Aa3-58	Aa6-43	Da2-106	Ga3-7	Gb5-12
I12-122	Ra2-21	Sa3-126

We should now look for haga rave glyphs in their surroundings. Only one of the 8 glyphs above (Gb5-12) has such a sign in the same glyph. Conceivably haga rave could be a separate glyph. I think we must accept cases where it comes immediately before or immediately after. For safety reasons we will look 5 glyphs before and 5 after:

Aa3-53	Aa3-54	Aa3-55	Aa3-56	Aa3-57	Aa3-58
Aa3-59	Aa3-60	Aa3-61	Aa3-62	Aa3-63

Haga rave glyphs are difficult to classify - there are several bird wings here which could be seen as haga rave signs - and therefore I will use the criterion that the glyph must have been registered under haga rave in my glyph catalogue. None of these glyphs, surrounding Aa3-58, have been registered as haga rave. Therefore I will (for the moment at least) assume we should not read Aa3-57--59 as Haga Te Pau. Although the ordinal numbers are suggestive, 3 * 60 = 180, and the Y-formed hand close to the ground could mean a 'dry branch' ready for burial.

The other Tahua example, Aa6-43, gives the same result, no haga rave glyphs are classified among Aa6-38--48, and therefore probably is no message concerning Haga Te Pau. Using the mechanical rules just stipulated we have:

Aa6-38	Aa6-39	Aa6-40	Aa6-41	Aa6-42	Aa6-43
Aa6-44	Aa6-45	Aa6-46	Aa6-47	Aa6-48

It is not necessary to list more examples where haga rave glyphs are missing. The method has been explained.

Da2-106 is no Haga Te Pau case either. But G is more interesting, because the creator had thought of (I have concluded) the possibility of using haga (rave) in combination with (tagata) pau to illustrate Haga (Te) Pau.

Somewhat astonishing I found Ga3-11 (the top sign of course) to be an example of haga rave. When systematically classifying glyphs a sense for recognizing the searched for signs develops, and I must not question my earlier judgment that Ga3-11 exhibits a sign of haga rave.

Annoyingly there is a distance between Ga3-7 and Ga3-11 which diminishes the probability that Haga Te Pau at this point was in the mind of the creator of the text. On the other hand Ga3-7 may very well illustrate tagata pau in order to tell about a fully grown season (tagata) having run out (pau). The surrounding glyphs seem to tell about what happens when a great old fire has been blown out (Ga3-10). A new fire (fists in Ga3-6--7) is still not in the open. A 'nut' (Ga3-11) will in due time generate new light. A 'fire drill' (Ga3-12) comes in handy when 3 * 12 = 360 has ended.

We can now compare with the other glyph in G, the Haga Te Pau glyph:

Gb5-7	Gb5-8	Gb5-9	Gb5-10	Gb5-11	Gb5-12
Gb5-13	Gb5-14	Gb5-15	Gb5-16	Gb5-17

The 'gesture of farewell' (right sign in Gb5-17) is similar to that in I12-122:

In the hand of I12-122, though, the middle digit is short and straight, repeating the sign in I12-119. No haga rave glyph is registered in the interval I12-117--127 in my catalogue. Possibly, though, there is one hidden in the beak of I12-121 or in the arm of I12-123.

The the peculiar I12-127 draws our attention. A singular bird with head looking backwards was in G - I have arrived at - standing at te pito:

Among the multitude of manu rere glyphs on the Large Santiago staff there are only a few with their heads turned backwards (possibly a sign of solstice):

A poor bird it is in I12-127, maybe illustrating the 'exhausted' state when time has run out (pau). In Gb8-5 the feet are arranged assymmetrically to indicate how an old season is at left. In I12-127 there is no such clear sign in the feet of the bird. But the peculiar beak obviously is meant to be observed. Is it a haga rave sign? Shouldn't such a sign have open side up?

In Ra2-21 we encounter a parallel to Aa6-43:

I have not registered any haga rave glyphs in the interval Ra2-16--24. The parallel makes it possible to postulate a final at both Ra2-20 and Aa6-42. The ordinal numbers are in the same numerical 'positions' (2 * 20 = 80 and 6 * 42 = 252) - the measure is emptied by the flow of time. 21 must in a way correspond to 43.

One glyph remains, Sa3-126:

No haga rave glyphs are documented in the surroundings, according to my glyph catalogue. But earlier I have found Sa3-126 to be parallel with Ga3-7:

The first group of potential Haga Te Pau glyphs has failed to bring up any more examples (than Gb5-12). On the other hand the idea of a fully grown (or empty) season seems to be present in most places, marked red below:

	Haga Te Pau (?)
Gb5-12
	'dry branch' instead of 'nut'
Aa3-58
Aa6-43	Ra2-21
	pau exceptionally at left
I12-122
Ga3-7	Sa3-126
	negative
Da2-106

The tagata pau sign apparently is connected with the a season which is fully grown (tagata) or - paradoxically - of which nothing is left (pau). The next step - to connect tagata pau with Haga Te Pau - has, though, not been confirmed by the investigated glyph sequences.