Among the more advanced tribes, Indian folk-lore bears the imprint3 of a weirdly4 poetical5 turn of mind, and ideas are often vividly7 and picturesquely8 expressed by nature similes9. Some of this folk-lore is embodied10 in hymns12, or what have also been termed nature-epics13, which are now being carefully preserved for future study by professional collectors of folk-lore. Aside from a few very interesting creation myths and stories of the Indian gods, there is a whole fund of nature legends of which we have a characteristic sample in Bayard Taylor's Mon-da-min, or Creation of the Maize15, and also in the group of legends welded into a harmonious16 whole by Longfellow in the "American-Indian epic14" Hiawatha.
The early European settlers found so many material obstacles to overcome, that they had no leisure for the cultivation17 of literature. Aside from letters, diaries, and reports, therefore, no early colonial literature exists. But, with the founding of the first colleges in America,—Harvard, Yale, William and Mary, the College of New Jersey18, and King's College (now Columbia),—and with the introduction of the printing press, the American literary era may be said to begin.
The Puritans, being utterly19 devoid20 of aesthetic21 taste, considered all save religious poetry sinful in the extreme; so it was not until the middle of the seventeenth century that Fame could trumpet22 abroad the advent23 of "the Tenth Muse," or "the Morning Star of American Poetry," in the person of Anne Bradstreet! Among her poems—which no one ever reads nowadays—is "An Exact Epitome24 of the Three First Monarchies25, viz., the Assyrian, Persian, and Grecian, and the Beginning of the Roman Commonwealth26 to the End of their Last King," a work which some authorities rank as the first American epic (1650). This was soon (1662) followed by Michael Wigglesworth's "Day of Doom," or "Poetical Description of the Great and Last Judgement," wherein the author, giving free play to his imagination, crammed27 so many horrors that it afforded ghastly entertainment for hosts of young Puritans while it passed through its nine successive editions in this country and two in England. Although devoid of real poetic6 merit, this work never failed to give perusers "the creeps," as the following sample will sufficiently28 prove:
Then might you hear them rend29 and tear
The air with their outcries;
The hideous30 noise of their sad voice
Ascendant to the skies.
They wring31 their hands, their caitiff hands,
And gnash their teeth for terror;
They cry, they roar, for anguish32 sore,
And gnaw33 their tongue for horror.
But get away without delay;
Christ pities not your cry;
Depart to hell, there may you yell
And roar eternally.
The Revolutionary epoch34 gave birth to sundry35 epic ballads—such as Francis Hopkinson's Battle of the Kegs and Major André's Cow Chase—and "to three epics, each of them almost as long as the Iliad, which no one now reads, and in which one vainly seeks a touch of nature or a bit of genuine poetry." This enormous mass of verse includes Trumbull's burlesque36 epic, McFingal (1782), a work so popular in its day that collectors possess samples of no less than thirty pirated editions. Although favorably compared to Butler's Hudibras, and "one of the Revolutionary forces," this poem—a satire37 on the Tories—has left few traces in our language, aside from the familiar quotation38:
A thief ne'er felt the halter draw
With good opinion of the law.
The second epic of this period is Timothy Dwight's "Conquest of Canaan" in eleven books, and the third Barlow's "Columbiad." The latter interminable work was based on the poet's pompous39 Vision of Columbus, which roused great admiration40 when it appear (1807). While professing41 to relate the memorable42 voyage of Columbus in a grandly heroic strain, the Columbiad introduces all manner of mythical43 and fantastic personages and events. In spite of its writer's learning and imagination, this voluminous epic fell quite flat when published, and there are now very few persons who have accomplished44 the feat45 of reading it all the way through. Still, it contains passages not without merit, as the following lines prove:
Long on the deep the mists of morning lay,
Then rose, revealing, as they rolled away,
Half-circling hills, whose everlasting46 woods
Sweep with their sable47 skirts the shadowy floods:
And say, when all, to holy transport given,
Embraced and wept as at the gates of Heaven,
When one and all of us, repentant48, ran,
And, on our faces, blessed the wondrous49 man:
Say, was I then deceived, or from the skies
Burst on my ear seraphic harmonies?
"Glory to God!" unnumbered voices sung:
"Glory to God!" the vales and mountains rang.
