TRANSLATIONS

TRANSLATIONS

These 15 glyphs are listed for G under mama in my catalogue:


Ga1-16	Ga2-25	Ga2-29	Ga3-23	Ga4-23	Ga4-24	Ga7-3

Gb1-9	Gb1-11	Gb1-14	Gb1-19	Gb2-8	Gb2-10	Gb6-18	Gb8-16

There are two basic variants of mama, those with ovals which have marks inside their perimeters (black above) and those which have none such. The latter variant should not be confused with the tao glyphs:


tao	*mama*

On the other hand such mama glyphs as in Ga4-23--24 have the same type of outline as tao glyphs. I once decided, though, to keep 'tao' glyphs with internal markings separated from those without such marks and instead to have them at mama.

The summary at tao:

The tao glyphs are like 'hot buns' immediately after having come out from the 'oven'. They indicate the vitality of the very young.

Gradually the force of vitality abates and they become cooler. At the end of their movements all their warmth will have gone away. They have become stiff as dry wood (toa):


tao	tapa mea	toa

The form of tao is like that of a canoe or an eye, both capable of very quick movements.

The system of rongorongo signs has several 'dimensions', but two of them obviously are significant for understanding mama glyphs:

	light	dark
elongated
rounded

The normal way of orientation for the 'chevrons' in mama glyphs is as in these two examples, and judging from the pattern on the plates of chitons it could mean 'head down'. And be another argument for chevrons signifying 'darkness' (as when you fall on your face).

The elongated mama at left in Ga7-3 has a mea ke sign at right:

29
29	Ga6-27	Ga6-28	Ga6-29
30
30	Ga7-1	Ga7-2	Ga7-3 (173)	Ga7-4
31
31	Ga7-5	Ga7-6	Ga7-7	Ga7-8	Ga7-9	Ga7-10

A variant of haga rave extends at right from mama. It could be the 'end harbour' of Spring Sun (cfr the comparison between rava and rave at rona). The front end of haga rave in Ga7-3 cannot be seen, though, which could signify that it lies below the horizon in the west. Like Argo only its 'stern' remains visible.

The beginning of line a7 should be connected to the planets and evidently it is Venus as evening star who is located at mama:


Ga7-1	Ga7-2	Ga7-3	Ga7-4	Ga7-5	Ga7-6	Ga7-7

Ga7-8	Ga7-9	Ga7-10

We need more pages for our investigation of mama in Ga7-3.

The location of mama in Ga7-3 is close to the end of those 31 periods which are ending with kiore, henua, and a 'growing' maro. I suggest these 31 periods describe the season of 'ebb', i.e. spring (or summer). Haga rave at right in Ga7-3 presumably refers to the 'end station' of spring, where spring has its 'mouth'.

Counting we can identify the important day 8 * 29.5 = 236 (if we measure from winter solstice and Rogo in Gb6-26):

30
	Ga7-1	Ga7-2	Ga7-3 (173)	Ga7-4
	235	236	173 + 64 = 237	238

I have coloured Ga7-3 black primarily because of mea kea, but also because a mama with chevrons pointing down could indicate 'the black cloth'. Black should be the proper colour for the occasion.

By force of Venus (and my table for planetary colours) it could have been coloured green, though:


Ga7-1	Ga7-2	Ga7-3	Ga7-4	Ga7-5	Ga7-6	Ga7-7

Ga7-8	Ga7-9	Ga7-10 (180)

'Father light' (Jupiter) occupies ordinal positions 2 and 9, and in both places there are hakaturou glyphs.

If Sun ends his days here it will explain the signs of darkness, which are there already in period number 29:

29
29	Ga6-27	Ga6-28	Ga6-29 (170)

The hand gesture in Ga6-28 resembles those in Ab8-30 and Aa2-31 (illustrating 'the close embrace', cfr at vaero):

	*6 29 = 174**
Ab8-30 (1280)	*6 29 = 174**	Aa2-31 (121)

... In the very beginning there was no light, only darkness. Sky and earth were close together and the offspring were in between them. Metoro has expressed it [at Aa2-31] as henua noho ragi - the earth is residing together with the sky ...

But there are no hands in Ga6-28 and the central figure is that of a standing man. He has no 'mata' and no visible fingers - there is no light and he cannot see.

174 = 6 * 29 is in Tahua probably used to indicate the duration of the season of 'close embrace'. The same number appears at Ga7-4:


Ga7-1	Ga7-2	Ga7-3	Ga7-4 (174)	Ga7-5	Ga7-6	Ga7-7

Ga7-8	Ga7-9	Ga7-10 (180)

Whereas 6 * 29 = 174 in Tahua apparently indicates the dark time of midwinter in the sky, period number 30 in G presumably indicates the dark time down on earth after Sun has left. 'Mouth' and 'source' of the river of time possibly are merging in periods 30-31.

Aa2-31 says the 'tablet has turned', and sky is 'eating' light again. A peculiar henua ora in Ga7-7 (with ordinal number 6 * 29.5 = 177) is the first Tuesday in the line. The following maitaki resembles in its location Ha5-25:


Ha5-17	Ha5-18	Ha5-19	Ha5-20

Ha5-21	Ha5-22	Ha5-23	Ha5-24


Ha5-25	Ha5-26	Ha5-27	Ha5-28

Ha5-29	Ha5-30	Ha5-31	Ha5-32

All signs are saying the season is over. In Ga7-11 there is a black 'one more', a tamaiti flat at bottom. Ga7-11--14 are 4 glyphs covering the gap between 368 / 2 = 184 and 360 / 2 = 180:


Ga7-5	Ga7-6	Ga7-7	Ga7-8	Ga7-9	Ga7-10 (180)

Ga7-11	Ga7-12	Ga7-13	Ga7-14 (184)


Ga7-15	Ga7-16	Ga7-17	Ga7-18	Ga7-19

Ga7-20	Ga7-21	Ga7-22 (192)