Wh~n a character is
mention~d
in thi.
Hart-Clive-1962-Structure-and-Motif-in-Finnegans-Wake
?
STRUCTURE AND MOTIF IN FINNEGANS WAKE
? i-"On. ruo-Propc. . ,,;""; d. / =t>>-. . . . . (S<< Ch~p", Fiv<. II)
? STRUCTURE AND MOTIF
IN
FlNNEGANS WAKE
by
CLIVE HART
w. . . . _ ) ( _ ,. . . , in, M I t < " . " . . . 1:""", . ,',;, . . . . .
T_A> M. . ! m
NORTHW ESTER N UN IVERSITY PRE SS
? ('"",yright Cl 19M by 0,,,,, Hart
Publi,hed in the U. S. A. by I\orthw"uern Uni""""y Pre. .
Publishod in <keat Britain by Faber and Fab<r Limited hi~te<I in 0. . . ,. 1. Hdain
? IV : y,
VI: VII: VlIl:
Spatial Cycles 1-111e Circle
Spatial Cycles U - Olrr<:. pondences uitm. ti~
Two Majnc Motili
TJu: ero. .
CONTENTS
Abbreviations and Conv~ntions adopt~d Acknowledgm~nu
P",face
,",.
9
" "
'l . .
7' ''9
'"
'45 ,6,
,"
,,,
,. ,
'5' '5'
'5'
,65
1, Some Aopecu o f Fi1Ullgd1Jl Wozk< II: Cyclic Form
UI : The D",am-Structure
AppendixA: AnIndexofMotif. in Fi1UllgallS Wakt
App<:ndix B: The Iriili Univ<:T'SC Appendix C: The 'Pen' L~l1er
Appendix 0 : The Principal Cycles
Bibliography : Index
5
Counterpointed
? Figuu I'
IT: III:
IV: V:
I : IT:
III:
IV:
(S<< Chapter Fiv<:, II) i"'"tispi<<. 'through lan<hvaguc and vain, aftu
TIZh! t
C'. ounterpointed APianofFi"",ga1UWak,
ILLUSTRATIONS AND TABLES fufJM;jQ,,; tkl ''''/HI """''''', by Leonardo.
many mandda)'"
'A conansdrcam of lodascircles'
'the map of the 5()ub' groupngtaphy rose in relief'
Cyci. .
Further Correspondences in the Three- Piw. {)ne Cycle
f urther CoIT""pond~nC<:$ in the Four- P1ul-One Cyde
The Characten. tiCll ofrm Viroman Ages
f>4g, 76
, '7
249
'5 '
'9
'9
fB
'Mooder ikmd' 11l< Principal
1
? ABBREVIATrONS
AND CONVENTIO NS ADOPTED
Pagefllroe rd"creroccs indicate (he line on which quotation. begin, arod "1'1: given as follOwt: ~76. 1'l (page 276, line I~). '1", 'L', and 'R' following the point in . uch r~fel'1:nces refer to (he fOotnotes, left-marginal noles, and right-marginal not. . , respec. ivdy,onpp. ~. TherourmainsectionsofFill4tl4. V Wilke are refern:d to H 'Boob', in ac. :ordanc~ ",? jlb . . tabli. hed practi"". Bookfcluoprer numben are given . . . rollows: l i b (Book I ll, chapter ~). flook/chapter and page{line numben fOr F;"",gafIJ W4h are included in parcnthetCt in the text without a preceding symbol. [ h. . . . " uJed the EIlgIi! h editions of other primary lOurc. . unl= the Ammcan texts arc dearly rnpcrior. The following abbreviarioru are adopted:
SH D
u
Pri_. J &. . rcn
SlepMrc H". , ed. 1'. Spcnca, J. J. Slocum,
and H. Cab. . . . . . . . , New York, ' 955- Dub/i1ltTJ, TIw &sc. tia! JQ1fWJ ]aye, cd. H.
Levin, London, rg. ? . . Ahit,,"ojllwArtis/lIS' r. . . . ,M"", London,
' 9-18.
UIpsa, London, '949.
PI! 11IU P. ,,~~, London, '95~.
l. dun of}1INI J~P, cd. S. Gilbert, London,
' 957?
