Finch, “To a Nightingale” – The Open Anthology of Literature in English

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<title type=“main“>”To the Nightingale”</title>

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<persName type=“lccn“ key=“n80056864“>Winchilsea, <forename>Anne</forename> Kingsmill

<surname>Finch</surname>, Countess of, 1661-1720</persName>

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<persName type=“orcid“ key=“0000-0002-7400-4093“>Tonya Howe</persName>

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<name>Students of Marymount University</name>

<name>James West</name>

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<persName>Winchilsea, Anne Kingsmill Finch, Countess of, 1661-1720</persName>

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<title type=“marc245a“>Poems on Several Occasions…</title>

<title type=“marc245c“>Written by the Right Honourable Anne, countess of

Winchelsea.</title>

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<publisher>Printed by J[ohn] B[arber]</publisher>

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<date when=“1714“>1714</date>

<extent>4 p.l., 390 p. 19 cm. <idno type=“lcc“>PR3765.W57 A7

1714</idno>

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<note>This book first appeared in 1713 undert the imprints of John Barber and

John Morphew, and there seem to be three different 1713 printings of this

text–each 1713 printing includes slight variations of the authorship

statement on the title page–from the anonymous “written by a Lady” to a

full statement of authorship by “Anne Finch, Countess of Winchelsea.” This

digital edition uses the 1714 printing by Barber, housed in the Library of

Congress. This 1714 printing is a reissue of the 1713 editions with a new

title page. All page images are sourced from the Library of Congress.</note>

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<placeName type=“tgn“ key=“7011781“>London</placeName>

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<publisher>Printed by John Barber on Lambeth-Hill</publisher>

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Hall</publisher>

<date when=“1713“>1713</date>

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<pubPlace>Ann Arbor, MI</pubPlace>

<publisher>University of Michigan Library</publisher>

<date when=“4-2009“>2009 April</date>

<extent type=“online“>http://name.umdl.umich.edu/004860039.0001.000</extent>

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<biblScope>pp 200-202</biblScope>

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century. This project is funded by the National Endowment for the Humanities and

developed by faculty at The University of Virginia and Marymount University. </p></projectDesc>

<editorialDecl>

<interpretation><p>Research informing these annotations draws on publicly-accessible

resources, with links provided where possible. Annotations have also included common

knowledge, defined as information that can be found in multiple reliable sources. If

you notice an error in these annotations, please contact

lic.open.anthology@gmail.com. </p></interpretation>

<normalization><p>Original spelling and capitalization is retained, though the long s has

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<correction><p>Materials have been transcribed from and checked against first editions,

where possible. See the Sources section.</p></correction>

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<front>

<titlePage>

<pb n=“[titlepage]“ facs=“images/FN-TP-1714.jpg“/>

<titlePart>POEMS <lb/></titlePart>

<titlePart>ON<lb/> Several Occasions, <hi rend=“italic“>viz.</hi>.<lb/></titlePart>

<p>[…]</p>

<titlePart><rs content=“#finch“><ref target=“#finch“ xml:id=“finchA“>Written by the Right Honorable <hi

rend=“italic“>ANNE</hi>,<lb/> Countess of <hi rend=“italic“

>Winchelsea</hi></ref></rs>.<lb/></titlePart>

<docImprint>

<pubPlace><placeName type=“tgn“ key=“7011781“>LONDON</placeName></pubPlace>: <lb/>

Printed by <publisher><hi rend=“italic“>J. B.</hi></publisher> and sold by

<publisher><hi rend=“italic“>W. Taylor</hi></publisher>

<pubPlace>at the <hi rend=“italic“>Ship</hi><lb/> in <hi rend=“italic“

>Paternoster-Row</hi></pubPlace>, and <publisher><hi rend=“italic“>Jonas

Browne</hi></publisher>

<pubPlace>at the <lb/><hi rend=“italic“>Black Swan </hi> without <hi rend=“italic“