Voices that hailed Creation's primal50 morn,
And to the shepherds sung a Saviour51 born.
Slowly, bare-headed, through the surf we bore
The sacred cross, and, kneeling, kissed the shore.
'But what a scene was there? Nymphs of romance,
Youths graceful52 as the Fawn53, with eager glance,
Spring from the glades54, and down the alleys55 peep,
Then headlong rush, bounding from steep to steep,
And clap their hands, exclaiming as they run,
"Come and behold56 the Children of the Sun!"
Not content with an epic apiece, Barlow and Trumbull, with several other "Hartford wits," joined forces in composing the Anarchiad, which exercised considerable influence on the politics of its time.
In 1819 appeared Washington Irving's Sketch-Book, which contains the two classics, Legend of the Sleepy Hollow, and Rip Van Winkle, which are sometimes quoted as inimitable samples of local epics in prose. Cooper's Leather-stocking series of novels, including the Deerslayer, The Last of the Mohicans, The Pathfinder, The Pioneers, and The Prairie, are also often designated as "prose epics of the Indian as he was in Cooper's imagination," while some of his sea-stories, such as The Pirate, have been dubbed57 "epics of the sea." Bryant, first-born of our famous group of nineteenth-century American poets, made use of many of the Indian myths and legends in his verse. But he rendered his greatest service to epic poetry by his translations of the Iliad and the Odyssey58, accomplished when already eighty years of age.
There are sundry famous American heroic odes or poems which contain epic lines, such as Halleck's Marco Bozzaris, Dana's Buccaneers, Lowell's Vision of Sir Launfal, and Biglow Papers, Whittier's Mogg Megone, Holmes's Grandmother's Story of Bunker Hill Battle, Taylor's Amram's Wooing, Emerson's Concord59 Hymn11, etc., etc. Then, too, some critics rank as prose epics Hawthorne's Scarlet60 Letter, Poe's Fall of the House of Usher61, Hale's Man Without a Country, Bret Harte's Luck of Roaring Camp, Helen Hunt Jackson's Ramona, etc., etc.
It is, however, Longfellow, America's most popular poet, who has written the nearest approach to a real epic, and the poems most likely to live, in his Wreck62 of the Hesperus, Skeleton in Armor, Golden Legend, Hiawatha, Tales of a Wayside Inn, Courtship of Miles Standish, and Evangeline, besides translating Dante's grand epic The Divine Comedy.
In Longfellow's Wreck of the Hesperus we have a miniature nautical63 epic, in the Skeleton in Armor our only epic relating to the Norse discovery, in the Golden Legend, and in many of the Tales of a Wayside Inn, happy adaptations of mediaeval epics or romances.
Hiawatha, often termed "the Indian Edda," is written in the metre of the old Finnish Kalevala, and contains the essence of many Indian legends, together with charming descriptions of the woods, the waters, and their furry64, feathered, and finny denizens65. Every one has followed entranced the career of Hiawatha, from birth to childhood and boyhood, watched with awe66 his painful initiation67 to manhood and with tender sympathy his idyllic68 wooing of Minnehaha and their characteristic wedding festivities. Innumerable youthful hearts have swelled69 at his anguish during the Famine, and countless70 tears have silently dropped at the death of the sweet little Indian squaw. After connecting this Indian legend with the coming of the White Man from the East, the poet, knowing the Red man had to withdraw before the new-comer skilfully71 made use of a sun-myth, and allowed us to witness Hiawatha's departure, full of allegorical significance:
Thus departed Hiawatha,
Hiawatha the Beloved,
In the glory of the sunset,
In the purple mists of evening,
To the regions of the home-wind,
Of the Northwest-wind Keewaydin,
To the Islands of the Blessed,
To the kingdom of Ponemah,
To the land of the Hereafter!
The Courtship of Miles Standish brings us to the time of the Pilgrim's settlement in the New World and has inspired many painters.