S-ouhry Snrtu
J. S. Au",non, n. &MJa/tJw Wake, London, I ! J59.
'"
""', Ather1011
9
? Abbrtl)ialiQnJ
A. Glasheen, A CtItWt <1 FimttgllllS WoW, Evanoton, 1956,
Concordance C. Hart, A c"nc<mlallCl t. Fimuga/I. ! WOW, (going to pr~. . during 'g6~).
Ellmann
Giv~n.
SK
R. . ElJ. mann, }aJt1LS]"y<<, N~w York, 1959. S. Giv~no, (ed. ), jaJt1L< joy<" I"", tiuadts of
<<itidsm, New York, I9? ! .
J. Campbdl and H. M . RobiIUOn, A SktJ. tQ"
Ky I. Firm'gaIU Watt, London, [9. 17.
In her Ct/Utu Mrs. Glasheen provid. . detailed notes on most of the characters, r<~l Of imaginary, in Fil! Jl((a/U Wa. kt. Wh~n a character is mention~d in thi. . dissertation without further explanation, it may be a. . ,umed that an adequate discu. . ion
will be found in tM Ct"l! 5Us.
'0
? ACKN OWLED GM ENTS
P a a a s C l f r o m t h e ~t. SS a n d f r o m J O ) ' I ; e ' . . . - o r D a r c : q o o l c d b y kind pwniuion ofIhe Adminim"ton oftlte Joyce cst. ale. In addition, I am grateful to the following publishef'l, in_
stitutio. . . . and individuals for partieui:U-quolallofU: John Lane, The Bodleyllud,and Random ! louse, Inc. , for te\? eno! pus:ag<< from UIJIJtlj Jono. lhan Clr. pe and The Viking l'rcss, inc. , for
pa. nlt'" from /)""/;"'s and A P4f""~iJ ~f1M Artist as ~ J""-v AI/JII (copyright 1916 by 8. W. Huebsch. 19+1 by NonJoya); ~'aber and Faber Ltd, and The Vilcing Press, Ine. , for quota_ tiollJ from the Wigs (copyright 19.
Wh~n a character is mention~d in thi. . dissertation without further explanation, it may be a. . ,umed that an adequate discu. . ion
will be found in tM Ct"l! 5Us.
'0
? ACKN OWLED GM ENTS
P a a a s C l f r o m t h e ~t. SS a n d f r o m J O ) ' I ; e ' . . . - o r D a r c : q o o l c d b y kind pwniuion ofIhe Adminim"ton oftlte Joyce cst. ale. In addition, I am grateful to the following publishef'l, in_
stitutio. . . . and individuals for partieui:U-quolallofU: John Lane, The Bodleyllud,and Random ! louse, Inc. , for te\? eno! pus:ag<< from UIJIJtlj Jono. lhan Clr. pe and The Viking l'rcss, inc. , for
pa. nlt'" from /)""/;"'s and A P4f""~iJ ~f1M Artist as ~ J""-v AI/JII (copyright 1916 by 8. W. Huebsch. 19+1 by NonJoya); ~'aber and Faber Ltd, and The Vilcing Press, Ine. , for quota_ tiollJ from the Wigs (copyright 19. ;7 by n,e Viking i'rtIII, Inc. ) ; J onathan Cape and New Dio:c:tioru fOr pnmiosion to qunte from Sit/MIt HertJi Frank Budgen and the Indiana University PreIs for permisaion to quote from ]IDMS Joy<. Q~i IIw Mw , efUlflus; Stuart Gilbert, Faber and faber Ltd, and Alfred A. Knopf for . . pasnge from JQI1ItS J. ,,"s U/JUUi the Dirtttor of the Lockwood Memorial Ubrary and the Director of""c British Musaom IOr ;>. lS quntationsj Mn. Yealland The
MacmiUan Company COl' lWO paaagt:s from W. H. Yeats' A VisWI; I! . dmund Wilton for a paaagc: frotn TIw W? ? ,. ,{ lUI" IN & . ; and The Columbia University Press for quotations from W. Y. Tindall'. TM liurQry SyttHl.
Fimltt. w W. . tt (copyright '939 by JameoJoyce) i. pub! iJhcd ;0 England by Faber and Faber Ltd, and in America. by T he Viking Ptm, Inc. , 10 . . . -I>om 1 am grateful fOr pennissiou to
make el<lensive use of the book.
