,xample of
imiLativc form on a small scale-an idea which may never have occurred to Quinel, but ofwhicb.
imiLativc form on a small scale-an idea which may never have occurred to Quinel, but ofwhicb.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
~, it a Jing1e modubting ocntcn<<e of quite rernacbble arcwtec- rural beauty wweh i, fully ,Uted 00 W: occations and is alwaY' ~ cludy delineated.
The oeoond, tbe 'kIter', is, by con?
t'Nt, a .
prawling and IOmcwhat formla t motlf.
complea which, although it is only onct: qU()(ed complete (6[5-19), roCUI'I in literally hundreds of place.
in more or Ic:sa fragmentary fOnn, making iu po=n<<e felt in the molt widdy divcrg<:nt contexts.
' I ,hal!
Ir:aa: the Quioet motif Ihrough all iu major OCCUITUICCI in FiJwtll/lS W4kl, but in the caae of the more diffuse Letter I m m l c o n t e n t m y s e l f .
.
i l h ?
~eral s u r v e y o f i l l s y m b o l i l m a n d a brief diSCUllion of one hitheno undis",were<!
source.
I: QUINET
The more repetition a book containa, the I. . . easy il mu", obYioUJIy be for the writer to create motiIJ whote recUITCD<<e will alTest the anent;on of tbc reader. In writing a book 10 con- IiItently repetitive . . FilWglUU W4kl J oyce Jet himldf the con? siderable Icchnic:al l>robkm ofcn:ating, for major architectonic or thematic PIlrJI<*I, a r",,? ouuunding molili which would not be enlircly nI'1Imped by the general flow of mUlating material. His . impl. ,t IIOlmion to lhi. difficulty was 10 tum uidc from his Dormal c. . . rom of building up motiIt from in1ignificant liltle ph. . . . . ,. and to oomtruct, orbotlOW, a number
' s""k 'izA. ~.
? ? ?
? TIlJO Majll>' Motifs
of Vtry long motif. which, by virtue of their unUJuai propor- tioN migbt readily be picked out even on a e&sual ruding-if anrone ever read, Jo'iaqns W. . . u casually. The rnUquotation from Quinet;' in J<)"'" wayotm molt remarkable ofthtae long motili.
SroUt Gilben quitt o;orrtttly defined lbe technique of F;n",K"1IS W4h aa ',mMlliJte throughout'. ' The d"""lopment of a . tyle which involVNI tM manipulation of ever 111UIIler and m O r e a u t OD O t I l O U I u n i c e v e n t u a l l y l e d J o y t t t o t h e p o i n t w h e r e , aa I have luggestcd above, bo: could insert ,hon, deached ph. . . . ,. " in anyone of a number of p1aceo in the lexl. Yet in 'Pile ofthe un,,",aUy fragmentary nature ofJoyce'H"wn mature literary meth",", he Ittll"lS never 10 have abandoned h" youth_ ful admif"~tion for 'supple periodic proae' in the work of other wrilen. " ,-en aa lu e as 1935 he . tuck 10 his nnpopul. . . . asaertion
thaI Newman _ Ih< grutat of EnglWl prooc~tylists. . ? Th. . love oflimplicity in othen may well have been a p'ychological reaction against the romplexity of his own writing very . imila. to that which iDdu~ him momentarily 10 lower his defcnCCl and pubLUh PO"t/U. I P". ftlU~. ? In a IOmcwhat lyrical mood he ;noorpon. led the Quine! I(;nlen<< inlO the tUI ofFilwl lW 1V4h in the original French (~81. ~). While this;, the only quotation orany length 10 be included in the book, it is interesting to note
thu J oyce has misquoted no less than iii,. rima, aimOilI certainly due to faulty memory':
'Anjoul"d'hui, oomme aux jonn de P\ine el de ColumeUe, 10. jo. cinlhe I(; plaIt daN leo Ganla, la pervenche en lIIyric, la
marguerite lUI" let ",ina de Numancc; e! pendant q\l'autour d'cU. . I. . villa on! changt de ma! lre! ct do: nom, que plu";cun IOnt rentre. . dam Ie neant, quela civilisa! iom I(; $Ont choquta e! bris6ea, leutI paiaibles gbltmtioru on! 1. n~ les igct ct I(;
, s. O;U><n,]o_' J _ " Uj,u. ,. London, '~~" p. <fj.
