The olive stake of Odysseus made me look up in The White Goddess what qualitites the olive tree has:

"If the Athenians worshipped the North Wind in very primitive times and had brought the cult with them from Libya, then the original Hyperboreans, the 'back-of-the-North-wind people', a priesthood concerned with a Northern other-world, were Libyans.

This would explain Pindar's mistaken notion that Hercules fetched the wild olive from the distant north: he really fetched it from the south, perhaps from as far south as Egyptian Thebes where it still grew with oaks and persea-trees in the time of Pliny - just as the 'Gorgon' whom Perseus killed during his visit to the ass-sacrificing Hyperboreans was the southern Goddess Neith of Libya.

This was not Hercules the oak-hero, but the other Hercules, the phallic thumb, leader of the five Dactyls, who according to the tradition that Pausanias found at Elis brought such an abundance of wild-olive from Hyperboraea that, after he had crowned the victor of the foot-race run by his brothers, they all slept on heaps of its fresh leaves.

Pausanias, though he names the competitors, does not say who won; but it was obviously Paeonius the forefinger, which always comes in first when you run your fingers on the table and make them race, for the paean or paeon was the song of victory.

Moreover, Pausanias says that Zeus wrestled with Cronos on this occasion, and beat him; Zeus is the god of the forefinger, and Cronos the god of the middle, or fool's finger. The Dactyl who came in second in the race was evidently Epimedes, 'he who thinks too late', the fool; for Pausanias gives the names in this order: Hercules, Paeonius, Epimedes, Jasius and Idas.

The wild olive, then, was the crown of Paeonius the forefinger: which means that the vowel of the forefinger, namely O, which is expressed by the gorse Onn in the Beth-Luis-Nion, was expressed by the wild olive in the Greek tree alphabet.

This explains the use of olive at the Spring festival in the ancient world, which continues in Spain at the 'Ramos' (boughs) festival; and Hercules's olive-wood club - the Sun first arms himself at the Spring equinox; and the olive-leaf in the bill of Noah's dove which symbolizes the drying up of the winter floods by the Spring Sun.

It also explains Paeonius as a title of Apollo Helios the god of the young Sun, which however he seems to have derived from the Goddess Athene Paeonia who first brought the olive to Athens; and the name of the peony, paeonia, a Mediterranean wild flower which blooms only at Spring solstice [sic!] and quickly sheds its petals."

The three fingers of rongorongo hands surely refer to the 'season' of daylight, which was described as three-fold by the Hawaiians. This map was then applied to the 1st half of the year and to the rongorongo hands.

On Easter Island banana leaves were used for racing downhill - not olive leaves.

Another hint (in the encounter with Polyphemos) is 'two and twenty good four-wheeled wains', which is a strange numerical measure: 22 * 4 = 88. The K text (referring to the 1st half of the year) contains multiples of 22, so evident as to make me include it in the excursion from marama:

Probably each glyph means 1 day ('night'), and the 192 glyphs in the text can then be understood as somewhat more than half a year. The key measure is 22 glyphs, which can be explained as a way to express π (ca 22 / 7). As a kind of confirmation the first 60 glyphs, which form a fundamental unit, end with Ka3-14 (where 3-14 alludes to 3.14): 42 65 22 Ka3-14 (60) Ka3-15 Kb1-7 Kb4-17 (170) 2 * 22 = 44 3 * 22 = 66 60 + 6 * 22 = 192 The first 60 glyphs can be subdivided so that 1 * 22 appears in a highly meaningful position: 22 20 12 Ka1-1 Ka1-24 Ka2-1 Ka2-22 Ka3-1 Ka3-14 (60) 24 22 14 24 = 192 / 8 36 The intention was probably to introduce the fundamental numerical base of the text. The presumtive reader should first count the number of glyphs in the text, and then - of course - he would try to divide by 8. The number of glyphs in line a1 are 24 in order to confirm the result of his action. The reader would then go on and count the number of glyphs in line a2. The result would surely stay in his mind when he then continued. And he would discover that also glyph line b1 has 22 glyphs. And he would discover that beyond Ka3-14 there are 6 * 22 glyphs. 22 in line a2 certainly is meant to be seen together with those 14 which end with Ka3-14, thereby creating a suggestion that 22 and 14 together in some way will measure up to 36 (meaning 360). Addition it is not, because the glyphs in line a2 are not of the same kind as those in the interval Ka3-1--14. Possibly, instead, the sun cycle (22) is to be measured by the fortnights of the moon. 192 - 60 - 20 (b5) = 112 = 8 * 14. 112 = 8 * 14 for the 'day' is counted by a 'night' measure (14), while 80 = 60 + 20 = 8 * 10 for the 'night' is measured by a 'day' measure (10). 192 = 8 * (14 + 10).

And 1334 (the number of glyphs in A) can be expressed as 36 + 44 * 29.5 - which we have noticed earlier. Which means that half the text 1334 / 2 = 667 (one more than the number of the beast) is equal to 18 + 22 * 29.5, i.e. 22 seems to be associated with midsummer.

Aa6-64	Aa6-65	Aa6-66	Aa6-67	Aa6-68	Aa6-69	Aa6-70

The ordinal number of Aa6-67 = 483 counted from Aa1-1. 483 = 21 * 23 or 22 * 22 - 1. Maitaki in Aa6-68 possibly indicates that Nga Kope Ririva is in the past.

The 22nd kuhane station is Rangi Meamea. It therefore seems that Ka2-22 could refer to Rangi Meamea:

	22			20			12
Ka1-1		Ka1-24	Ka2-1		Ka2-22	Ka3-1		Ka3-14 (60)
24			22			14
24 = 192 / 8			36

3 feathers at left and 4 at right probably indicates midsummer. The glyph type is toa (meaning 'death'), but here the sign is inverted - i.e. it signifies 'life'. The shape of an inverted toa resembles a mauga glyph.

The 1st 'half' of the year presumably is longer than the 2nd 'half', because 22 > 14.

192 - 2 * 88 = 16, which means that 192 / 2 = 96 = 88 + 8.

The special characteristic of 22 as signifying 22 / 7 = 3.14 makes it suitable as an allusion to midsummer.