C. H.
? PREFACE
xtravagant claim' have bc:en made fur FiJuuga>u lVakt, and Eit ha, heen jn,t aa extravagantly denigrated. What the pioll$ anth"rl of the Sktltlon Key call 'a mighty allegory of the fall and resurre. :tion of mankind" i, di. miMe<\ by the
nnconvinced John uhmann . . . a 'wanton "",. ,. . ,ruler t() th~ (1"()$<word puzzle part of the mind'. ' The cnnttovcny continues, and so docs the ",cady flow of C"l<plicatory and critical articlt:$. Palient r. . . ,arch 0VCl" the J""t two decade. hM made it clear that, rag. bag or tr",,,uf1O-(hest, FilUilg= lVakt i. densely pacl:ed with matlet". There are 63,9~4 different worn. in the book, all of which are both strongly denotative and enriched with many la~ of delicate ov~rone. >! . Such CJ<treme deruity of vocabulary offer< wide scope for ""mantic and ,tyli. tic ! ludies, but it i. not w i l h o u I i l l ! disadvanta~. T h e r e a d e r w h o a t t e m p ' " t o f O l l o w t h e
mercurial argument. . ofFinntE"n; Wake Ihrough more dun on~ or two cnnscculive paragraphs finds the great"'t difficulty in keeping, from one moment to the nexl, a . table fOothold on his c h o o e n in~rp retative v a n t a g e p o i n l . T h i . i . a n e v e n m o r t : ",,";ou. problem than the many teaMng obocurities of langnage, for, a8 hi. underslanding of individual words increaa<<, the v,,"1 accumulation of functional detail lends to overwhelm the rcadet",clogru. . mentalp~andcau,ehim10lnschis hearings. I I:now of no olher book thaI demands . uch div. :nity ofrcsponsc or put. so colllltanl a . train on it! reader', powe. . . of r. onccntralion. Since the early and very brave a! tempt of the Skltrcn Kq to reveal Ihe general archilcctural design of Finntgmu
lVakt, most Joyce critics have devoted them. . ,lves to $01ll"C<;- ""dics and the delailed elucidation of external refereoCe<,
, SIC '3.
, J. Lolutunn, '1'<><Ir'" ofIi", Artiot . . :m F. . . :a"",', I'~}{"" W,;/iq
no>. 33, I. . 00<I00, '943, p. '43.
'3
? Prifau
apparcndy in the bop: tMt further meaningful pa. UCf1>1 would emerge ofilleit own ac:coro. So many advan= have now been made in this dirtttion tMl a thorough ~mill3tion of the book', intemal organisation ;. called for. SouT<<-otudie. of FU-Ia>U 1V<Ih hive, of eoune, by no mUns come to In end.
Dap;te the $lHb. . ined efforts ofwhat h. . . , come to be known as 'theJoyce industry' much rem. . ms to be done, and I have. had f~uenl <vxasion to diJc. . . . soon:c-rnllterial throughout thi' book but my principal aim ha! always been 10 show how Joyce
inf~ . ignificancc intO his divcrK raw material. by hi. IUe of dOlely conlrolled formal . truelur",. Joyce gave ~! f Ihe
broadeslf'O'I'ibicWUelUnJscopeinF~II'tW,whichall criti. :. now recogn;'" 10 he in tome senle COI! rnological. More lhan a working mockl of the 00&m0I, however, Fiutl4M 11',," is Ihe . . . . . . . t ambitious attempt in ou' literature al a thoroughgoing appl. icatiol1 of 'inlilative form'. Fallac:y or nol, imitative. funn was 1M one " " a t literary theory which Joyce applied through_
oul hil are<T wilh varying degrees of con';"t<:ncy and . rtistic: lue<:eIf, hUI never more conmtenlly nor perhaps more brillianliy than in FinlUlllJU 1I'"u, in which the verl>>l simulation of all kinds off. . . . . . . . . , aCII, and ev<:n abstractions iI nrried to e:<lJ"1I_
ordinary Iengtlu.
In lhe: analysis of the broad arehit<<toni(: principle. of
Finn'tallS W. . . bwith which I am concerned in the early chapten of dli. study I have gival con9derable att""don 1<1 Joyce'. JYIIlbolic " ot of such archelypal forms "-' the circle, Ihe crou, and tho: "I. u,. ,. . ,. I 11. '1'""lIIultnlcd my di! cUS$lonofuu. . . pctt of the book with I\. number of geometric di. gram, in th~ hope
thai linear rep. -esl! nu,tiOfls of Ihc.