I u-" p. ~
I cr. abo "'" q. . . . . . . . . . . r. - x-"'" F<*tIk, _boo--<, P. "9- ? s. . ,beplatebe. """"',08. 00 '''9itoMn. . M. . . . Job<'. tJ_
J_ r. . . . kok, P. "" '9-19, whit\< rq><od""" "" 0V<n """. <<><n>pted ' u. ;"" in Joyce', Non<! ; thil . k"",. clear u,o" of NovUor ~ wriu ,," ou'
fi-omm<n. . . ,.
. "
? Two Major Motift
>ont . ucddt i'une II i'aub'c jusqu'a nom, fraich. . et rmntes commc auxjoun d. . balain. . . '
The senten"" is taken from the 11I1~I;,m . ; la phiJosophit 1ft l'hiJ/4irt dt rh""",lIit/, a general and atlracti,dy wrimn enay which j oyce probably found congenial, but which he docs not oeem to have used in Fimug= W4h in any other way. ' "Ill.
veninn in F;IlIItga", W4kt read. '" folio"",
'Auj<>urd'bui COmme aux temps de Pline ct de Columelle la
jacinthe v. piait darn I. . Gaul. . , la pervcnche en llIyrie, 111. marguerite . ur I. . ruin. . de Numance ct pendant qu'autour d'ell. . lcsviII. . ont chang~ de maitra ct de noIIU, que plmieun oont entre", dans Ie neanl, que I. . civilisations se oont choqu~. . cl bris&:. , leun pamble. g6>~ration. ont travem Ie, lig. . et IIOOt arrivee. . jusqu'iL nou" fraich. . et riant. . comme auxjou" oks balaill. . . '
J oyce', change of~urs 10 _ps renden the eehoe. < at the begin_ ning and end of the senten"" Ie", c:<act; the chang. . ofpunclua_ t i o n a n d t h e s u b s t i t u t i o n ( I f " " m f f u r "0'" a r c n o t , e r i o r n ( t h o u g h ""'" is the more usual French), but by rcading ",trw for ,,,,trw joyce h", . urdy thrown away much of the "'ntenee', power to "'gg. . t the cyelic natu,"" of history. The final change - ,o111 am""', for st so. 1 S7JLd,y I'un. '! I'dUI,_ may perhaps be intentional . inee it considerably improves the rhythmic balance, but this i. in any case just the lind of slylistic improvement we mould e:xpectjoyce 10 make uru:on<<;ioully when quoting from memory.
Thc,"" is rather more to Ihe ",nl""ce thM its simple con1<:ot might suggest for it may be interpreted 11. \ a type. .
,xample of
imiLativc form on a small scale-an idea which may never have occurred to Quinel, but ofwhicb. Joye~ make> rull me. A brief analysis will . how how well suited it i. to joyce', purposes. Perhaps tho most immediately obvioulthing about the senknce i. thaI, like F;nntglJllS WIlh, it is a clo. cd circle. After the word Aujourd'lIu; with which it begins, we . tep immediately back into the pa," CCmmt aiL>: I. mp. < 1ft PI;", tI d. C. lu",,/k. For ViC<),
, ~ ~",. p. ,. ;. , ,e57, ,? 01. II, W. 367-8; '" . w" AthertOl>, W. 3i ODd ,]6.
