3. The new text line in H is the 19th counted from a1:
In Hb7-3 kava has a single 'peak' in front, but in Pb8-38 there are 2 such 'peaks'. In Hb7-3 there are straight segments, but in P the parts are wavy. Similar waves are in Pb8-40. The impression is 'land' in H but 'sea' in P.
There are 3 lean honu figures in H and 3 fat ones in P. But honu in Pb8-42 (where 84 * 2 = 168) perhaps should not be counted, because of the added internal sign. The thumbs of manu rere in P are producing hua (offspring) in form of fishes. In H the hands of manu rere are Y-formed, possibly signs of winter - the season of dry branches. The offspring produced by these dry branches are vaero (bird tail) signs.
The opposition between birds (in the sky) and fishes (down in the sea) once again underlines how the text of H is preoccupied by summer (the 'daytime' of the year) and P by winter ('night'). In early spring all creatures are emaciated but in early winter they are all well fed.
Counting possibly should be done not at the extraordinary Hb7-14 but at the following glyph, because 71 * 5 = 355 (12 * 29½ + 1). Mauga in Pb8-49 is at 976 (= 16 * 61).
Henua ora in Pb8-55 is positioned 13 glyphs after the special honu in Pb8-42, which possibly defines the beginning of a 13 day long period (because its internal sign could be a sign of henua ora). In H a connection with henua ora in Hb7-18 seems to go back to tagata in Hb7-4, a fortnight earlier. In this tagata the sign is outside (in the light from Sun like a protecting headgear), while in P the honu has the sign inside his head. Considering the glyphs in H and P from the end of the Q text I suggest we should read an 'interregnum' time in both texts. The kava glyphs are followed not only by puo (hilled up) but also by several mauga:
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