I had decided to look up in what month Caear was stabbed by Brutus, it just couldn't be July, I thought. My intuition said it should be at the other end of the single-cycle year, at the close of the year. Caesar represents human order and Brutus the 'brutal' chaotic forces which are so strong in spring.

I was too lazy to search for Gibbons. Instead a quick look in Wikipedia was immediately rewarding. He was killed in the 'ides of March' (= March 15). And of course, Brutus was not alone - he had a bunch of companion brutes:

This is no longer my intuition working, it is my conscious mind following the map created from experience gained by walking in the mythic landscape.

It couldn't be any other time than at the end of one rule, and being the rule of Rome, the great civilization, it couldn't be the time when the spring serpent is beheaded.

I do not care if Wikipedia tells the 'true' (historical) story or if that has been manipulated over time. I do not care about the tunnel-eyed singleminded cause-and-effect superficial beliefs - I am interested in the deeper fundamental structure that is man. That structure which changes histories into myths.

It is anyhow quite astonishing how in the tumult, turning over, toppling, of Caesar the stabbing knife at the beginning of a new year has its parallel in how Captain Cook was murdered in the tumult on Hawaii at the same time (in the mythic frame):

I decided to insert a new page explaining at least something about the structure in K:

... The parallel sign in Ga3-20 is a waxing sun sign. The sun light is gaining in strength and the moon light is - comparatively seen - diminishing in importance.

For the moon concave to the left means waning in the rongorongo system, while for the sun it presumably means waxing - it should be spring time which is illustrated in Ka4-11 and Ga3-20 ...

It can be proven that the texts of G and K are calendars, and that in each of these calendars other shorter calendars are inserted in a complicated pattern which must be read with 'double focus' - the short calendar is a not very long sequence of glyphs which catches the immediate attention of the reader, but this sequence (or at least part of it) at the same time functions as a piece in the greater puzzle of the whole text. We can use Ka4-11 as an example. It is both a part in a short calendar and an important piece of the whole text:   Ka4-1 Ka4-2 Ka4-3 Ka4-4 Ka4-5 Ka4-6 Ka4-7 Ka4-8 Ka4-9 Ka4-10 Ka4-11 Ka4-12 The 12 glyphs probably are intended to be a 'map' over the months of the year. In Ka4-1 a moon type of bird (determined by the form of the beak) is holding a clenched fist high towards the right (future), and the closed fist represents the not yet counted (let loose) 'fingers' (limbs, months). In Ka4-7 henua has 3 upwards slanting marks across, referring to the waxing spring sun. In Ka4-10 there are 2 horizontal marks across, referring to the 2nd part of the year. In Ka4-12 the kiore figure (representing sun) is not real (the contour line is not closed), i.e. the old sun is no more. The year has ended.

Inside the 192 glyph long text of K (half as long as 384 = 364 + 20) and beginning with Rei at Ka3-15 comes the main part describing the journey of the sun over the year:   42 65 22 Ka3-14 (60) Ka3-15 Kb1-7 Kb4-17 (170) 2 * 22 = 44 3 * 22 = 66 At Ka3-14 (alluding to π) a first season covered by 60 glyphs is ending, and then follows sequences of glyphs which are grouped by using multiples of 22. The reason seems to be that a good approximation of π is reached by dividing 22 by 7. The last of the kiore + henua glyphs is Kb4-14 (6 glyph lines beyond Ka3-14 to suit the path of the sun). Then follows a new season, illustrated by a variant of the tamaiti ('child') glyph type: Kb4-14 Kb4-15 (168) Kb4-16 Kb4-17 Kb4-18 The ordinal number of Kb4-15 is 168 (which here should be thought of as 12 / 13 * 182), and it is probably no coincidence that the moon manu rere at the beginning of the short calendar for the year has ordinal number 68: Ka4-1 (68) Ka4-2 Ka4-3 Ka4-4 Ka4-5 Ka4-6 Ka4-7 Ka4-8 Ka4-9 Ka4-10 Ka4-11 Ka4-12 Ka4-1 is located 8 glyphs beyond Rei in Ka3-15, and this 12-glyph long calendar therefore comes closely after the beginning of the larger calendar - which is describing the path of the sun over the year (and which is determined by the kiore + henua section in the even longer total calendar coinciding with the whole text).

Ka4-11 is in the shorter perspective the 11th glyph in a sequence initiated by a moon bird clenching a full hand - ripe to let go of the months one after another. In the game of Poker a full hand (full house) means 3 + 2 = 5 cards forming a coordinated whole. In K the term can be applied to the 5 first of the coordinated growing sun months: Ka4-1 Ka4-2 Ka4-3 Ka4-4 Ka4-5 Ka4-6 Ka4-7 Ka4-8 Ka4-9 Ka4-10 Ka4-11 Ka4-12 Ka4-11 is in this pattern obviously the last month of declining sun, and there is no need to complicate matters by adding a moon sign at top right. It can therefore be explained only by interpreting it in the larger calendar patterns: 16 25 65 22 Ka3-14 (60) Ka3-15 Ka4-11 (78) Kb1-7 Kb4-17 (170) 2 * 22 = 44 3 * 22 = 66 Between Ka3-15 and Ka4-11 there are 4 * 4 glyphs and between Ka4-11 and kake manu (Kb1-7) there are 5 * 5 glyphs. These numbers suggest moon respectively sun. At Ka4-11 not only ends the year of the shorter calendar but also the reign of moon who still rules at the beginning of the longer calendar. The clenched fist of the moon bird in Ka4-1 can in this perspective be understood as a reference to the 5 multiples of 22 glyphs of the longer calendar. The waning moon sign in Ka4-11 is therefore motivated - it is not obvious how this glyph fits into the larger calendar without a basic knowledge of how rongorongo texts are constructed in general (and the texts of G and K in particular).

The important conclusion is that each rongorongo text must be considered as a whole. Only by contemplating the whole picture can deeper insights be reached.