. 8,
? TWI) MajfJl' Mon'ft
whom Quine? ? tuWed o. nd tranalated, the days of Pliny and Columdla, wben "","",m Rome was on . he way row:o. rd iu donuelion, lept,*",""d . he fiu,,,, periodoftransilion be"""",, two gn:aI historical cycleo and roomed the prelude to a new TbeoloP;aI Ag<:. The hiSlorian. praiding over the scnlence arc a oymbolic brother_pair wbo, apart from the role they play in tbe five vanatioIU of the motif, appelr twice mo<<: in FillJltplII
W. . t. (~55. t8, 3[9. 07). They arc particularly relevant 10 II. ~ wbere the brothcr_batde is Ixginning to be openly ex~d during the geometry and hutOl)' leNOn! . The . ymbol>c ! lowen, clurly identified throug""ut the boo. with the "'mpting youllg girls,followhardQl\ thebttlsofthaciUumious'. . . . ins'. Having npidly csUlblished the primary mak and female principles, Quinel now leu the sentencc! nO"': forward again in rime from latc Roman dayt, . . , tbat it ! ,"" CS over what an in fa<:t three Viconian Ages (post. Roman time. , feudal Europe, Vico', own
ti". . . ",) until il ',(arrives' (J~nl nrriWu) 1I the next Age of di,. . . ,IUlion and changeover which J oyce obviously c<Juates with
the 1~licth century UliSq~'4 _f). A retum to the p. ut is implied in the conduding phnue, "'_ . ""~s W 1n. 14iliu, t:ehoing the words anure. . . . ,. /cItPJ lorjfoon1" Pli. rl tk fA/? -Ut with which the """tcnCe began, the cyclic patu:m, tbe BEI. I. UM. PAX? BELI. UM (~81. R ,) is thus clearly cstablWted. This verbal cd>o further j. . . . tifiea Joyce'. idcntifu:ation of the twin historians-wh-o might otherwise seem to be no more than ~i"" onlooken--with the eternal combatants. Th. continuity of the female element, the fiowcn, is expresstd through a neat counterpoint ofform and content: even in the central phNlC! l of the lenience, whert: the transitory nature of the rough male
Cily is under diKusoion, the rhythm is fluent and gt:ntlc. Joyce was essentially an indoor man, a city dweller. All his books before FUuwXPS Wah arc urban. Nature in the Words. - worthian scnae Itttnl to ha"" meant little to him, and althou. gh in Fi_XIlN WIIk. river and mountain, flower and tru are for the fin! time used LS major recurrent sym'oob, they arc little more than IIyliled lc<lIU which rarely develop into scruuow, living ima p . In A f''''I,~it til<: rural selting of Clollgowea Wood
,8,
? Two Map Motift
College iI bMeiy mentiotled and fuUilb no importanl funaion at it might have done in, say, a LaWTen. :. . , while the more rt:antly published pagel from StLpItnl Hm,' duling with rural Mullingar, show howout of touo:hJoyce fdl wht;n he anempted to write no. tumlistitally about events in oetting. ol1tside his no. tive city. The biographiea ha. ve little to . ay about holiday. 'pmt away from city life, and the Lett<:n oontai. . ""1')' linie III(11tionofthenatu",,1world (UUP! ,ofCOUIlC,forthefrequenl allu! ions to the Lifl'cy, which funned an essential part ofJOY,:,,', urhan Dublin). Mr. Frank Budgen insists that Joyce detested Rowen, and indeed even the graceful periwinkle, hy. . cpuh and and daisy ofQuinel'? . . ,ntenCe aTe prized more for the abltrac. tiens they embody Ihan fur their . . ,nsUOus qua! 'ti. . . Soon after J O). . :o: begins to rework Ihe ICnlenee, he tra. nsfu. . . . . the IIowers into a giggling group of \C'oo-d schoolgirls, and then into a vancty of other rapidly mutating symbot. . . Thi. is DOl 10 say tho. t lhe book W(luld be beller otherwise. In tOO many pJaceo it is ~lrcady dangerously MIT to a . . ,nomonalily which any softening ofJoyee's hard, stylised approach 10 natu",\ objects could only tend to exaggerate.
The Quinet molif is intimately bound up ". . ilh lhe 'ehange-of-oes:' theme, the ' MUTUOMORPHOMlffAT ION' (~8t. RI), at I shall pl'C'endy demortst. . . . te. }"irst, however, a few oornmentl . OOm J oyce'. numerology . re needed. All the numbers up 10 1ICVftI, and a few beyond that, are usociated with major ch. . . . . elers, 01" gTOUps of characlo;n. The following
arc lhe IIlOiIt important identification"
o Anna, ':\10lher 7. ero'; a female I)'IIlOOI
, Ean. ;ckn, the ilhyphaUic falh n
2 holde and her 'Iooking-glan ' girl; the pair of tempting
giT" in the Park; ! he wulterw<lmc:n. (All of tI>= pain In: of ooune equivalent,)
3 the English soldien who apprehend Earwiclt. er in lhe Phoenix Park
4 lite Old Androgyrles
,M. ~l>pla". ,. (<d. ),~}_}'IJ'<MlJuII-v,__. . . . . . . t:'. &rboo>cIate,
lit. , 'm, 1'1'. S-\! .
