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Flashcards

Blake poetry

chloe.potts1997 English literature A-Level English 83 cards

Cards in this deck (83)

  1. 1—
  2. 2—
  3. 3TSR: 'The Sick Rose'metaphor and definite article-symbolizes nature, provides a metaphor-reflects the neglect of nature during the Industrial Revolution and Blake's passion for the conservation of nature being a proto-romantic poet.
  4. 4TSR: 'That flies in the night'juxtaposition (invisible worm)-adds a new sinister element to the penetration of nature, shows nature as vulnerable-songs of innocence, reflects the destruction of nature (deforestation) in the rise of the IR.
  5. 5TSR: 'In the howling storm'Personification and onomatopoeia-represents nature as feeling pain and upset-shows Blake as a proto-romantic.
  6. 6TSB: 'And the skylark sings with me'Sibilant-melodic, almost mimics what a teacher would say to a young child, shows the schoolboys desire to learn with nature instead of through organised schooling, paired with the language of nature 'morn'-reflects Blake's romantic and anti-establishment views.
  7. 7TSB: 'Nor sit in learning's bower'Anaphora of the negation 'nor' (Nor in my book...)-general expression of negativity towards institutionalized education, 'bower' could be referring to a woman's bedroom or a sheltered trees again showing a willingness to learn through nature or in natures company-Blake's romanticism of nature.
  8. 8TSB: 'Worn through with the dreary shower'Personification and pathetic fallacy-shows that nature is morning the loss of education through the influence of nature with the boy-refers to the destruction of nature during the 18th century.
  9. 9TEG: 'The Echoing Green'Definite article, onomatopoeic verb and use of colours-shows significance and individuality due to it being well known throughout the generations, metaphor for the continuous visits from generation after generation, colour green symbolizes nature-Blake's romanticism and love in nature.
  10. 10TEG: 'And make happy the skies'Syntactic inversion- 'happy' is placed at the centre of the sentence to make it the main focus of the line, showing the importance of nature-typical in Blake's poetry due to his beliefs.
  11. 11TEG: 'Such, such were the joys/When we all, girls and boys/ In our youth time were seen/On the Echoing Green'Rhyming couplets and refrain-metaphor for the harmony of humans and nature in the prelapsarian world before the IR (dichotomy), nature can always provide a place for natural learning, shows the shared experience of the elderly and the youths as they both confide in nature,links with the echo also seen in the refrain-Blake is suggesting a recurrence of happy and innocent childhood under the influence of nature.
  12. 12TGL: 'So I turned to the Garden of Love'fricative alliteration-nature is presented as something pleasant, Blake is trying to reject the church and organised religion and turn to nature instead, shows the rejection of the postlapsarian corruption-Blake hated organised religion and established church due to his dissenter upbringing.
  13. 13TGL: 'That so many sweet flowers bore'Adjective-nature is presented as something pleasant-Blake's romanticism.
  14. 14TGL: 'And tombstones where flowers should be'Sibilance and modal-metaphor for the church bringing death of man and nature and the control of nature even in death, 'should' suggests a reluctance to change, shows how much of a traumatic change it was to the childhood imagery of nature, the 'flowers' try to replace the harshness of reality with the romantic idea of nature-Blake being proto-romantic and a lover of nature.
  15. 15TL: 'Little lamb who made thee'Euphonic alliteration and second person archaic pronoun-expected from songs of innocence as it shows the direct communication between children and nature-Blake's views on children and nature being important factors of society.
  16. 16TL: 'Softest clothing wooly bright'Superlative-suggests that produce from nature is always the best, shows it as an innocence poem-shows Blake's romanticism.
  17. 17TL: 'For he calls himself a Lamb'Third person pronoun-ambiguous as to who 'he' is but could be God/Jesus, shows him as humble as he associates himself with animals as innocent and humble as a lamb and thus nature, suggests it is better to learn about God through nature-expected from a songs of innocence poem as it is based on a prelapsarian world where the church and nature is not corrupted, shows Blake's preferred view on the Church and its influence on nature.
  18. 18TT: 'Burning bright'Bilabials-suggesting the IR is burning through nature (deforestation) but can also be a romantic view of the sublime-shows Blake's hopefulness of the protection of nature.