The next poem, which some authorities consider Longfellow's masterpiece, is connected with another historical event, of a later date, the conquest of Acadia by the English. It is a matter of history that in 1755 the peaceful French farmers of Acadia, without adequate notice or proper regard for family ties, were hurried aboard waiting British vessels72 and arbitrarily deported73 to various ports, where they were turned adrift to join the scattered74 members of their families and earn their living as best they could. The outline of the story of Evangeline, and of her long, faithful search for her lover Gabriel, is too well known to need mention. There are besides few who cannot vividly recall the reunion of the long-parted lovers just as Gabriel's life is about to end. All through this hopeless search we are vouchsafed75 enchanting76 descriptions of places and people, and fascinating glimpses of scenery in various sections of our country, visiting in imagination the bayous of the South and the primeval forests, drifting along the great rivers, and revelling77 in the beauties of nature so exquisitely78 delineated for our pleasure. But, as is fitting in regard to the theme, an atmosphere of gentle melancholy79 hovers80 over the whole poem and holds the listener in thrall81 long as its musical verses fall upon the ear.
Still stands the forest primeval; but under the shade of its branches
Dwells another race, with other customs and language.
Only along the shore of the mournful and misty82 Atlantic
Linger a few Acadian peasants, whose fathers from exile
Wandered back to their native land to die in its bosom83.
In the fisherman's cot the wheel and the loom84 are still busy;
Maidens85 still wear their Norman caps and their kirtles of homespun,
And by the evening fire repeat Evangeline's story,
While from its rocky caverns86 the deep-voiced, neighboring ocean
Speaks, and in accents disconsolate87 answers the wail88 of the forest.
The End
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1 systematic | |
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2 savagery | |
n.野性 | |
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3 imprint | |
n.印痕,痕迹;深刻的印象;vt.压印,牢记 | |
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4 weirdly | |
古怪地 | |
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5 poetical | |
adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
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6 poetic | |
adj.富有诗意的,有诗人气质的,善于抒情的 | |
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7 vividly | |
adv.清楚地,鲜明地,生动地 | |
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8 picturesquely | |
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9 similes | |
(使用like或as等词语的)明喻( simile的名词复数 ) | |
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10 embodied | |
v.表现( embody的过去式和过去分词 );象征;包括;包含 | |
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11 hymn | |
n.赞美诗,圣歌,颂歌 | |
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12 hymns | |
n.赞美诗,圣歌,颂歌( hymn的名词复数 ) | |
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13 epics | |
n.叙事诗( epic的名词复数 );壮举;惊人之举;史诗般的电影(或书籍) | |
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14 epic | |
n.史诗,叙事诗;adj.史诗般的,壮丽的 | |
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15 maize | |
n.玉米 | |
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16 harmonious | |
adj.和睦的,调和的,和谐的,协调的 | |
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17 cultivation | |
n.耕作,培养,栽培(法),养成 | |
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18 jersey | |
n.运动衫 | |
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19 utterly | |
adv.完全地,绝对地 | |
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20 devoid | |
adj.全无的,缺乏的 | |
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21 aesthetic | |
adj.美学的,审美的,有美感 | |
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22 trumpet | |
n.喇叭,喇叭声;v.吹喇叭,吹嘘 | |
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23 advent | |
n.(重要事件等的)到来,来临 | |
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24 epitome | |
n.典型,梗概 | |
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25 monarchies | |
n. 君主政体, 君主国, 君主政治 | |
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26 commonwealth | |
n.共和国,联邦,共同体 | |
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27 crammed | |
adj.塞满的,挤满的;大口地吃;快速贪婪地吃v.把…塞满;填入;临时抱佛脚( cram的过去式) | |
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28 sufficiently | |
adv.足够地,充分地 | |
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29 rend | |
vt.把…撕开,割裂;把…揪下来,强行夺取 | |
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30 hideous | |
adj.丑陋的,可憎的,可怕的,恐怖的 | |
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31 wring | |
n.扭绞;v.拧,绞出,扭 | |
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32 anguish | |
n.(尤指心灵上的)极度痛苦,烦恼 | |
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33 gnaw | |
v.不断地啃、咬;使苦恼,折磨 | |
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34 epoch | |
n.(新)时代;历元 | |
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35 sundry | |
