We will need the nakshatra perspective in order to understand also some of the mea ke glyphs, which is the subject of next 'chapter' in the glyph dictionary:

A few preliminary remarks and imaginations: 1. The triplet of broken lines at the top end of mea ke glyphs suggests the end of a season, similar to how in the Mamari moon calendar full moon is depicted  with another kind of broken line at the bottom end: Ca7-24 At full moon the season of waxing moon ends, and the mirror image of growth - waning - will follow. Likewise, the nadir phase (so to say) can be illustrated by a 'broken branch'. Nadir has been reached by way of a season of waxing darkness and then will follow a season of decreasing (waning) darkness: growing light zenith decreasing light growing darkness nadir decreasing darkness

2. The 'branch' at the bottom end inside the full moon glyph is 'reflected' at the top end and outside in mea ke: Ca7-24 mea ke The double inversion (bottom contra top and inside contra outside) should imply that instead of a maximum of light from the moon (in Ca7-24) mea ke is expressing a minimum of light from the sun. Instead of two straight henua signs illustrating the maximum vertex at full moon, mea ke has three straight lines for the maximum vertex at 'midnight'. A maximum of darkness necessarily implies a minimum of light, and mea ke glyphs should therefore be used at winter solstice.

3. The bottom element in mea ke is formed like a henua sign: mea ke If mea kea indicates a maximum of darkness, the bottom element could be meant to illustrate how the season of light is being 'quenched' by the triplet of dark broken lines. The top end of a sign should be read as its 'head', and in mea ke the 'head' is inserted into the dark lines. At winter solstice the 'head' of the old year goes away in order to make place for the new year sun. The similarity with the spring sun being swallowed at midsummer should be noticed: Aa6-67

A fish belongs in the water (i.e. the domain of the moon), and the rising spring sun fish has so far been accepted because sun indeed is rising up as if through the water at the horizon in the east. To keep that image all the way to midsummer is possible, though another explanation is now offering itself by way of the nakshatra system.

The rising fish in Aa6-67 could be the moon. With henua equal to the land illuminated by the sun and used at bottom in mea ke, the moon illuminated by the sun could be used at bottom in Aa6-67 as a contrast for midsummser. Midsummer is like a reflection of midwinter:

... The beginning ... was determined by the Nakshatra method, observing the winter full moon's apparition near the point of the summer solstice in the sky ...

... The correspondence between the winter solstice and the kali'i rite of the Makahiki is arrived at as follows: ideally, the second ceremony of 'breaking the coconut', when the priests assemble at the temple to spot the rising of the Pleiades, coincides with the full moon (Hua tapu) of the twelfth lunar month (Welehu) ...

Henua glyphs belong to the 1st half of the year (by inference from kiore + henua glyphs), and mea ke could therefore be interpreted as showing the birth of the 1st half of the year. If so, then the birth of the 2nd half of the year (which belongs to the moon) presumably is illustrated in Aa6-67.

The birth of the 1st half of the year is observed at winter solstice by looking at its reflection in the full moon sky where the 1st half of the year is dying and it is therefore Te Nuahine who alights the new fire of winter solstice. Life and death are connected, indeed.