,"
? Two Mqjor Moufs
5 the Four, with their AS>i
6 the twdvc CUSI<>mers oft~n seem 10 b. made up of six
men, each playing two pam (e. g. , 'a choir of the
O'Daley O'OoyJes dcmblesixing the chorw', ? I. IS) 1 the 'Rainbow-girls', allied to the 'Q'
1(1 the Father and MUlherin union (. . . 308, and SK 16~--1) IQ the C" . tome. . .
Q8 the 'February-girls'----an ""panded fOrm oflhe '7'. (The algebraic. . . J 'urn of 7 _ 78. )
29 holde, the leap-year_girl
40 always associued with Anna; J'O"'ibly her age at the
naturalistic levd
'" Anna', thrcc children multiplied by a lrid: of notation;
.
I: QUINET
The more repetition a book containa, the I. . . easy il mu", obYioUJIy be for the writer to create motiIJ whote recUITCD<<e will alTest the anent;on of tbc reader. In writing a book 10 con- IiItently repetitive . . FilWglUU W4kl J oyce Jet himldf the con? siderable Icchnic:al l>robkm ofcn:ating, for major architectonic or thematic PIlrJI<*I, a r",,? ouuunding molili which would not be enlircly nI'1Imped by the general flow of mUlating material. His . impl. ,t IIOlmion to lhi. difficulty was 10 tum uidc from his Dormal c. . . rom of building up motiIt from in1ignificant liltle ph. . . . . ,. and to oomtruct, orbotlOW, a number
' s""k 'izA. ~.
? ? ?
? TIlJO Majll>' Motifs
of Vtry long motif. which, by virtue of their unUJuai propor- tioN migbt readily be picked out even on a e&sual ruding-if anrone ever read, Jo'iaqns W. . . u casually. The rnUquotation from Quinet;' in J<)"'" wayotm molt remarkable ofthtae long motili.
SroUt Gilben quitt o;orrtttly defined lbe technique of F;n",K"1IS W4h aa ',mMlliJte throughout'. ' The d"""lopment of a . tyle which involVNI tM manipulation of ever 111UIIler and m O r e a u t OD O t I l O U I u n i c e v e n t u a l l y l e d J o y t t t o t h e p o i n t w h e r e , aa I have luggestcd above, bo: could insert ,hon, deached ph. . . . ,. " in anyone of a number of p1aceo in the lexl. Yet in 'Pile ofthe un,,",aUy fragmentary nature ofJoyce'H"wn mature literary meth",", he Ittll"lS never 10 have abandoned h" youth_ ful admif"~tion for 'supple periodic proae' in the work of other wrilen. " ,-en aa lu e as 1935 he . tuck 10 his nnpopul. . . . asaertion
thaI Newman _ Ih< grutat of EnglWl prooc~tylists. . ? Th. . love oflimplicity in othen may well have been a p'ychological reaction against the romplexity of his own writing very . imila. to that which iDdu~ him momentarily 10 lower his defcnCCl and pubLUh PO"t/U. I P". ftlU~. ? In a IOmcwhat lyrical mood he ;noorpon. led the Quine! I(;nlen<< inlO the tUI ofFilwl lW 1V4h in the original French (~81. ~). While this;, the only quotation orany length 10 be included in the book, it is interesting to note
thu J oyce has misquoted no less than iii,. rima, aimOilI certainly due to faulty memory':
'Anjoul"d'hui, oomme aux jonn de P\ine el de ColumeUe, 10. jo. cinlhe I(; plaIt daN leo Ganla, la pervenche en lIIyric, la
marguerite lUI" let ",ina de Numancc; e! pendant q\l'autour d'cU. . I. . villa on! changt de ma! lre! ct do: nom, que plu";cun IOnt rentre. . dam Ie neant, quela civilisa! iom I(; $Ont choquta e! bris6ea, leutI paiaibles gbltmtioru on! 1. n~ les igct ct I(;
, s. O;U><n,]o_' J _ " Uj,u. ,. London, '~~" p. <fj.
I u-" p. ~
I cr. abo "'" q. . . . . . . . . . . r. - x-"'" F<*tIk, _boo--<, P. "9- ? s. . ,beplatebe. """"',08. 00 '''9itoMn. . M. . . . Job<'. tJ_
J_ r. . . . kok, P. "" '9-19, whit\< rq><od""" "" 0V<n """. <<><n>pted ' u. ;"" in Joyce', Non<! ; thil . k"",. clear u,o" of NovUor ~ wriu ,," ou'
fi-omm<n. . . ,.
