4. The powerful corner at Sadalmelik ought to be possible to find also in some other rongorongo text. In front the glyph Gb2-16 might illustrate 'watering tears' (he rei i te mata vai), while at the center there obviously is a sign of pu:
The unusual Gb2-21 could illustrate a pair of tears (in Chinese lei) - like eyes below eyebrows. Possibly these are the features of the 'Weeping God', with only the top of his head visible. Perhaps south of the equator Aquarius was regarded as a God watering the earth with his tears. Saturn rules the darkest time of the old year and there is a pu in Hb9-55:
Then follows a Rei (which here could signify the return of good times ensured by tears). The great irregular henua in Hb9-57 possibly refers to the overshadowing Old Tree (in contrast to the regular henua as a symbol for the measure stick of regular time). Manu rere could personify the return of the living spirits after the great Tree has been felled and the resulting tears from heaven have rained down. Tagata in Hb9-52 is oriented en face, so as to show us both his ears and the pointed top of his head. South of the equator the faces (mata) of Janus - standing at a solstice - could have been put outside, inserted as ear rings (ears are located lower down than eyes). In Hb9-53 there is a vertical gap (void) between the pair of fishes. This void could represent the relatively starless 9-day distance between Sadalsud and Sadalmelik (corresponding to the 11th Chinese mansion Emptiness). Hua poporo in Hb9-54 is a variant which seems to show a droplet at bottom These 8 glyphs are beginning with Jupiter and also ending with him, i.e. with Father Light - who is associated with the Royal Oak because he attracts lightning, an important feature when all the lights have been stamped out. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