>Temple-bar</hi></pubPlace>. <docDate>1714</docDate>. <lb/>

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<body>

<div type=“poem“>

<pb n=“200“ facs=“images/FN-200.jpg“/>

<head type=“title“><hi rend=“italic“>To the </hi><ref target=“#nightingale“

xml:id=“nightingaleA“><rs content=“#nightingale“>NIGHTINGALE</rs></ref>.</head>

<lg type=“rhymed couplets“>

<l n=“1“>EXert thy Voice, Sweet Harbinger of Spring</l>

<l n=“2“ rend=“indent“>This Moment is thy Time to Sing,</l>

<l n=“3“ rend=“indent“>This Moment I attend to Praise,</l>

<l n=“4“>And <ref target=“#numbers“ xml:id=“numbersA“>set my Numbers</ref> to thy

<ref target=“#layes“ xml:id=“layesA“><rs content=“#layes“>Layes</rs></ref>.</l>

<l n=“5“ rend=“indent“>Free as thine shall be my Song;</l>

<l n=“6“ rend=“indent“>As thy Musick, short, or long.</l>

<l n=“7“>Poets, wild as thee, were born,</l>

<pb facs=“images/FN-201.jpg“/>

<l n=“8“ rend=“indent“>Pleasing best when unconfin’d,</l>

<l n=“9“ rend=“indent“>When to Please is least design’d,</l>

<l n=“10“>Soothing but their Cares to rest;</l>

<l n=“11“ rend=“indent“>Cares do still their Thoughts molest,</l>

<l n=“12“ rend=“indent“>And still th’unhappy Poet’s Breast,</l>

<l n=“13“>Like thine, when best he sings, is plac’d against a Thorn. </l>

<l n=“14“>She begins, Let all be still!</l>

<l n=“15“ rend=“indent“><ref target=“#muse“ xml:id=“museA“><rs content=“#muse“>Muse</rs></ref>, thy Promise

now fulfill!</l>

<l n=“16“>Sweet, oh! sweet, still sweeter yet</l>

<l n=“17“>Can thy Words such Accents fit,</l>

<l n=“18“>Canst thou Syllables refine, </l>

<l n=“19“>Melt a Sense that shall retain</l>

<l n=“20“>Still some Spirit of the Brain,</l>

<l n=“21“>Till with Sounds like these it join.</l>

<l n=“22“ rend=“indent“>‘Twill not be ! then change thy Note; </l>

<l n=“23“ rend=“indent“>Let <ref target=“#division“ xml:id=“divisionA“><rs content=“#division“>Division</rs></ref>

shake thy Throat.</l>

<l n=“24“>Hark! Division now she tries;</l>

<l n=“25“>Yet as far the Muse outflies </l>

<pb facs=“images/FN-202.jpg“/>

<l n=“26“ rend=“indent“>Cease then, prithee, cease thy Tune;</l>

<l n=“27“ rend=“indent“>Trifler, wilt thou sing till <hi rend=“italic“>June?</hi></l>

<l n=“28“>Till thy Bus’ness all lies waste,</l>

<l n=“29“>And the Time of Building’s past !</l>

<l n=“30“ rend=“indent“>Thus we Poets that have Speech,</l>

<l n=“31“>Unlike what thy Forests teach,</l>

<l n=“32“ rend=“indent“>If a fluent Vein be shown</l>

<l n=“33“ rend=“indent“>That’s transcendent to our own,</l>

<l n=“34“>Criticize, reform, or preach,</l>

<l n=“35“>Or censure what we cannot reach. </l>

</lg>

</div>

</body>

<back>

<div type=“annotations“>

<head>Annotations</head>

<note xml:id=“finch“ type=“editorial“ resp=“JW“><p><graphic

url=“https://collectionimages.npg.org.uk/large/mw06861/Anne-Finch-Countess-of-Winchilsea.jpg“

style=“float:right“ width=“300“/> Anne Finch, Countess of Winchilsea,

was born in April 1661 to Anne Haselwood and Sir William Kingsmill. At age

twenty-one she was appointed maid of honor to <ref

target=“https://www.britannica.com/biography/Mary-of-Modena“>Mary Modena</ref>,

the wife of the Duke of York, in the Court of Charles II. During her time in the

Court, <ref target=“https://www.poetryfoundation.org/poets/anne-finch“>Anne

Kingsmill</ref> was courted by and eventually married to Colonel Heneage Finch.