? i-"On. ruo-Propc. . ,,;""; d. / =t>>-. . . . . (S<< Ch~p", Fiv<. II)
? STRUCTURE AND MOTIF
IN
FlNNEGANS WAKE
by
CLIVE HART
w. . . . _ ) ( _ ,. . . , in, M I t < " . " . . . 1:""", . ,',;, . . . . .
T_A> M. . ! m
NORTHW ESTER N UN IVERSITY PRE SS
? ('"",yright Cl 19M by 0,,,,, Hart
Publi,hed in the U. S. A. by I\orthw"uern Uni""""y Pre. .
Publishod in <keat Britain by Faber and Fab<r Limited hi~te<I in 0. . . ,. 1. Hdain
? IV : y,
VI: VII: VlIl:
Spatial Cycles 1-111e Circle
Spatial Cycles U - Olrr<:. pondences uitm. ti~
Two Majnc Motili
TJu: ero. .
CONTENTS
Abbreviations and Conv~ntions adopt~d Acknowledgm~nu
P",face
,",.
9
" "
'l . .
7' ''9
'"
'45 ,6,
,"
,,,
,. ,
'5' '5'
'5'
,65
1, Some Aopecu o f Fi1Ullgd1Jl Wozk< II: Cyclic Form
UI : The D",am-Structure
AppendixA: AnIndexofMotif. in Fi1UllgallS Wakt
App<:ndix B: The Iriili Univ<:T'SC Appendix C: The 'Pen' L~l1er
Appendix 0 : The Principal Cycles
Bibliography : Index
5
Counterpointed
? Figuu I'
IT: III:
IV: V:
I : IT:
III:
IV:
(S<< Chapter Fiv<:, II) i"'"tispi<<. 'through lan<hvaguc and vain, aftu
TIZh! t
C'. ounterpointed APianofFi"",ga1UWak,
ILLUSTRATIONS AND TABLES fufJM;jQ,,; tkl ''''/HI """''''', by Leonardo.
many mandda)'"
'A conansdrcam of lodascircles'
'the map of the 5()ub' groupngtaphy rose in relief'
Cyci. .
Further Correspondences in the Three- Piw. {)ne Cycle
f urther CoIT""pond~nC<:$ in the Four- P1ul-One Cyde
The Characten. tiCll ofrm Viroman Ages
f>4g, 76
, '7
249
'5 '
'9
'9
fB
'Mooder ikmd' 11l< Principal
1
? ABBREVIATrONS
AND CONVENTIO NS ADOPTED
Pagefllroe rd"creroccs indicate (he line on which quotation. begin, arod "1'1: given as follOwt: ~76. 1'l (page 276, line I~). '1", 'L', and 'R' following the point in . uch r~fel'1:nces refer to (he fOotnotes, left-marginal noles, and right-marginal not. . , respec. ivdy,onpp. ~. TherourmainsectionsofFill4tl4. V Wilke are refern:d to H 'Boob', in ac. :ordanc~ ",? jlb . . tabli. hed practi"". Bookfcluoprer numben are given . . . rollows: l i b (Book I ll, chapter ~). flook/chapter and page{line numben fOr F;"",gafIJ W4h are included in parcnthetCt in the text without a preceding symbol. [ h. . . . " uJed the EIlgIi! h editions of other primary lOurc. . unl= the Ammcan texts arc dearly rnpcrior. The following abbreviarioru are adopted:
SH D
u
Pri_. J &. . rcn
SlepMrc H". , ed. 1'. Spcnca, J. J. Slocum,
and H. Cab. . . . . . . . , New York, ' 955- Dub/i1ltTJ, TIw &sc. tia! JQ1fWJ ]aye, cd. H.
Levin, London, rg. ? . . Ahit,,"ojllwArtis/lIS' r. . . . ,M"", London,
' 9-18.
UIpsa, London, '949.
PI! 11IU P. ,,~~, London, '95~.
l. dun of}1INI J~P, cd. S. Gilbert, London,
' 957?
S-ouhry Snrtu
J. S. Au",non, n. &MJa/tJw Wake, London, I ! J59.
'"
""', Ather1011
9
? Abbrtl)ialiQnJ
A. Glasheen, A CtItWt <1 FimttgllllS WoW, Evanoton, 1956,
Concordance C. Hart, A c"nc<mlallCl t. Fimuga/I. ! WOW, (going to pr~. . during 'g6~).
