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We should finally examine from where these glyphs in GD115 had evolved:
I suggest it all began with the winds (matagi) of change.
Matagi. Wind, air, breeze, squall, tempest, rhumb. P Pau.: matagi, the air, wind. Mgv.: matagi, wind. Mq.: metani, metaki, wind, air. Ta.: matai, wind. Churchill.
Although I have no glyph type in my preliminary dictionary for matagi I could very well have created such a type, because Metoro consistently used this term in connection with the matagi sign:
Although Metoro did not read any of the texts on the H, P, and Q tablets we can be fairly sure he would have regarded matagi as a part of our glyphs:
There is reason for my decision not to include matagi as a type of glyph in my preliminary dictionary: It cannot be perceived in isolation:
... Nobody has ever seen the wind, but the trees are bowing for the wind.
And as every fire-fighter knows things will get
worse if the wind starts to increase in
power.
... In other words, the
ancient Druidic religion based on the
oak-cult will be swept away by Christianity
and the door - the god Llyr
- will languish forgotten in the Castle of
Arianrhod, the Corona Borealis. This
helps us to understand the relationship at
Rome of Janus and the White Goddess Cardea
who is ... the Goddess of Hinges who came to
Rome from Alba Longa. She was the hinge on
which the year swung - the ancient Latin,
not the Etruscan year - and her importance
as such is recorded in the Latin adjective
cardinalis - as we say in English 'of
cardinal importance - which was also applied
to the four main winds; for
winds
were considered as under the sole direction
of the Great Goddess until Classical
times. As Cardea
she ruled over the Celestial Hinge at the
back of the North Wind around which, as
Varro explains in his De Re Rustica,
the mill-stone of the Universe revolves.
This conception appears most plainly in the
Norse Edda, where the giantesses
Fenja and Menja, who turn the monstrous
mill-stone Grotte in the cold polar night,
stand for the White Goddess in her
complementary moods of creation and
destruction. Elsewhere in Norse mythology
the Goddess is nine-fold: the nine
giantesses who were joint-mothers of the
hero Rig, alias Heimdall, the inventor of
the Norse social system, similarly turned
the cosmic mill. Janus was perhaps not
originally double-headed: he may have
borrowed this peculiarity from the Goddess
herself who at the Carmentalia, the
Carmenta Festival in early January, was
addressed by her celebrants as 'Postvorta'
and 'Antevorta' - 'she who looks both back
and forward'. However, a Janus with long
hair and wings appear on an early stater of
Mellos, a Cretan colony at Cilicia. He is
identified with the solar hero
Talus, and a bull's
head appears on the same coin. In similar
coins of the late fifth century B.C. he
holds an eight-rayed disc in his hand and
has a spiral of immortality sprouting from
his double head ...
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