At moko it was stated that the last 4 glyphs in line Ca4 were to be read together with those at the beginning of line Ca5. There are 12 glyphs which seem to form a group:
I have redmarked 6 of them which form 'parallel' triplets. We must notice, though, that the left sign (rakau) in Ca5-5 is the same as the glyph which marks the 'end of Old Sun':
Therefore the 'story' in line Ca4 continues in line Ca5. The number of 'feathers' is 6 + 6 = 12 on rakau but 5 + 5 = 10 in the sign at right. Maybe it means the season of Sun lies ahead. We can read 5-5 (in Ca5-5) as 5 * 5 = 25 (Saturn) or we can possibly read 5 + 5 = 10 (Sun) - or maybe we should read both - the time of change from the old year to the new year is still the subject. The number of 'feathers' in Ca4-25 is 5 + 5. Or maybe it is 6 + 5 = 11 in order to indicate 'one more' (year). In Ca5-5 the ordinal number of the glyph counted from Ca1-1 is 110 = 11 * 10, and the following glyph is a tamaiti (where 5 + 6 = 11 and where 5 * 6 = 30). Assigning planetary colours we can see that the little child (tamaiti) comes in Monday:
The same tamaiti in Ca4-27 is also in Monday, and the distance from one to the other is 8 glyphs. This would not have been possible unless the new glyph line began in between. The great open mouths and lean bodies of the mago pair at the end of line Ca4 is in contrast with the smaller mouths and more well fed bodies of the second mago pair. Also Metoro noticed the difference, because he said kua vaha te mago erua (opens the mouth the pair of sharks) respectively simply erua mago (second shark pair). We know from earlier what it means: the young ones are hungry but not those who have reached maturity (zenith). In other words, Moon (8 and double 'faces') will turn around between the pairs of mago:
Venus is in Ca5-3 (where 5 * 3 = 15 presumably refers to full moon) and the design seems to show the face of full moon as a separate entity at the top end. Number 108 is famous, cfr e.g. at honu. |
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