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TRANSLATIONS
Let us consider the main alternatives in reading the K text as a calendar:
1. Each glyph is equal to one day all through the text. The first section of the structure:
I not long ago counted Ka3-15 as glyph number 60, but that was obviously wrong, hopefully a manipulation by my subconscious mind to lead me right. Then comes the long section with kiore + henua:
To be more precise: This section has its last kiore + henua glyph at position 167 (1 less than 168), probably so by design. It can be integrated in the greater structure by using 44:
44 and 68 (which 112 is divided in) makes one think of 144 (12 * 12) and 168 (12 * 14). Maybe these numbers give a hint that we should add 100 in some way while reading the calendar? 44 and 88 relates as 1 to 2, or as 2 to 4, or as 4 to 8. To think in terms of 2 to 4 is preferable, because in glyph line a2 there are 22 glyphs. Line a1 has 24 glyphs, which can be explained as 192 / 8. What is more natural than to present a key to the number structure of the text at the beginning, by the number of glyphs in the first line? By defining 192 as 8 * 24 the unity of the text is assured, in spite of clear evidence of divisions into parts. 44 is necessary because given 104 at manu kake and a beginning with 60 glyphs the difference becomes 44. Why then locate manu kake at 104? We have already in a way said why: 22 is a meaningless number without support from the later following 44 and 88 (which division needs support at 104). Furthermore, 22 is necessary to reach 60: 24 (a1) + 22 (a2) + 14 = 60 Manu kake in Kb1-7 probably marks a cardinal point in the calendar.
22 in glyph line a2 is necessary not only to reach 60 at Ka3-14 (π), but also to reach 36 (for the time beyond glyph line a1 and up to the time of kiore + henua). 24, 36, and 60 are sun numbers, while 14 (= 36 - 22) is a moon number. Moon is the year builder for the solar year:
By the numbers embedded up to Ka3-14 we should draw the conclusion that the calendar is built not only upon the normal numbers 24, 14, 36, and 60, but also upon the odd 22. There is no doubt - it is no result of combinations of other numbers, it is a primary number because it is defined by the number of glyphs in the 2nd glyph line. The solar year can be standardized as 360 days or as 364 days (354 days is a lunar year). 60 at Ka3-14 (haga, the 'fire generator') implies the value of the radius (to be applied to 3.14) is 60 days:
A regular hexagon can be constructed by 6 equilateral triangles. The side in such a triangle will be equal to the radius of a circle in which the hexagon in inscribed. It now emerges that 22 is a very special number. Because π can be approximated as 22 / 7. The number of glyphs cannot stretch the whole year, the tablet is not large enough. But 3.14 * 60 = 188.4 glyphs is within the possibilities. The creator decided in favour of 192. 170 at Kb4-17 maybe should be related to 360. If so, then there could be 190 days outside the calendar. 172 at Kb4-19 adds 2 days, which should lead to a year with 172 + 192 = 364 days. The 20 glyphs in glyph line b5 are outside (the island proper, the calendar proper). But adding them to 364 we reach 384 (which we recognize as the ordinal number arriving immediately beyond 13 * 29.5, at Roto Iri Are). This solution is basically built on the number of glyphs in the first two glyph lines coordinated with the total number of glyphs in the text. It would not have been possible to arrive at it without recognizing the special nature of the last glyph line - outside the regular calendar. Another necessary ingredient is the key role of Ka3-14 as marking 60 and π. It once caught my interest because it is located immediately before the periods defined by kiore + henua. Manu kake at Kb1-7 has another key role:
From the misty beginning in glyph line a1 there will be growth (life, light), here expressed by the geometric progression 1, 2, 4 as multiples of 22 (= 7 * π), but also in the poporo sign in the manu kake rising fish. It reappears in the inverted henua ora in the last glyph of the mainland (calendar proper). Growth is the characteristic feature of life, but life of necessity implies death. expressed by the lost head in Kb4-19. 19 then reappears as the number of glyphs in line b5 - if we exclude the vacant *Kb5-1, which in G instead is illustrated by a mago with open mouth, a vacant space:
We can contrast mago with vaha mea - while vaha mea is illustrated as a straight standing (tu'u) fish with open mouth to indicate the opening of the light season in spring, mago has a bent tail to indicate the opposite season. Although this solution to the problem of translating each glyph in the text of K into one day seems very convincing, it does not preclude several other possible uses of the text for calendrical purposes. We know there are several other intended purposes. The use of Rei in Ka2-10 is but one example of all those problems which remain to be explained. For systematic reasons we should now procede with 2. Each glyph is equal to two days all through the text. But I think we ought to leave that alternative aside. Not because it would not be rewarding - it may very well prove to give solutions to some of the remaining problems - but because we have now found a good and convincing solution, which is quite enough for the moment. Of course we cannot then procede with 3. In part of the text each glyph is equal to two days and in the other part equal to one day. Hina can juggle securely with 8 balls (i te pei varu), but we are no more than human. 1 + 2 + 4 = 7 (as in 7 * 22 = 154 = 354 - 200), number 8 is not commensurable. 8 * 22 = 176 is within the possibilities of 192 glyphs, but where is the missing group of 22 glyphs? ... In the midst of a dim twilight there is Te Pei, the residence. Not even eight groups of people (i.e., countless boat crews) can find the small piece (of land?) again once it has been lost. But one (can) take possession of the eight land: (It lies) 'on high', (it) juts out (on the horizon), and its contours stand out against the (rising) sun (i.e., in the east) ... In other words, it should be in the sacred geography of the island and it should be in the text of K (because east represents spring). I guess we should search in the vicinity of manu kake:
Kb1 is the only glyph line (in addition to Ka2), which has 22 glyphs. It is the first glyph line on side b (and Ka2 the first glyph line beyond the misty beginning in Ka1). Manu kake stands at the position of Te Pei (the lost 8th piece of land). 7 * 22 = 154 is too much for side a, and 50 (as in 5 * 10) has therefore been cut off: 104 = 154 - 50. The head of the 'fire' is cut off and saved for the future, and sun abruptly hurries away to the other hemisphere where he must be reborn at winter solstice. The head of the rising growth fish in manu kake has disappeared, gone into the sky roof (later appearing again as Sirius, Te Pou). At Kb1-14 number 111 illustrates Nga Kope Ririva, sun has left the mainland. It is the same fundamental structure as that which arrives later on:
Manu kake at position 104 is parallel with glyphs at Te Pei in G and A:
Even the glyph numbers (b1-7) are exactly alike between K and G. |
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