TRANSLATIONS

Having accumulated lots of new insights we are ready for tackling the glyphs:

The hua poporo type of glyph could possibly have been used to symbolize the 'wet' (i.e. dark) season (similar to how in Samoa the wet season was called Palolo). The Easter Island months Vaitu nui and Vaitu poru at the beginning of the 4th (dark) quarter could have been alluded to by the berries of the Nightshade plant. In Samoa vai- (water) was sometimes used as a prefix in the name for the wet season: Vaipalolo.

The text of Mamari has - beyond the 18 first glyphs (presumably corresponding to the 'dry' season up to autumn equinox) - hua poporo at right in Ca1-19 while, contrariwise, the right part of Ca1-20 has no 'berries':


Ca1-19	Ca1-20	Ca1-21	Ca1-22	Ca1-23	Ca1-24	Ca1-25

Ca1-26	Ca2-1	Ca2-2	Ca2-3	Ca2-4	Ca2-5	Ca2-6

Ca1-25 has at right a variant of henua ora, i.e. implies '(reaching) harbour'. In Ca1-26 a symmetric 'head' is illustrated. The first glyph beyond - also the first glyph in line a2 - is a reversal of Ca1-25: The big oval 'sack' has turned around and the 3 'threads' are now hanging down. At the same time the 'head' has been incorporated into the 'harbour' (vulva). Maybe a new year has been implanted. Ca2-4 is a 'midnight' type of glyph, indicating the 'birth' of a new 'day' (year).

Ca2-1 can be compared with the right part of Kb4-19 and the right part of Ca1-19 compared with the right part of Ga7-15 (parallel with Kb4-19):

In the G calendar period 19 corresponds to vero (when sun leaves after autumn equinox). The creator of Mamari has chosen other glyph types for the same event. Perhaps a season of plenty is visualized in Ca1-19 and a season of scarcity in Ca1-20.

Ca1-21 is intentionally drawn without the bottom part of the 'sleepy old bird', in order to indicate how the 'old bird' (i.e. sun) no more is present - he has 'passed away below the horizon in the west'. In Ca2-5, however, sun is emerging again, depicted as a baby vai glyph.

In summary: The sequence of 14 glyphs above describes how the 4th dark quarter follows after the 'summer year' and how sun later on - beyond winter solstice - returns again.

The symmetric head in Ca1-26 evidently works as the point of reversal and ordinal number 26 together with other signs invite to counting.

I wrote the above before writing last page (in the Translation series). I think it is better to leave the page above as it is (pointing at autumn equinox) instead of trying - at this point in the dictionary - to introduce the midsummer perspective.

An idea: Vaitu nui and Vaitu poru together with Hora iti and Hora nui may once upon a time have been the 'quarters' of the dark winter 'year', and therefore also 'berries' in some of the hua poporo glyphs. If so, then He Maro and He Anakena could have corresponded to the 'midstring' - I guess the glyph variant with only a 'lunar string' (instead of a 'solar stem') would be proper for winter solstice. Maybe Ga7-15 illustrates the suggested concept:

He Maro - the feather month - would correspond to the uppermost left 'berry', which is the only not black one. In He Maro the new fire probably was alighted - feathers symbolize fire.

Below are the 18 first glyphs on side a of Mamari. Here (but not in the glyph dictionary page) I have redmarked notable glyphs:


Ca1-1	Ca1-2	Ca1-3	Ca1-4	Ca1-5	Ca1-6

Ca1-7	Ca1-8	Ca1-9	Ca1-10

Ca1-11	Ca1-12	Ca1-13	Ca1-14	Ca1-15

Ca1-16	Ca1-17	Ca1-18

Honu in Ca1-8 is drawn without bottom, while in Ca1-14 we can see the whole 'turtle'. The Mamari creator regarded honu as belonging to the 2nd 'year', I infer.

Ordinal number 8 alludes to the sun, while ordinal number 14 alludes to the moon. This interpretation is confirmed by Ca1-10 and Ca1-15, documenting how the sun ends at 10 and moon at 15.

Rei at Ca1-11 indicates how a new season takes its beginning. We can interpret the ordinal numbers with the periods in the calendars of G and K.

Therefore, Ca1-16--18 must refer to the autumn equinox season. In Ca1-16 a very marked running leg can be understood as the 'earthquake' at a cardinal point, at the same time indicating how sun moves at his maximum speed northwards as seen against the horizon.

A hua (GD72) with 5 feather marks to the right and a nipple at bottom should be read together with the toes - two of the toes are presumably drawn to indicate how the 'stem' of the sun growth has been severed from the 'head' ('fruit').

In Ca1-17 also the left leg shows 'spooky' status, probably because the left leg here means the 'summer year'. We need to think about a double system of 'years', one system hinging on the solstices and the other on the equinoxes. The henua is shadow marked and refers to the 'winter year' which is arriving beyond equinox.

We should document all the 'kiore-henua' glyphs in Mamari before we can study Ca1-18 closer.

			The 3 at left seems to be a separate group.
Ca1-18	Ca1-25	Ca2-23	The 3 at left seems to be a separate group.

Ca3-1	Ca3-4	Ca3-8	Ca3-13	Ca3-16	Ca3-20
	Ca14-211 connects to Cb2-7 by way of contrast.
Ca14-211	Ca14-211 connects to Cb2-7 by way of contrast.

Cb2-7	Cb2-16	Cb2-22	Cb3-2	Cb3-6	Cb3-12

Cb3-15	Cb3-20	Cb4-2	Cb4-7	Cb4-12	Cb4-16
	Cb14-11 has no henua (cfr Ca14-211 with only a short henua).
Cb14-11

10 glyphs on side a and 13 on side b. But we should probably discount Ca1-25 (with a 'dead' henua) and Cb14-11 (with a missing henua). The numbers will then be 9 + 12 = 21, not a good number.

Looking again, we could consider eliminating Ca3-20 (because henua is 'spooky'). 8 + 12 = 20 is a better result.

Yet, we could alternatively also eliminate Ca3-4 and Ca3-13 because henua is just an illusion - the 'kiore' has prolonged his 'legs'. 6 + 12 = 18 is more sun-oriented.