Having examined and translated the glyphs for the 10 periods of light (day) in Large St Petersburg Tablet (P) we now will continue with the corresponding 10 periods according to the text of Tahua (A).

These two glyphs represent the first period of daylight. As we now know, after having learned about these ten periods from P, at this time of the day the sun will still be below the horizon, although light is growing (glowing) in the eastern sky.

This was the pattern we found in P:

In Aa1-16 the top 'flames' of the sun are prominent and in Aa1-17 we see tapa mea marking the end of the period of 'pregnancy' of Mother Earth.

The glyph Aa1-16 has 7 'flames' because the top one is enlarged and divided into two. The normal number 6 for the sun is changed to 7 as a mark that the sun has not yet come out.

Number 7 indicates night. Not only are there 7 'planets' but there are also 4 * 7 nights in the (visible) period of the moon. Moon symbolizes night and sun symbolizes day.

Number 7 also characterizes the surface of the earth (night and in the daytime shadows). Light is located in the sky and we receive it thankfully (from the sun during the day and during the night from the moon and the stars). Darkness is the original state of middle earth. First comes pregnancy and during that time there is no light.

That the sun is not yet born (still below the horizon, still inside mother earth) is marked by the shape of Y. In Aa1-16 we can read that the enlarged top two flames correspond to the top of this Y.

Among the Eskimo they do not have our structure where the sun circulates up and down each 24 hours. In summer their sun is always up, in winter their sun is always down, that is the pattern north of the polar circle. Only during spring and autumn is their pattern similar to ours. But they keep track of diurnal time also in winter. According to Arctic Sky:

"While the stars Altair and Tarazed can be seen during the fall months, late in the evening to the southwest, they are only recognized as Aagjuuk by Inuit following their first morning appearance on the north-eastern horizon, usually around mid-December. Throughout January, February, and March they are seen during the pre-dawn hours but thereafter are rapidly taken over by sunlight as the days lengthen."

"By all accounts, Aagjuuk was for Inuit everywhere one of the most important constellations. It seems to have been known by this name, or a variant of it, across the entire Arctic."

"The linking of Aagjuuk's stars with dawn and solstice were the characteristic feature of this constellation recognized as well by other Arctic peoples, in particular the Chukchis: 'The stars Altair and Tarazed of the constellation Aquila are singled out by the Chukchis as a special constellation, Peggittyn. This constellation is considered to bring the light of the new year, since it appears on the horizon, just at the time of winter solstice."

"An emphatic and, in our context, attractive explanation of the constellation's name is found in a legend from Noatak, Alaska. Here agruks (Aagjuuk) are said to be 'the two sunbeams of light cast by the sun when it first reappears above the horizon in late December' ... The legend ... then goes on to recount how these two sunbeams were transformed into stars and so confirms, from the Inuit point of view, the various and widespread connections between the Aagjuuk stars, winter solstice, daylight, and the return of the Sun."

"Many of the elders interviewed recalled as children being sent outside in the dark winter mornings to see if Aagjuuk were visible. The term 'aagjuliqtuq' ('it is making the sign of Aagjuuk') implied that the day's activities should begin: 'These stars were used to determine the passage of time. Before the break of dawn we would visit our elder and he would ask if it was 'Aagjulirtuq'. Aagjuuk are located above the daylight."

The Eskimo (Inuit people as they call themselves) consequently have a conceptual structure for dawn which is nearly identical with that indicated in Aa1-16. The two stars leading the sun out of darkness are like the two tips of the big 'flames' in Aa1-16. We can imagine that Mother Earth has her legs spread apart and stretched upwards waiting for the child, the Sun, to be born. That explains the shape of Y.

Similarly, Tane (the Polynesian sun god) pushed the sky upwards with his legs to let the light in:

"They were Ranginui, the Sky Father, and Papatuanuku, the Earth Mother, both sealed together in a close embrace. Crushed between the weight of their bodies were their many children, whose oppression deepened.

They yearned to be free; they fought their parents and each other to break loose. Tuumatauenga, virile god of war, thrust and shouted; Tangaroa of the oceans whirled and surged; Tawhirirangimaatea howled with many raging winds; Haumiatiketike and Rongomatane, of wild foods and cultivated crops tried their best but were not successful; and Ruamoko, god of earthquakes, yet to be born, struggled in the confinement of his mother's womb.

Of them all, Taane Mahuta, the god of the forests, was the most determined; he set his sturdy feet upon his father's chest, and braced his upper back and shoulders against the bosom of his mother. He pushed; and they parted. So the world; as the Maori understand it; came into being. 

From the progeny of Papatuanuku and Ranginui came many offspring - the various inhabitants of earth, sky and water; the first humans, and the rare half-human demigods of whom Maaui the Trickster has been the most acclaimed. Maaui features throughout Polynesia; he netted the sun, slowing its daily course across the heavens; he fished up entire archipelagoes; he captured and commanded the essence of fire, and most ambitious of all, challenged Hinenui-te-Poo, the goddess of death - his last mission, his first and only failure."

In Aa1-17 we can count to 6 marks, marking that the sun is responsible for this light at the horizon. The glyph is oriented backwards (marks at left instead of the usual right) to make us aware of the fact that a major period now is reaching its end - the period when the sun is not visible.

Tapa mea has a somewhat different design than the one we have been accustomed to in P. Different writers have their own styles. In Tahua the normal tapa mea glyph outline is a symmetric oval with a little gap at the bottom.