There are 471 glyphs on the Small Santiago tablet, but 472 glyphs in the text - when counting to Hanga Te Pau it is necessary to begin with the last glyph on side b:   358 3 Gb8-30 Gb5-6 Gb5-10 Gb5-11 Gb5-12 1 360 364 365 366 The last glyph in the cycle of the sun is Gb5-12, where just a quarter of a day remains - it is Hanga Te Pau. 472 = 16 * 29.5 and the whole text presumably is used for the cycle of the moon, needing 8 double lunar months for completion. In a way it is a greater 'month', because according to Mamari there are 8 periods in an ordinary month. The kuhane of Hau Maka is a dream soul of the night, kindred to the moon, which explains why there are 28 stations along her route. With Hanga Te Pau (the bay on the south coast) represented as a glyph and a time point in the cycle of the sun, it seems probable that the kuhane stations should be not only geographical locations on the island but also points of time denoted by the glyphs in G. It should be possible to find Te Pei among the glyphs.

In Gb5-12, Hanga Te Pau, we can multiply 5 * 12 = 60 and read two solar double months. Presumably, though, we should not think in terms of multiplication, but instead think symbolically - the 'fire' (5) has reached to its end (the measure for the sun is 12 months, no more).

12 * 30 = 360, and the extra days allotted can be distributed in different possible ways. Most obvious is to regard the glyphs beyond Gb5-6 (where tagata illustrates the end of the season) as the extra days. 5 * 6 = 30, but symbolically it may be read 'the fire, 5, has reached to its end (the measure for the sun is 6 double months, no more).

On the other hand, the situation can be described as we have done in the Excursion at haga rave. A partial repetition may be of value here:

The form of Gb8-30 is similar to the form inside Gb5-10, which may indicate the 364-day year is the primary one:

Gb8-30	Gb5-10
1	364

Gb5-10 resembles an ear (tariga), but presumably is a combination between viri and the glyph type exemplified by Ab4-51 (probably connected with vai):

viri	Ab4-51 (vai without crescent signs)	vaha kai

Tariga could be tari-ga:, but the meanings of tari are puzzling - how can we collect them into a kind of understandable unity:

Tari 1. To take from one place to another; he-tari-mai, to bring. 2. upper end of the sugarcane, which was used in military training as a harmless weapon. Tariga, ear; tariga pogeha, tariga pó, sordo; tariga maîka, bunch of bananas. Vanaga. 1. To pluck, to gather, to reap, to load; kai taria te kai, abundance. 2. To lead, to carry; hakatari, to conduct, to guide, to direct, to escort, to carry, to bring, to pay; hakatari miro, pilot; hakatariga, payment. Tariga, ear, arring; tariga hakarogo, faithful, observant, submissive; tariga kikiu, din, buzzing; tariga meitaki, to have good hearing; tariga pogeha, deaf, to disobey; tariga puru, disobedient; tariga purua, stubborn; tarigariga, chain. Tarirapa, to gather. Churchill.

A better approach is to begin by looking at tariga as ta-ri-ga, and the fundamental meaning is the central ri, I guess:

Ri 1. Mgv.: ri, a string, a girdle, to tie together. Sa.: li, the sennit lashing of canoe outriggers. Mgv.: rino, to twist a thread between the forefinger and thumb. Ta.: nino, to twist, to spin. Mq.: nino, id. Ma.: rina, a twist of two or three strands. 2. Ta.: ri, to hang. Ha.: li, to hang by the neck. Hakariga, to subdue. Churchill.

This we can connect to Gb5-10, the end of 364 days means the year must be tied together (ri). Twists (rino) are necessary in such a process, and we can now understand why Ohiro (the first night of the new month) has to do with twining fibres together - a new month must also be tied together with the old one:

Hiro 1. A deity invoked when praying for rain (meaning uncertain). 2. To twine tree fibres (hauhau, mahute) into strings or ropes. Vanaga. To spin, to twist. P Mgv.: hiro, iro, to make a cord or line in the native manner by twisting on the thigh. Mq.: fió, hió, to spin, to twist, to twine. Ta.: hiro, to twist. This differs essentially from the in-and-out movement involved in hiri 2, for here the movement is that of rolling on the axis of length, the result is that of spinning. Starting with the coir fiber, the first operation is to roll (hiro) by the palm of the hand upon the thigh, which lies coveniently exposed in the crosslegged sedentary posture, two or three threads into a cord; next to plait (hiri) three or other odd number of such cords into sennit. Hirohiro, to mix, to blend, to dissolve, to infuse, to inject, to season, to streak with several colors; hirohiro ei paatai, to salt. Hirohiroa, to mingle; hirohiroa ei vai, diluted with water. Churchill.

Hiri 1. To braid, plait, tress (hair, threads). 2. To rise in coils (of smoke). 3. To hover (of birds). Vanaga.

In the parallel - or rather opposite - hiri we have this ri again, and Churchill has delivered the key difference. Hiro, to roll by the palm (significantly!) upon the thigh, is followed by the more sun-oriented (male) hiri, the in-and-out movement.

A whole bunch of meanings are caught in different ri-words, e.g. Ri-gi (the great 'worm'), ri-ma (fingers, five, fire), Ririva (at the glyph type maitaki), and we should also look at ri-ko (to shine) and ri-ku (to grow in abundance), words I connect with spring sun:

Riko Mgv.: ririko, to shine, to glitter. Ma.: riko, to dazzle, to flash. Churchill.

