summer
Ka4-14	Ka4-15		*Kb2-15	*Kb2-16

Translated to G it seems to mean:

Although K may describe the path of the moon, we have concluded earlier, and G in contrast the path of the sun, the appearance in G of glyphs connected with the kuhane journey maybe should make us establish as a 'fact' that also G describes the path of the moon, possibly primarily.

In that case mago is not located at spring equinox but at 'spring equinox', the time when light (irrespective of moon or sun) is beginning to markedly increase. The 'staffs' pushing up the sky follow Ga3-23 and here it must be the spring sun who is doing the hard work (afterwards so exhausted that he - 'the worm', Rigi - dies).

	66		25
Ga4-3		Ga6-13		Ga7-10
68 ↑			26

Notice that Ga6-10 (the 'humpback') is close to the end of the 'raising the sky' season. Only by defining 'summer', in the summarizing table at tara in the dictionary, to be the 'raising the sky' season can we keep it all together. Earlier I had imagined 'humpback' to be half a year away from mago, and 'summer' to be this half year.

We have learnt also from the tumbling down 'the spout' of the Mayan 'Rain God' that indeed the 'great worm' dies at midsummer (quite as how Hercules did so according to The White Goddess).

The text of G certainly describes the event. Curiously, it begins so early as to cast doubt on whether the 'raising of the sky' by means of 'staffs' really is connected with the 'death' described. Vero in Ga5-17 and the period number (19) suggest the 'king' has been 'speared', and Ga5-19 ('fire' and 'sun death') confirms:

I guess many glyphs in H have been used here for the dramatic and important events. In order not to drown in all the details we will look only briefly at the end part:

Ga6-27	Ga6-28	Ga6-29	Ga7-1
Ga7-2	Ga7-3	Ga7-4	Ga7-5

The birth of a new time is then defined by Nga Kope Ririva at Ga7-8, and tama in Ga7-11 possibly depicts the 'baby', with mago at Ga7-16 maybe indicating the opening up of a new season:

The story obviously is about the sun. On side b, we have seen, the story is about the opposite coast line in the south, where it is the moon who can guide us. She gains in light when moving from west to east and will reach her high point at One Tea, I believe:

The word tea in One Tea makes us hope for a tea glyph close to the beginning of glyph line b8, but that is not the case:

Maybe the 'wings' in Gb8-1 illustrate tea, because in Ga5-8 they may mean uri:

442 - 118 = 324 = 9 * 36, and 471 - 324 = 147 (a jumbled version of 471).

If so, then Gb8-2 should in some way illustrate one, I think. The exceptional kiore - henua has a 'spooky' henua with 2 + 2 'feather' marks forward, and having read Barthel 2 we should know why:

"Ms. E does not give an account of the final activities and the death of Hotu Matua; so for this information we have to go to Englert's texts (TP:53-63). Early in October 1957, Leonardo Pakarati wrote down for me a RAP. version, which agrees on many points with the traditions orally transmitted by Arturo Teao in 1936.

It is hard to say whether my informant had read the Englert edition or whether he received his information by word of mouth. I am inclined to believe the former. We discussed several of the passages whose intepretation caused difficulties. Lengthy enumerations of local names along the routes travelled by the king have been shortened in the following translation. The vernacular contains amazingly few Tahitisms and is frequently modelled after old RAP.

After the three children of Hotu A Matua had been born, they went with his wife, Vakai, to Te Ngao O Te Honu and lived there.

The last child of Hotu A Matua, Tuu Hotu Iti, was born. Vakai laid down and died. The king wept for his wife.

Then the lamentation ceased, and all the youths (RAP. tanga; or, 'all those assembled', MAO. tanga) had the task of preparing the litter to carry the corpse. They lifted the corpse unto the litter. The men walked up and picked up the litter with the corpse. They carried it and went to Akahanga, to Ahu Ature Ho(a). They arrived and buried her. When that was over, Hotu A Matua sat down again to rest.

If taga means youth, then tagata should mean those of them who are chiefs old enough to have been tattooed.

Another month went by. He got up and went to Te Vai More Vae O Te Rahi, Maunga O Pipi, Vai Hiti Kiakia, Vai Kena Tea, Te Umu Roa Tavake, Ahu O Kena, Pui, Nga Moa Aito, Paka Atai, Manavai Te Retu, Tere Ue, Kahurea, Te Ava Ranga Uka, Ahu Kinokino, (and finally to) Akahanga. There the king and his peopled settled down. They stayed (there) ..."

We need not read further to suspect what happened at One Tea - the queen died. To cut the head off (hore te gao) means midsummer and Vakai went there to live there (at Te Ngao O Te Honu - meaning that the king was the 'turtle').

Vakai went along the south coast, I guess, passing the kuhane stations one by one. The 8th station is One Tea, and beyond comes darkness (Hanga Hoonu, number 9).

In the forward direction (as seen by the queen) lies a new season dominated by the sun, therefore 'feathers' in front (ra'e):

The 'spooky' henua must be the deceased queen, from which we can conclude that kiore - henua may be something else than a picture of mother earth holding a staff in front of her. The earth mother is the queen, and the king is the 'rat'. The king needs a place to 'reside on', and that is the queen.

Possibly in Gb8-3 (3 * 8 = 24) we can see how the dead queen (left) has produced her last sun baby (5 + 5 'feather' marks), and maybe in Gb8-4 (4 * 8 = 32) the end of procreation of Vakai is illustrated by a picture of a canoe (vaka) with a little rising fish (Tuu Hotu Iti) connected. And maybe the king in Gb8-5 is looking back in sorrow.