A thought that struck me: Could the two 'eyes' in Ab1-2 and Aa1-28 be intended to show ears?

How should sounds (of drums) be drawn if not by indicating ears?

Sun-symbols were used in the ear-lobes and therefore the double meaning of 'ear' and 'sun' is not improbable.

Another idea: In Hb9-45 the top has the structure 3 + 1, whereas in Aa1-13 it has 4:

The 4th limb in Hb9-45 is different, not 'spooky' and presumably has a sun symbol at right on the 'knee'. Maybe the 'kava' limb is expressing how the new chief dies and then lives again. Like lightning he strikes the ground, thunder rolls and his strength is regained.

Reconsidering the structure of the week I would now suggest that the central part consists of the life story of the 'smith':

4 as the corners of the earth. In the beginning the 'smith' is high in the sky, moving about as if by canoe. He robs the fire and therefore hurries away from the sky, descending towards earth and when he makes contact with mother earth he dies but is reborn again, this time in human form with joints. Later he will die and his head will then buried to enable a new 'smith' to grow.

The idea of joints appearing as a result of a crash landing is found also in South America:

"In the days when the demiurge lived with men, the latter asked him to let them taste wild pigs, which as yet did not exist. The Grandfather (as the demiurge was called) took advantage of the fact that all the Indians were away and had left only children under ten behind in the village, to change the latter into wild piglets.

When the Indians returned, he advised them to go hunting, but at the same time sent all the piglets up into the sky by way of a big tree. The men, seeing this, followed the piglets into the sky and began killing them there.

The demiurge thereupon ordered the ants to fell the tree, which the toads defended with their bodies. This is why today toads have swollen backs as a result of the stings.

The ants succeeded in bringing down the tree. The Indians, being unable to get back to earth, put their belts end to end to make a rope. But as it was too short, they fell down one after another and broke their bones: 'This is why our fingers and toes are broken in so many places and why our bodies bend according to the breaks inflicted on our parents by their fall.'

On returning to the village, the Indians feasted on the flesh of their children, who had been changed into piglets. They begged the Grandfather to come down from the sky (whither he had followed the children) and to return to the village: 'but he would not hear of it and gave them tobacco in his stead: they call it Badze and this is why, at certain times, they make offerings of tobacco." (The Raw and the Cooked)

The appearance of joints at contact with mother earth makes sense from the point of view of observational astronomy. Not until a 'planet' is touching the horizon can its location be defined and then it will soon become clear that this 'joint' with a mountain top or other point of reference is a point/joint according to which the 'planet' moves.

A celestial object up in the sky is of course also possible to observe as moving, but the other objects up there are moving at the same time, and in different directions and with different speeds. Fixed reference points are located only at the poles and at the horizon.

'Translating' the 4 central parts of the week onto the year, we could as a first step divide the year into half-years, because that was the picture once a long time ago. Two weeks make a fortnight and two half-years make a year.

The first half-year could be measured from winter solstice to summer solstice. If so, then 'Friday' would occur just before midsummer. That would explain the hua at Aa4-63--64:

Line 4 on side a maybe indicates the 4th and last 'limb' of the half-year (there are 8 lines on side a). 64 (the ordinal number of the glyph Aa4-64) equals the maximum number (8 * 8) according to Ogotemmêli.

Maybe Venus is in visible phase at Aa4-63 and not visible (buried in the ground) at Aa4-64. The visible hua has 8 external marks on it, the non-visible hua has 2 internal marks pointing downwards.

In Aa4-63 the hua is at right (male), as if a result of rei, in Aa4-64 the hua is at left (female), as if generating (the next) ragi (half-year).

The watery (Mercury) part of the first half-year must end at spring equinox. The double-canoe of Mars appears earlier, in midwinter. Like in the ark of Noah life is onboard, waiting for the 'right' season.

The moon sickle is also a canoe and therefore - in a way - connected with Mars. If we see the 'smith' at Aa1-1 (which is reasonable), then his canoe could be Aa1-2:

And the running spring equinox figures should be the 'smith' too, possbly with stolen 'fire' held high in his hand.

The 4 glyphs would correspond to Tuesday (Aa1-1--2) and Wednesday (Aa1-3--4), while Thursday and Friday would correspond to the 4 following glyphs:

In Pa5-11--14 we can observe that the 4 glyphs are pairwise ordered, as we should expect because there are two corresponding days in the week:

Jupiter		Venus

In Pa5-14 one sun symbol is located before the knee and one after, perhaps indicating one visible phase (of Venus) and one 'buried'.

In ancient Egypt the sun was illustrated (and thought of) as several different 'persons', defined by its phase. As Lockeyer summarized it:

Hor, or Horus, or Harpocrates, and Chepera (morning sun)

Rā (noon) 

Tum or Atmu (evening sun) 

Osiris (sun when set)

Lockyer also reached the conclusion that it was the relation between a celestial object and the horizon which defined it and gave name to it:

'... Then, there is also the matter of the horizon as 'measurement staff' and its functional names for celestial objects. The fundamental truth that Lockyer here has found is that in the ancient world the identity of a celestial object (or of anything) is of no importance, what matters is instead relations ...'

In this frame of reference Horus = 'sun, planet, or constellation rising', Isis = 'anything luminous to the eastward heralding sunrise', and Osiris = 'any celestial body becoming invisible'.

We may then understand the composite figures too, e.g. Set-Horus as both borders of the day and recognize the similar representation (here though with Y at right instead of at left) in the sun door:

"Ogotemmêli ceased speaking. His hands crossed above his head, he sought to distinguish the different sounds coming from the courtyards and roofs. He had reached the point of the origin of troubles and of the primordial blunder of God.

'If they overheard me, I should be fined an ox!'

At God's approach the termite hill rose up, barring the passage and displaying its masculinity. It was as strong as the organ of the stranger, and intercourse could not take place. But God is all-powerful. He cut down the termite hill, and had intercourse with the excised earth.

But the original incident was destined to affect the course of things for ever; from this defective union there was born, instead of the intended twins, a single being, the Thos aureus or jackal, symbol of the difficulties of God. Ogotemmêli's voice sank lower and lower. It was no longer a question of women's ears listening to what he was saying; other, non-material, ear-drums might vibrate ..." (Ogotemmêli)