Francesco.

The maternal, celestial, ancestral and ascendant deity (媽祖 or ma z(o)u / cho / c(h)u / tsu) of "good fortune" (福 or fu(k) / fug / foq / ho(k) / hog for "prosperity") protected the mariners and fishers of the region in Daoist myth [4]. The mythic deity of 盤古 (p(h)an / pun / po(a)n / puang / buan g(o)u / ku) is the primordial creator of the celestial and terrestrial disconnection in the mythology recorded by a Wu author. This Gaian deity is similar to the master Tlalteuctli (from tlalli for "Earth", which tlaloc or "earthen" from tlalloh was populated by the rival germans of Huitzilopochtli, Quetzalcoatl and Tezcatlihpoca, who is respectively named for "reflector" and "vapour") in Anadolian creation mythology. Derived from the Buddhist marks of existence (無常 or wu / vu / mu / mo / b(h)u / b(h)o ch(i)ang / so(e)n(g) / sion(g) / sian(g), 苦 or fu / k(h)u and 空 or k(h)ong / k(h)ung / k(h)ang), the aesthetic style of impermanent incompletion and imperfection (侘寂 or c(h)a / (t)sa chek / ji / zik / chit / chiak / sit / siok). The poetic form composed (erected as in 立 or lip / rip / lib / lap) of three phrases (strophic clauses) with the primate and ultimate of five morae and penultimate of seven morae is a "comedic, humorous actor sentence" (俳句 or pai ju / gu / ku / ki). It is a dialectical juxtaposition, relation or reflection that was popularised for its thematic elegance that describes the seasons (annual and natural stations) with a parallel caesura or volta for the structural dignity of termination (conclusion) and metrical emphasis of verse (strophe). This "curve" is symbolic in Atlantean navigation and architecture. The culture of its dynasties proved to be influential across the Pacific Ocean in Atlantis as communicated (received and transmitted) artisanal culture (art) of technical capacity.

Riparian civilisation is a possible origin of the cultures of China and the Austronesian populations (of migrations and occupations of isles), its grand canal of water (浙 or zit / zig / z(h)e(t) / ch(i)at / chiek) in serene and pacific undulation (波 or bo / p(h)o / ba / pa, with 寧 or ning / nen / leng for domestic serenity and peace) for vessels (舟 or zhou / ziu / c(h)(i)u / zau) of commerce (and commercial markets) in the historic capital cities and ports of fortunate provinces positioned on the coast of the marine Ocean. The canal—which initiates at the Chinese capital and which the Narayana who united China constructed—terminates at a dyke of the river (to protect the temples and towers of the city named for "ship", 航 or hang / hong) that flows to an estuary and a bay noted for its "bend" (折 or zhe / zit / zih / chih / chak / c(h)iek / chiat) countercurrent bore and eagre. It was admired by a Buddhist priest, a courtesan from the Joseon dynasty, a Persian historian (Rashīd al-Dīn Hamedani or رشیدالدین همدانی) from the Iranian ilkhan, and Matteo Ricci. The territory of the region was inhabited the Yue who, like the Wu, were sinicised by the Han in their migration. The tribes and families of the 蜑 (dan(g) / tan(g)) or the 艇 (t(h)in(g) / t(h)eng) as a "folk, people, nation" (民 or min(g) / meng / man, not the dynasty named for a 虫 or hui / wai for "snake, serpent, vermin, worm, reptile", which is related to 蟲 or c(h)ung / c(h)ong / t(h)ung / t(h)ong / t(h)ang / z(h)ung / z(h)ong for "insect, creature, animal") have their origins in the Yue prior to their sinicisation (assimilation) by the Han. Famous for their naval vessels (艇 or t(h)i(a)ng / t(h)e(a)ng) of the marine estuaries (rivers and bays), they are associated with pirates. They were segregated (separated) from the Yue, Hakka and Min ethnic groups.