adj.各式各样的,种种的 | |
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36 burlesque | |
v.嘲弄,戏仿;n.嘲弄,取笑,滑稽模仿 | |
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37 satire | |
n.讽刺,讽刺文学,讽刺作品 | |
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38 quotation | |
n.引文,引语,语录;报价,牌价,行情 | |
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39 pompous | |
adj.傲慢的,自大的;夸大的;豪华的 | |
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40 admiration | |
n.钦佩,赞美,羡慕 | |
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41 professing | |
声称( profess的现在分词 ); 宣称; 公开表明; 信奉 | |
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42 memorable | |
adj.值得回忆的,难忘的,特别的,显著的 | |
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43 mythical | |
adj.神话的;虚构的;想像的 | |
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44 accomplished | |
adj.有才艺的;有造诣的;达到了的 | |
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45 feat | |
n.功绩;武艺,技艺;adj.灵巧的,漂亮的,合适的 | |
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46 everlasting | |
adj.永恒的,持久的,无止境的 | |
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47 sable | |
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48 repentant | |
adj.对…感到悔恨的 | |
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49 wondrous | |
adj.令人惊奇的,奇妙的;adv.惊人地;异乎寻常地;令人惊叹地 | |
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50 primal | |
adj.原始的;最重要的 | |
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51 saviour | |
n.拯救者,救星 | |
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52 graceful | |
adj.优美的,优雅的;得体的 | |
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53 fawn | |
n.未满周岁的小鹿;v.巴结,奉承 | |
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54 glades | |
n.林中空地( glade的名词复数 ) | |
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55 alleys | |
胡同,小巷( alley的名词复数 ); 小径 | |
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56 behold | |
v.看,注视,看到 | |
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57 dubbed | |
v.给…起绰号( dub的过去式和过去分词 );把…称为;配音;复制 | |
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58 odyssey | |
n.长途冒险旅行;一连串的冒险 | |
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59 concord | |
n.和谐;协调 | |
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60 scarlet | |
n.深红色,绯红色,红衣;adj.绯红色的 | |
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61 usher | |
n.带位员,招待员;vt.引导,护送;vi.做招待,担任引座员 | |
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62 wreck | |
n.失事,遇难;沉船;vt.(船等)失事,遇难 | |
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63 nautical | |
adj.海上的,航海的,船员的 | |
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64 furry | |
adj.毛皮的;似毛皮的;毛皮制的 | |
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65 denizens | |
n.居民,住户( denizen的名词复数 ) | |
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66 awe | |
n.敬畏,惊惧;vt.使敬畏,使惊惧 | |
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67 initiation | |
n.开始 | |
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68 idyllic | |
adj.质朴宜人的,田园风光的 | |
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69 swelled | |
增强( swell的过去式和过去分词 ); 肿胀; (使)凸出; 充满(激情) | |
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70 countless | |
adj.无数的,多得不计其数的 | |
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71 skilfully | |
adv. (美skillfully)熟练地 | |
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72 vessels | |
n.血管( vessel的名词复数 );船;容器;(具有特殊品质或接受特殊品质的)人 | |
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73 deported | |
v.将…驱逐出境( deport的过去式和过去分词 );举止 | |
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74 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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75 vouchsafed | |
v.给予,赐予( vouchsafe的过去式和过去分词 );允诺 | |
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76 enchanting | |
a.讨人喜欢的 | |
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77 revelling | |
v.作乐( revel的现在分词 );狂欢;着迷;陶醉 | |
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78 exquisitely | |
adv.精致地;强烈地;剧烈地;异常地 | |
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79 melancholy | |
n.忧郁,愁思;adj.令人感伤(沮丧)的,忧郁的 | |
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80 hovers | |
鸟( hover的第三人称单数 ); 靠近(某事物); (人)徘徊; 犹豫 | |
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81 thrall | |
n.奴隶;奴隶制 | |
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82 misty | |
adj.雾蒙蒙的,有雾的 | |
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83 bosom | |
n.胸,胸部;胸怀;内心;adj.亲密的 | |
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84 loom | |
n.织布机,织机;v.隐现,(危险、忧虑等)迫近 | |
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85 maidens | |
处女( maiden的名词复数 ); 少女; 未婚女子; (板球运动)未得分的一轮投球 | |
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86 caverns | |
大山洞,大洞穴( cavern的名词复数 ) | |
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87 disconsolate | |
adj.忧郁的,不快的 | |
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88 wail | |
vt./vi.大声哀号,恸哭;呼啸,尖啸 | |
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