.. On the thirtieth day of the month of October ('Tangaroa Uri'), Hotu asked about the stone figure (moai maea) named Oto Uta. Hotu said to Teke, 'Where is the figure Ota Uta (corrected in the manuscript for Hina Riru)? Teke thought about the question and then said to Hotu, 'It was left out in the bay.'

... The canoe of Pure O left on the fifth day of the month of November ('Ruti'). After the canoe of Pure O had sailed and had anchored out in the bay, in Hanga Moria One, Pure saw the figure, which had been lying there all this time, and said to his younger brothers (ngaio taina), 'Let's go my friends (hoa), let us break the neck of this mean one (or, ugly one, rakerake). Why should we return to that fragment of earth (te pito o te kainga, i.e., Easter Island)? Let us stay in our (home)land!

... After the neck of Oto Uta had been broken, Kuihi and Kuaha arrived. They picked up the neck of King Oto Uta, took it, and brought it with them. They arrived out in the bay, in Hanga Rau. (There) Kuihi and Kuaha left (the fragment). After the neck of Oto Uta had been brought on land, out in the bay of Hanga Rau, the wind, the rain, the waves, and the thunder subsided. Kuihi and Kuaha arrived and told the king the following: 'King Oto Uta is out in the bay of Hanga Rau'. Hotu said to his servant (tuura) Moa Kehu, 'Go down to king Oto Uta and take him up out of the bay of Hanga Rau!'

Hanga Rau is the place where new life begins:

'... When Hotu's canoe had reached Taharoa, the vaginal fluid (of Hotu's pregnant wife) appeared. They sailed toward Hanga Hoonu, where the mucus (kovare seems to refer to the amniotic sac in this case) appeared. They sailed on and came to Rangi Meamea, where the amniotic fluid ran out and the contractions began. They anchored the canoe in the front part of the bay, in Hanga Rau. The canoe of Ava Rei Pua also arrived and anchored. After Hotu's canoe had anchored, the child of Vakai and Hotu appeared. It was Tuu Maheke, son of Hotu, a boy. After the canoe of Ava Rei Pua had also arrived and anchored, the child of Ava Rei Pua was born. It was a girl named Ava Rei Pua Poki ...'

... Hercules first appears in legend as a pastoral sacred king and, perhaps because shepherds welcome the birth of twin lambs, is a twin himself.

His characteristics and history can be deduced from a mass of legends, folk-customs and megalithic monuments. He is the rain-maker of his tribe and a sort of human thunder-storm. Legends connect him with Libya and the Atlas Mountains; he may well have originated thereabouts in Palaeolithic times. The priests of Egyptian Thebes, who called him 'Shu', dated his origin as '17,000 years before the reign of King Amasis'.

He carries an oak-club, because the oak provides his beasts and his people with mast and because it attracts lightning more than any other tree. His symbols are the acorn; the rock-dove, which nests in oaks as well as in clefts of rocks; the mistletoe, or Loranthus; and the serpent. All these are sexual emblems.

The dove was sacred to the Love-goddess of Greece and Syria; the serpent was the most ancient of phallic totem-beasts; the cupped acorn stood for the glans penis in both Greek and Latin; the mistletoe was an all-heal and its names viscus (Latin) and ixias (Greek) are connected with vis and ischus (strength) - probably because of the spermal viscosity of its berries, sperm being the vehicle of life.

This Hercules is male leader of all orgiastic rites and has twelve archer companions, including his spear-armed twin, who is his tanist or deputy. He performs an annual green-wood marriage with a queen of the woods, a sort of Maid Marian. He is a mighty hunter and makes rain, when it is needed, by rattling an oak-club thunderously in a hollow oak and stirring a pool with an oak branch - alternatively, by rattling pebbles inside a sacred colocinth-gourd or, later, by rolling black meteoric stones inside a wooden chest - and so attracting thunderstorms by sympathetic magic ...

... The manner of his death can be reconstructed from a variety of legends, folk-customs and other religious survivals. At mid-summer, at the end of a half-year reign, Hercules is made drunk with mead and led into the middle of a circle of twelve stones arranged around an oak, in front of which stands an altar-stone; the oak has been lopped until it is T-shaped. He is bound to it with willow thongs in the 'five-fold bond' which joins wrists, neck, and ankles together, beaten by his comrades till he faints, then flayed, blinded, castrated, impaled with a mistletoe stake, and finally hacked into joints on the altar-stone. His blood is caught in a basin and used for sprinkling the whole tribe to make them vigorous and fruitful. The joints are roasted at twin fires of oak-loppings, kindled with sacred fire preserved from a lightning-blasted oak or made by twirling an alder- or cornel-wood fire-drill in an oak log.

The trunk is then uprooted and split into faggots which are added to the flames. The twelve merry-men rush in a wild figure-of-eight dance around the fires, singing ecstatically and tearing at the flesh with their teeth. The bloody remains are burnt in the fire, all except the genitals and the head. These are put into an alder-wood boat and floated down the river to an islet; though the head is sometimes cured with smoke and preserved for oracular use. His tanist succeeds him and reigns for the remainder of the year, when he is sacrificially killed by a new Hercules ...

... Power reveals and defines itself as the rupture of the people's own moral order, precisely as the greatest of crimes against kinship: fraticide, parricide, the union of mother and son, father and daughter, or brother and sister ...