This Chinese culture is connected to the Austronesian languages. Although linguists consider Sinitic, Austroasiatic, Austronesian (e.g., the Malay, Polynesian and Astronesian) and Tai languages to be not related, phylogenetic affinity is proposed (with expansion to contain the tribes of the mountains, which is similar to the proposed Austric family, or the spurious connection of the Turkic, Mongolic and Tungusic with the languages of Japan and the peninsular realms of Goguryeo, Kudara and Syera) for their mutual contact (convergence, correspondence and influence) with cognates and strates. The region was the ancestral home of a premier (of a council of ministers in a government by the congress of a parliament or soviet, not a general-secretary and president of a central committee with a military and a party in a separate China)—whose personal name (恩来 or ng(i)en / en(g) / an(g) lai) in this case signifies the becoming of luminous (景 or jin(g) / gin(g) / gen(g) / kin(g) / ken(g)) love (愛 or (ng)ai) and whose conduct reflected Ruism of his "descendance" from a family of civil servants (師爺 or s(h)i(r) / sa(i) / su ye / je / ie / ia)—that promoted diplomatic and "pacific" relations with Nova-Lox. The Wei dynasty (as the tribal family of the Tabgach of the Sarpi, from 鮮卑 or xian / sian / xien / sien / b(e)i / p(e)i, who vanquished the 柔然 or yan / yen / jian / jien / lian / rian ju / iu / yu / l(i)u / r(i)u) that were pursued by the Turks) created a foundation of infrastructure to reunify with its sinicisation. They constructed temples and monasteries of Buddhism (not Daoism) in the "central plain" of China (the origin of Han culture). These were centres of 禅 (chan / si(a)n / si(a)m), 武, 藝 and 醫. An encyclopaedia and text of vital (要 or iao / iau / ieu / yao / yeu) technics from this era discusses—as a commentary, 註 or zhu / chu—mounts, rivers, canals (cf. Austroasiatic klong and the Aryan kali), and wheat gluten (麩 or fu / (p)hu like the tissue of muscular tendon, 筋 or gan(g) / geng / ging / gung / ken / kin / kun).

Nippon or Japan (from the Portuguese Japão and the Dutch via the Malay Jepang of the "river confluence" or kuala and "port" or bandar from the Persian بندر, itself from 日本 or Nihon for "the origin of the Sun"). In feudal Japan, prior to the imperial restoration and political consolidation, military dictators appointed by the sovereign emperor reigned as supreme generals (commanders) and civil authorities in the government and the court (dynastic families). They were served by mercenary warriors with a tradition of homosexuality. The name for this archipelago has varied in historical use similar to that of its Sinitic and hegemonic continental neighbour of China. The name of Cathay, once referring to a separate and distinct culture, became a poetic name for the polity of China. It originates from the Mongolic and nomadic tribe, the 契丹 (qi / k(h)(i)e / ki(t) dan(g) / tan), in the 遼 (liao / liau / li(o)u) dynasty whose vassals were the 女真 (nu(i) / neoi / neng / n(g) / lu / li zhen / zan / zin(g) / zen / c(h)in(g) / ceng) or the 滿洲 (man / mu(a)n / mo(a)n zau / zhou / c(h)(i)u / z(i)u, a phonetic transcription and semantic correspondence to the Sanskrit manhju for "bright, pleasant" and sri for "splendid, radiant, luminous, glorious, beauteous") people. The peninsula between the Japanese archipelago (extending to the isle of 琉球 or liu / lau qiu / giu / kiu / kau) and the land of the Manju was named 高句麗 or gao / go(u) / kao / kau / ko(u) gao / gou / (n)gau l(a)i / le(i) for one of its realms (with 新羅 or xin / sin / san l(u)o and 百濟 or bai / ba(i)k / pak / pek / peh / bah / beh ji / z(a)i / c(h)a(i), preceded by 朝鮮 or chao / zhao / ciu / ziu / cheu / dieu / tiau xian xien sian(g) si(en)). The Vietic city of Saigon was a port of the Austroasiatic Khmer empire (named Pri Nokor, which is a "forest city" related to the regal and principal capital of Angkor, by a people connected to a sage of the Sanskrit Kambujadeśa) of the mountainous bnam, floral campaka and maternal Menamkong subsequent to being named 嘉定 (jia / g(i)a ka ding / din(h) / dian / thin / deng / teng) with influence from 柴 (c(h)ai for fascis), 堤 (di / t(a)i / the / de for "dyke"), and 岸 ((ng)an(g) / ngon / ngai for bank).