Ellmann
Giv~n.
SK
R. . ElJ. mann, }aJt1LS]"y<<, N~w York, 1959. S. Giv~no, (ed. ), jaJt1L< joy<" I"", tiuadts of
<<itidsm, New York, I9? ! .
J. Campbdl and H. M . RobiIUOn, A SktJ. tQ"
Ky I. Firm'gaIU Watt, London, [9. 17.
In her Ct/Utu Mrs. Glasheen provid. . detailed notes on most of the characters, r<~l Of imaginary, in Fil! Jl((a/U Wa. kt. Wh~n a character is mention~d in thi. . dissertation without further explanation, it may be a. . ,umed that an adequate discu. . ion
will be found in tM Ct"l! 5Us.
'0
? ACKN OWLED GM ENTS
P a a a s C l f r o m t h e ~t. SS a n d f r o m J O ) ' I ; e ' . . . - o r D a r c : q o o l c d b y kind pwniuion ofIhe Adminim"ton oftlte Joyce cst. ale. In addition, I am grateful to the following publishef'l, in_
stitutio. . . . and individuals for partieui:U-quolallofU: John Lane, The Bodleyllud,and Random ! louse, Inc. , for te\? eno! pus:ag<< from UIJIJtlj Jono. lhan Clr. pe and The Viking l'rcss, inc. , for
pa. nlt'" from /)""/;"'s and A P4f""~iJ ~f1M Artist as ~ J""-v AI/JII (copyright 1916 by 8. W. Huebsch. 19+1 by NonJoya); ~'aber and Faber Ltd, and The Vilcing Press, Ine. , for quota_ tiollJ from the Wigs (copyright 19.
Wh~n a character is mention~d in thi. . dissertation without further explanation, it may be a. . ,umed that an adequate discu. . ion
will be found in tM Ct"l! 5Us.
'0
? ACKN OWLED GM ENTS
P a a a s C l f r o m t h e ~t. SS a n d f r o m J O ) ' I ; e ' . . . - o r D a r c : q o o l c d b y kind pwniuion ofIhe Adminim"ton oftlte Joyce cst. ale. In addition, I am grateful to the following publishef'l, in_
stitutio. . . . and individuals for partieui:U-quolallofU: John Lane, The Bodleyllud,and Random ! louse, Inc. , for te\? eno! pus:ag<< from UIJIJtlj Jono. lhan Clr. pe and The Viking l'rcss, inc. , for
pa. nlt'" from /)""/;"'s and A P4f""~iJ ~f1M Artist as ~ J""-v AI/JII (copyright 1916 by 8. W. Huebsch. 19+1 by NonJoya); ~'aber and Faber Ltd, and The Vilcing Press, Ine. , for quota_ tiollJ from the Wigs (copyright 19. ;7 by n,e Viking i'rtIII, Inc. ) ; J onathan Cape and New Dio:c:tioru fOr pnmiosion to qunte from Sit/MIt HertJi Frank Budgen and the Indiana University PreIs for permisaion to quote from ]IDMS Joy<. Q~i IIw Mw , efUlflus; Stuart Gilbert, Faber and faber Ltd, and Alfred A. Knopf for . . pasnge from JQI1ItS J. ,,"s U/JUUi the Dirtttor of the Lockwood Memorial Ubrary and the Director of""c British Musaom IOr ;>. lS quntationsj Mn. Yealland The
MacmiUan Company COl' lWO paaagt:s from W. H. Yeats' A VisWI; I! . dmund Wilton for a paaagc: frotn TIw W? ? ,. ,{ lUI" IN & . ; and The Columbia University Press for quotations from W. Y. Tindall'. TM liurQry SyttHl.
Fimltt. w W. . tt (copyright '939 by JameoJoyce) i. pub! iJhcd ;0 England by Faber and Faber Ltd, and in America. by T he Viking Ptm, Inc. , 10 . . . -I>om 1 am grateful fOr pennissiou to
make el<lensive use of the book.
