Kio'e, kiore Rat. Vanaga. Rat, mouse; kiore hiva, rabbit. Churchill.

At this point we should remember:

"The use of the term wu [for sun-spots], which means 'crow' as well as 'black', raises the question whether some reference long before -28 might be based on sun-spot observations.

As Chhen-Wên-Thao has pointed out, the existence of a crow in the sun (the colleague of the rabbit in the moon) was part of traditional Chinese mythology in Chou and early Han times. This we find in the Lun Hêng, where Wang Chhung says, 'The scholars hold that there is a three-legged crow in the sun ..." (Needham 3)

Possibly the black crow (wu) means that 'even the sun has spots', i.e. he has his dark moments (when everything is turned upside down and he becomes 'black' - allowing the ghosts to take over). The 'three-legged crow' appears once a year at winter solstice (I think).

But at summer solstice, when the real sun is being killed by his weird (tanist), is there no 'black' sign there? Maybe there is an opposite sign at that time, the appearance of something white?

We have a hint: the black crow has a 'colleague' in the form of the rabbit in the moon. Maybe that is the 'cat' in the picture we saw earlier:

I think we should stop this discussion here and instead return to Barthel and his interpretations of the glyphs. In one of the (Q) parallels to the 'emasculation' glyphs in R:

we can see a variant of GD46 (tino):

Tino 1. Belly (as reported by a Spaniard in 1770). 2. Genitalia (modern usage). 3. Trunk (of a tree), keel (of a boat); tino maîka, banana trunk; tino vaka, keel. Vanaga. Body, matter; mea tino, material; tino kore, incorporeal. P Pau.: tino, a matter, a subject. Mgv.: tino, the body, trunk. Mq.: tino, nino, the body. Ta.: tino, id. Churchill.

Barthel (his no. 69) oddly regards this glyph type as without explanations ('Zeichen ohne Erklärungen'), though Metoro had explained mea ke (meaning something 'opposite' etc), tino (body, trunk) and (at Cb8-20) te ahine poo puo - maybe the Sycomore Lady.

Nevertheless, Barthel gives the following explanation:

"Die Form des Zeichens 69 dürfte auf der besonderen Kopfbedeckung eines 'timo' beruhen."

Timo Title of those entrusted with ritual duties. The timo îka were entrusted with putting death spells on murderers to avenge the victims. The timo to'a blessed and cast victory spells on warriors. The timo rara koreha were entrusted with drying corpses. Vanaga. Mourning, grief, sorrow; (clappers made of flat bones etimoika; when an islander is working up his vengeance for the loss of a murdered kinsman he puts on a feather headdress, goes about behind the houses, and makes great yelling and rattles the bones. G). Churchill.

Barthel refers to the feather headdress worn by the islander who with e-timo-ika clappers 'rattles the bones'. But I can see no feathers in GD46.

Though etimoika is ringing a bell. I remember eketea, a similar start of that word (-e):

'Van Tilburg has written about a kind of forked stick 'persons' in Mangareva:

"For the best-documented esoteric meaning of the Y-shape we must look to Mangareva, where 'forked stick' wands and 'stick man' effigies called eketea were used in mortuary, fertility and initiation rituals conducted by priests (taura) at which rogorogo and wood craftsmen participated. These interesting objects were highly abstract depictions of the human form which had legs and feet indicated and carved decorative bands around the midpoint. One example has oval 'eyes' carved on each of the two parallel parts forming the upright forks. In Mangaia, the forms of the 'forked sticks' erected on marae during the initiation of the Temporal Lord are not known. It is very clear however, that erecting these 'forked sticks' represented the visible commitment of the individual district chiefs to act as toko (prop or support) to the Temporal Lord as he undertook his duties."

The Y-shapes in tôa could have a similar meaning: To support a 'roof' (lord above) the shape of Y is a natural choice for the sticks - the 'beam' above will be secured.'

Eke To climb, to mount, to mount (a female for copulating), to surface (of fish), and by extension, to bite; he eke te kahi the tuna bites. Vanaga. Trestle, stilt; to mount a horse, to go aboard. Hakaeke, to cause to mount, to carry on a boat. P Pau.: fakaeke, to transport, to carry, to hang up. Mgv.: eke, to embark, to mount upon an elevation. Mq.: eke, to rise, to go aboard; hakaeke, to heap up, to put upon, to raise. Ta.: ee, to mount, to go aboard; faaee, to hang up, to transport by water. Churchill.