In contrast to the sophistication of domestication and civilisation is the wild (rustic, pagan, savage, rural and feral) field or country (area, plain, region, space and frontier) of 野 (ye / je / (y)ie / ia / ya). The Chinese dynasties represented "naked" (陳 or chun / c(h)in(g) / chen / c(h)an / t(r)an / dang for "bare, nude, presentation, exposition, exhibition, demonstration, expansion") imperial hegemony. The phrase 萬歲 (wan / man / ban / van / (bh)uang sui / s(u)e / s(e)oi / h(u)e, literally "ten thousand years" for "huzzah, hurrah") expresses the exclamation and exaltation that may the majesty of an emperor live long. The guardian sculpture of the imperial court (朝 or chao / ciao / ciu / cheu / tiau / zau) is named 石獅 (s(h)i / sioh / sek / sak s(h)i / sir / sai / su) for "stone lion". It is similar to the auspicious and prosperous (隆 or l(i)ong / lung) fierce warriors represented as dual male and female panthers (貔貅 or p(e)i / bi xiu / hiu) that are horned and feathered chimaeras. The principal significance and importance (重 or zhong / c(h)ung / tung / tiong / diong) of family or tribe (宗 or zong / zung / c(h)ong / c(h)ung) in Chinese culture is apparent in its religious familial and filial piety with auspicious occasions (慶 or qin(g) / hing / k(h)ian(g) / keng for "jubilation, exultation, celebration, commemoration") in the memory and memorial glory of illumination (光 or guang / gwong / guong / gong / kong / kuan). The empire (imperial civilisation, colonisation and commission) of the Han dynasty (朝 or chao / ci(o)u / ciao / c(h)eu / dieu / tiau / zhao / ziao for "imperial affairs, reign, court, government of the state" and "morn, morrow, day", not 世 or shi / sai / si(e) for "generation, regime, dynasty, epoch, year, season, station, mundane, profane, world" that is synonymous to 代 or dai / thai / doi / thoi) assimilated the indigenous populations of the coastal Yue (Viet), with them adopting Sinitic and Indic culture (e.g., a syncretisation of Daoism from China and Buddhism from India) of society. This manifested in the hall, house or shrine (i.e., temples of the 寺 or si / zi / ji / su / tu for "sanctuary, monastery", 廟 or mi(a)o / mi(a)u / m(i)eu / b(h)io for "court, office", and 宮 for "palace, mansion").

Like the throne (in a cathedral ecclesia of a city) and the baldachin (baldaquin, baldacchino for a velarium named for the Mesopotamian city of Baghdad), the chatra is an auspicious (bhagavat) symbol in Asia (India) for memorial temples, the sovereign authority (cakravartin for the "rotation of a cart without obstruction"), the divine Vamana (an avatar of Vishnu) and Vishvakarman (the architect of the devas who is connected to Surya), and a pure floral vajra that is the imperial line of assembly (c(h)um sai in the Tai and 獠 or Lao languages that are distinct from Khmer, Viet and Muong, which is from mu(e)ang for "city" as in 勐, not the 猛 or mang / meng / mung for "fierce" as a pejorative for the non-Sinitic "savage" and "barbarous" strangers). In Sinitic China, a "paradise" with pleasant parks, gardens, canals, fort(resse)s, castles, murals, sanctuaries, altars, temples and towers was erected in the capital city of the north (not the south) plain. It was constructed by the ultimate Han dynasty (noted for their encyclopaedia) prior to the capture and conquest by the Manju tribes (renamed as an ethnic people by their imperial dynasty). It was symbolised by the "purple" (紫 or zi / chi / chu) and stellar Polaris of a celestial sovereign with the august emperors of curves, jade, and Earth that govern the terrestrial mundane as subordinates to the divine purities and charities. As the grand central city of the Mongol Khan, it was auxiliary to the upper capital palace that was compared in majesty and "pleasure" to the "pure land" of Shambhala (from shambhu for "friendly" or amabilis in utility). This realm is asserted to be the origin of the Buddha who will be the succession of the aulic and prophetic sage of Shakya. A periphery to the Ganga and the Himalaya, the gana-pada of Shakya was a republican gana-sangha or tribal assembly of (up)rajas from a familiar gotras in a samsthagara or hall instituted with a collegial council of (senior and junior) councillors and the magistrate of the consul (maharaja as an archon). The civil organisation constituted of an aristocratic society of class with masters ("gaudents") and serfs ("servants"). It was contemporaneous to the Malla (wrestlers allied with the Vriji lead by the riksha or "bear" people), Magadha (which annexed Kosala, Kashi, Vatsa and Kuru), Kamboja and Gandhara. The shramana of the Buddha is separate from Vedic religion and tradition but was influenced by solar, arboreal (s(h)ak(h)a or sala, and the masculine yaksha and feminine yakshini), serpentine and monstrous veneration. The bhiksus or monks of the ascetic philosophy instruct that human existence is the sufferance of dolour.

