This painting is my 21st Century version of the ending of W. B. Yeats' Poem, "A Prayer for My Daughter," 1919: "How but in custom and in ceremony Are innocence and beauty born? Ceremony's a name for the rich horn, And custom for the spreading laurel tree." Yeats bases the poem on numerous references to varied folk-classical Greco\Roman\Irish mythologies of Daphne and Apollo, and with his deep involvement with the long-standing Irish - British hostile politics and violent skermishes. Along with that now hopefully remote complexity, Yeats' interweaves his own personal symbols and religious-political beliefs and biases. In the basic story, Apollo falls in love with Daphne, godess of the moon, virginity, and forests. But as Apollo pursues Daphne, she is saved from rape by being turned into a Laurel tree. In some versions Apollo then is turned into a hunting horn! In Yeats' poem, this relationship represents something like a two-bedroom peacefull co-existence. A few of our idealistic and literary contempories have adopted Daphne as a heroine for feminism, which I think is about as appropriate as their choices of our nearer contemporary artists, Frida Kahlo or\and Georgia O'Keeffe. Among other historical characteristics are problems with applying Freudian symbolism to either of those two artists' lives. Before I ramble too far off, or get carried away, however, let me reassure you that I believe if you are interested in learning more about all that, get on your handy Google, or wherever. Peace, etc., Bruce