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TRANSLATIONS
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In the
calendar for the week mauga glyphs appear in Monday and Friday:
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Monday, the
day of Moon: |
 |
 |
 |
 |
 |
 |
 |
|
Hb9-23 |
Hb9-24 |
Hb9-25 |
Hb9-26 |
Hb9-27 |
Hb9-28 |
Hb9-29 |
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Wednesday,
the day of Mercury: |
 |
 |
 |
 |
 |
The
two mauga glyphs are on opposite sides of Hb9-36. |
|
Hb9-34 |
Hb9-35 |
Hb9-36 |
Hb9-37 |
Hb9-38 |
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Friday, the
day of Venus: |
 |
 |
The two
visible 'faces' of
Venus are
here depicted with 7 'feathers' each - the duration as
evening star is equally long as the duration as morning
star. |
|
Hb9-49 |
Hb9-50 |
36 in Hb9-36 is probably alluding to the sun (with his 360 day
calendrical cycle). Mercury is always close to the sun,
sometimes on one side of him, sometimes on the other.
The Venus cycle
is 584 days, with ca 263 nights as morning star, followed by 50
nights when she is invisible, 263 as evening star, and 8 further
absent days.
263 / 7 is ca 37½, and the 7 'feathers' cannot be translated
into nights of visibility. Maybe the Easter Islanders did as
the Maya Indians - bent reality to suit a greater pattern.
Maybe they counted with 7 * 36 = 252 nights of visibility? That
would leave 584 - 2 * 252 = 80 dark nights. 4 * 20 = 80. Or
rather 40 * 2 = 80. Or 72 + 8 = 80.
The numbers give
hints: 9, 49 and the twice 7 'feathers' naturally should be
translated as a solution with 263 + 49 + 263 + 9 = 584. Dark nights
ought to have odd numbers.
|
|
phase |
observed periods |
periods in the Mayan 'map' |
difference |
|
morning star |
263 |
236 |
- 27 |
|
black |
50 |
90 |
+ 40 |
|
evening star |
263 |
250 |
- 13 |
|
black |
8 |
8 |
0 |
|
sum |
584 |
584 |
0 |
"The Maya and later the Central
Mexicans divided the motion of Venus into four intervals. They
assigned an 8-day period to the disappearance at inferior
conjunction [when Venus is between sun and Earth], which is close to
that observed today.
But, peculiarly, Maya
manuscripts recorded a disappearance interval of 90 days at superior
conjunction [when Venus is behind the sun], nearly double the true
value. Furthermore, they assigned unequal values to the intervals as
morning and evening star: 250 and 236 days, respectively. [This must
be an error as 250 days refers to evening star and 236 refers to
morning star.] In fact, the true intervals are equivalent at
approximately 263 days. These curious intervals betray a lunar
origin: the latter three are whole or half multiples of the lunar
synodic month:
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236 = 8.0 lunar synodic months - 0.24 |
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90 = 3.0 lunar synodic months + 1.41 |
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250 = 8.5 lunar synodic months - 1.25 |
In practice this means that if,
for example, a first-quarter moon was visible at a morning heliacal
[first appearance after having been invisible due to being close to,
behind of or in front of the sun] rise of Venus, then the moon's
phase, on average, would be the same on the last day that morning
star Venus was seen in the east. When Venus reappeared as the
evening star in the west, the moon would appear in the opposite
phase (last quarter)."
(Skywatchers) |
Next page:
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In the
calendar of K a mauga glyph appears in the 17th period:
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17 |
 |
 |
 |
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*Kb1-20 |
*Kb1-21 |
*Kb1-22 |
Beyond autumn
equinox sun has moved north to
the other side of the equator.
'... The Sun spends
part of the year with the Winter Maid in the south, afar out on the
ocean. In the month of June occurs the changing of the Sun and he
slowly returns to his other wife, to the Summer Maid who dwells on
land and whose other name is Aroaro-a-manu. This period we
call summer. And so acts the Sun in all the years. The child of the
Summer Maid was Hikohiko. The old folk have told me ... that
at the time of the winter solstice the wise men of yore would say
'The Sun is returning to land to dwell with the Summer Maid.' The
word south in the first sentence should read north in order to make
the statement consistent with the actual situation in the latitude
of New Zealand. The myth had apparently been brought intact from an
ancient habitat in the northern hemisphere ...'
Sun moves north to
'live with his Winter Maid' and he therefore no longer is fully
present (mauga kore, impalpable).
The incompletely drawn
mauga glyph in *Kb1-21 probably means that it is not
completely dark. Yet the darkness is not really here, only a
forewarning, a spirit whispering. |
Beyond 20 (all fingers hand toes uis the
natural numerical place to put the beginning
of autumn. The ghostly unfinished perimeter
implies another meaning than the fully drawn
mauga glyph. A translation into mauga
kore - a
mauga not possible to reach out and
touch as yet, an impalpable mauga, a
forewarning of the coming mauga - is
hinted at. Sun is not fully present from now
on, and mauga is not fully present as
yet.
|
The 4 glyphs at
the beginning probably illustrate the dim winter solstice time. Sun
is hiding in his ink like an octopus. Qb3-2 shows his shape anyhow,
represented as a 6-cornered hole in the stomach of honui. He
is not present, but his absence is very much felt.
In P we first saw
an incompletely drawn mauga glyph - a forewarning 'spirit' - while in the text above the story has advance further. Qb3-14
and Qb3-16 are together marking Qb3-15, a glyph (maitaki) which
will be explained
later on in this dictionary.
In Qb3-19 we observe the shape of a rising fish (spring sun has
emerged from vaha mea (Qb3-17). The 'boat' has turned from
Qb3-18 (still with 'sails looking backwards') to Qb3-19.
The rising
fish has an outline which shows it to be just a transformation of
the earlier mauga stage. |
We can now compare the glyphs of P and Q
with the earlier set of A and S:
Possibly the orientation of ua is
different in Q and S because of the
preceding henua?
Although the arrangement in the table above
is just a preliminary one, it illustrates
how different texts which at first sight may
seem to be unrelated in content upon closer
examination - and given a fundamental
knowledge about at least some glyph types -
are revealed to be parallel in general
content but differently told.
I think it is rewarding to arrange texts
like this. For instance, the differently
oriented ua ought to be coloured
differently too - red in Q and S, while
black in P and A. The alternating rhytm of
light (red) and darkness (black) is telling
us that. (Perhaps the black glyphs represent
nights, while the red ones represent days.)
Maybe I should change from
the Q/S type of ua to the P/A type as
'standard' for the glyph type? If ua
means 'rain', then the 'standard' ought to
be changed:
 |
 |
|
present GD picture |
the new GD
picture? |
Such a change should,
though, wait until we reach ua in the
glyph dictionary.
Another possible find is how a rising fish
may be the origin of such curious 'bulbs' as
in e.g. Sa1-202:
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