. "
? Two Major Motift
>ont . ucddt i'une II i'aub'c jusqu'a nom, fraich. . et rmntes commc auxjoun d. . balain. . . '
The senten"" is taken from the 11I1~I;,m . ; la phiJosophit 1ft l'hiJ/4irt dt rh""",lIit/, a general and atlracti,dy wrimn enay which j oyce probably found congenial, but which he docs not oeem to have used in Fimug= W4h in any other way. ' "Ill.
veninn in F;IlIItga", W4kt read. '" folio"",
'Auj<>urd'bui COmme aux temps de Pline ct de Columelle la
jacinthe v. piait darn I. . Gaul. . , la pervcnche en llIyrie, 111. marguerite . ur I. . ruin. . de Numance ct pendant qu'autour d'ell. . lcsviII. . ont chang~ de maitra ct de noIIU, que plmieun oont entre", dans Ie neanl, que I. . civilisations se oont choqu~. . cl bris&:. , leun pamble. g6>~ration. ont travem Ie, lig. . et IIOOt arrivee. . jusqu'iL nou" fraich. . et riant. . comme auxjou" oks balaill. . . '
J oyce', change of~urs 10 _ps renden the eehoe. < at the begin_ ning and end of the senten"" Ie", c:<act; the chang. . ofpunclua_ t i o n a n d t h e s u b s t i t u t i o n ( I f " " m f f u r "0'" a r c n o t , e r i o r n ( t h o u g h ""'" is the more usual French), but by rcading ",trw for ,,,,trw joyce h", . urdy thrown away much of the "'ntenee', power to "'gg. . t the cyelic natu,"" of history. The final change - ,o111 am""', for st so. 1 S7JLd,y I'un. '! I'dUI,_ may perhaps be intentional . inee it considerably improves the rhythmic balance, but this i. in any case just the lind of slylistic improvement we mould e:xpectjoyce 10 make uru:on<<;ioully when quoting from memory.
Thc,"" is rather more to Ihe ",nl""ce thM its simple con1<:ot might suggest for it may be interpreted 11. \ a type. .
,xample of
imiLativc form on a small scale-an idea which may never have occurred to Quinel, but ofwhicb. Joye~ make> rull me. A brief analysis will . how how well suited it i. to joyce', purposes. Perhaps tho most immediately obvioulthing about the senknce i. thaI, like F;nntglJllS WIlh, it is a clo. cd circle. After the word Aujourd'lIu; with which it begins, we . tep immediately back into the pa," CCmmt aiL>: I. mp. < 1ft PI;", tI d. C. lu",,/k. For ViC<),
, ~ ~",. p. ,. ;. , ,e57, ,? 01. II, W. 367-8; '" . w" AthertOl>, W. 3i ODd ,]6.
. 8,
? TWI) MajfJl' Mon'ft
whom Quine? ? tuWed o. nd tranalated, the days of Pliny and Columdla, wben "","",m Rome was on . he way row:o. rd iu donuelion, lept,*",""d . he fiu,,,, periodoftransilion be"""",, two gn:aI historical cycleo and roomed the prelude to a new TbeoloP;aI Ag<:. The hiSlorian. praiding over the scnlence arc a oymbolic brother_pair wbo, apart from the role they play in tbe five vanatioIU of the motif, appelr twice mo<<: in FillJltplII
W. . t. (~55. t8, 3[9. 07). They arc particularly relevant 10 II. ~ wbere the brothcr_batde is Ixginning to be openly ex~d during the geometry and hutOl)' leNOn! . The . ymbol>c ! lowen, clurly identified throug""ut the boo. with the "'mpting youllg girls,followhardQl\ thebttlsofthaciUumious'. . . . ins'. Having npidly csUlblished the primary mak and female principles, Quinel now leu the sentencc! nO"': forward again in rime from latc Roman dayt, . . , tbat it ! ,"" CS over what an in fa<:t three Viconian Ages (post. Roman time. , feudal Europe, Vico', own
ti". . . ",) until il ',(arrives' (J~nl nrriWu) 1I the next Age of di,. . . ,IUlion and changeover which J oyce obviously c<Juates with
