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TRANSLATIONS
The last page about mauga in the glyph dictionary:
I was here tempted to go on with an example of how to understand mauga glyphs with signs, but that would complicate matters too much. Here, on the other hand, it could be tried:
Of course the causal chain went another way: First observing where in the text the glyphs appeared, then imagining what the signs could mean. The table is not complete. Pb2-26 is leaning slightly forward, possibly hinting at what will come. Pb2-34 has a bottom like a 'knee', possibly indicating that the maximum (of darkness) is past. We can compare with the 'knee' in Ca7-24 where there is no indication of a 'ghostly state' (by way of open henua):
In Eb4-4 (twice 4 suggesting we should choose the alternative '4 if it ends with 30') there is only one 'eye':
Metoro's toko tokoga (probably the duplication was to strengthen the meaning, superlative) should be interpreted with these words (Van Tilburg) in mind:
Only one 'eye' possibly means that only 'p.m.' remains (while two 'eyes' as in Pb2-34 could indicate how both 'a.m.' and 'p.m.' lie ahead). 11 is one past 10 which number could stand for maximum of the sun (all fingers used up). At Eb4-1 Metoro suddenly changed the order of his words from kiore - henua (which corresponds to how the glyph type is drawn) into henua - kiore:
With 10 representing midsummer maximum, 11 will be beyond solstice. Another mauga appears in period 19 (beyond 18):
Metoro continues undisturbed, though, with reversed order (henua - kiore) up to period number 22 at which he reverts to the normal order again. The pattern is:
The disturbance into reversed order happens at period 10 (with signs of 'end' like the pair of henua ora). Then, in period 11, the normal order returns, but only in this period. There are 13 periods with normal order and 11 with reversed order. Discounting the 10 first periods this is the pattern:
The 14 periods beyond the first 10 can be divided into two main groups: the continuance of the regular calendar beyond 'noon' with a dominant henua - kiore order (black) and a final 4-period special group, presumably for the winter solstice season. In period 16 - marked by Metoro by a sudden return to normal word order - the late autumn season is probably announced:
15 is the full moon night and in Eb4-26 the ordinal numbers tell about the last station of the ruling king. Also a fully grown tagata with vai marked by maro makes it all very clear. 16 (we remember) is the number of the period when autumn arrives in K and G. 29 (in Eb4-29) indicates the dark moon (implying a new moon the following night) - the summer henua is now gone, while the winter henua (in Eb4-30) enters the stage. Hakapau is just what the story in the glyphs is telling about (of course in glyph number 28 - the last illuminated moon night):
Hakapau is to pierce, as if a spear (vero) has pierced the sun. Metoro cannot see any vero glyph here (they are in periods 11 and 19) but in his imagination that does not matter: the glyphs say that an important cardinal point has arrived, at which sun is 'finished'. What 'kills' the sun must be water and, sure enough, pau is also 'to moisten'. Paupau is 'curved', and at the equinoxes the path of the sun is maximally bent. Haga Te Pau is, though, located not at autumn equinox but at winter solstice (at He Maro 1, the date when the explorers arrived to the island). 20 glyphs in the Keiti calendar seem to suggest a complete cycle of the sun with 4 quarters each containing 5 peridos. Now back to the mauga glyphs in the Keiti calendar. They are 3:
Could there be any numerical messages in the distances between these glyphs? The periods (1, 11, and 19) are meaningful: 10 between the first two and 8 between the second two. Presumably we should make a 'noon' pair of periods 9-10 in order to have 8 periods before 'noon':
This makes sense. Number 29 and period 9 announce the dark season for the 'a.m. sun'. Also the reversed 6-feathered tapa mea says this. The pattern then could be:
