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TRANSLATIONS
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Returning now to our
basic mama table we can restate how there is a difference in kind
between the elongated mama glyphs and mama glyphs with a
more rounded shape:
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light |
dark |
|
elongated |
 |
 |
|
rounded |
 |
 |
If the pair of elongated mama in Ga4-23--24
should refer to a cool Moon
leaving, then the single mama in Ga7-3
could refer to a 'cool' Sun leaving,
i.e. he has fallen into the sea or been transformed into ashes:
|
30 |
 |
 |
 |
 |
|
Ga7-1 |
Ga7-2 |
Ga7-3 (173) |
Ga7-4 |
173 + 60 = 233 can allude to Gb1-3:
The shape of a tao glyph could describe a canoe
seen from above (or from below):
... The trunk is then uprooted and split
into faggots which are added to the
flames. The twelve merry-men rush in a
wild figure-of-eight dance around the
fires, singing ecstatically and tearing
at the flesh with their teeth. The
bloody remains are burnt in the fire,
all except the genitals and the head.
These are put into an alder-wood boat
and floated down the river ...
The tao glyphs at the
beginning of side a, though, seem rather
to indicate the arrival of a
double-canoe after its 2 hulls have been
separated:
 |
 |
 |
239 |
 |
 |
 |
|
Gb1-20 |
Gb1-21 |
Gb1-22 |
Ga1-19 |
Ga1-20 |
Ga1-21 (22) |
|
250 |
251 |
7 * 36 = 252 |
242 |
 |
 |
 |
 |
 |
|
Ga1-22
(87) |
Ga1-23 |
Ga1-24 |
Ga1-25 |
Ga1-26
(91) |
 |
 |
 |
 |
|
Ga1-27 |
Ga1-28 |
Ga1-29 |
Ga1-30
(90) |
Although Sun as Rogo (Gb6-26)
apparently is standing at the end of winter solstice, his
arrival to Easter Island ought to coincide with the
arrival of summer. If we add 64 to the
ordinal number for the Sun glyph
Ga1-26 it becomes 91, i.e. the
location is a quarter from winter
solstice.
The ordinal number of Rei
(Ga1-30), on the other hand, should be counted from
tamaiti (Gb7-3) and then it becomes
59 + 31 = 90. First comes Sun,
Tama-nui-te-ra, and then comes Moon,
Tama-iti:
...
The men on board the
royal canoe looked
out from Varinga
Te Toremo (the
northeastern cape of
the Poike
peninsula). Then
they saw the canoe
of the queen, the
canoe of Ava Rei
Pua, as it
reached Papa Te
Kena (on the
northern shore, east
of Hanga Oteo).
Honga came
and gazed in the
direction below
(i.e., toward the
west). He called out
to the noteworthy
ruler (? ariki
motongi) Hotu:
'There is the canoe
of the queen! It
will be the first
one to land!'
At
this news King
Hotu replied to
Honga,
'Recite (rutu)
('powerful
incantations') as
though the ten
brothers of the
chief (ariki
maahu) were
one whole (?).' The
ten recited with all
their might. This is
what they recited:
'Let all movement (?
konekone)
cease!' They recited
and sailed on
swiftly: Honga,
Te Kena,
Nuku Kehu,
Nga Vavai,
Oti, Tive
(corrected for 'Sive'),
Ngehu,
Hatu, Tuki,
and Pu
(corrected for 'Bu').
He worked mana
in the fishing
grounds. (Naming of
two fishing
grounds.) ...
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The canoe bringing the queen Ava Rei
Pua (Gb1-22)
has 2 glyphs (Gb1-23--24) and the canoe
with Hotu Matua onboard (Ga1-25) has a single
glyph (Ga1-26).
When we read the text of G we will
first encounter the canoe of the queen
(the left hull of the double-canoe),
but it will magically arrive later to 'the island'
(the beginning of summer) than the canoe
of the Sun King. And the distance is 4
days, the same pattern as when we in the
Hawaiian Moon calendar will find 'land'
4 days before the new moon (Hilo) will rise.
In summary, I imagine the 'old ones' who
composed Manuscript E had either counted
in the text of G or otherwise learned of
the strange change of order between
winter solstice and spring equinox - how
it was possible for Moon to threaten to
arrive before Sun to spring equinox when
Sun at winter solstice (Rogo)
arrives 4 days earlier than Moon (Tamaiti).
13 weeks after winter solstice equals 91
days whereas the duration for the queen
is 12 weeks counted from tamaiti
at Gb7-3 (i.e., 59 + 25 = 84 = 7 * 12):
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In G there are no
rounded mama glyphs with inside 'chevron' marks. But in Tahua
we can see such a mama in Ab1-31 (glyph number 701 counted from
Aa1-1):
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There are 3 + 2 =
5 'chevron' marks in Ab1-31:
 |
 |
|
|
Ab1-29 |
Ab1-30 (700) |
Ab1-31 |
In Wednesday there are only
4:
 |
 |
 |
 |
 |
 |
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Hb9-33 |
Hb9-34 |
Hb9-35 |
Hb9-36 |
Hb9-37 |
Hb9-38
(1099) |
Furthermore, mama in
Hb9-38 is irregular in
shape, which presumably
reflects the disorder
illustrated by koti
in Hb9-36.
5 means rima
('fingers of fire') and
maybe we should count a
'chevron' mark as 2,
because it has two
'limbs'. Instead of 5 we
should then think 10, and
instead of 4 we should think
8.
However, the bottom
'chevron' in both mama
glyphs is drawn as a wave
trough instead of a double
'limb'. I.e. we can count (3
+ 1) * 2 = 8 for mama
in Ab1-31 and (2 + 1) * 2 =
6 for mama in Hb9-38.
Mercury is the liquid
fellow, and he has the lowest
of positions. If a new fire
is strong, then a weak
fire must belong to Mercury.
He marks a point in time
when Spring Sun has been curbed.
Possibly 10
and 99 could be a way to say so.
100 and 7 may be another
way, but even more clear is
the number sequence 29-31.
In G number 403 is equal to 13 * 31,
suggesting there is a 'mirror'
between 13 and 31. Mercury
is beyond 13, on the other
side of the mirror. He
stands at the beginning of
the back side, while the
strong Mars stands at the
end of the front side.
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We can now look
with fresh eyes on Ga7-3, where it is possible to count 7 * 3 = 21(0), i.e. where Mars is not. The
sequence 29-31 surely must belong together in a group illustrating
what happens beyond number 28 (as in e.g. 13 * 28 = 364):
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And the final summary page:
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Wednesday - which
structurally corresponds to midsummer - has
a mama glyph (Hb9-38) at its end, probably in order to
indicate 'dark':
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