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... Long ago in the very beginning of time there dwelt within a shell an infant god whose name was Ta'aroa. He was Ta'aroa the unique one, the ancestor of all gods, the creator of the universe whose natures were myriad, whose backbone was the ridgepole of the world, whose ribs were its supporters. The shell was called Rumia, Upset. 

Becoming aware at last of his own existence and oppressed by a yearning loneliness Ta'aroa broke open his shell and, looking out, beheld the black limitless expanse of empty space. Hopefully, he shouted, but no voice answered him. He was alone in the vast cosmos. Within the broken Rumia he grew a new shell to shut out the primeval void.

Eons passed and Ta'aroa grew to be a lad conscious of his own vigor and potentialities. Impatience grew upon him until he could bear his isolation no longer. He broke forth from his shell with energy, resolved to create beings like himself who would banish his loneliness forever. Ta'aroa's first act was to construct a firm foundation for the earth, using the strong second shell for stratum rock. The shell Rumia became his dwelling place, the overarching dome of the sky. It was a confined sky enclosing the world just forming, and in its deep and abiding night the lad attained manhood. There were no Sun, Moon, or stars and only one other living creature, the Great Octopus.

The sun was held down close above the slowly evolving earth by the Great Octopus, Tumu-rai-fenua, Foundation of Heaven and Earth, who lived in the primeval waters on which the earth floated. One of his arms was to the north, one to the south, one to the east and another to the west. With these vast arms he held the sky, the shell Rumia, close down against the earth.

Meanwhile on the earth itself various generations of rocks were born, one after the other; then sand appeared. Roots were born and as they spread they held the sand together and the land became firm.

Ta'aroa sat in his heaven above the earth and conjured forth gods with his words. When he shook off his red and yellow feathers they drifted down and became trees ... (Makemson, The Morning Star Rises.)

The idea of lost feathers could be related to te kihikihi:

April 9 (464) 10 (100) 11
Ca1-19 Ca1-20 Ca1-21
te maitaki - te kihikihi hakaraoa - te henua tagata huki
Spica, Alcor (202.7)    
Kihi

Kihikihi, lichen; also: grey, greenish grey, ashen. Vanaga.

Kihikihi, lichen T, stone T. Churchill.

The Hawaiian day was divided in three general parts, like that of the early Greeks and Latins, - morning, noon, and afternoon - Kakahi-aka, breaking the shadows, scil. of night; Awakea, for Ao-akea, the plain full day; and Auina-la, the decline of the day. The lapse of the night, however, was noted by five stations, if I may say so, and four intervals of time, viz.: (1.) Kihi, at 6 P.M., or about sunset; (2.) Pili, between sunset and midnight; (3) Kau, indicating midnight; (4.) Pilipuka, between midnight and surise, or about 3 A.M.; (5.) Kihipuka, corresponding to sunrise, or about 6 A.M. ... (Fornander)

Sunset was kihi on Hawaii, and my rule of thumb for doublewords leads us to kihikihi as being its opposite, viz. dawn.

Metoro sometimes said kihikihi where we had expected maro, e.g.:

Cb5-1 Cb5-2 (488) Cb5-3
July 20 21 22 (204)
Heka 12 13 (66) Alhena 1
Te ragi tagata - ragi kua hakagana - ki te maro
Cb5-4 Cb5-5 Cb5-6 Cb5-7 (493)
July 23 24 25 26 (208)
Alhena 2 3 4 5
tagata mau matagi ihe toga maa ura hia tagata maú kihikihi erua
Maro

Maro: A sort of small banner or pennant of bird feathers tied to a stick. Maroa: 1. To stand up, to stand. 2. Fathom (measure). See kumi. Vanaga.

Maro: 1. June. 2. Dish-cloth T P Mgv.: maro, a small girdle or breech clout. Ta.: maro, girdle. Maroa: 1. A fathom; maroa hahaga, to measure. Mq.: maó, a fathom. 2. Upright, stand up, get up, stop, halt. Mq.: maó, to get up, to stand up. Churchill.

Pau.: Maro, hard, rough, stubborn. Mgv.: maro, hard, obdurate, tough. Ta.: mârô, obstinate, headstrong. Sa.: mālō, strong. Ma.: maro, hard, stubborn. Churchill.

Ta.: Maro, dry, desiccated. Mq.: mao, thirst, desiccated. Fu.: malo, dry. Ha.: malo, maloo, id. Churchill.

Mgv.: Maroro, the flying fish. (Ta.: marara, id.) Mq.: maoo, id. Sa.: malolo, id. Ma.: maroro, id. Churchill.

"MALO ¹, s. Haw., a strip of kapa or cloth tied around the loins of men to hide the sexual organs. Polynesian, ubique, malo, maro, id., ceinture, girdle-cloth, breech-cloth.

Sanskr., mal, mall, to hold; malla, a cup; maltaka, a leaf to wrap up something, a cup; malâ-mallaka, a piece of cloth worn over the privities.

Greek, μηρνομαι; Dor., μαρνομαι, to draw up, furl, wind round. No etymon in Liddell and Scott.

MALO ², v. Haw., to dry up, as water in pools or rivers, be dry, as land, in opposition to water, to wither, as vegetables drying up; maloo, id., dry barren.

Ta., maro, dry, not wet; marohi, dry, withered. A later application of this word in a derivative sense is probably the Sam. malo, to be hard, be strong; malosi, strong; the Marqu. mao, firm, solid; N. Zeal., maroke, dry; Rarot., Mang., maro, dry and hard, as land.