The word eketea clearly could be split up into eke - te(k)a. Then we have: 'climb aboard' / 'transport (by boat) in the water' / 'mount the fish to the surface' - to bring up the light (beams).

Instead, in GD46 I see the roof of a hare paega and the 'backbone' holding it all up. Three layers of thatch (meaning - probably - the three wives of the sun) should however be shown with the 3 waves of 'hair' as in ua (GD36):

The layers should not be straight (male).

The White Goddess:

"Hercules first appears in legend as a pastoral sacred king and, perhaps because shepherds welcome the birth of twin lambs, is a twin himself.

His characteristics and history can be deduced from a mass of legends, folk-customs and megalithic monuments. He is the rain-maker of his tribe and a sort of human thunder-storm. Legends connect him with Libya and the Atlas Mountains; he may well have originated thereabouts in Palaeolithic times. The priests of Egyptian Thebes, who called him 'Shu', dated his origin as '17,000 years before the reign of King Amasis'.

He carries an oak-club, because the oak provides his beasts and his people with mast and because it attracts lightning more than any other tree. His symbols are the acorn; the rock-dove, which nests in oaks as well as in clefts of rocks; the mistletoe, or Loranthus; and the serpent. All these are sexual emblems.

The dove was sacred to the Love-goddess of Greece and Syria; the serpent was the most ancient of phallic totem-beasts; the cupped acorn stood for the glans penis in both Greek and Latin; the mistletoe was an all-heal and its names viscus (Latin) and ixias (Greek) are connected with vis and ischus (strength) - probably because of the spermal viscosity of its berries, sperm being the vehicle of life.

This Hercules is male leader of all orgiastic rites and has twelve archer companions, including his spear-armed twin, who is his tanist or deputy. He performs an annual green-wood marriage with a queen of the woods, a sort of Maid Marian. He is a mighty hunter and makes rain, when it is needed, by rattling an oak-club thunderously in a hollow oak and stirring a pool with an oak branch - alternatively, by rattling pebbles inside a sacred colocinth-gourd or, later, by rolling black meteoric stones inside a wooden chest - and so attracting thunderstorms by sympathetic magic."

Mayby Barthel by intuition felt that 'great yelling' and rattling the (flat) bones to raise fury had to do with glyph type GD46. He had - in spite of (seemingly) having failed to understand the clues of Metoro - deduced that GD46 was connected with death:

"In verschiedenen Texten, die das Todesmotive enthalten, tritt das Zeichen 69 einzeln, in Ligaturen oder personifiziert auf."

So far I agree with Barthel. GD46 has to do with a time of 'darkness'. But why? We must read further in The White Goddess, and I continue the citation above:

"The manner of his death can be reconstructed from a variety of legends, folk-customs and other religious survivals. At mid-summer, at the end of a half-year reign, Hercules is made drunk with mead and led into the middle of a circle of twelve stones arranged around an oak, in front of which stands an altar-stone; the oak has been lopped until it is T-shaped.

He is bound to it with willow thongs in the 'five-fold bond' which joins wrists, neck, and ankles together, beaten by his comrades till he faints, then flayed, blinded, castrated, impaled with a mistletoe stake, and finally hacked into joints on the altar-stone. His blood is caught in a basin and used for sprinkling the whole tribe to make them vigorous and fruitful. The joints are roasted at twin fires of oak-loppings, kindled with sacred fire preserved from a lightning-blasted oak or made by twirling an alder- or cornel-wood fire-drill in an oak log.

The trunk is then uprooted and split into faggots which are added to the flames. The twelve merry-men rush in a wild figure-of-eight dance around the fires, singing ecstatically and tearing at the flesh with their teeth.

The bloody remains are burnt in the fire, all except the genitals and the head. These are put into an alder-wood boat and floated down the river to an islet; though the head is sometimes cured with smoke and preserved for oracular use. His tanist succeeds him and reigns for the remainder of the year, when he is sacrificially killed by a new Hercules."