In 1689, after a shift in political power, the Finches faced monetary problems and

moved several times, eventually settling in <placeName type=“tgn“ key=“7027563“

>Eastwell</placeName> with their nephew.</p>

<p>As a woman writer in the <ref

target=“https://www.poetryfoundation.org/learn/glossary-terms/augustan-age“

>Augustan era</ref>, Finch was also out of place. <ref

target=“https://books.google.com/books?id=-JldIaiQvkEC“>Barbara McGovern’s 2002

critical biography of Finch</ref> explores these displacements both in her life

and her poetry. Finch struggled, as McGovern notes, to define her poetic identity

in an era when women were excluded from the conditions that would allow them to

cultivate their minds or their voices. The poet was seen as male, and publishing

poetry, a masculine, public activity; for a woman to do so was, in the Augustan

period, risque and licentious (See Katherine Rogers’ essay, “Anne Finch, Countess

of Winchelsea: An Augustan Woman Writer,” in <ref

target=“https://books.google.com/books?id=pE-gBAAAQBAJ“>Pacheco 227</ref>);

Finch had to negotiate these competing cultural rules in her poetry. </p>

<p>Finch’s

poetry from 1701-1714 was wide ranging. She wrote on subjects typically allowed to

be feminine, like her love for her husband, but she also wrote about public and

political issues, like the succession of power in London. In 1701, Finch

anonymously published <hi rend=“italic“>”Upon the Death of King James the

Second”</hi>. Poems such as <ref

target=“http://www.eighteenthcenturypoetry.org/works/o4784-w0160.shtml“>”The

Spleen”</ref>and <ref

target=“http://www.eighteenthcenturypoetry.org/works/o4784-w0020.shtml“>”All is

Vanity”</ref> exemplify the idea of faith despite tribulation, a subject she

explored often. Prior to the 1713 publication of <hi rend=“italic“>Miscellany

Poems on Several Occasions</hi>, Finch circulated private manuscripts of her

poems and gained a favorable literary reputation. For more information on women

writers and manuscript circulation, see George Justice’s introduction to <ref

target=“https://books.google.com/books?id=2v_RciKgeuAC“><hi rend=“italic“

>Women’s Writing and the Circulation of Ideas: Manuscript Publication in

England, 1550-1800</hi></ref> (2002) or Margaret Ezell’s <ref

target=“https://books.google.com/books?id=45lAXaDsjz0C“

><hi rend=“italic“>Social Authorship and the Advent of Print</hi></ref>

(1999).</p>

<p><ref target=“https://books.google.com/books?id=pE-gBAAAQBAJ“>Rogers

emphasizes Finch’s Augustan roots, highlighting her use of form</ref> as well

as her love poetry, satirical prose, and ideas on the relationship between man and

nature (225). According to Rogers, Finch became one of the few female authors in

the Augustan era to successfully master the masculine rules of the literary

tradition. During the early modern period, women “frequently found themselves

denied opportunities for publication and serious public reception, or had their

writings denigrated and trivialized by a patriarchal literary world” (<ref

target=“https://books.google.com/books?id=-JldIaiQvkEC“>McGovern 2</ref>)–as

detailed in Finch’s poem “The Introduction,” which remained unpublished during her

lifetime. Finch was able to make her voice heard by working within the masculine

restraints of Augustan form.</p>

<p>Finch died on August 5, 1720. According to the <hi

rend=“italic“><ref url=“https://www.poetryfoundation.org/poets/anne-finch“

>National Poetry Foundation</ref></hi> the first recognized modern edition

of her work was released in 1903. Since the advent of feminist recovery criticism

in the 1970s and 1980s, Anne Finch has gained critical acclaim; she is now

regarded as one of the most important English women writers of the 18th century.

The image to the right shows a <ref

target=“https://www.npg.org.uk/collections/search/portrait/mw06861“>miniature

watercolor portrait of Anne Finch by Peter Cross</ref>, housed in the National

Portrait Gallery, London.<ptr target=“#finchA“/></p></note>

<note xml:id=“nightingale“ type=“editorial“ resp=“TH“>

<p><graphic

url=“https://www.rspb.org.uk/globalassets/images/birds-and-wildlife/bird-species-illustrations/nightingale_1200x675.jpg“

style=“float:right“ width=“300“/>The nightingale is a small bird native to

Europe and Asia, with a population in the United Kingdom as well as Africa. It is

known for its beautiful, complex song, characterized by <ref

target=“https://www.rspb.org.uk/birds-and-wildlife/wildlife-guides/bird-a-z/nightingale“