  19. 19TT: 'Burnt the fire of thine eyes? On what wings dare he aspire?'Modifier, cataphoric reference and rhetorical questions and a possible inter-textual reference to the story of Icarus or Prometheus- suggests the industrial man is hubristic and emphasizes the pollution of the IR, suggesting the IR is killing us, suggests that mature will punish man like the Gods punished Icarus and Prometheus-shows Blake's message to stop the IR as it is pushing nature too far.
  20. 20Anesica (2010)-Blake felt very strongly about the way the industrial revolution was doing more harm than good.Dike (1961)-The Echoing Green is an idyllic description of the state of innocence.
  21. 21Romnat (2004)-Although Blake thought Nature was part of the earthly world, he was aware of her beauty and harmony.Robinson (2000)-Blake uses Nature to frame his verses which allows him to communicate his thoughts, ideas and wishes.
  22. 22—
  23. 23IJ: 'Infant joy'First word is dedicated to the child, recognition for childhood, it allows young children to feel joy and recognises the happiness of a new born child, recognises the innocence and its lack of exposure to a corrupt world-prelapsarian, Tabular Rasa, Blake celebrated childhood as it was not socially recognized in the 18th century.
  24. 24IJ: 'I have no name/ I am but two days old'First person pronoun, speech marks-makes this line seem as though it is coming directly from the child and splits the poem into two different voices where the other could possibly be a mother or father, 'I' gives the infant a sense of individuality which is needed to become part of 18th century society, 'no name' could show its innocence (Tabular Rasa)-not given a name as this reflects the treatment of children in the 18th century as many died young, Blake showing his romantic ideals for childhood.
  25. 25IJ: 'I happy am'Inverted syntax, first person pronoun- inverted syntax puts 'happy' at the center of the sentence making it the main focus for the child emphasizing its innocence and joy as it is not yet corrupted by the postlapsarian Industrial Revolution, first person 'I' allows it to exist as its own person-Blake believed childhood was corrupted by the IR, children were seen but weren't supposed to be heard.
  26. 26IJ:' 'Sweet joy befall thee'Distorted refrain, adjective, second person archaic pronoun- 'sweet' reflects the happiness felt by the mother but alongside 'pretty' could be a form of physiognomic prejudice, this is not an exlamative like the first line possibly showing less enthusiasm as the mother doesn't wish herself as much joy as her child because she has already been corrupted unlike her baby this paired with the archaic lexis brings a shadow of the postlapsarian world to the poem at the end-Blake as a romantic, giving children the chance to be recognized before being exposed to corruption, poem is used to teach evangelical practices by teaching in song and rhymes, 'All children are born innocent but man meddles and they become evil' Rousseau showing the looming shadow of the postlapsarian world.
  27. 27IS: 'Infant sorrow'first word is again dedicated to the infant like in 'IJ' however this time when partnered with 'sorrow' it recognises the problems children brought about to families in the 18th century-reflects the treatment of children, they became a burden as they made mothers and fathers have to work more to be able to look after the child.
  28. 28IS: 'My mother groaned, my father wept!'Possessive pronoun, onomatopoeia, exlamative-anger and fear shown through the sentence mood, shift in pronouns from IJ showing the child is trying to relate itself to its parents and is desperate for acknowledgement, 'groaned' and 'wept' reflects the burned they feel by having a child, could represent the pain of childbirth, shows they are unhappy with their child-children were used as laborers, children were a burden to parents due to their small income.
  29. 29IS: 'Helpless, naked, piping loud/ Like a fiend hid in a cloud'adjectives and simile- shows children are vulnerable and they have no choice in what happens to them in the IR, shows children are born innocent and pure (Tabular Rasa) but could also be how children are born with original sin from Eve, shows the child wants to be protected, shows the child being absorbed in unrealistic ideologies, the child is seen as evil again showing the idea children are born with original sin-Blake tried to fight for the purity of children during the 18th century along with Rousseau and Godwin.
  30. 30IS:' Bound and weary i thought best/ To sulk upon my mother's breast'Modifiers, bilabials and plosives-shows the child is bound to its future (chimney sweeper), shows lack of autonomy for the child as it cant make its own future given the time period however does decide by itself to try and find comfort in its mother-through the last line it shows Blake trying to still promote the relationship between mother and child although he knows through the 18th century they were mistreated.
