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TRANSLATIONS
When I documented the texts, I falsly put Ga7-33 in parallel with Kb5-308--309:
With our now more experienced eyes it is obvious that Ga7-32 is the last glyph in parallel with K. *Kb5-18--20 are compacted into Ga7-32 and Ga7-33 belongs to a sequence of glyphs which is not described in K:
Ordinal number 20 in the last K glyph means the sequence is finished. Likewise we now can understand 32 to mean finished, because it is equal to 2 * 2 * 2 * 2 * 2. Five 'doublings' as in the number of fingers on the hand we are counting. In K there are 29 periods indicating moon, while in G there are 32 indicating sun (because sun is fire and fire is fingers and the fingers are 5). 6 'feathers' at right in Ga7-32 also tell about the sun. It is a 'feathered mauga' with 7 + 6 = 13 'feathers' - as in 13 * 28 = 364. The right part of Ga7-32 is a poporo sign, and we can compare the 4 'balls' with the differently designed 3 + 1 in K. Presumably a moon perspective has the growing, full, and descending moon as one unity (*Kb5-19) while new moon must be a separate entity (*Kb5-20) because it is te pito (you don't know if it belongs to this or to next month). From a solar perspective the poporo 'balls' probably correspond to the 4 quarters and te pito comes after the 4th quarter, not inside it. We realize that the perspective in Aa1-14 may be lunar:
The leg in Aa1-15 (as in full moon) is cut off and only a spectre goes on. The 'head' at bottom in Aa1-14 will, though, in time grow into a new 'tree'. ... The word motu or moku recalls a curious Hawaiian tale in which Hina, who was the wife of Makalii (Pleiades) or, as some say, of Aikanaka, Man-eater, fell in love with the Moon and decided to go to it. Just as she was about to ascend beyond reach her husband seized her leg and twisted it so violently that he broke it. Hina, however, reached the Moon and immediately changed her name to Lono-moku, Crippled Lono (Rongo). An exchange of sexes seems to [be] indicated in the change of name ... 3 + 1 means that 1 is te pito. 3 become ghostly in Aa1-15, while 1 (the right wing) goes forward. The symbology from the moon may have been used for the situation of the sun at winter solstice. The events which follow (not described in K) begin with Ga7-33 and are still not in the black 261 glyph long season:
Numbers 2, 26, and 5 refer to the glyphs in line a7 after Ga7-32, to the glyphs in line a8, respectively to the number of glyphs in line b1 before Gb1-6. There are 34 glyphs from Ga7-32 up to te pito in Gb1-6. But also Ga1-26 must be a pito, because 210 dissolves into 209 + 1 (Gb1-6) and then we realize what 209 means:
From Ga1-26 up to Gb1-6 there are 209 glyphs, suggesting the birth (pito) and growing season of the moon. Or we can count 209 from Ga1-27 up to and including Gb1-6, suggesting the growing season of the moon and its death (pito). If the cycle is the path of the sun, then it must be the part when sun is present. The reason for Ga1-26 having been assigned ordinal number 26 now becomes clear: It is because counting 209 from Ga1-26 is is a sign of living; at the same time implying that counting 209 from Ga1-27 (Papa O Pea) will mean death. We should not be led astray by number 16 and believe the text refers to growing moon. Instead the structure of the path of the moon is used as a model for the path of the sun. 16 is just a symbol for 26 (as in Ga1-26). Furthermore,174 + 34 = 208 = 8 * 26, the perfect number combined with the last kuhane station for the ruling (sun) king. Gb1-6 stands at his departure. The dark season with 9 * 29 = 261 = 25 + 236 = 5 * 5 + 4 * 59 glyphs begins at Gb1-6 and ends at the other ('birth') pito:
By the way, 27 (as in Papa O Pea) is not far from being the first term in our black pito series:
261 does not appear. The number refers, though, to the sun by the formula 10 * 26 + 1. |
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