At a door there is an opportunity to look both back and ahead. Therefore, the glyph type manu kake (climbing bird) could have been created in order to illustrate a 'door' from one 'room' to the next, from the previous cycle at the back side to the cycle in front.
The 'black new moon' hole connecting down from above to the head of the Pharaoh - invisible for some time inside a dark room - could have been intended to signify those 5 extra nights which were enabling the sky to give birth to the gods for the next cycle. ... Nut, whom the Greeks sometimes identified with Rhea, was goddess of the sky, but it was debatable if in historical times she was the object of a genuine cult. She was Geb's twin sister and, it was said, married him secretly and against the will of Ra. Angered, Ra had the couple brutally separated by Shu and afterwards decreed that Nut could not bear a child in any given month of any year. Thoth, Plutarch tells us, happily had pity on her. Playing draughts with the Moon, he won in the course of several games a seventy-second part of the Moon's light with which he composed five new days. As these five intercalated days did not belong to the official Egyptian calendar of three hundred and sixty days, Nut was thus able to give birth successively to five children: Osiris, Haroeris (Horus), Set, Isis and Nepthys ... The mirror symmetry with 3 'buns' - one triplet 'looking back' behind the Pharaoh and one 'looking ahead' - had to be extended with 5 dark nights. And as an integrated part of the palm branch (renpet) encapsulating these 5 dark nights and the forward oriented triplet we can seen the fist of Heh, the god of eternity. ... Instead of that old, dark, terrible drama of the king's death, which had formerly been played to the hilt, the audience now watched a solemn symbolic mime, the Sed festival, in which the king renewed his pharaonic warrant without submitting to the personal inconvenience of a literal death. The rite was celebrated, some authorities believe, according to a cycle of thirty years, regardless of the dating of the reigns; others have it, however, that the only scheduling factor was the king's own desire and command. Either way, the real hero of the great occasion was no longer the timeless Pharaoh (capital P), who puts on pharaohs, like clothes, and puts them off, but the living garment of flesh and bone, this particular pharaoh So-and-so, who, instead of giving himself to the part, now had found a way to keep the part to himself. And this he did simply by stepping the mythological image down one degree. Instead of Pharaoh changing pharaohs, it was the pharaoh who changed costumes. The season of year for this royal ballet was the same as that proper to a coronation; the first five days of the first month of the 'Season of Coming Forth', when the hillocks and fields, following the inundation of the Nile, were again emerging from the waters. For the seasonal cycle, throughout the ancient world, was the foremost sign of rebirth following death, and in Egypt the chronometer of this cycle was the annual flooding of the Nile. Numerous festival edifices were constructed, incensed, and consecrated; a throne hall wherein the king should sit while approached in obeisance by the gods and their priesthoods (who in a crueler time would have been the registrars of his death); a large court for the presentation of mimes, processions, and other such visual events; and finally a palace-chapel into which the god-king would retire for his changes of costume. Five days of illumination, called the 'Lighting of the Flame' (which in the earlier reading of this miracle play would have followed the quenching of the fires on the dark night of the moon when the king was ritually slain), preceded the five days of the festival itself; and then the solemn occasion (ad majorem dei gloriam) commenced. The opening rites were under the patronage of Hathor. The king, wearing the belt with her four faces and the tail of her mighty bull, moved in numerious processions, preceded by his four standards, from one temple to the next, presenting favors (not offerings) to the gods. Whereafter the priesthoods arrived in homage before his throne, bearing the symbols of their gods. More processions followed, during which, the king moved about - as Professor Frankfort states in his account - 'like the shuttle in a great loom' to re-create the fabric of his domain, into which the cosmic powers represented by the gods, no less than the people of the land, were to be woven ... 1 (Quenching of the fires) + 5 (Lighting of the Flame) + 5 (Festival) = 11 and there were also 11 days from the December solstice (day 355) to the beginning of January (the Janus month).
Glyph 384 on the C tablet could exhibit something similar, and we even can perceive a reflection of the Palace Chapel where the Pharaoh changed his costume at the beginning of a new time cycle. ... The king, wearing now a short, stiff archaic mantle, walks in a grave and stately manner to the sanctuary of the wolf-god Upwaut, the 'Opener of the Way', where he anoints the sacred standard and, preceded by this, marches to the palace chapel, into which he disappears. A period of time elapses during which the pharaoh is no longer manifest ...
Given a structure of the same kind as in ancient Egypt we could then guess glyph 384 would have been placed as day 11 ('one more') counted from a solstice or similar. 384 - 11 = 373. In Roman times Algenib Pegasi rose with the Sun in 'February 23 = Terminalia:
My perception suggests Al-genib is close in meaning to 'knee' (a place of origin, a place for genesis) - i.e. a kind of corner, cfr Zaniah (Corner, η Virginis) at the opposite side of the sky. Yet, 'wing' it ought to be, this we can see in the description given by Hevelius. Furthermore, at the opposite side of the sky was another γ with this name (Wing), viz. Gienah in the Raven. And in ancient Egypt there was a pair of wing spans opening up the path for the Sun in his scarab costume:
From such wings the necessary fresh air would invigorate the newborn children who needed oxygen for their internal combustions: ... There is a couple residing in one place named Kui and Fakataka. After the couple stay together for a while Fakataka is pregnant. So they go away because they wish to go to another place - they go. The canoe goes and goes, the wind roars, the sea churns, the canoe sinks. Kui expires while Fakataka swims. Fakataka swims and swims, reaching another land. She goes there and stays on the upraised reef in the freshwater pools on the reef, and there delivers her child, a boy child. She gives him the name Taetagaloa. When the baby is born a golden plover flies over and alights upon the reef. (Kua fanau lā te pepe kae lele mai te tuli oi tū mai i te papa). And so the woman thus names various parts of the child beginning with the name 'the plover' (tuli): neck (tuliulu), elbow (tulilima), knee (tulivae) ...
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