1. The creator of the Q text seems to have followed the same sequence of events as is described on the H and P tablets, however leaving parts aside due to the physical limitations of the comparatively small tablet. Yet, the Q text does not stretch as far as that on the P tablet, which in turn does not stretch as far as the text on the H tablet. Perhaps not even the H text carries the description to its proper end. Therefore it is interesting to notice there is a common beginning. This beginning is described also on the Mamari (C) tablet, although - not surprisingly - with different details:
The beginning of line Qa1 as described by Barthel makes it clear that he did not perceive the glyph 'fractions' copied much later by Fischer:
My interpretation is that the creator of the Q text (in its last version) possibly could have left 8 empty glyph spaces before the first tagata figure. Moreover, Barthel evidently saw 5 maro feathers hanging down and a full figure where at the time of Fischer only the top front part of the figure remained. "CONDITION: Poor. One end has been cut off; it would have been several centimetres longer. On the recto, a deep gouge has destroyed a sequence of glyphs in the middle left; there are several small holes, one burnt spot, old and new chipping, and a depression 'sawed' into the bottom edge where two deep holes have been made to remove a whole segment. The verso has fared even worse: it has been exposed to fire; there are segments missing; one fresh loss has occurred since Barthel has transcribed the text in the 1950s (parts of Barthel's text of the verso are now missing). Two types of clay (one variegated, one brown) were evidently once applied to the artefact for some obscure reason; this has left clay smears that blur entire segments of glyphs. The middle section of the verso is seemingly worn away through old abrasion. There have been glyph corrections effected. The tablet is fluted." (Fischer) The clays could have been used as Signs. The poor condition of the wood would not have been an obstacle for the creator of the text. Instead these imperfections would have been an inspiration to adapt the text accordingly. Possibly he could even have introduced some imperfections himself, such as a hole or burning. By fluting the tablet the text lines could flow relatively safe from disturbances on the surface above. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
