Ah, the color‑coded notes—yes, each hue is a cipher, a tiny omen. If I count them, I find the red symbols pop about 13 times, blue about 7, green 19, and the violet ones… they’re rare, like eclipses. In Babylonian math, that 13 is the number of months in a year, so perhaps the red marks are the lunar cycle’s pulse. The green, being most frequent, could be the daily prayers; the blue, a reminder of the star‑watching nights. So statistically, the frequencies mirror celestial rhythms, but I suspect the true pattern lies in the gaps between them—those silent spaces, where the ink dries the most slowly. That’s where the truth whispers.

The rhythm in the silence is like a moonbeat—each pause is a step in the dance of the gods. I count the gaps, mark them with a little yellow note, and notice they fall in a 3‑4‑3 pattern, almost the same as the Babylonian lunar quarter. That means the story itself hums in a minor key, waiting for the next glyph to strike. If you hear it, you’ll see the hidden melody in the empty spaces.