  31. 31TSB: 'But to go to school in a summer morn/ Oh! it drives all joy away'Bilabial, apostrophised exclamative and intertextual reference-creates a shift in attitude showing their rejection to institutionalized education, apostrophising suggests a moan again showing he is not engadged in what he is learning, reference to IJ showing education and establishment is corruptible for children as it shows he was Tabular Rasa-Blake's Romantic ideals.
  32. 32TSB: 'Under a cruel eye outworn'adjective and cacaphonic lexis-shows a sense of surveillance but the ambiguity could mean it is either the teachers government or even the IR, shows the boy resents the educational system end believes it is destroying his childhood and potentially looking at it as a form of torture-teachers could punish children up until the the 20th century in schools if they misbehaved.
  33. 33TSB: 'How can the bird that is born for joy/ Sit in a cage and sing?'metaphor, rhetorical question, plosives and sibilance-shows he feels as if this is a metaphor for himself and other children, shows he feels trapped withing the educational system, shows he is making a comment on how hard it is to learn when not learning through nature, shows his resentment-mirrors Blake's hatred for establishment ruining childhood.
  34. 34TSB: 'O father and mother! if buds are nipped... And if the tender plants are stripped'Apostrophising, exclamative and rhyme scheme-suggesting the child is pleading with his parents to stay out of school as he feels it is corrupting him, shows innocence in childhood and trying to ling to this as well as his parents, shows the pant is another metaphor for himself as he is trying to show joy being taken away from him as he goes to school, shows his clean slate being corrupted through education, rhyme scheme reflects a melody like a nursery rhyme showing education has already stated to take hold and corrupt the child-Blake's anti-establishment views.
  35. 35TEG: 'While our sports shall be seen/ On the Echoing Green'Sibilance and refrain-'sports' represents youth and the sibilance shows emphasis on this and the certainty of joy in childhood, the refrain adds to the echoing of a happy childhood throughout the generations thanks to nature-Blake's view on learning through nature and the purity of children
  36. 36TEG: 'They laugh at our play'Third person pronoun and collective noun-shows a level of reminiscence for the elderly as they too enjoyed their childhood whilst playing on the green, showing the adults taking pleasure from children, shows that many children are playing together-would not have been seen in the 18th century as many children died or worked all the time and never got the chance to play together as they were forced to grow up quickly, shows the 18th century ethos of children being seen but not heard is flouted by Blake due to his Romantic ideals.
  37. 37TEG: 'Many sisters and brother'Collective nouns-shows innocence, shows they are revolved around family as it refers to IJ and the positive relationship between mother and child-shows that mothers could have more than one child as they didn't have any consequences to worry about like they did in the 18th century.
  38. 38L: 'In every infant's cry of fear'Anaphora/refrain and fricatives-shows widespread sadness, represents infant vulnerability as the child is crying as it parts with its mother and has to work, also showing it fears death as it knows its fate as its future is already certain and have no protection from their parents-children were worked to death during the 18th century and paid very little and so were employed in large numbers.
  39. 39L: 'Blasts the new-born infant's tear'Metaphor, plosives and homonym-suggesting the harlots giving up their children, represents child neglect during the 18th century, 'tear' could both mean the child is crying or it could suggest it is being torn away from its parents and its deserved childhood-represents 18th century prostitutes getting pregnant and aborting or giving the children away as keeping one would prevent them from working.
  40. 40Leader (1981)-'Infant Joy is a lullaby not so much to celebrate innocence but to ward off encroaching experience'Gleckner (1959)-'Where Infant Joy suggests harmony between parent and child, Infant sorrow evokes a basic dissonance between them'
  41. 41Norton (2001)-'Blake is a radical critic of social injustices of his age- the established church, mercenary and uncaring parents'Norton (2001)- 'The wretched figure of a child is a key emblem in Blake's poetry of social protests'
  42. 42—
  43. 43IS: 'Striving against my swaddling bands'Sibilance-trying to rebel against the industrial revolution and religion (swaddling bands), supposed to create comfort for the child but it is rejecting this instead-reflects Blake's rejection of organised religion.
  44. 44TGL: 'A chapel was built in the midst'Capitalization (proper noun), synechdoche- this chapel represents establishment and religion, shows an intrusion of childhood through organised religion being forced onto them-Blake was a dissenter and disbelieved in organised religion.
