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The glyphs in H start the calendar with the black new moon (if we can transfer the ideas from Q):

Although the text in H is damaged, we can assume that it is the same type of glyph in all three tablets.

A harder question to answer is whether the meaning of this type of glyph is the same in H and P as in Q - does it always mark new moon?

I have earlier suggested the glyph type to be a 'shark' glyph:

'The first glyph of the night in P is a 'zero'-tôa (no 'arms'), which could mean that we have a kind of introduction to the night, Pa5-19:

This glyph (GD47, tôa) has 4 marks shaped like sharkfins. I suggest sharkfins because sunflames would not give the associations required for an introduction to the night.'

'The shape of a shark against the bottom of coral sand is like a dark shadow and the shark is associated with darkness.'

'To interpret the 4 'fins' as the tips of two moon sickles cannot be right, because that does not fit with the outline of the glyph.

A shark is called magó but alternatively - and more adequately I believe - mogó in the idiom of Easter Island. Because mogó sounds like moko (GD87), lizard, and give associations of disappearance and death ...'

'But the 4 'sharkfins' / earth / moon could mean IV, i.e. the quarter where the mysterious regenerations happen, the habitat of the moko (or mo'o in Hawaiian):

'... When the man, Ulu, returned to his wife from his visit to the temple at Puueo, he said, 'I have heard the voice of the noble Mo'o, and he has told me that tonight, as soon as darkness draws over the sea and the fires of the volcano goddess, Pele, light the clouds over the crater of Mount Kilauea, the black cloth will cover my head ...'

That this type of glyph indicates darkness seems out of the question. The youngest son of Hotu Matu'a, Tama (as in Tama nui te Raá), is likened to a swift shark (implicitly a shark that walks on land).

From other sources I have arrived at the conclusion that this 'fish sun' glyph type:

 means not only a 'sun' rising up from the 'waters' but also means 'quick' (lively).

We are now considering the idea of a 'shark' also in the west, as a symbol for the coming night, maybe even for the whole 'day' calendar. Po was used to denote 'day'.

If we accept that there is a 'shark' both at dawn and at dusk, then - presumably - it is the same 'shark'. Possibly it is atua mago (GD62):

'... The handsome shark Fa'a-rava-i-te-ra'i, Sky-shade, is there in his pool and close by is Pirae-tea, White Sea-swallow (Deneb in Cygnus) in the Living-waters of Tane.' (Makemson)

In the calendar of the week we find the (presumably) moon-eating shark in Monday (Pb10-33 and Pb10-35) and the second one illustrates how well fed he has become close before 'dawn':

I guess that the 'shark' means the whole dark period. That is the reasonable explanation from all the evidence above.

From the intertwined sun-moon calendar of Q we have seen that indeed the beginning of the calendar is a time of darkness - the time of new moon. But that was the text in Q. We cannot be sure that there is any association to new moon at the parallel glyphs of H and P, the parallel glyphs may instead stand as (exclusively) an introduction to the whole night (or to the whole 'day' / 'po').

In P the Y-signs in the tôa glyphs are open, whereas those in Q are closed. I think the closed Y-signs means 'closed'. Earlier I thought about how the sun in his submarine must close all openings to stop water from flowing in and drenching him (killing his fire):

'The 'tail' of the 'fish' (tôa) type of glyph in Q is closed, not open as is the case in A, H and P:

Perhaps the idea the designer of Q tried to convey is not so much 'closed' as a further attempt to make clear that the 'fish' is the submerged sun.'

Now I have changed my opinion: The closed Y-tails means 'closed' because these tôa signify the moon and during 13 nights (tôa-glyphs) of waxing moon the sun light is filling the moon up. There cannot be any leaks, the glyph must have a closed border line.

When dawn is reached suddenly the Y-signs are open to allow the little sun to suck, we have reached the time of full moon

and soon the shape of the waning moon proves that there is leakage (that sun is growing like a voracious shark).

In H we have no closed Y-tails, and therefore we may assume that the Q-model involving moon is not there. We may conclude that the 'shark'-glyph at the beginning of the calendar

has an open Y-tail (as that in P). The (presumably) four 'shark-fins' seem, however, to be more like moon sickles in H (than in P).

To conclude this reasoning we must first take note of the fact that there is one tôa-glyph in P with closed Y-tail, Pa5-23:

'I think we should reinterpret these nuclear glyphs:

In Pa5-24 we maybe can observe the new light expected; 7 marks around the bulb on top of the appendix might allude to the tapa mea of next day.

In Pa5-23 we have maro (= end) with 5 marks, presumably alluding to the 5 'dark nights' at the time between two years. We have also a very clear sign of 'closing', an unusual variant of Y where the two ends not are open.

In Pa5-22 we ought to observe the 'cleaning out' of the old 'year'. I guess that such an idea would allude to the cleaning out of the dead body, converting it to a dry mummy, thereby enabling the new life to emerge out of its 'ashes'. At left we can see a piece of a henua, as if being engulfed by the tôa. The appendix is of the nuku type, presumably telling about the coming new 'land' (= the day).'

There are at least two possible ideas to think about when considering 'closed': that there is no flow in or out or that something is finished. But finished - we have found - often means 'cut off' (koti), as e.g. at full moon in the Mamari month calendar.

