The goddess at left represents Lower Egypt (low headgear) and the goddess at right Upper Egypt (high headgear). Which implies that the center beetle is located moving from east (bottom) to west (top - with starry sky above).

The beetle seems to have emerged through the sun door at bottom. The 6 legs of the insect become 12 limbs at their ends.

To the cardinal points in east and west are here added the two cardinal points of north (Lower Egypt) and south (Upper Egypt). In between these 4 cardinal points we find the surface.

'... The God Amma, it appeared, took a lump of clay, squeezed it in his hand and flung it from him, as he had done with the stars. The clay spread and fell on the north, which is the top, and from there stretched out to the south, which is the bottom, of the world, although the whole movement was horizontal. The earth lies flat, but the north is at the top. It extends east and west with separate members like a foetus in the womb. It is a body, that is to say, a thing with members branching out from a central mass. This body, lying flat, face upwards, in a line from north to south, is feminine. Its sexual organ is an anthill, and its clitoris a termite hill ...'

As we have identified the picture of arms raising the sun both on Easter Island and in ancient Egypt, it appears reasonable to suspect that the rhomb figure in rongorongo represents the surface of the earth.

'... Above the door of the temple is depicted a chequer-board of white squares alternating with squares the colour of the mud wall. There should strictly be eight rows, one for each ancestor. This chequer-board is pre-eminently the symbol of the 'things of this world' and especially of the structure and basic objects of human organization. It symbolizes: the pall which covers the dead, with its eight strips of black and white squares representing the multiplication of the eight of human families; the façade of the large house with its eighty niches, home of the ancestors; the cultivated fields, patterned like the pall; the villages with streets like seams, and more generally all regions inhabited, cleared or exploited by men. The chequer-board and the covering both portray the eight ancestors ...' 

... Kena, the name for the booby, is also an eastern Polynesian name. Line 18 of the creation chant lists as the mythical parents of kena 'Vie Moko' and 'Vie Tea' (PH:520). The 'lizard woman' (vie moko) and her younger sister the 'booby woman' (vie kena) were considered the originators of tattooing (ME: 367-368).

The 'white booby woman' (vie kena tea), together with other deities, protected the eggs of sea birds (RM:260). She might even be considered to be the female counterpart of the supreme god Makemake. In modern Hangaroa, vie kena tea is a term of endearment for a beloved wife whose well-rounded body and light skin is being praised ...

Anakena (presumably ana-kena, the 'cave' out of which the 'booby' arrives ?) is located - according to the Easter Island calendar - at the beginning of the year.

... Why are there only 3 Pure emitted by Hotu Matua? Shouldn't it be an even number? As O, Ki, and Vanangananga were three of a quartet we miss Pure Henguingui. Maybe it has something to do with the 3 X-time glyphs?

There are 4 ghostly beams of light in Aa1-13, but there are only 3 'fruits' (hua, offspring) as 'passengers' in the canoe of Aa1-14 ...

... RAP. henguingui is synonymous with MGV. henguingui 'to whisper, to speak low' and goes back to west Polynesian forms (SAM. fenguingui 'to talk in a low tone'; UVE. fegui 'murmurer'). In many of the Polynesian languages, ki is the spoken word; in some few, ki refers to the process of thinking; (MGV., MAO., HAW.) and in some instances, it indicates special noises (MQS. ki 'to whistle with two fingers'; SAM. 'i 'to call like a bird'; TON. ki 'to squeal'). Generally, o is the affirmative answer to the caller, while vanangananga indicates repeated speaking. The four spirits represents, on one hand, the sound scale of empty conch shells and, on the other hand, a classification of types of prayers ... By going back to adjacent Polynesian idioms, as wordplays for topographic features of the area of the landing site. 'Pure O' permits a wordplay with MAO. pūreo (i.e., purero 'that which sticks out of the water'), 'Pure Ki' with MAO. pureki (i.e., pūrei 'an isolated rock'), while 'Pure Vanangananga' brings to mind TUA. vanavana 'protuberance'; TAH. vanavana 'rough, ragged'.

Put differently, the names of the three ghostly emissaries, which are actually forms of prayer, point to tangible objects in the environment, such as the cliffs and reefs in the water of the bay, which may have caused the damage done to the stone figure of the ancestor. The accident must have occured where the otherwise sandy beach of the landing site is bordered by rocky promontories or where sections of the reef jut out of the water.

If in our version 'Pure O' is said to have used a pureva (i.e., a large round stone) to sever the head of the stone figure, this must be a wordplay, intended to bring about the fourth pure association, which would complete the 'pure tetrade' of spirits living in Vai Hū. Separating pureva into pure va indicates noisy talk (compare especially HAW. wā) or loud laughter (TON., UVE. vā), both forms of expression that have very little in common with 'prayer' and may instead indicate the failure of the undertaking. 'Pure Va' is, in this case, the opposite of 'Pure Henguingui ...

... Metoro's words at the π glyph (Aa4-64), kua hura i te ragi, are worthy of note. One of the few Polynesian words spread internationally is hula-hula:

If the sky (ragi) is shaken (ueue) or leaping (hura), that sounds a lot like when mother Earth is shaking her breasts:

... It was an old Maori belief that a change of seasons was often facilitated by earthquakes. Ruau-moko, a god of the Underworld, was said to bring about changes of season, punctuating them with an earthquake. Or as another Maori saying summed up the matter, 'It is the Earth-mother shaking her breasts, and a sign of the change of season.' ...