...  power is not represented here as an intrinsic social condition. It is usurpation, in the double sense of a forceful seizure of sovereignity and a sovereign denial of the prevailing moral order. Rather than a normal succession, usurpation itself is the principle of legitimacy. Hocart shows that the coronation rituals of the king or paramount chief celebrate a victory over his predecessor. If he has not actually sacrificed the late ruler, the heir to the Hawaiian kingship, or some one of his henchmen, is suspected of having poisoned him. 

There follows the scene of ritual chaos... when the world dissolves or is in significant respects inverted, until the new king returns to reinstate the tabus, i.e., the social order. Such mythical exploits and social disruptions are common to the beginnings of dynasties and to successive investitures of divine kings. 

We can summarily interpret the significance something like this: to be able to put the society in order, the kin must first reproduce an original disorder. Having committed the monstrous acts against society, proving he is stronger than it, the ruler proceeds to bring system out of chaos. Recapitulating the initial constitution of social life, the accession of the king is thus a recreation of the universe. The king makes his advent as a god. The symbolism of the installation rituals is cosmological ...

... The rationalization of power is not at issue so much as the representation of a general scheme of social life: a total 'structure of reproduction', including the complementary and antithetical relations between king and people, god and man, male and female, foreign and native, war and peace, heavens and earth ...

... The divine first appears abstractly, as generative-spirit-in-itself. Only after seven epochs of the po, the long night of the world's self-generation, are the gods as such born - as siblings to mankind. God and man appear together, and in fraternal strife over the means of their reproduction: their own older sister.

Begun in the eighth epoch of creation, this struggle makes the transition to the succeeding ages of the ao, the 'day' or world known to man. Indeed the struggle is presented as the condition of the possibility of human life in a world in which the life-giving powers are divine. The end of the eighth chant thus celebrates a victory: 'Man spread about now, man was here now; / It was day [ao].' 

And this victory gained over the god is again analogous to the triumph achieved annually over Lono at the New Year, which effects the seasonal transition, as Hawaiians note, from the time of long nights (po) to the time of long days (ao). The older sister of god and man, La'ila'i, is the firstborn to all the eras of previous creation. By Hawaiian theory, as firstborn La'ila'i is the legitimate heir to creation; while as woman she is uniquely able to transform divine into human life. 

The issue in her brothers' struggle to possess her is accordingly cosmological in scope and political in form. Described in certain genealogies as twins, the first two brothers are named simply in the chant as 'Ki'i, a man' and 'Kane, a god'. But since Ki'i means 'image' and Kane means 'man', everything has already been said: the statuses of god and man are reversed by La'ila'i's actions. She 'sits sideways', meaning she takes a second husband, Ki'i, and her children by the man Ki'i are born before her children by the god Kane...

 ... In the succeeding generations, the victory of the human line is secured by the repeated marriages of the sons of men to the daughters of gods, to the extent that the descent of the divine Kane is totally absorbed by the heirs of Ki'i ...

Hahehahe. To congregate, to gather (of people, animals, things). Hahei, to encircle, to surround. Ku hahei á te tagata i ruga i te umu, he vari, the people have placed themselves around the oven, forming a circle. Ana ká i te umu, he hahei hai rito i raro, when you cook food (lit.: light the oven) you cover it all around with banana leaves at the bottom. Vanaga.

M. Whawhe, to come or go round. Cf. hawhe, to go or come round; awhe, to pass round or behind; takaawhe, circuitous. 2. To put round. 3. To be blown away by the wind. Te aute tè whawhea - Prov. 4. To grasp, to seize. Cf. wha, to lay hold of; to handle. 5. To save, as a defeated person on a battle-field. Text Centre.

1. To join (vi, vt); to meet someone on the road; piriga, meeting, gathering. 2. To choke: he-piri te gao. 3. Ka-piri, ka piri, exclamation: 'So many!' Ka-piri, kapiri te pipi, so many shellfish! Also used to welcome visitors: ka-piri, ka-piri! 4. Ai-ka-piri ta'a me'e ma'a, expression used to someone from whom one hopes to receive some news, like saying 'let's hear what news you bring'. 5. Kai piri, kai piri, exclamation expressing: 'such a thing had never happened to me before'. Kai piri, kai piri, ia anirá i-piri-mai-ai te me'e rakerake, such a bad thing had never happened to me before! Piripiri, a slug found on the coast, blackish, which secretes a sticky liquid. Piriu, a tattoo made on the back of the hand. Vanaga.

1. With, and. 2. A shock, blow. 3. To stick close to, to apply oneself, starch; pipiri, to stick, glue, gum; hakapiri, plaster, to solder; hakapipiri, to glue, to gum, to coat, to fasten with a seal; hakapipirihaga, glue. 4. To frequent, to join, to meet, to interview, to contribute, to unite, to be associated, neighboring; piri mai, to come, to assamble, a company, in a body, two together, in mass, indistinctly; piri ohorua, a couple; piri putuputu, to frequent; piri mai piri atu, sodomy; piri iho, to be addicted to; pipiri, to catch; hakapiri, to join together, aggregate, adjust, apply, associate, enqualize, graft, vise, join, league, patch, unite. Piria; tagata piria, traitor. Piriaro (piri 3 - aro), singlet, undershirt. Pirihaga, to ally, affinity, league. Piripou (piri 3 - pou), trousers. Piriukona, tattooing on the hands. Churchill.