In Pa5-23 the meaning is not koti, rather maro = chicken feathers time, i.e. the darkest time. We realize that by closing the tôa no light will shine in.

A second last reflection caused by open and closed Y-signs: In A we have sun glyphs in the afternoon where the top flame has changed into open Y-signs, e.g. in Aa1-26:

    

Does this indicate that the creator of A was thinking of light leaking from the sun to the moon? No, that cannot be correct (given the Q-model of the relationship between sun and moon), because e.m. corresponds to new moon time. There is no light shining on the moon. My earlier explanations therefore still seem reasonable:

'The mid upper 'flame' is converted into the shape of Y. This is a sign similar to the double mid-flame in the first period (1). The similarity in form implies similarity in meaning. Therefore we should understand it to mean 'darkness'.

This sun, at a quick glance, looks like an inverted 'fish-sun':

The meaning of 'fish-sun' is that sun is moving quickly (quick as a fish), i.e. he is full of life. If we invert this type of glyph and change the tail of the fish we reach a sun with Y at the top. This, then should mean a sun having no more life, no longer growing.

"... ín the second half of life, when, as Dr. Jung has so frequently stated, 'man's values and even his body tend to undergo a reversal into opposite'. Old men become womanish, old women mannish, the fear of life becomes a fear of death. And so now it is the dry branches, not the green, of the universal tree around which the heavens spin that must be grasped and painfully climbed." (Campbell)'

To which we should add the Poike explanation of noon (Y meaning po). The open tail of hakaturu (in Aa-26) does makes one think, though. Open tail suggests a flow out of light and that is what is happening after noon.

Similarly we may now consider the 'open' signs in Pa5-55 and Ha6-9:

    

as signs of 'evaporating' light, giving flavour to hau tea at the top of the glyphs.

We can never close a case of interpreting a glyph.

There are (presumably) four moon sickle 'fins' in the glyph beginning the calendar of H, whereas the parallel 'shark' glyph in P has more decidedly fins. The 'moon sickles' are not the same signs as the 'shark fins':

    

In P we saw that there was a pattern of downward swimming fishes before midnight, and that after midnight revitalized fishes returned upwards towards dawn. That may explain why the creator of P used 'shark fins'. I have rewritten the text inside the 'map' below, otherwise made no changes:

To this clear period-pattern in P, with 20 (10 + 10) periods, not number of glyphs, we will now add the number of glyphs:

'Inside' (dark, night) and 'outside' (light, day) is a rather natural pattern for those who follow the rythm of nature.

The 4 glyphs at left above, which presumably represent the middle of the night (but in the Q moon frame of reference are located 'midships' the waxing moon, at the end of the 1st week of the lunar month), have their appendages 'inside' because I have not turned them upside down.

The downwards swimming fishes (top above) indicated that maybe we should turn these 4 glyphs upside down (following the daily path of the sun that was the logical conclusion). However, the pattern above indicates that we should keep the glyphs uninverted. We have thereby reached a kind of confirmation of my earlier reflections on this subject:

'In the middle of the night

the 'fishes' swim 180^o away from 'noon'. To see them as in ordinary daylight we have to turn them around (as above). Although sideway assymmetries still tell us that something is 'wrong'.

The direction 'right' is right. The direction 'left' is wrong.

"left .. side opposite to the right ... Kentish left 'inanis'; the primary sense of 'weak' worthless' ... " (English Etymology)

"wrong ... crooked, twisted ... deviating from equity or the right ... incorrect, erroneous ... awry, unjust ... sour, tart ... bitter, hostile ... acid ... " (English Etymology)

That which is 'wrong' is that we have turned the glyphs upside down. Presumably these glyphs are to be viewed with the 'fishes' swimming straight down and with the appendages at right:

'Fishes' swimming upwards on the other side of the world should be seen as swimming downwards from our side of the world, and the force of gravitation works upwards (as seen from our view) on the other side of the world

Having stated this, we may better understand why experts do not turn the rongorongo tablets around for each other line. What instead happens is that such experts so to say travel around the world; for each other line they are viewing our world as it looks from a point of view on the other side of earth.

Experts easily - I presume - will also see where glyphs are in halfway station, where they are oriented at the 'edges' between our world and the other side of the earth, e.g. in 

Glyphs which show an image which has been turned 90^o around from the (correctly) horizontal direction are still positioned in the earth, not in our sky (upwards) nor in the sky of the world below (downwards). Given such a model of how glyphs are to be viewed, we realize that we should turn Pa5-27--31 around so that the 'fishes' swim in the opposite direction, because they will soon surface in the east.

This gives a more balanced picture, and we may suddenly realize that the  appendices in Pa5-30 and Pa5-31 show what is due to happen. The bough at right (haga) may describe the bent path of the sky and our world, which will surface and rise.

The 'male' 1 also takes on a new meaning: it becomes the dorsal fin, a kind of affirmation that we are looking at these glyphs in the right way.'

To the argumentation above (about appendages being located at the right side of the glyphs) should be added that there are instances where appendages evidently are located at left, e.g. (Ab5-15 and Ab4-58):

    

 

The earlier arrived at P overview, based on number of glyphs:

we now ought to change into: