Part of a group of items (MA 1764.1-5) including three typescripts of French translations of the concluding paragraphs of the "Anna Livia Plurabelle" episode from Finnegans Wake (MA 1761.1-3), a manuscript draft of the collaborative French translation of lines from the beginning of "Anna Livia Plurabelle" (MA 1764.4), and a photograph of Paul Léon and James Joyce taken in 1934 by Boris Lipnitzki (MA 1764.5).
In an earlier catalog record, this document was described as a poem by Paul L. Léon. Léon's name is given at the bottom of the page in an unidentified hand.
The three typescripts and the manuscript in this collection were most likely created as part of the collaborative translation into French of the "Anna Livia Plurabelle" episode of Finnegans Wake. In the spring of 1930, Joyce suggested to Samuel Beckett, via Philippe Soupault (a founder of Surrealism, with André Breton), that Beckett attempt a French translation of this section of the then-unfinished novel and publish it in the avant-garde magazine Bifur. Beckett approached his friend and colleague Alfred Péron to assist him, and the two worked on the translation throughout the summer of 1930. They had reached the stage of page proofs when Joyce decided that the translation was not ready to publish. He then enlisted the help of Yvan Goll, Eugène Jolas, Paul Léon, Adrienne Monnier, and Philippe Soupault to revise the translation, under his supervision. The translation that resulted was subsequently published in the Nouvelle Revue Française (1 mai 1931). A full account of this translation process is given in Trilingual Joyce: The Anna Livia Variations, by Patrick O'Neill (Toronto; Buffalo; London: University of Toronto Press, 2018), pp. 10-26.
There are two notes in the righthand margin: one records the name "Victor Sax" and an address in Zurich, the other the name "D.E. [J.?] Dillon" and an address in Barcelona.
Consisting of a translation into French of lines from the beginning of the "Anna Livia Plurabelle" episode, starting with "Or whatever it was they threed to make out..." and ending with "And by my wildgaze I thee gander" (FW 196-197).