>”a fast succession of high, low and rich notes that few other species can

match,”</ref> and for that reason has long been associated with poets and

poetry, <ref

target=“http://www.edwardhirsch.com/prose/to-a-nightingale-introduction/“>as

poet Edward Hirsch notes in his introduction to <hi rend=“italic“>To a

Nightingale: Poems from Sappho to Borges</hi></ref>. Often, the nightingale

alludes to the classical myth of the <ref target=“http://vos.ucsb.edu/myth.asp“

>rape of Philomela</ref>, whose violation is ostensibly recompensed with an

unearthly beautiful song. While the nightingale is frequently invoked in lyric

poetry as a feminized muse for the masculine poet to draw inspiration from, <ref

target=“https://www.jstor.org/stable/450859“>as Charles Hinnant notes in “Song

and Speech in Anne Finch’s ‘To the Nightingale,'”</ref> Finch recasts the bird

as an idealized muse for all poets, regardless of gender (504). This poem, is a

significant attempt on Finch’s part “to master a recurrent problem for

the…female poet: how to participate in a discourse in which the poet is defined

as a masculine subject” (503). <ref target=“https://youtu.be/teP1pE6S7tQ“>This

video</ref> allows you to hear a nightingale singing. The image to the right,

via RSPB, shows the nightingale, luscinia megarhynchos. <ptr

target=“#nightingaleA“/></p></note>

<note xml:id=“division“ type=“editorial“ resp=“JW“><p>According to the <ref

target=“https://www.britannica.com/art/ornamentation-music“><hi rend=“italic“

>Encyclopedia Britannica</hi> entry on ornamentation</ref>, division refers

to a technique, popular in early modern music theory, characterized by dividing

longer notes into a series of shorter note groupings. This is an early form of

improvisation. For more information, please see “meter and time signatures” in the

<ref target=“ http://openmusictheory.com/meter.html“>Open Music Theory</ref>

textbook. <ptr target=“#divisionA“/></p></note>

<note xml:id=“muse“ type=“editorial“ resp=“JW“><p>According to <ref

target=“http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0104%3Aalphabetic+letter%3DM%3Aentry+group%3D31%3Aentry%3Dmusae-bio-1“

><hi rend=“italic“>A Dictionary of Greek and Roman Biography and

Mythology</hi></ref>, the Muses are “inspiring goddesses of song” who

“presid[e] over the different kinds of poetry, and over the arts and sciences.” In

this poem, Finch positions the nightingale as her muse and rival. <ptr

target=“#museA“/></p></note>

<note xml:id=“layes“ type=“editiorial“ resp=“JW“><p>According to the <ref

target=“ https://www.britannica.com/art/lay“><hi rend=“italic“> Encyclopedia

Britanica</hi></ref> , a “Lay” refers to a song or story in song. Finch in

this instance is seeking to create a poem that mirrors the song of the

Nightingale. <ptr target=“#layesA“/></p></note>

<note xml:id=“numbers“ type=“editorial“ resp=“TH“><p>”Numbers” refers to the metrical

quality of poetic verse; it also <ref

target=“https://www.poetryfoundation.org/learn/glossary-terms/metonymy“

>metonymically</ref> signifies poetry in general. In <ref

target=“https://andromeda.rutgers.edu/~jlynch/Texts/arbuthnot.html“>Alexander

Pope’s “Epistle to Arbuthnot,”</ref> he says that he “lisp’d in numbers, for

the numbers came” (128), suggesting that he spoke in poetic form even as a child.

Poetry is associated with music because of the metrical quality of both. Finch’s

use of the word “set” in this line emphasizes musicality, specifically the setting

of words to music (see OED “set” v1, 73.a). <ptr target=“#numbersA“/></p></note>

</div>

</back>

<tooltip_notes>

<div class=“tooltip_templates“>

<span link=“#“ id=“#finch“ type=“editorial“ resp=“JW“><p><graphic

url=“https://collectionimages.npg.org.uk/large/mw06861/Anne-Finch-Countess-of-Winchilsea.jpg“

style=“float:right“ width=“300“/> Anne Finch, Countess of Winchilsea,

was born in April 1661 to Anne Haselwood and Sir William Kingsmill. At age

twenty-one she was appointed maid of honor to <a

href=“https://www.britannica.com/biography/Mary-of-Modena“>Mary Modena</a>,

the wife of the Duke of York, in the Court of Charles II. During her time in the

Court, <a href=“https://www.poetryfoundation.org/poets/anne-finch“>Anne

Kingsmill</a> was courted by and eventually married to Colonel Heneage Finch.

