DAY 5 of the nuntarriyašḫa- festival consists of separate activities by the king and by the queen. While the king travels from Taḫurpa to Arinna (currently identified with Alaca Höyük) in order to perform what is explicitly designated as the nuntarriyašḫa- festival, the queen remains in Taḫurpa to celebrate various hypostases of the Sun-goddess of Arinna (see below). In the four outlines where the day is fully depicted (Outline.1, 2, 3 and 4), its course is described in the same way.

It is noteworthy that DAY 5 has a distinctly seasonal character: both the king in Arinna and the queen in Taḫurpa celebrate the new yield, which consists, i.a., of new wine and fresh honey.

The division of tasks between the king and the queen is clearly reflected in the day-tablets. Two distinct groups of texts exist: one following the king, and the other the queen. In the present edition, they respective versions are labeled K (king), and Q (queen).

Some day-tablets edited here (KUB 2.9 and KUB 20.50 + KUB 25.19) were already recognized by Laroche E. 1957c: 67 as belonging to the nuntarriyašḫa- festival. The present edition accepts all texts identified by Nakamura M. 2002a: 89–91 and 171–207, with the addition of KUB 20.70. Nakamura placed this text among the “Isolierte und sonstige Texte” (Nakamura M. 2002a: 277–279), although he noted its similarity to the texts describing DAY 5.

The Konkordanz further indicates that KBo 61.110 is a duplicate of KBo 11.43 i 29–32. However, this fragment merely describes the king leaving a gazzituri-. Since the word denotes a location that could be found near multiple Hittite cities, there is no secure way to determine whether KBo 61.110 refers specifically to DAY 5. For that reason, the text has not been included in the present edition.

According to the colophons of the currently identified day-tablets for DAY 5, these manuscripts were produced specifically for the celebrations of the nuntarriyašḫa- festival in Arinna. They therefore do not represent the regular autumn celebrations that were, at various points, incorporated into the nuntarriyašḫa- festival, as is often the case for texts depicting other days of the festival.

The description of the king’s activities begins – continuing from the events of DAY 4 – in the early morning in Taḫurpa. After his customary preparations, the king is ready to depart for Arinna. Before setting out, however, the royal bodyguards exchange their golden spears for wooden ones, and the ḫuluganni- cart adorned with gold, which the king had used the previous day, is taken back to the capital. The king then leaves Taḫurpa in a chariot, while the queen remains behind.

On the road to Arinna, the king stops at a gazzituri- (a well-pole?), a customary element of ceremonial journeys. Upon reaching Arinna, he participates in numerous offerings made to various loci numinosi and deities, consisting first of dannaš bread and subsequently of sweet bread, honey, and wine. This second group of offerings represents the innovations introduced by King Tudḫaliya IV. The offerings for the gods clearly form the centerpiece of the day, as their description occupies nearly the entire second half of the first tablet and continues onto the second before the text breaks. Notably, Arinna is the first city visited during the nuntarriyašḫa- festival where no great assembly is convened.

Meanwhile, still in Taḫurpa, the queen performs rites honoring former Hittite queens, represented by the statues and symbols of the Sun-goddess of Arinna, each associated with a specific royal consort: Walanni, Nikalmati, Ašmunikal, Duduḫepa, Ḫenti, and Tawananna. The offerings are numerous and varied, including several types of bread, honey, groats, fruit, cheese, wine, as well as tawal- and walḫi- beverages. It is quite plausible, as suggested by Archi A. 2025a: 7, "These statues and discs (...) were dedicated by the former queens." Noteworthy is also the intriguing idea by Torri G. 2008d: 183, who proposed that these statuettes might have borne the names of the respective queens. This hypothesis seems to be supported by the form GUL-zanzi “they inscribe (in Hieroglyphs)” in clause 81 of Version Q.1.