'The king went into his house and laid down. The first child of King A Matua, Tuu Maheke, came and went into the house. He came and kissed his father on the cheek. King Hotu A Matua asked, 'Who are you?' The royal child replied, 'It is I, the royal child, Tuu Maheke'. King Hotu A Matua said, 'Ah, I wish you luck, oh King, for your sand, very fine sand, fleas [in the sand]!' He went out, and the second child, Miru Te Mata Nui, entered into the house and kissed him on the cheek. A Matua asked, 'Who are you?' He answered, 'Miru Te Mata Nui'. A Matua replied, 'I wish you luck, oh Miru, oh Te Mata Nui, to protect your people!' He went out, and the third, Tuu Rano Kao, entered and kissed (his father). A Matua spoke: 'I wish you luck for your pebbles of Hanga Te Pau, for your (crater) Rano Kau!' That was all, and he went out. The fourth child entered. Matua kissed him on both cheeks and asked, 'Who are you?' He answered, 'It is I, the last-born (hangu potu), Te Mata O Tuu Hotu Iti.' The king was glad and said, 'You are a very strong child (poki hiohio), oh last-born, I wish you luck! Swift (?) is the great shark of Motu Toremo Hiva, of the homeland!' That was the end of King Hotu A Matua's speech to his children.'

The female moai paepae are bending over because the sky is low for the orbit of the moon at Anakena, while the tall and thin moai kavakava can stand straight, because in the middle of the month the full moon flies high above.

For the sun king Anakena is midsummer, for the moon it is the lowest part.

Tu'u ko ihu dreamt about the moai paepae, because the dream is the feamale domain (the night). He saw (it was light) the male spirits Hitirau and Nuku-the-Shark.

Nuku-the-Shark sounds like hangu potu (the last-born), Te Mata O Tuu Hotu Iti. Once again potu - this time surely moving counterclockwise. Hitirau would then correspond to the opposite position, that of Miru Te Mata Nui. Rau means leaves and hiti (as in Tahiti) could mean the border or limit. I.e. Hitirau = the end of the leaves = autumn, I suppose. A solar perspective.

The names of the female spirits were Pa'apa ahiro and Pa'apa akirangi. The names ought to refer to the north respectively the south coasts, because ahiro sounds as an allusion to Ohiro, and because the two male spirits presumably are in the east and the west.

Then there was also Ha uriuri who warned Hitirau and Nuku-the-Shark they had been seen. All four cardinal directions have already been used up in my explanations. Uriuri means (very) dark. Ha means 4, but there are more meanings:

A sacred very dark place could be the meaning, and it sounds like winter solstice. Moreover, ha uriuri could mean '4 - very dark' meaning that all the 4 quarters are 'blackened out'.

Tu'u ko ihu saw the spirits at Puna Pau, ... a small natural well near the quarry where the 'hats' (pukao) were made ... The red 'hats' for the great moai were put at the very top of the stone statues, as if at the sun top a red fire was burning. Anakena was located at winter solstice, yet meant the maximum of the sun, a paradox which now is solved - the month Anakena is where the cycle of the moon is at its lowest, the mirror reflection of the sunny midsummer beach.

A similar reflection is in the word peu (as in Ahu Te Peu):

The one who is 'stooping with age' is not the sun but the moon, near the end of her clockwise cycle she is bending over like a moai paepae.

The story about the wooden images tapers off with a seemingly later addition to make some ordinary everyday sense, viz. about how there must be a harmony (balance) between food given and other things received:

... They lit their earth-ovens and cooked for him many good things; seabirds, fish, yams and kumara. They brought this good food to Tu'u ko ihu so that he would carve images for them. The people got the moai when they offered an umu to the owner. If there was no earth-oven, he kept all those that he had made ...

But under the surface of this part of the story there may be things hidden. An umu was mentioned already in the first part:

... When Tu'u ko ihu went down to the House of Cockroaches the people were taking the stones from the earth-oven and were throwing out the ends of burning wood. This wood was toromiro. Tu'u ko ihu took two flaming pieces of wood and carried them into that house, into Hare koka. He sat there, and with his sharp pieces of obsidian he carved them into moai kavakava ....

The oven could be the burning sun at noon in midsummer. But the location points at the moon equivalent - full moon, as in Ca6-24:

Pa'apa akirangi ought to be 'born' at full moon (because Pa'apa ahira probably was 'born' at new moon), and there is a Nuahine ká umu a ragi kotekote at full moon.