In 1689, after a shift in political power, the Finches faced monetary problems and

moved several times, eventually settling in <placeName type=“tgn“ key=“7027563“

>Eastwell</placeName> with their nephew.</p>

<p>As a woman writer in the <a

href=“https://www.poetryfoundation.org/learn/glossary-terms/augustan-age“

>Augustan era</a>, Finch was also out of place. <a

href=“https://books.google.com/books?id=-JldIaiQvkEC“>Barbara McGovern’s 2002

critical biography of Finch</a> explores these displacements both in her life

and her poetry. Finch struggled, as McGovern notes, to define her poetic identity

in an era when women were excluded from the conditions that would allow them to

cultivate their minds or their voices. The poet was seen as male, and publishing

poetry, a masculine, public activity; for a woman to do so was, in the Augustan

period, risque and licentious (See Katherine Rogers’ essay, “Anne Finch, Countess

of Winchelsea: An Augustan Woman Writer,” in <a

href=“https://books.google.com/books?id=pE-gBAAAQBAJ“>Pacheco 227</a>);

Finch had to negotiate these competing cultural rules in her poetry. </p>

<p>Finch’s

poetry from 1701-1714 was wide ranging. She wrote on subjects typically allowed to

be feminine, like her love for her husband, but she also wrote about public and

political issues, like the succession of power in London. In 1701, Finch

anonymously published <hi rend=“italic“>”Upon the Death of King James the

Second”</hi>. Poems such as <a

href=“http://www.eighteenthcenturypoetry.org/works/o4784-w0160.shtml“>”The

Spleen”</a>and <a

href=“http://www.eighteenthcenturypoetry.org/works/o4784-w0020.shtml“>”All is

Vanity”</a> exemplify the idea of faith despite tribulation, a subject she

explored often. Prior to the 1713 publication of <hi rend=“italic“>Miscellany

Poems on Several Occasions</hi>, Finch circulated private manuscripts of her

poems and gained a favorable literary reputation. For more information on women

writers and manuscript circulation, see George Justice’s introduction to <a

href=“https://books.google.com/books?id=2v_RciKgeuAC“><hi rend=“italic“

>Women’s Writing and the Circulation of Ideas: Manuscript Publication in

England, 1550-1800</hi></a> (2002) or Margaret Ezell’s <a

href=“https://books.google.com/books?id=45lAXaDsjz0C“

><hi rend=“italic“>Social Authorship and the Advent of Print</hi></a>

(1999).</p>

<p><a href=“https://books.google.com/books?id=pE-gBAAAQBAJ“>Rogers

emphasizes Finch’s Augustan roots, highlighting her use of form</a> as well

as her love poetry, satirical prose, and ideas on the relationship between man and

nature (225). According to Rogers, Finch became one of the few female authors in

the Augustan era to successfully master the masculine rules of the literary

tradition. During the early modern period, women “frequently found themselves

denied opportunities for publication and serious public reception, or had their

writings denigrated and trivialized by a patriarchal literary world” (<a

href=“https://books.google.com/books?id=-JldIaiQvkEC“>McGovern 2</a>)–as

detailed in Finch’s poem “The Introduction,” which remained unpublished during her

lifetime. Finch was able to make her voice heard by working within the masculine

restraints of Augustan form.</p>

<p>Finch died on August 5, 1720. According to the <hi

rend=“italic“><a url=“https://www.poetryfoundation.org/poets/anne-finch“

>National Poetry Foundation</a></hi> the first recognized modern edition

of her work was released in 1903. Since the advent of feminist recovery criticism

in the 1970s and 1980s, Anne Finch has gained critical acclaim; she is now

regarded as one of the most important English women writers of the 18th century.

