Side a of Mamari is beginning with 18 glyphs, a number equal to that at the beginning of side a of Tahua. Then follows - where in Tahua a description of the quarters intertwine with the beginning of the calendar of daylight - 8 glyphs up to the end of line Ca1:
The structural form (8 glyphs following the 18 first) is the same, but the pictures conveyed by the glyphs are quite different. Yet, the 'nut' in Ca1-26 could correspond to the 'nut' from which the Sun (or Saturn?) expands at right in Aa1-24. In Aa1-20 Moon seems to be at the top like an overturned boat, while in Ca1-22 Mercury is standing onboard a moon-like vessel. His arm is infertile (Y), while in Aa1-20 the moon arm is nourishing. The overturned boat probably represents the sky dome above (the 'cap'), while Mercury at midsummer will inaugurate next half (the 'cup'). Tapa mea in Aa1-21 has a little opening (a 'crack in time') at center right while in Ca1-21 half the glyph has disappeared. Mars is going under at midsummer. The pair of manu rere in Ca1-22 (Mercury) and Ca1-24 (Venus) have short wings, but not of the same sort as those in Ca1-9 (Jupiter) and Ca1-12 (Sun):
Also the beaks are different. The crack at right in Ca1-10 is the same type of sign as the crack at right in Aa1-21:
Probably the 8 glyphs in C are structural equivalents of those 8 in A. As a further evidence we can compare the upraised moon crescent arm in Ca1-24 with that in Aa1-24:
In Ca1-24 the elbow sign in 'empty', while in Aa1-24 it gives birth. The arm in Aa1-24 is nourishing (kai), while in Ca1-24 it is formed after ihe tau. Yet, at number 24 there are elbow ornaments in both texts. The 'barren' state in K is illustrated in more places, and the change of state at number 26 is like that in a mirror:
If Tahua has the perspective of the Sun, then C must have the perspective of the Moon (at least in the first glyph line). |