The mauga glyphs determine together the situation for the sun. There is one at the beginning of the 1st half year (1), one at the beginning of the 2nd half year (11), and then one at the end of the 2nd half year. 9-10 (midsummer) end the 1st half year and 19-20 (midwinter) end the 2nd half year. Counting glyphs, we reach:
There are 124 + 6 = 130 glyphs in the main body of the calendar (excluding the last 4 periods). 130 is an even number and the midpoint in the main body contains 2 glyphs, with 64 (= 8 * 8) before and 64 after the midpoint:
The middle of the calendar is at the beginning of the 10th period, not halfway through the 24 periods. A mauga middle (presuambly summer solstice) arrives 10 glyphs later. If the mauga position at 75 is halfway to 150, then winter solstice maybe should be 20 glyphs beyond the end of the main body of the calendar. Once again, 150 is an even number and we must have two glyphs in the middle: 74 at left, 2 in the middle, and 74 at right:
74 is a mirror image of 47. 26 emerges as the difference between 150 and the 3rd mauga number, beyond which there remain 43 glyphs to the final of the total calendar (with a total of 167 glyphs - an awkward number). We realize that a winter solstice at glyph number 150 must leave 43 - 26 = 17 glyphs to the next year:
We recognize in Eb6-3 followed by Rei (in Eb6-4) the 'new fire generators' in K, which are needed - it seems - before the new calendar year can begin:
We have thereby 'proven' that mauga at Eb4-4 (with ordinal number 75 counted from the beginning of the calendar in E) divides the cycle in the middle. It is the last glyph of the 1st half of the calendar. From this perspective the 1st and 3rd mauga glyphs (Eb2-13 respectively Eb5-11) do not seem to be necessary. The 1st mauga (Eb2-13) is located at position 19 among the 20 in the 1st period. But - shouldn't we count the beginning from Eb6-3 in the 24th period?
Yes, we then get the message (by way of 36 as in 360 days) of a sun final at Eb2-13 (also implied, of course by 2-13, the last fortnight of the 13 in the 2nd half year). The elbow ornament of the standing fully grown man is drawn complete. 4 feathers (quarters?) are past (to the left). The mauga belongs to the earlier year, not to the new one. Eb2-6 (with a disorderly ghostly henua) is given the black label 29. The 6th and last half-month of the 2nd half year is past, a ghost). In Metoro's words at this glyph - no ana ra tau hiva - we find one of the rare instances when he used the word hiva. Eb2-1 is given number 24, and the king (ariki) in Eb2-3 is number 26, quite in order. In Eb2-13 Metoro first mentions the 'going (away) man' - tagata oho, although mauga comes first in the glyph.
Then follows what must refer to the mauga half of the glyph: ki moto vaero tae.
Possibly tae (ta'e) is a negation due to the reversed 'feathers' (vaero) at right in the mauga part of the glyph. What moto may mean I don't understand. Is the old one knocked down and out? The 3rd mauga (Eb5-11) - 48 glyphs beyond the 2nd mauga (Eb4-4) must have another function than pointing at a solstice:
Eb5-10--12 have signs of the moon, and Metoro's kua tu te Ao could be a wordplay on ka tu tokoe ahoe:
Beyond the 2nd mauga (Eb4-4) the following glyph distances can be measured to the 'cardinal glyphs' ahead:
We now realize the function of Eb2-13 - it is to mark the end of 186 nights. 186 + 180 = 366, the first whole number reaching past 365¼. Beyond the 3rd mauga (Eb5-11) we need 61 glyphs in order to reach Eb2-13, not a good number for giving signals.
Instead, 148 at Eb5-35 is what should draw our attention (100 more than 48). Measuring beyond Eb4-4 to Eb5-11 we need 48 glyphs, measuring beyond Eb5-11 to Eb5-35 we need 24 glyphs. Therefore, Eb5-11 is located ⅔ of the way from the middle of summer to the middle of winter, to the beginning of the 'Palace Temple':
In other words: the 3rd mauga (Eb5-11) marks ⅔ of the distance (measured in glyphs) from midsummer to the end of the regular (360-day) year:
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