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One thing leads to another and so on without limit. While searching for the myth about Maui fishing up land I happened to notice another short little story (from Kapingamarangi) worthy of attention:

"Lobster said to Flounder: 'Let us-two hide from each other, see who is best at that.' Flounder agreed to play this game.

Lobster went to a hole in the coral, hid his body; but his feelers struck out, he could not hide them. Flounder knew where he was, found him.

Said Flounder; 'Now it is my turn.' He stirred up a cloud of mud and scooted into it. Then he returned to Lobster's side, so quietly that Lobster did not know he was there.

'Here I am sir, Lobster!'

Lobster was so angry at being beaten that he stamped on the fish and smashed him flat. Cried Flounder; 'Now I've got one eye in the mud!' Therefore Lobster gouged it out for him and roughly stuck it back on top.

This is the reason why men tread on the Flounder, but can always see the Lobster's feelers outside his hole." (Legends of the South Seas)

My attention was drawn to the fact that there is a Lobster involved, which made me associate to how on Easter Island they forgot the old customs and beliefs. Furthermore:

... The dream soul came to Rangi Meamea and looked around searchingly. The dream soul spoke: 'Here at last is level land where the king can live.' She named the place 'Rangi Meamea A Hau Maka O Hiva' [22 Rangi Meamea]. The mountain she named 'Peke Tau O Hiti A Hau Maka O Hiva' [23 (Maunga) Peke Tau O Hiti].

The dream soul moved along a curve from Peke Tau O Hiti to the mountain Hau Epa, which she named 'Maunga Hau Epa A Hau Maka O Hiva' [24 Maunga Hau Epa].

... It is difficult to interpret pair 23 and 24, which represents two mountains. The terracing of Maunga Hau Epa (this is the correct form, not 'Auhepa') and obscure traditions (RM:295; Brown 1924:59, Maunga Hau Eepe) suggest that the place must have had special importance ...

... The segment peke of place name 23 suggests (by way of MAO.) some type of insect (for example, pepeke 'insect, beetle'; pekeriki' 'lice, vermin'; peketua 'centipede') ...

It would not surprise me if Mauga Peke Tau O Hiti in some way refers to the Lobster and I think about Ab8-52:

Metoro identified Ab8-52 as a lobster (te ura).

At Ab8-47 he said not only toga (south) but intensified his normal ihe (for GD45) into iheihe (thereby telling us that the left part of the glyph - according to him - is GD45).

The intensification (ihe-ihe) confirms my view about Ab8-47 as the 'Great South' (Tonga-nui). We can compare with how Metoro at midnight (Aa1-42--43) said tau-uru-uru instead of his otherwise used tau-uru.

At Ab8-43 we have the 'cut-off-navel-string' station (in other words: the place of  'crossing over', hakapekaga mai, as Metoro said at Ca5-20).

At Ab8-45 we remember the 'gushing forth' (tahiri) of a 'feathery snake' with 10 marks:

... At right (in the glyph sequence above) we find GD73 (toga) suggesting death and separation of soul from body. In the middle we have a variant of niu combined with GD19 (hau) where there possibly is a gushing forth (tahiri), maybe of blood ('e-ure tahiri-á te toto'):

... The flamy (ûra) red (úraúra) crayfish (ura) - as he appears after having been cooked properly - probably was used as a symbol for how sun returned after the 'flood' ...

... The old woman returned and saw that the earth oven had been opened and the crayfish eaten; only the shell remained. She said angrily, 'Where is my share of the crayfish?' They said, 'There is no more. We forgot you and that is why nothing has been left.' The magician shouted, 'Men who are standing, fall down. This is because nothing has been left of the large crayfish with the long tail, and to teach you never to take my belongings again.' All the statues fell down, for the heart of the magician was full of anger ...

In Ab8-52 we can see 4 + 4 = 8 'legs' in harmony with the number of the text line. The ordinal number of the glyph is 52 which equals 364 / 7. Looking again at the kuhane stations we maybe should reorganize the table a little into:

The Lobster may be located at the last ordinary station (no. 23), before the cycle is completed in no. 24. I guess no. 24 means a new beginning.

In Ab8-45 the 'gushing forth' (of a kind of liquid of course) must result in a horizontal surface, that is the nature of water and other liquids.

Barthel denies that Auhepa is the correct name, but I disagree. What is said, done or written is always right in the mythic world. If we combine epa (horizontal extension - a quite reasonable name for the plateau of solstice) with au = mist (etc) it becomes meaningful. Au-(h)epa is the place where sun has stopped in his travel southwards and where now the mist of a new birth is spreading out:

It was not the above which made me decide to write about the Lobster and the Flounder. Instead my thoughts went like this:

Given that the Lobster represents one phase of the sun's yearly journey (i.e. the end of the 2nd half counted from new year at winter solstice), then his opposite phase must be the Flounder, his antagonist in the little hide-and-seek story.

The Flounder is a fish and a fish which hides in the mud. The mud is one facet of the earth and if there is a fish which personifies earth it may be the Flounder. The Flounder is flat and so is Mother Earth.

If the Flounder represents the end of the 1st half of the year, then the whole first half will mean the beginning up to the point when land is fished up from the deeps.

Before that can happen, the sky must be lifted up and that we indeed can see in Aa1-5--8:

Next I remembered the glyphs around midsummer:

One 'eye' in Aa4-58 becomes two in Aa4-60. Possibly this development alludes to the Flounder having his eye-in-the-mud excavated and transplanted onto the upside.

Metoro said ragi and the Flounder should then be not the physical land but the land in the sky, i.e. that part of the sky which is centered around the south celestial pole. At midsummer sun is closer to that part of the sky than during the rest of the year.

Toga-nui means the Great South, but in the rongorongo texts we find GD73 (toga according to Metoro) at the darkest time of the year. Fishing up land should not occur during the darkest time of the year, therefore GD73 - which is designed to show the time when somebody has died and his soul rises to the sky - presumably should not mean south. I think of the glyph toga meaning 'north' in spite of the word toga being south. Toga = to-ga and to means how sun rises towards zenith:

Beyond zenith we probably have ta (as in Taha, Tavake etc) instead of to:

Maybe the Easter Island double forms of words as in for instance mauga / mouga is a result of the shifting of poles?

The mountain at the end of the year seems to have been regarded as located in the north among for example the Chinese. The cold winds blew from the north and the emperor always faced south.

So even if the sun at midsummer on Easter Island is as close as possible = as far south as possible, the cold wind blew from the south. South could then be referred to as Toga = the last phase of the year.

The word toga presumably existed before the Polynesians went as far south as New Zealand and Easter Island. The meaning of rising sun towards zenith, connected with south, points to a place north of the equator.