TRANSLATIONS
Next page in the glyph dictionary then returns to questions related to numbers of glyphs distributed over periods, now in the K calendar:
This thought-provoking page needs support from the messages encoded in the glyphs. I therefore intend to investigate that side of the problem here, both for K and G as regards the dark 'year'. (We have already done that for the light 'year.) Why are the groups of periods no longer following the simple pattern imagined with 3 periods in each group? Maybe the 2 imagined groups (based on the principle of adding odd number glyph periods) with together 30 dark glyphs (periods 17-24) are to be regarded as a single group - in darkness structure can no longer be observed. Should we not include periods '0' and '32' in the table? We begin the investigation by looking at the glyphs in K to see which periods the glyphs suggest belong together. It probably will complicate matters if we at the same time and in parallel look at also the glyphs in G.
No vero glyph (similar to the one in the parallel period 19 of G) is included. The only probable vero glyphs in K (which I after a quick look have been able to find) are located at the beginning of the text:
We can compare Ka1-1--2 with Kb1-103. The similarities ought to mean similar things. The glyph type in Kb1-103 is mauga (GD28), and the main meaning of mauga definitely is 'darkness' - that was established very early in connection with the calendars of the week in H and P, for instance in Friday (the day of Venus):
The 'spectral' quality observed in Ka1-1--4 can be contrasted with the very distinctly drawn and prominent henua in Kb1-102. The prominent season which 'enters the shade' probably is the light 'year'. A sharp eye will discover how henua in Kb1-102 is slightly uplifted from the line of glyphs. If this sign was intentionally added by the writer, it suggests the uplifted state we have seen earlier:
In Ka1-1--4 the uplifted state appears to have gone one step further - as if loosing sight of the ground altogether. The spectres move away from us once a year. Hiva is beyond our sight. Kb1-104 makes me think. Up to now I have regarded the uplifted legs at the beginning and end of the 2nd quarter according to the E calendar as an image of how the 'spring snake' lifts up the sky roof to let in the light:
A closer look reveals a significant difference between Kb1-104 and the two glyphs in E: the arms are straight, not showing any elbow. If we concentrate on the 'end glyphs' in the K calendar we can observe this sign closer:
I have red-marked notable glyphs (from the perspective of abnormal arms). The normal arms show a sharp elbow downwards. Period 13 is red-marked due to how the 'arm' is drawn as a separate item from the rest. The end glyphs in periods 25, 28-29 have slightly bent arms without any prominent elbows, while the arms in the end glyphs of periods 11 and 20 are nearly straight. Presumably there is something which unites the meanings, on one hand in the group of end glyphs with slightly bent arms without any prominent elbows and on the other hand in the group with nearly straight arms. The end glyphs in periods 15, 17 and 23 are special, each one with its own characteristics. In 15 it looks as if the thick straight arm is cut off at the elbow, which only partially touches the ground (henua). In 23 the form of the arm tends towards an S, with the elbow close to the ground. In 17 the thin arm, it looks, is the forearm, while the elbow is high up close to the body. Maybe the picture in Kb1-104 is meant to show a person tipping forward, falling on his face (vero). Presumably the end glyph in period 23 is meant to be read together with Kb1-104. Kb1-104 has a 'knee' bent upwards, while the leg in Kb2-8 is oppositely oriented:
Kb1-104 is the 59th (as reconstructed by me) glyph of the calendar, as if it was the last night of a synodic double-month, while Kb3-8 is the 84th glyph, also a number we recognize and - hopefully - will soon understand better. The mirrored legs in the pair Kb1-104 and Kb3-8 (6 periods apart) presumably indicate beginning and end of a major season (autumn?). With Kb1-101 (at the end of period 13) in memory, the season in question probably begins with Kb1-105 in period 18. If so, then the measure of the season perhaps is 24 (instead of 25) glyphs. On the other hand, Kb3-8 is the 26th glyph beyond Kb1-104. The concept of mirrored legs determining a season give us reason to also consider the mirrored arms in the end glyphs 11 and 20:
Although the arms are nearly straight, the arm in Ka5-10 is slightly convex upwards and the arm in Kb2-110 slightly convex downwards. Up comes before down, both in arms and legs. Here we immediately can understand why the arms in the pair of glyphs have been designed as markers - 20 is the natural counting end (twice 10) while 11 is the beginning of the 2nd counting beyond 10. Next period has a problem: Is there a glyph missing between Kb2-4 and Kb2-101?
Unless Kb2-101 once extended much to the left of what now remains of the glyph, the answer should be yes, according to how Barthel has copied the sequence of glyphs:
We can even guess that the missing glyph was of the type maitaki (GD53), because of for instance Eb4-10, Ca14-215 and Sa5-407. Period 18, beginning at the beginning of a new line (b2), consequently once, presumably, had 7 glyphs and we therefore must revise our table:
The reconstructed number of glyphs in period 18 is odd (*7), which forces changes in the way the periods are grouped. Furthermore, the logic established earlier in grouping periods together ought to be expressed throughout the calendar. Harmony should rule. I will not, however, change anything in the original table until we have systematically covered the ground all around the year cycle of the calendar. Support from reading the glyphs is urgently needed. |