However interesting it would be to compare all these 'cats' in Mamari with those 'cats' we have met earlier (in Small Santiago, London Tablet, Keiti) we must for the moment try to focus on GD47. My idea is that GD47 is a complement to GD55 (tapa mea) not only in marking hours but also in signifying orange light, presumably from fires.

The fact that there are two sets of glyph sequences with GD47 in Mamari should make us try to identify which of these two sets (if any and if not both) corresponds to Ab4-43--47. It is not certain that both ot these two sets are parallel as I have suggested earlier.

Is it possible to draw conclusions from the order in which the 'cats' in Mamari appear? We have indications of more or less parallel sequences of glyphs in other tablets. We could at least try to make a start here and now by comparing the 21 'cat' sequences in Mamari with the 9 recently listed 'non-cat' sequences in Tahua.

Allow me also to cite from Hamlet's Mill:

"There is a mill which grinds by itself, swings of itself, and scatters the dust a hundred versts away. And there is a golden pole with a golden cage on top which is also the Nail of the North. And there is a very wise tomcat which climbs up and down this pole. When he climbs down, he sings songs; and when he climbs up, he tells tales. (Tale of the Ostyaks of the Irtysh)"

Possibly this tomcat is the same as the 'sun-cat'. If so then that henua is just one, not several different 'poles'. It is just an illusion that there are many henua. I will now add this tomcat tale at the end of GD37.