The explorers Rashid al-Din (رشيد الدين), Ibn Battuta (ابن بطوطة), Marco Polo (a Venetian merchant) applied Cathay to northern Han China, whilst southern China was 蠻子 (man(g) / ban zi / ze / du / c(h)u for "descendants of barbarians"). Other names associate Sinae with "serge" of seric silk and parallel diagonal lines (in comparison to the fundamental with a textile weaves of "tabby" and "satin" from the Arabic زَيْتُون‎ or zaytūn for "olive", a colour applied to the aladroc as in the seitó in Catalonia from zaitun, itself from the Semitic z(ayi)t for oliva or "oilberry", and in reference to the city of 泉州 named for a "spring" or quan / cuing / tun / c(ho)an / zuan / chien / cyun / ciong) from the Latin serica, sericum as the substantive of neuter noun of sericus as a cognate of sargia, serico, sirgo, jerga, sarja, xerga, serge and from the Greek σηρῐκός or sērikós for "of [Chinese] Seres", itself from Σήρ or Sḗr. Its Sinitic origin (絲 or si, formed by 糸 or mi(k) / mek / mit) is connected to "relation" (系 or h(a)i / he, as the elimination of 人 or ren(g) / rin(g) / lin / n(g)in / jin / jan for "person", which is similar to 儂 or nung / nong / long / nang / lang for "ego", from 係). John Milton, as the author of Paradise Lost (Book 11, Lines 370–422) where the terrestrial glory of the Atlantean (Anadolian and Palman) realms are described, erroneously distinguished the Khanbaliq of 忽必烈 (hu / fut / fat / hut / hug bi(t) / bid / pit / big lie / li(e)t / lieg / liat) from the great, northern, imperial and capital city (named by the final dynasty where Han Chinese reigned, which was succeeded by the 清 or qin(g) / c(h)ing / qiang / chiang / c(h)eng for "clear, limpid, pure, aquatic, azure"; compare the southern, eastern, western and central capitals). The chronicles influenced the Atlantean myths of a mixed narrator, author, editor, commentator and communicator with fictive fact and fantastic verisimilitude (similitude with probable verity in the semblance and appearance of a literature, picture, texture, culture and figure). Like the modern Robert Graves, their interpretation of the translation, transduction, transliteration and transcription was influenced by Euhemerus who asserted the ideology that mythology connects to historic anthropology (history) [5].

[1] The prevalent wind should not be confused with the localised sea breeze that blows from a large body of water toward or onto a landmass and develops because of differences in air pressure created by the differing heat capacities of water and dry land. Since land absorbs solar radiation more quickly than water, this wind occurs after sunrise. The diurnal wind change occurs after sunset because dry land cools rather (more rapidly) than water, when the sea breeze dissipates and the wind instead flows from the land towards the sea as a land breeze. Offshore wind farms and wind catchers (towers for ventilation) take advantage of the resulting wind speed. Terrestrial wind is a product of differential absorption of solar energy, which is captured in photosynthesis, by photovoltaics, and as thermal energy. The potency of wind and sun makes Palma Riviera suitable for sustainable electrical energy generation. The "fodder" (or ma(ng))kain in the Austronesian languages) of the wind on the water is the thermos (not the visceral, abdominal and intestinal tharm) of the Sun. Its radiation (with conduction and convection) is analogous to the pressure of light (photons) or electromagnetic (electric and magnetic) momentum by reflection or diffraction.

[2] In ecology and biology (zoology and phytology), mega and nano refers to latitude, whilst the variety of longitude is contrasted with dolicho vs. brachy, the temporal tachy vs. brady, and the spatial macro vs. micro. The term "pygmy" should not to be confused with the ape, (primate, hominid or ci-mpenzi, which is Bantu for "a lover, a friend", that is related to Pan troglodytes) and the short chaser and collector humans influenced by the Bantu with the ethnic group names of Bambenga, Bambuti and Batwa, which are plural nominal forms of Mbenga, Mbuti and Twa for the people. With the bovine terminology of ngombe, the African Bantu people are hypothesised to have acquired and assimilated pastoral models and customs from Cushitic and Nilotic (e.g., the Maa) cultures in an influential migration and extension. These apes, the gorilla and the orang utan (Malay for "forest person" with a cognate of wong, bong; cf. mpungu of the Kongo for the solar pater, the spiritual consort of the lunar mater) in the dvipa, bhumi and samudra of Suvarna and Varuna (not Jawa) were compared to the acephalous čašmān ("eyes" of a torso), kabandha (a decapitated "band") and Blemyes (for absence of the cerebrum in the Dionysiaca) as marvels and monsters of punition (i.e., the jing / hing / heng of 刑天). Human migration solely and uniquely populated Atlantis with the universal origin of humanity in Africa. The human eras were classified by the philosophic and poetic ancients for metal and mineral metallurgy subsequent to (pre)historic and (neo)lithic stone: aereous copper (Hellenic chalkós or Arabic ḥalqūs), aeneous bronze and ferrous iron. The latter two were consequences of the aureus gold of Cronus and the argent silver of Zeus in heroic myth as named by Hesiod and Ovid. These periods were of degradation and deterioration, not evolution, of the human condition in agriculture and architecture, in addition to navigation, migration, religion and civilisation.