  45. 45TGL: 'And the gates of this Chapel were shut/ And "Thou shalt not" writ over the door'Sibilance, archaic lexis and semantic field of law-prison like, reference to school boy and the 'cage' suggesting an imprisonment in those involved in established religion, represents the 10 commandments suggesting they are controlling and limiting as they control who can enter and who cannot, shows organised religion just wants control and obedience paired with 'writ' that means law-Blake's ideals on religion.
  46. 46TGL: 'And priests in black gowns were walking their rounds/ And binding with briars my hopes and desires'Use of colours, bilabials and plosives-commenting on religion taking over childhood as it is forced on children, shows the church is surveying people again showing that level of control, shows a painful and harsh image suggesting a level of cruelty from the church which could be paired with 'cruel eye' from TSB-Blake's view on the church as he was anti-establishment, shows he is making a comment on religion destroying and damaging the dreams of people as they are made to believe in the church.
  47. 47L: 'Every blackening church appals'Hyperbole-shows the widespread corruption of the church, the morals of the church are darkening connoting they are becoming satanic, they are beginning to be rejected as they are 'appal[ing]' -mirrors Blake's own rejection of the church due to his own beliefs.
  48. 48TL: 'Gave thee life & bid thee feed...Gave thee clothing of delight'Listing-shows a list of why God should be celebrated as he is beneficial to nature which Blake would have agreed with, however language does sound scripted as if copying it directly from what the child has been taught in school which shows a postlapsarian shadow of the church being too influential-Blake was a dissenter and believed in a certain type of religion and not the organised religion.
  49. 49TL: 'Little lamb who made thee/ Dost though know who made thee'refrain-prayer like and religious instruction through song (evangelical) hymens-Blake appealing to children through nursery rhyme type and promoting the teaching of religion through nature and Dissenter tradition instead of organised and institutionalized religion.
  50. 50TL: 'He is meek & he is mild/ He became a little child'bilabials and adjectives-shows God as humble and innocent as he associates himself with a creature as innocent as a lamb and a child, associates God and religion as innocent and pure-18th century religion was not what Blake supported as it was under too much influence by the revolution and establishment so he tries to promote his views of religion.
  51. 51TT: 'What immortal hand or eye/ Could frame thy fearful symmetry?'Rhetorical question/interrogative and para-rhyme/ disrupted trochaic trimeter-suggests an uncertainty from the beginning as he does not know if it is God or the Devil, doesn't like the Tyger as it does not fit in with the ethos of the Lamb-Blake is showing the postlapsarian/18th century views on religion.
  52. 52TT: 'In what distant deeps or skies'Rhetorical question- metaphors for both heaven and hell, shows the child is still questioning whether or not God and the Devil are different or in fact the same (reflecting of the 'darkening of the church' and its possible lack in morals)-Showing Blake's rejection to organised religion as it cannot differentiate between good and evil.
  53. 53TT: 'Did he who made the Lamb make thee?'Rhetorical question/interrogative-reference to TL, trying to find something good in the postlapsarian world, possibly questioning God through the songs of innocence poem as well as experience poem, doesn't know what to believe, shows that his question from the beginning is still unanswered suggesting organised religion cannot provide answers for anything-reflect Blake's hatred and disbelief in the church during the 28th century.
  54. 54Norton (2001)- 'Blake is radical critic of social injustices of his age- the established church, mercenary and uncaring parents.'Holliday (2012)- 'Blake's sings of experience poems are perhaps his strongest condemnation of British urban society.'
  55. 55Doorlux (2006)- 'Blake was a Christian but not a normal Christian. His idea of God had a lot to do with imagination. For Blake, the Church and believing in God were not the same thing. The Church is political. God is not.'Weimer (2006)- 'Blake was a religious man, he was taught to read using the Bible, and a lot of his poems carry Biblical connotations.'
  56. 56—
  57. 57IS: 'Into the dangerous world i leapt'Adjective and juxtaposition- shows it acknowledges the corrupted society it is brought into however this negative connotation is juxtaposed with 'leapt' as this suggests a child-like action connoting happiness and playfulness-Blake believed that 18th century society was corrupt due to the uprising of the IR.
  58. 58IS: 'Struggling in my father's hands'Sibilance and present tense suffix-possible religious reference to God as a 'father', shows this continuous struggle to get away possibly because his family is corrupt-families struggled with children during the 18th century, this is unusual from Blake as he had a strong relationship with his father.