Maybe GD46 has straight 'roof layers' because it is a sign of the sacred sun king, 6 months united pairwise at the apex (the point of breaking, koti). The 'backbone' may be the 'oak' where he is sacrificed. To be sacred means to be sacrificed.

As a prelinary test of these new thoughts we should look once more at the Q parallels we saw earlier. In R we had what I guess is winter solstice 'emasculation', where the old 'ghost' of the first half of the old year is temporarily revived to take revenge on his 'tanist':

 

Number 5 is spelled out both in the maro hanging from the thumb in the left glyph and on the 'head' appendix in the second glyph. On top of the head of the great bird in center I think I can discover 6 'feathers', whereas his knife-shaped beak may have 3, together amounting to 9 (spelling 'death' I guess).

In the Q parallels we immediately notice that the 'mouth wave' in the second glyph position is in 'high' position, not in 'low' position as in R:

 

I interpret the 'high' position to mean midsummer time, and the 'wave' there to mean solstice. I already earlier have identified GD33 (viri)

with 'solstice' and the 'wave' looks like a variant of viri.

Counting the maro in the first glyph we find 3, 2+2 respectively 3. The middle line may therefore announce that 2 quarters (of the year) have passed and that 2 quarters remain ahead, while the first and last lines may tell about the double-months in the first half of the year and those in the last half of the year.

"Can you do Addition?" the White Queen asked. "What's one and one and one and one and one and one and one and one and one and one?"

"I don't know", said Alice, "I lost count."

"She ca'n't do Addition", the Red Queen interrupted. "Can you do Subtraction? Take nine from eight."

"Nine from eight I ca'n't, you know", Alice replied very readily: "but  - "

"She ca'n't do Subtraction", said the White Queen. "Can you do Division? Divide a loaf by a knife - what's the answer to that?" (Carroll)

Counting in the third glyph we find 3+3, 4+4 respectively 3+4. The first line has 6 marks, presumably to tell us that during the first half of the year the real sun is ruling, whereas in the last line 7 marks (presumably) may tell about the number of the 'tanist'.

Does that mean that 'the Lord of the Seven Caves' is the 'tanist'? That Quetzalcoatl is the son of Tezcatlipoca?

"... Tezcatlipoca, therefore, said to his attendants, 'We shall give him a drink to dull his reason and show him his own face in a mirror; then, surely, he will be lost'. And he said to the servants of the good king, 'Go tell your master that I have come to show him his own flesh!' But when the message was brought to Quetzalcoatl, the aging monarch said, 'What does he call my own flesh? Go and ask!' And when the other was admitted to his presence: 'What is this, my flesh, that you would show me?' Tezcatlipoca answered, 'My Lord and Priest, look now at your flesh; know yourself; see yourself as you are seen by others!' And he presented the mirror. 

Whereupon, seeing his own face in that mirror, Quetzalcoatl immediately cried out, 'How is it possible that my subjects should look upon me without fright? Well might they flee from before me. For how can a man remain among them when he is filled as I am with foul sores, his old face wrinkled and of an aspect so loathsome? I shall be seen no more, I shall no longer terrify my people'." (Campbell)

Of the three Q-parallels the second and third lines are not far away from each other (Qb3-26--101 respectively Qb4-35--39), just ca 50 glyphs from each other, whereas the distance between the first line (Qa8-31--37) and the second line is somewhat greater, ca 180 glyphs.

All along the sequence of glyphs between the first and third lines my impression is that there is a long coherent theme. I also regard the turning from side a to side be (between the first and the second parallel lines) as a sign that we are turning over from the first half-year to the second half-year.

It is interesting to note the different shapes of the henua glyphs:

The first half-year (as I interpret it) has bent henua, whereas the second half-year has straight henua. The second of the Q-parallels has the first henua 'nicked' at the bottom, but not the second one. And the last Q-parallel has both henua well cut to shape.

In commenting about the noon glyphs I played with the idea that 'noon' was initiation time, the time when the raw youngster was straightened out by the forces of society.

In commenting upon the glyphs of Keiti I arrived at this conclusion:

'winter' (from autumn to spring equinox)
'summer' (from spring to autumn equinox)

Whether the creator of Keiti used the same frame of reference (as the designers of R and Q)  in designing different henua glyphs is, however, not at all certain.