Riku To grow in abundance; he-riku te rokia, the grass grows thickly. Vanaga. A light green fern , whose roots were eaten in times of famine. Barthel 2. Vine (fern) T. Churchill.

And we must also here collect ri-ri, the intensified version of ri (as in the god with angry eyes, Atua Mata Riri):

Riri 1. Angry, to get angry. 2. Figuratively, to show determination in one's work, to be thorough in work; e-riri koe ana aga, ana keukeu, be thorough when working, when farming. Vanaga. Animosity, ill-will, spite, strength T, anger, to disapprove; manava riri, wrath; ririhaga, animosity; hakariri, to shock, to displease, to be rude. P Pau.: riri, anger, spite, vexation. Mgv.: riri, to be angry, to hate, to do with violence. Mq.: riri, íí, anger, force, fury, energy, ardor, faculty, strength. Ta.: riri, anger, spite, offense, to displease. Churchill.

Therefore the 'ear' means the eyes no longer function, it is dark (ta) and tariga = ta-ri-ga, where ga is needed to make clear it is the concrete object which is referred to. A wordplay with ariga (face) is obvious, the ears mark the boundary between face and its opposite the back side (tu'a).

Now it is time for Fornander:

"How far away distinct remembrance of the Siwa worship may be traced in Polynesian traditions and customs is not easy to determine precisely. The blood-thirsty wife of Siwa still survives in name and attributes in the Tongan God of War, 'Kali-ai-tu-po'. The name itself of Siwa recurs in the Polynesian word Hiwa, primarily 'dark-coloured, black or blue'; secondarily, 'sacred', as a sacrificial offering.

In different dialects the word occurs as Siwa, Hiwa, or Heiwa, and is applied as an adjective with derivative meanings, but in all the idea of sacredness underlies and characterises its application. Thus Nuku-Hiwa, one of the Marquesas, undoubtedly meant originally the 'dark or sacred island'; Fatu-Hiwa or Patu-Hiwa, another of the same group, meant the 'sacred rock or stone', Hiwaoa, still another of the same group, meant the 'very sacred or holy'.

In Hawaiian Puaa-Hiwa means the 'black or sacred hog', offered in sacrifices. Hiwa-hiwa was an epithet applied to gods and high chiefs.

The name of the Siwaite Lingam has unquestionably its root and derivation from the same source as the Tongan Linga, the Hawaiian Lina, occurring in such words as Ta-ringa, 'the ear', Papa-lina, 'the cheek', et. al."

Disregarding Fornander's suggestions about Hiva being equal to Siwa (and Java which he also means), I think we should expect the sacredness of Hiva to appear somewhere in the rongorongo texts expressed as number 9 (iva):

 

Iva Nine. P Mgv., Mq., Ta.: iva, id. Churchill.

I feel strongly that iva once was hiva (with Nuku-Hiwa meaning 'the 9th island').We should, however, listen to Fornander, he has much relevant facts.

9 is the dark number, and Siwa may indeed correspond to number 9. The 9th kuhane station (Hua Reva) is where Hotu Matua (the sun) took a glass of water, and that was that. Instead of being Ri (as in e.g. ariki) he became Re (as in e.g. takaure).

Even if only a small portion of all my suggested correspondences should be right, they serve as a mnemotechnical device. I think we should not underestimate the value of mnemotechnics in a culture which was built on preserving memories by oral transmission.

Fornander must have learnt this technique (wordplay) because otherwise he would not have been able to understood the Polynesians. But the problem is verification. Reality is not just what we can touch and feel and see, the invisible intangible structures of beauty which worked for memory was at least as much reality, indeed more.

It would be impossible to explain, for instance, how the 'Rain God' abruptly fell from the higest point down into the earth without seeing this as a necessity following from the 'fact' of two half years, the first beginning in winter and the following in summer. A new ruler must first get rid of the one who sits on the power.

The ear is connected with the mouth, both are for communication by sound. The form of Gb5-10 (counting 'fire', fingers, we have to stop at 10, then we must reach down to our toes) agrees (if turned a quarter to the right) with how a mouth was drawn:

In the west, according to the Maya, is a hand which will grasp you. The Polynesians thought it was a way back into the earth mother, the same way you arrived into this world. You will be 'eaten' both according to the Maya and the Polynesians.

So Gb5-10 may be a mouth (haha) instead of an ear, and we realize the possibility of haga being a kind of mouth (not intensified, because it would then have been hahaga):

 

Haha 1. Mouth (oral cavity, as opposed to gutu, lips). 2. To carry piggy-back. He haha te poki i toona matu'a, the child took his father on his back. Ka haha mai, get onto my back (so I may carry you). Vanaga. 1. To grope, to feel one's way; po haha, darkness, obscure. 2. Mouth, chops, door, entrance, window; haha pipi, small mouth; haha pipiro, foul breath; ohio haha, bit of bridle; tiaki haha, porter, doorkeeper. Churchill.

Hahaga Ridge, summit, wall plate. Maroa hahaga, to measure lands, to walk at a great pace. Churchill.

Carry piggyback (haha) refers to the back side. Maybe the summit (hahaga) is the location of the great 'mouth of death', I feel this is a correct description, lingam or no lingam.