  59. 59TSR:' And his dark secret love/ Does thy lie destroy'Lack of rhyme scheme, plosive alliteration, metaphors and archaic second person pronoun-pins the blame on one specific gender (males) who promote prostitution, metaphor for men seeing prostitutes in private without the knowledge of their wives, it has to be 'secret' as it is a corruptive factor to a corrupted society-represents the large amounts of prostitutes during the 18th century and the mass mortality rate from STD's.
  60. 60L: 'I wander through each charter'd street'First person pronoun, contraction and anaphora- shows this is from Blake's perspective and corrupted experiences as he lived in London during the 18th century, Blake doesn't tend speak in the first person as a profit poet but as this is a song of experience poem showing corruption he doesn't need to adopt the typical innocent voice f a child-IR was very corruptive in London during the 1700's.
  61. 61L: 'And mark in every face I meet/ Marks of weakness, marks of woe'Repetition and fricative alliteration-shows the extent of corruption, vulnerable to the branding of urban society through the repetition, shows an emergence of distinction in social classes as their clothes and what they looked like would have related them to specific social classes (physiognomic prejudice) again showing widespread corruption-Blake was a profit-poet, shows that widespread corruption due to the IR in London during Blake's age.
  62. 62L: 'The mind-forged manacles I hear'Plosives-reference to the brainwashing of the revolution and the government making themselves feel trapped emphasizing the physical and mental corruption, suggests that these individuals are too complicit to the orders of society-reflects Blake's call for the English Revolution and the change of 18th century lifestyles.
  63. 63L: 'Every blackening church appals'Hyperbole-shows the widespread corruption of the church, the morals of the church are darkening connoting they are becoming satanic, they are beginning to be rejected as they are 'appal[ing]' -mirrors Blake's own rejection of the church due to his own beliefs.
  64. 64L: 'And the hapless soldier's sigh/ Runs in blood down palace walls'Adjectives, sibilant and plosive alliteration-shows the soldiers as unfortunate and cursed which is corrupted as they fought for our country, shows they have given up on their country as it is too corrupted and not worth saving, shows they are trapped within a corrupt society and they are disappointing in it, the hyperbolic metaphor suggests enough soldiers died that the blood 'runs', also allows Blake to criticize the corrupt monarchy as they send soldiers directly to their deaths- this all represents Blake's anti-establishment views.
  65. 65L: 'And blights with plagues the marriage hearse'Bilabials and plosives and oxymoron/dichotomy- represents sex as a disease during the 18th century era, shows Blake commenting on prostitution being a widespread and corrupting problem, shows a metaphor for STD's and possibly even children, the oxymoron suggests that men are sleeping with prostitutes and catching STD's which are then transmitted to their wives which could eventually lead to their deaths-high mortality rate during the IR.
  66. 66TT: 'And what shoulder, and what art/ Could twist the sinews of thy heart?'Lexical set of the body-represents the people of society, reflects how people were treated during the IR especially women and children, negative connotations of the government/God/IR/church/monarchy controlling its people but cruelly-represents Blake's view on the mistreatment of women and children and the corruption of the state during the IR.
  67. 67TT: 'And when thy heart began to beat/ What dread hand? And what dread feet?'Anaphora, repetition and lexical set of the body-represents desperation to ask questions and have them answered, mirrors the heart trying to beat-represents Blake's view on the mistreatment of women and children and the corruption of the state during the IR.
  68. 68TT: 'What the hammer? what the chain/ In what furnace was thy brain?'Anaphora/repetition, lexical set of industry and rhetorical question- again showing the desperation to have questions answered, asks if the IR is necessary as it has caused so much pain and lead to so much corruption-represents Blake's view on the mistreatment of women and children and the corruption of the state during the IR.
  69. 69TT: 'What the anvil? what dread grasp/ Dare its deadly terrors clasp!'Interrogative, plosives, exclamative and cataphora- emphasizes the dangers and the IR, seems as though Blake is shouting this could possibly be a metaphor for the loud mechanical noises of the IR which he is trying to fight and also represents fear and hatred for the Ir and preaching to the people trying to warn them of the consequences if this corruption carries on-represents Blake's view on the mistreatment of women and children and the corruption of the state during the IR.
