In summary it can be stated that honui glyphs have a tendency to appear around midsummer, but sometimes also around winter solstice. There is a hole in the center of a honui glyph, and without it we would see a tagata. Therefore we should read honui as a kind of tagata (which says that the season is 'fully grown' - has reached to its end). The added hole indicates that the spring sun cycle has closed. The hole at midsummer is the hole of exit for the spring sun. If we should find a honui glyph in midwinter, we can assume it carries the hole through which sun later returns, e.g.: Ha5-22 Hb7-38 midsummer midwinter

I have not said anything about 'water' in the hole. But a hole of exit down into earth will naturally draw water to it - water tries to find the lowest position. It is self-evident and is not necessary to say.

Furthermore, the water being returned from heaven after having been sucked up in hot spring, is just another aspect of 'fire'. Evaporation transports water upwards during the day and when it becomes cooler in the night the drops are returned to accumulate down on the ground as dew.

One could say that in spring water goes up and in autumn water comes down. Therefore midsummer marks the transition point - from there sun will return in his steps and water will gradually go down too.

The season from midsummer to sun having finished his business for the year is a rainy season, presumably indicated by the hole sign (implicitly water filled):

	98
Gb1-3		Gb3-15

In spring another 100 days ought to be the way up for the sun:

It is a 'cosmetic' map, not a number based on objective accumulated observations but based on the beauty of having 10 times 10 days for sun moving up and 10 times 10 days for him moving down.

The water-filled hole is not an atoll, because the water is fresh and lifegiving, not salty. Memories of atolls should not have influenced the hole sign. The water in Rano Kau, on the other hand is 'congruent' with the hole sign. This crater (a vessel for mixing) lies in the western part of the island, while Ranu Raraku is in the higher easter part. The moai statues come from there and it corresponds to the emerging hole (cfr honui in Hb7-38). Spring is in the east and it is a time when sun goes high (Poike means 'the place aloft').

The drastic change at midsummer, when sun goes to a standstill and then 'stands on his head', is founded on astronomical observations. These are the independent variables from which the discussions must begin.

On the other hand, the Easter Island culture was a culture - meaning agriculture. Otherwise there are no cultures, because a culture is a game of life played with mother nature. We have left that phase and treat Earth as just another object, we are above her. And before the agricultural revolution man lived in conjunction with nature on her terms - without any thought of opposing her.

The agricultural revolution spread around the globe because it presented a way of 'multiplying' (food and people). The old way had no chance in the long run to oppose the multitude of peoples.

The management problem was a new problem, how to make so many move in step and how to keep the peace, how to feed them, and how to keep them occupied.

The ideology must be based on hard facts so it could endure, and astronomy was then the only set of axioms to build securely upon. But astronomy as such is too hard and abstract for ordinary man, therefore it had to be transformed into digestible terms. Mythology was the answer.

When the head comes off at midsummer it is not because the time for harvest is due. Any later developments which accumulate like plays for adults at harvest times and which include victims who are beheaded are only weak reflections of the real stuff once enacted in obeying the stars:

But it is remarkable to find in the ancient customs all over the earth, as described in overwhelming quantity in The Golden Bough, how closely similar all these plays were. I will cite only once example:

"Once more, the European custom of representing the corn-spirit in the double form of bride and bridegroom has its parallel in a ceremony observed at the rice-harvest in Java. Before the reapers begin to cut the rice, the priest or sorcerer picks out a number of ears of rice, which are tied together, smeared with ointment, and adorned with flowers.

Thus decked out, the ears are called the padi-pĕngantèn, that is, the Rice-bride and the Rice-bridegroom; their wedding feast is celebrated, and the cutting of the rice begins immediately afterwards.

Later on, when the rice is being got in, a bridal chamber is partitioned off in the barn, and furnished with a new mat, a lamp, and all kinds of toilet articles. Sheaves of rice, to represent the wedding guests, are placed beside the Rice-bride and the Rice-bridegroom. Not till this has been done may the the whole harvest be housed in the barn. And for the first forty days after the rice has been housed, no one may enter the barn, for fear of disturbing the newly-wedded pair.

I wish to here stress the conjunction of astronomy with 'qualitative' ('cosmetic') mathematics, 40 days is reflected also in the deluge (when the 'seeds' were housed in the 'granary' of Noah).

In the islands of Bali and Lombok, when the time of harvest has come, the owner of the field himself makes a beginning by cutting 'the principal rice' with his own hands and binding it into two sheaves, each composed of one hundred and eight [= 9 * 12 = 6 * 18] stalks with their leaves attatched to them. One of the sheaves represents a man and the other a woman, and they are called 'husband and wife'.

The male sheaf is wound about with thread so that none of the leaves are visible, whereas the female sheaf has its leaves bent over and tied so as to resemble the roll of a woman's hair. Sometimes, for further distinction, a necklace of rice-straw is tied round the female sheaf.

When the rice is brought home from the field, the two sheaves representing the husband and wife are carried by a woman on her head, and are the last of all to be deposited in the barn. There they are laid to rest on a small erection or on a cushion of rice-straw. The whole arrangement, we are informed, has for its object to induce the rice to increase and multiply in the granary, so that the owner may get more out of it than he puts in.

Hence when the people of Bali bring the two sheaves, the husband and wife, into the barn, they say, 'Increase ye and multiply without ceasing'."

A hole at midsummer represents 'the wife', I would say. And her half of the year goes from there to her returning the rule in midwinter, by giving birth to a son.

In rongorongo we can read that the 'seed' of next year is in poporo:

Ha10-30	Ha10-31	Ha10-32

In Ha10-30 (before sun has faded away) only the left side of a maitaki forms the seed. In Ha10-32 we can see also the side in front. I interpret this to mean that the summer half (from about spring equinox to autumn equinox) is the 1st half, with the next representing the winter half.

The division in two by the time of the solstices is only one of the possible divisions. Sun light is delivered during 260 days of the year (the summer 'half') and darkness rules the rest:

364

4 * 26 = 104

10 * 26 = 260

14 * 26

The sacred geography of the island has in the east the point of the sun baby. He progresses along the northern coast and grows. At some point he becomes mature and then he has 260 days to rule.

When in spring the bird man has caught the first manu tara egg it is a quite different spectacle. It happens not far from Rano Kau and it is a harvest play. South of the equator such is possible: everything is upside down and backwards forward, spring can be a time of harvest.

At the same time, when the bird man holds his egg high he represents tagata with a closed fist held high - it is the summer half of the year which is high in the sky:

Ga2-1	Ga2-2		Ga2-7	Ga2-8
Ga2-3	Ga2-4		Ga2-9	Ga2-10
Ga2-5	Ga2-6		Ga2-11	Ga2-12