The image to the right shows a <a

href=“https://www.npg.org.uk/collections/search/portrait/mw06861“>miniature

watercolor portrait of Anne Finch by Peter Cross</a>, housed in the National

Portrait Gallery, London.<ptr target=“#finchA“/></p></span>

<span link=“#“ id=“#nightingale“ type=“editorial“ resp=“TH“>

<p><graphic

url=“https://www.rspb.org.uk/globalassets/images/birds-and-wildlife/bird-species-illustrations/nightingale_1200x675.jpg“

style=“float:right“ width=“300“/>The nightingale is a small bird native to

Europe and Asia, with a population in the United Kingdom as well as Africa. It is

known for its beautiful, complex song, characterized by <a

href=“https://www.rspb.org.uk/birds-and-wildlife/wildlife-guides/bird-a-z/nightingale“

>”a fast succession of high, low and rich notes that few other species can

match,”</a> and for that reason has long been associated with poets and

poetry, <a

href=“http://www.edwardhirsch.com/prose/to-a-nightingale-introduction/“>as

poet Edward Hirsch notes in his introduction to <hi rend=“italic“>To a

Nightingale: Poems from Sappho to Borges</hi></a>. Often, the nightingale

alludes to the classical myth of the <a href=“http://vos.ucsb.edu/myth.asp“

>rape of Philomela</a>, whose violation is ostensibly recompensed with an

unearthly beautiful song. While the nightingale is frequently invoked in lyric

poetry as a feminized muse for the masculine poet to draw inspiration from, <a

href=“https://www.jstor.org/stable/450859“>as Charles Hinnant notes in “Song

and Speech in Anne Finch’s ‘To the Nightingale,'”</a> Finch recasts the bird

as an idealized muse for all poets, regardless of gender (504). This poem, is a

significant attempt on Finch’s part “to master a recurrent problem for

the…female poet: how to participate in a discourse in which the poet is defined

as a masculine subject” (503). <a href=“https://youtu.be/teP1pE6S7tQ“>This

video</a> allows you to hear a nightingale singing. The image to the right,

via RSPB, shows the nightingale, luscinia megarhynchos. <ptr

target=“#nightingaleA“/></p></span>

<span link=“#“ id=“#division“ type=“editorial“ resp=“JW“><p>According to the <a

href=“https://www.britannica.com/art/ornamentation-music“><hi rend=“italic“

>Encyclopedia Britannica</hi> entry on ornamentation</a>, division refers

to a technique, popular in early modern music theory, characterized by dividing

longer notes into a series of shorter note groupings. This is an early form of

improvisation. For more information, please see “meter and time signatures” in the

<a href=“ http://openmusictheory.com/meter.html“>Open Music Theory</a>

textbook. <ptr target=“#divisionA“/></p></span>

<span link=“#“ id=“#muse“ type=“editorial“ resp=“JW“><p>According to <a

href=“http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0104%3Aalphabetic+letter%3DM%3Aentry+group%3D31%3Aentry%3Dmusae-bio-1“

><hi rend=“italic“>A Dictionary of Greek and Roman Biography and

Mythology</hi></a>, the Muses are “inspiring goddesses of song” who

“presid[e] over the different kinds of poetry, and over the arts and sciences.” In

this poem, Finch positions the nightingale as her muse and rival. <ptr

target=“#museA“/></p></span>

<span link=“#“ id=“#layes“ type=“editiorial“ resp=“JW“><p>According to the <a

href=“ https://www.britannica.com/art/lay“><hi rend=“italic“> Encyclopedia

Britanica</hi></a> , a “Lay” refers to a song or story in song. Finch in

this instance is seeking to create a poem that mirrors the song of the

Nightingale. <ptr target=“#layesA“/></p></span>

<span link=“#“ id=“#numbers“ type=“editorial“ resp=“TH“><p>”Numbers” refers to the metrical

quality of poetic verse; it also <a

href=“https://www.poetryfoundation.org/learn/glossary-terms/metonymy“

>metonymically</a> signifies poetry in general. In <a

href=“https://andromeda.rutgers.edu/~jlynch/Texts/arbuthnot.html“>Alexander

Pope’s “Epistle to Arbuthnot,”</a> he says that he “lisp’d in numbers, for

the numbers came” (128), suggesting that he spoke in poetic form even as a child.

Poetry is associated with music because of the metrical quality of both. Finch’s

use of the word “set” in this line emphasizes musicality, specifically the setting

of words to music (see OED “set” v1, 73.a). <ptr target=“#numbersA“/></p></span>

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