  70. 70Anesica (2010)-'Blake felt very strongly about the way the industrial revolution was doing more harm than good.'Osborne (2013)-'The songs of experience poems are often read as dark re-writing of the pastoral mode explored in songs of innocence.'
  71. 71Norton (2001)-'Blake is a radical critic of the social injustices of his age- the established church, mercenary and uncaring parents'Cross (2002)-'Many of Blake's poems draw attention to the positive aspects of natural human understanding prior to the corruption and distortion of experience'
  72. 72—
  73. 73IJ: 'Sweet joy befall thee'Refrain, adjective, second person archaic pronoun-shows a bond developing between the mother and her child as she wishes her infant a joyous life which would be impossible in the 18th century, archaic lexis creates a postlapsarian shadow contrasting the tone for the rest of the poem-Blake fought for the welfare of children and women during his age as they were the most mistreated.
  74. 74IJ: 'Thou dost smile/ I sing the while'Rhyming couplet, archaic lexis and first person pronoun- the lack of rhyme scheme throughout the poem could represent the postlapsarian corruption but this rhyming couplet and pronoun 'I' could suggest that there is hope for the mother and child as it connotes harmonious bond between mother and child-Women often sent their children to orphanages as they were unable to care for them themselves as they had to work all the time as prostitutes or where not earning enough at all to be able to care for them.
  75. 75IS: 'My mother groaned...'Possessive pronoun and onomatopoeia-shows the child trying to relate itself to its mother as it acknowledges it will have to be independent in order to survive, 'groaned' could reflect the pain of childbirth but also her resentment to her child-having children would have been a burden on the family during the tough times of the IR.
  76. 76IS: 'To sulk upon my mother's breast'Bilabials-shows the child trying to find comfort in its mother, shows the mother as a safe haven for the child, use of 'breast' suggests there is still a dependence on the mother as it is associated with feeding a child-reflects the hard decisions mothers had to make in the 18th century IR as raising a child would have been difficult given the circumstances.
  77. 77TSR: 'O Rose, thou art sick!'Apostrophising and the capitalization (proper noun)-emphasizes Blake's resentment to the sickness (STD's/men/IR), could be referring to a particular woman or the Rose represents women as a whole (synechdoche), exlamative paired with the cacaphonic phoneme 'sick' highlights Blake's resentment-reflects Blake's views on women.
  78. 78TSR: 'Has found out they bed/ Of crimson joy'metaphor, euphemism and symbolic colour- represents women/prostitutes but can also symbolize the center of the flower (pistil), shows a euphemism for female sexuality, also an intertextual reference to IJ and the problems affecting children as well as women, suggests lust/virginity-Blake's poetry had a minimum of four layers to each poem on different levels of symbolism, also reflects Blake's fight for the recognition of women.
  79. 79TSR: 'Does thy life destroy'Archaic pronoun and plosives-addressed the readers/women, destruction of the female as it destroys honor/pride/dignity and possibly a literal reference to their deaths from disease-STD's were prominent during this era and many women (prostitutes mostly but sometimes wives) were dying from them.
  80. 80L: 'But most through midnight streets I hear'Plosive alliteration, superlative and metaphor/euphemism-alliteration is seen throughout the poem mirroring the incessant drone of the IR as the machines never sleep, shows widespread problems, connotes there are two sides to London-the drone during the day but something darker is happening at night- 1 in 8 women were harlots during the IR.
  81. 81L: 'How the youthful harlot's curse'Metaphor and adjective- metaphor for STD's/prostitution/lack of money/pregnancy/their place in society, connotes they are very young which they would have been during the IR as virginity was desired by most men- 50% of harlots were underage, Blake is commenting on the corruption of society on both women and childhood.
  82. 82Holliday (2012)-'Blake's 'London' is perhaps his strongest condemnation of British urban society at the end of the 18th century'Mayerstein (1946)-'The burden sickening the rose may be the concealment of her sexuality'
  83. 83Moffat (2001)-'During the start of the industrial revolution, William Blake was one of a scant few artists with both gender equality and the environment on his mind.'Fox (1977)-'In his prophetic poems Blake conceives a perfection of humanity defined in part by the complete mutuality of its independent genders.'

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A-Level English literature Flashcards on Blake poetry, created by chloe.potts1997 on 16/05/2016.
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