the 1~licth century UliSq~'4 _f). A retum to the p. ut is implied in the conduding phnue, "'_ . ""~s W 1n. 14iliu, t:ehoing the words anure. . . . ,. /cItPJ lorjfoon1" Pli. rl tk fA/? -Ut with which the """tcnCe began, the cyclic patu:m, tbe BEI. I. UM. PAX? BELI. UM (~81. R ,) is thus clearly cstablWted. This verbal cd>o further j. . . . tifiea Joyce'. idcntifu:ation of the twin historians-wh-o might otherwise seem to be no more than ~i"" onlooken--with the eternal combatants. Th. continuity of the female element, the fiowcn, is expresstd through a neat counterpoint ofform and content: even in the central phNlC! l of the lenience, whert: the transitory nature of the rough male
Cily is under diKusoion, the rhythm is fluent and gt:ntlc. Joyce was essentially an indoor man, a city dweller. All his books before FUuwXPS Wah arc urban. Nature in the Words. - worthian scnae Itttnl to ha"" meant little to him, and althou. gh in Fi_XIlN WIIk. river and mountain, flower and tru are for the fin! time used LS major recurrent sym'oob, they arc little more than IIyliled lc<lIU which rarely develop into scruuow, living ima p . In A f''''I,~it til<: rural selting of Clollgowea Wood
,8,
? Two Map Motift
College iI bMeiy mentiotled and fuUilb no importanl funaion at it might have done in, say, a LaWTen. :. . , while the more rt:antly published pagel from StLpItnl Hm,' duling with rural Mullingar, show howout of touo:hJoyce fdl wht;n he anempted to write no. tumlistitally about events in oetting. ol1tside his no. tive city. The biographiea ha. ve little to . ay about holiday. 'pmt away from city life, and the Lett<:n oontai. . ""1')' linie III(11tionofthenatu",,1world (UUP! ,ofCOUIlC,forthefrequenl allu! ions to the Lifl'cy, which funned an essential part ofJOY,:,,', urhan Dublin). Mr. Frank Budgen insists that Joyce detested Rowen, and indeed even the graceful periwinkle, hy. . cpuh and and daisy ofQuinel'? . . ,ntenCe aTe prized more for the abltrac. tiens they embody Ihan fur their . . ,nsUOus qua! 'ti. . . Soon after J O). . :o: begins to rework Ihe ICnlenee, he tra. nsfu. . . . . the IIowers into a giggling group of \C'oo-d schoolgirls, and then into a vancty of other rapidly mutating symbot. . . Thi. is DOl 10 say tho. t lhe book W(luld be beller otherwise. In tOO many pJaceo it is ~lrcady dangerously MIT to a . . ,nomonalily which any softening ofJoyee's hard, stylised approach 10 natu",\ objects could only tend to exaggerate.
The Quinet molif is intimately bound up ". . ilh lhe 'ehange-of-oes:' theme, the ' MUTUOMORPHOMlffAT ION' (~8t. RI), at I shall pl'C'endy demortst. . . . te. }"irst, however, a few oornmentl . OOm J oyce'. numerology . re needed. All the numbers up 10 1ICVftI, and a few beyond that, are usociated with major ch. . . . . elers, 01" gTOUps of characlo;n. The following
arc lhe IIlOiIt important identification"
o Anna, ':\10lher 7. ero'; a female I)'IIlOOI
, Ean. ;ckn, the ilhyphaUic falh n
2 holde and her 'Iooking-glan ' girl; the pair of tempting
giT" in the Park; ! he wulterw<lmc:n. (All of tI>= pain In: of ooune equivalent,)
3 the English soldien who apprehend Earwiclt. er in lhe Phoenix Park
4 lite Old Androgyrles
,M. ~l>pla". ,. (<d. ),~}_}'IJ'<MlJuII-v,__. . . . . . . t:'. &rboo>cIate,
lit. , 'm, 1'1'. S-\! .
,"
? Two Mqjor Moufs
5 the Four, with their AS>i
6 the twdvc CUSI<>mers oft~n seem 10 b. made up of six
men, each playing two pam (e. g. , 'a choir of the
O'Daley O'OoyJes dcmblesixing the chorw', ? I. IS) 1 the 'Rainbow-girls', allied to the 'Q'
1(1 the Father and MUlherin union (. . . 308, and SK 16~--1) IQ the C" . tome. . .
Q8 the 'February-girls'----an ""panded fOrm oflhe '7'. (The algebraic. . . J 'urn of 7 _ 78. )
29 holde, the leap-year_girl
40 always associued with Anna; J'O"'ibly her age at the
naturalistic levd
'" Anna', thrcc children multiplied by a lrid: of notation;
.
