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TRANSLATIONS
When I assembled under GD11 and 'mixed glyphs' all the 12 fused birds we have looked at, I noticed that there are three variants:
Ga3-18 and Ha7-129 are practically identical and one wonders it the creator was the same or if they used some kind of common model. In Ra3-105 compared with Rb2-1 we can observe an abnormal wing, and then we can see a similar type of wing in Ka4-9. However, the rightmost 'foot' in Ka4-9 is similar to the rightmost 'feet' in Ga3-18 and Ha7-129. Head forms are pairwise similar and correlate with short / long wing. The heads at left are (among the upper six glyphs) similar, while the head forms at right in some way reflect the wing differences. In Ra3-105 the necks are bent and forming an assymmetric space in the middle. In Ka4-9 the middle space is open, but we can see an assymmetry anyhow. The space in the middle is broader in the long wing glyphs than in the short wing glyphs. Presumably the three variants of fused birds convey slightly different meanings. In the lower row of six glyphs the middle space between the throats of the birds are closed in only Qa7-128 and Pa7-14. The space is like that in Ha7-129 (not broad) which is reasonable because the glyphs are in parallel. The lower row has an additional middle space (between the bodies of the birds) in three of the glyphs (Qa7-128, Ea4-33 and Bb11-20). Ea4-33 and Bb11-20 (which are in parallel) have similar middle spaces between their bodies. The rightmost foot in Qa7-128 and Pa7-14 is like those in Ga3-18 and Ha7-129 (and Ka4-9). Possibly also the rightmost foot in Aa6-57 belongs to the group. The variant 'fruit' of vai, I think, maybe is due to an ambition of the creator (of A) to design a form like an eye. If I rotate for example Ab6-52 there are two possible results:
The left has been rotated to the right and the right has been rotated to the left. Earlier, rotating rei glyphs, we definitely had to rotate to the left, and therefore the right variant above should be the right one. The right variant feels more balanced than the left one, because the 'flames' at bottom are bigger. If vai depicts an eye, then the 'fruit' sign (which has moved from the bottom to the right) may represent the slight irregularity in that part of the eye which is closest to the nose. Therefore the eye ought to be the right eye (left frim us seen). The right eye of the sun should be the sun (while the left eye of the sun could be the moon). How about the eyes of the moon? Should not the right eye of the moon also be the sun (and the left eye be the moon)? Or should we reverse and regard the left eye of the moon as the sun? If that is true, then the right variant of the glyphs above - with a single rim - is the right eye of the moon = the moon. I doubt the primary division into right and left would give way to the secondary division of sun contra moon - the right eye of the moon must be the sun. We still do not know if vai with a single rim represents the moon. After having rotated Ab6-52 a quarter of a turn to the left we can imagine the same rotation in Eb3-7 and Eb4-26:
But it does not fit. The missing 'flame' ought to be at the back respectively at the front, because the darkness is at the back in spring and in front in autumn. Maybe the rotation should be at right because double-rimmed vai is the sun?
The tagata part in Eb4-26 makes it all preposterous. However, in principle a right turn is possible to imagine, with maro flowing backwards below. A left turn would have maro flowing towards the front and that cannot be right. In Eb4-26 the two flames at left (after having turned the glyph to the right) evidently becomes a moon sickle, and due to the position south of the equator it is a waning moon. The two flames also suggest a fish tail. In Eb3-7 the moon sickle represents the waxing moon and the fish moves to the left (into the past). A maro hanging down at the right side ought to mean that the glyph must be turned to the right (if it should be turned at all). Otherwise the flow forward could not be expressed in a reasonable way. In Ab6-52 there is neither a suggestion of a fish tail nor of a moon sickle. In S, we saw, there were vai glyphs:
If we imagine them being rotated to the left, the two moon sickles will be waning moon at left and waxing moon at right. The result is the same if we rotate to the right. There were no vai glyphs in the texts we saw connected with these 20 S glyphs. Neither hatchmarked henua nor mauga (another sign of darkness) are among the 20 S-glyphs. It implies that darkness probably is expressed in some other way in S. Maybe it is the special design of full moon in Sb8-17? Maybe hura (Sb8-4 and Sb8-19) is enough of a sign? Maybe the sign is the group of four single-rimmed vai? So far I have not found any double-rimmed vai carrying anything inside. Possibly a female vai (with a single rim) is necessary. Let us pursue another glyph type with vai, beginning once again with S:
These glyphs are interesting because there are 6 (red-marked) vai glyphs, two of which have double rims and four single rims. If Sb5-204 (haga) had been a humu glyph, the orientation (open at the top) would have told us that a maximum point had arrived. However, haga is not humu and the fishes are rising. But the hand gesture of giving (a)way - which follow after the maximum humu in Hb4-44 and Ba2-33 - is present, which contradicts the rising fishes. Hatchmarked henua in Sb5-308 (signifying dark sun due to the 6 marks) and full moon in Sb5-304 we recognize from the other texts we recently have studied. 3 hipu glyphs (Sb5-306, Sb5-308--309 are prominent. Sb5-314 can be related to other texts. In Ra3-127 we have a similar glyph:
Ra4-8 is a henua with the hatchmarks outside, so to say. At left there are 4 and at right there are 6. Hands are giving in Ra3-129 and Ra4-9. In Ra4-10 we see a sign of hura (in other words vero). Another text which may give some ideas is this part of E:
In Ea2-16 and Ra3-127 the top left flame in vai is missing, not so in Sb5-314--315. The situation in R may therefore be similar to the one in E, but presumably different from the situation in S. Ea2-15 tells of a 'break' (koti) and the meaning should be about the same as in Ra4-10. The snaky leg in Ea2-23 indicates the 2nd quarter (if we read the text as relating to the sun). Maybe the tao glyphs (GD48) indicate vero? The last glyph in the 10th and last period is Ea4-6:
Earlier I have imagined these 10 periods to be a kind of moon calendar. I have now changed my opinion, I see a calendar for the solar 'year'. |
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