|
TRANSLATIONS
Next pages:
At last we seem to have arrived at a map for the layout of the whole K text. Next step must be to test its reliability by using the parallel ua glyph in E:
6 glyphs with wavy wings ought to indicate the sun, but the two in period 17 have beaks which - I believe - suggest the moon. On the other hand, how do I know that Monday (e.g.) really stands for the moon? The moon changes sex at full moon to become male, we have learnt. Sun, therefore, also should change sex at 'noon' but in the other direction, from male to female. Maybe moon (and e.g. Monday) is the female aspect of the sun.
The birds in the first of the four triplets have very long necks, leaning slightly forward:
Probably they represent the phase immediately before maximum. Eb4-40 and Eb4-42, with necks leaning slightly in the other direction, have passed maximum. Their feet have also shifted, maybe into male position. The elbow ornaments should be compared with those in the 1st period:
Eb2-10 (183) and Eb2-13 (186) have similar ornaments. Adding the ordinal numbers (counted from the beginning) for the long-necked birds we reach 320 (= 103 + 105 + 112), in harmony with the ordinal number in the line for Eb4-32. Half 64 (= 8*8) is 32 (= 4*8). 4 as in the 4 'corners' of the 'earth' together with the 'perfect' number 8 result in 32. Pure speculation! Maybe the fully drawn elbow ornament looking like a leg indicates 'vae', the end of the 2nd half year. The thinner equivalents in Eb4-32 and Eb4-34 probably indicate the end of the 1st half year. Eb2-12 looks somewhat similar to those Mamari arms which probably mark the end of the 1st half year:
Yet there are differences, not only the 'eye-thumb' in Mamari but the whole impression. Therefore Eb2-12 may indicate the end of the 2nd half year. The thumb in Eb2-12 perhaps alludes to the moon. The 2nd triplet of glyphs has 42 as the sum of their ordinal numbers (13 + 14 + 15):
3 * 14 = 42 and 3 * 36 = 108. 14 can be regarded as the number of nights for growing moon and 36 to (according to the Mamari moon calendar). The central glyph (Eb4-36) depicts a fish with head up, the last such fish in the coming half year. The next is Eb6-11 in the 24th period, presumably located in the next year:
Comparing the two ariki glyphs we find in Eb6-10 (sun, 6, finished, 10) 1 + 4 = 5 feathers, while Eb4-33 has 1 + 3 = 4:
In Eb4-33 the legs straddle an oval space, while in Eb6-10 they straddle a rhomb. Head gear, 'eye', and thick arm are oriented in opposite directions. The Keiti text has no fish with head down. Metoro said 'ka hokohuki - ma tere o te kahi' at Eb4-36, and hokohuki, we should remember, is a word he used at tapa mea in the calendar for the daylight too. He may have been influenced by tapa mea in Eb4-35. The 'tuna' (kahi) is departing (tere):
Interestingly, kahi also means to run:
Probably by symmetry reason (5th glyph in a group of 6) we find another tere at Eb5-2:
And kiore - henua is reversed into henua - kiore, the 'tide' has turned. Tagata is leaving. At Eb4-37 Metoro said te matakao - e ua:
The left part of the glyph (like a 'canoe') presumabaly is 'te matakao' (a word he never used anywhere else in his readings):
The left part of Eb4-36 is part of the 'tuna'. In Eb4-37 the left part is a separate entity. Probably these two left parts allude to each other. The 'tuna' one is drawn in a way similar to some variants of pu:
|
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