Sanskr., mŗi, to die; maru, a desert, a mountain; marut, the deities of wind; marka, a body; markara, a barren woman; mart-ya, a mortar, the earth; mîra, ocean.

For the argument by which A. Pictet connects maru and mira with mŗi, see 'Orig. Ind.Eur', i. 110-111. It is doubtless correct. But in that case 'to die' could hardly have been the primary sense or conception of mŗi. To the early Aryans the desert, the maru, which approached their abodes on the west, must have presented itself primarily under the aspect of 'dry, arid, sterile, barren', a sense still retained in the Polynesian maro. Hence the sense of 'to wither, to die', is a secondary one. Again, those ancient Aryans called the deity of the wind the Marut; and if that word, as it probably does, refers itself to the root or stem mŗi, the primary sense of that word was certainly not 'to die', for the winds are not necessarily 'killing', but they are 'drying', and that is probably the original sense of their name.

Lat., morior, mors, &c.

Sax., mor, Eng., moor, equivalent to the Sanskr. maru." (Fornander)

Fornander perceives dry land as the origin of the concept which the Polensian expressed as maro (malo). The clearly drawn toes in front in Cb5-3 means there is dry land ahead, therefore maro should be a better word than kihikihi. There are no toes at tagata maú kihikihi erua ('a man holding a pair of kihikihi').

Dryness could be illustrated in front in April 10 and Ca1-20 could be a picture of 'the year in straw' (winter), because there are 7 lifeless twigs and on Easter Island winter was ahead:

April 9 (464) 10 (100) 11
Ca1-19 Ca1-20 Ca1-21
te maitaki - te kihikihi hakaraoa - te henua tagata huki
Spica, Alcor (202.7)    

Ca1-19 could therefore illustrate the opposite, viz. the moist - which I guess kihikihi means - and fertile offspring (hua) part of the year. The uplifted sign is hua poporo, which possibly  is illustrating breadfruit:

Ca1-19 hua poporo

Barthel informs us that the Maori singers in New Zealand, where the breadfruit did not grow, 'translated' kuru (= breadfruit) in their old songs - from the times when their forefathers lived in a warmer climate - into poporo.

He points out that in the Marquesas they counted the fruits from the breadfruit trees in fours, perhaps thereby explaining the four 'berries' in this type of glyph. The breadfruit did not grow on Easter Island but the berries of Solanum nigrum were eaten in times of famine.

Barthel compares with the word koporo on Mangareva. The poor crop of breadfruits at the end of the harvest season was called mei-koporo, where mei stood for breadfruit. On other islands breadfruit was called kuru, except in the Marquesas which also used the word mei. Koporo was a species of nightshade.

"Solanum nigrum (Black Nightshade, Duscle, Garden Nightshade, Hound's Berry, Petty Morel, Small-fruited black nightshade, Sunberry, or Wonderberry) is a species in the Solanum genus, native to Eurasia and also introduced in the Americas. In Hawaii it is called popolo.

The green berries and mature leaves contain glycoalkaloids and are poisonous to eat raw. Their toxicity varies and there are some strains which have edible berries when fully ripe. The plant has a long history of medicinal usage, dating back to ancient Greece. In India, the berries are casually grown and eaten; but not cultivated for commercial use. In Tamil, the berries are called sundakai

Black nightshade is a fairly common plant, found in many wooded areas, as well as disturbed habitats. It has a height of 30-120 cm (12-48"), leaves 4-7.5 cm (1 1/2-3") long; ovate to heart-shaped, with wavy or large-toothed edges. The flowers have petals greenish to whitish, recurved when aged and surround prominent bright yellow anthers. The fruits are oval black berries in small hanging clusters." (Wikipedia)

"Breadfruit (Artocarpus altilis) is a tree and fruit native to the Malay Peninsula and western Pacific islands. It has also been widely planted in tropical regions elsewhere. It was collected and distributed by Lieutenant William Bligh as one of the botanical samples collected by HMS Bounty in the late 18th century, on a quest for cheap, high-energy food sources for British slaves in the West Indies ...

According to an etiological Hawaiian myth, the breadfruit originated from the sacrifice of the war god . After deciding to live secretly among mortals as a farmer, Ku married and had children. He and his family lived happily until a famine seized their island. When he could no longer bear to watch his children suffer, Ku told his wife that he could deliver them from starvation, but to do so he would have to leave them. Reluctantly, she agreed, and at her word, Ku descended into the ground right where he had stood until only the top of his head was visible. His family waited around the spot he had last been day and night, watering it with their tears until suddenly a small green shoot appeared where Ku had stood. Quickly, the shoot grew into a tall and leafy tree that was laden with heavy breadfruits that Ku's family and neighbors gratefully ate, joyfully saved from starvation ..." (Wikipedia)

"... In Tahiti the bread-fruit can be gathered for seven months, for the other five there is none: for about two months before and after the southern solstice it is very scarce, but from March to August exceedingly plentiful. This season is called pa-uru (uru = 'bread-fruit'). The recurring scarcity of bread-fruit shewed the changes in the course of the year, but the Pleiades afforded a surer limit.

In Samoa one authority gives the wet season, ending in April, and the dry season, which comes to an end with the palolo fishing in October; another vaipalolo the palolo or wet season from October to March, and toe lau, when the regular trade-winds blow, embracing the other months; a third the season of fine weather - in which however much rain falls in some localities - and the stormy season, when it rains heavily ..." (Martin P. Nilsson, Primitive Time-Reckoning.)

"The palolo worm or Samoan palolo worm (Palola viridis) is a species of invertebrate in the Eunicidae family ..." (Wikipedia)