[3] The "pastor" is accompanied by an intelligent (i.e., instinctive, adaptive and obedient animal intelligence) hound bred from a domesticated wild canine that migrated to Atlantis from Astronesia. The muscular, mansuetude and mordacious breed (German Bullenbeißer or Dutch bullenbijter, characterised in dental and oral orthodontics as a biter with mandibular prognathism, which is opposite of the maxillary in the animal head) for chasing taurine bulls is popular as pugilistic, athletic, and energetic canine companion. The "Nordic" Atlantean "spitz" with its points is noted for its characteristics of a wolf (as a para or "stranger", yet an autochthon or "land race" of cultivated and adapted acclimation). The hound (itzcuintli or chichi made diminutive with -ton, and in the Semitic languages of Hebrew כֶּלֶב or kéleḇ and Arabic كَلْب or kalb) in Anadolian myth was created animate by Xolotl (the canine brother of Quetzaltototl as a psychopomp and a solar god of light, fire and thunder).

[4]The Daoist canonic texts reject the terrestrial and celestial humanity (綱 or gong / gang / kong / kang and 常 or c(h)(i)ang / s(i)ang / so(e)ng / sion(g) as the human relations of 倫 or lun(g) / leon and the virtues of 仁, 禮, 義 or (n)yi / (n)gi, 智 or z(h)i / ti(e) / di(e) / chu, and 信 or xin(g) / si(a)n(g) / seng ) in Nature with the metaphor of the "grass, hay, straw hound" (芻狗 or c(h)u / c(h)o gao / gou / gau / g(i)eu / kieu / kau, which was substituted by 犬 or quan / h(y)u(i)n(g) / k(h)ian(g) / k(h)ien(g)) of ceremonial sacrifices. The term is similar in importance with a "venerable paper tiger" (紙老虎 from fu / hu / ho with k(h)al(a) / (k)la a cognate of 菟 or tu(o) / du(o) / tou / dou / da). A syncretic school or sect of Daoism, associated with a mount 茅 or mao / mau (herbaceous 草 or c(h)(a)o / c(h)au / t(h)au / t(h)ao used for thatch), is noted for meditation (定 or di(a)ng / ti(a)ng / deng / teng for "stable" and samadhi, 止 or z(h)i / c(h)i for "cessation" and samatha, and 觀 or gu(a)n(g) / koan / kuan / quan for "observation" and vipasyana as existential contemplation inspired by cosmic philosophy of the Buddha) the divine revelations—induced by cannabis as fragrant, florescent and exuberant (勃 or bo(t) / bu(e)t / p(h)ut) incense—of an alchemic mystic for aristocrats in a chaotic dynasty. Being (in-itself or en soi, instead of for-itself or pour soi) is reflected in tathata (as the contrast of haecceitas and quidditas) or Nature (自然 or ze / zi / c(h)i / c(h)u (n)yan / r(i)an(g) / l(i)an(g) / (n)yen / r(i)en(g) / l(i)en(g) / jian) of universal, mutual and substantial interdependence of cyclic forces. Existence (presence, not absence, as 存 or c(h)un(g) / cong / sun, 在 or zoi / zai / c(h)oi / c(h)ai / doi / dai / toi / tai, and 有 or (y)ou / (y)iu) in reality—by sapience, sentience, cognisance and significance according to the ideas of Palmaism—is the conscience of experience.

[5] The mythography and historiography of his anagraph was written in the court of Cassander of Macedon, who commanded the assassination of the dynastic progeny of Alexander and Roxana, or the last of the Argead dynasty with mythic Argive origin in Argos). Historians cite the Odyssey, the Iliad, the Aeneid, capital or original Genesis, nominal or parental Exodus, Bee-wolf (in English), and the Norse (Nordish, Gutnish, Geatish, Swedish and Danish) epic sagas from the lands of the ice and the snow as examples of legendary (if not imaginary) narrative experience communicated as history. The later two have been connected to the relations, narrations and observations of occupational Vikings by ibn Fadlan of Baghdad and ibn Rusta of Isfahan. The human inter- and intra-action (and occasionally passion) with the relic population of troglodytic Neanderthals (from Neumann for "new man" and Tal for "dale") like non-placental marsupial with a thylakoid or sack in the moment extinct and defunct by climatic change is a theme of speculation and conjecture in invented myths.