C. H.
? PREFACE
xtravagant claim' have bc:en made fur FiJuuga>u lVakt, and Eit ha, heen jn,t aa extravagantly denigrated. What the pioll$ anth"rl of the Sktltlon Key call 'a mighty allegory of the fall and resurre. :tion of mankind" i, di. miMe<\ by the
nnconvinced John uhmann . . . a 'wanton "",. ,. . ,ruler t() th~ (1"()$<word puzzle part of the mind'. ' The cnnttovcny continues, and so docs the ",cady flow of C"l<plicatory and critical articlt:$. Palient r. . . ,arch 0VCl" the J""t two decade. hM made it clear that, rag. bag or tr",,,uf1O-(hest, FilUilg= lVakt i. densely pacl:ed with matlet". There are 63,9~4 different worn. in the book, all of which are both strongly denotative and enriched with many la~ of delicate ov~rone. >! . Such CJ<treme deruity of vocabulary offer< wide scope for ""mantic and ,tyli. tic ! ludies, but it i. not w i l h o u I i l l ! disadvanta~. T h e r e a d e r w h o a t t e m p ' " t o f O l l o w t h e
mercurial argument. . ofFinntE"n; Wake Ihrough more dun on~ or two cnnscculive paragraphs finds the great"'t difficulty in keeping, from one moment to the nexl, a . table fOothold on his c h o o e n in~rp retative v a n t a g e p o i n l . T h i . i . a n e v e n m o r t : ",,";ou. problem than the many teaMng obocurities of langnage, for, a8 hi. underslanding of individual words increaa<<, the v,,"1 accumulation of functional detail lends to overwhelm the rcadet",clogru. . mentalp~andcau,ehim10lnschis hearings. I I:now of no olher book thaI demands . uch div. :nity ofrcsponsc or put. so colllltanl a . train on it! reader', powe. . . of r. onccntralion. Since the early and very brave a! tempt of the Skltrcn Kq to reveal Ihe general archilcctural design of Finntgmu
lVakt, most Joyce critics have devoted them. . ,lves to $01ll"C<;- ""dics and the delailed elucidation of external refereoCe<,
, SIC '3.
, J. Lolutunn, '1'<><Ir'" ofIi", Artiot . . :m F. . . :a"",', I'~}{"" W,;/iq
no>. 33, I. . 00<I00, '943, p. '43.
'3
? Prifau
apparcndy in the bop: tMt further meaningful pa. UCf1>1 would emerge ofilleit own ac:coro. So many advan= have now been made in this dirtttion tMl a thorough ~mill3tion of the book', intemal organisation ;. called for. SouT<<-otudie. of FU-Ia>U 1V<Ih hive, of eoune, by no mUns come to In end.
Dap;te the $lHb. . ined efforts ofwhat h. . . , come to be known as 'theJoyce industry' much rem. . ms to be done, and I have. had f~uenl <vxasion to diJc. . . . soon:c-rnllterial throughout thi' book but my principal aim ha! always been 10 show how Joyce
inf~ . ignificancc intO his divcrK raw material. by hi. IUe of dOlely conlrolled formal . truelur",. Joyce gave ~! f Ihe
broadeslf'O'I'ibicWUelUnJscopeinF~II'tW,whichall criti. :. now recogn;'" 10 he in tome senle COI! rnological. More lhan a working mockl of the 00&m0I, however, Fiutl4M 11',," is Ihe . . . . . . . t ambitious attempt in ou' literature al a thoroughgoing appl. icatiol1 of 'inlilative form'. Fallac:y or nol, imitative. funn was 1M one " " a t literary theory which Joyce applied through_
oul hil are<T wilh varying degrees of con';"t<:ncy and . rtistic: lue<:eIf, hUI never more conmtenlly nor perhaps more brillianliy than in FinlUlllJU 1I'"u, in which the verl>>l simulation of all kinds off. . . . . . . . . , aCII, and ev<:n abstractions iI nrried to e:<lJ"1I_
ordinary Iengtlu.
In lhe: analysis of the broad arehit<<toni(: principle. of
Finn'tallS W. . . bwith which I am concerned in the early chapten of dli. study I have gival con9derable att""don 1<1 Joyce'. JYIIlbolic " ot of such archelypal forms "-' the circle, Ihe crou, and tho: "I. u,. ,. . ,. I 11. '1'""lIIultnlcd my di! cUS$lonofuu. . . pctt of the book with I\. number of geometric di. gram, in th~ hope
thai linear rep. -esl! nu,tiOfls of Ihc.
