Urdu poetry, 1935-1970: the progressive episode
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Karachi, Pakistan
Oxford University Press
2017
|
| Ausgabe: | First edition |
| Schriftenreihe: | Platinum series
|
| Schlagworte: | |
| Online-Zugang: | Rezension |
| Beschreibung: | XIV, 684 Seiten |
| ISBN: | 9780199403493 |
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Datensatz im Suchindex
| _version_ | 1804178464293519360 |
|---|---|
| adam_text | CARLO COPPOLA.
URDU POETRY, 1935-1970: HE PROGRESSIVE EPISODE.
OXFORD: OXFORD
UNIVERSITY PRESS, 2018. 702 PP. $45.00 (CLOTH), ISBN 978-0-19-940349-3.
REVIEWED BY
S. AKBAR HYDER (UNIVERSITY OF TEXAS AT AUSTIN)
PUBLISHED ON
H-ASIA (JULY, 2018)
COMMISSIONED BY
SUMIT GUHA (HE UNIVERSITY OF TEXAS AT AUSTIN)
PROGRESSIVE URDU POETRY
CARLO COPPOLA*S 1975 DISSERTATION SUBMITED TO THE
UNIVERSITY OF CHICAGO*S COMMITEE ON COMPARATIVE
STUDIES IN LITERATURE UNDER THE SUPERVISION OF C. M. NAIM
WAS NO ORDINARY THESIS: IT WAS A METICULOUSLY RESEARCHED
AND THOUGHTFULLY CRATED WORK OF MODERN SOUTH ASIAN LIT-
ERARY HISTORY, WITH A FOCUS ON THE IRST FOUR DECADES OF THE
URDU PROGRESSIVE MOVEMENT (THE
TARAQQ* PASAND TAHR*K
).
HIS MOVEMENT, ESPECIALLY DURING ITS FORMATIVE YEARS IN
THE 1930S AND THE 1940S, NUDGED WRITERS AND OTHER ARTISTS
OUT OF THEIR WORLD OF CONFORMITY, ESPECIALLY IN TERMS OF
CLASS CONSCIOUSNESS, RELIGIOUS AND NATIONAL ALLEGIANCES,
AND GENDER ROLES. WHEN COPPOLA SUBMITED HIS DISSER-
TATION, THERE WAS SIMPLY NO WORK, IN URDU OR IN ENGLISH,
THAT COULD COMPARE TO THIS DISSERTATION*S SWEEPING AND
BALANCED COVERAGE OF A MOVEMENT THAT RESONATED NOT JUST
IN WRITEN LITERATURE BUT ALSO IN ILMS, POLITICAL ASSEMBLIES,
MASS RALLIES, AND CALLS FOR JUSTICE THROUGHOUT SOUTH ASIA.
FOR THE LAST FOUR DECADES, THE CONTENTS OF COPPOLA*S
WORK, ESPECIALLY THE REFERENCES, FREELY CIRCULATED AMONG
STUDENTS AND SCHOLARS SEEKING TO UNDERSTAND THE LITER-
ARY NETWORKS THAT BROUGHT RUSSIAN, ENGLISH, AND FRENCH
WORLDS INTO CONTACT WITH URDU, AND TO SOME EXTENT, HINDI.
COPPOLA*S EFECTIVE TRANSLATIONS OF PROGRESSIVE POETRY SET
THE STANDARDS OF TRANSLATING MODERN URDU LITERATURE INTO
ENGLISH. IT IS NOT SURPRISING, THEN, THAT MANY OF US IM-
PLORED COPPOLA TO PUBLISH HIS DISSERTATION AS A BOOK; THE
RESULT IS
URDU POETRY, 1935-1970: HE PROGRESSIVE EPISODE.
DER *YAD DURAST *YAD
(A PERSO-URDU SAYING THAT SUGGESTS
BETER LATE THAN NEVER).
HE BOOK COMPRISES TWELVE CHAPTERS, TWO APPENDICES,
A CHRONOLOGY, AND A GLOSSARY. HE IRST CHAPTER PRO-
VIDES A CONCISE HISTORICAL OVERVIEW OF NINETEENTH-CENTURY
COLONIAL-INLECTED SOCIORELIGIOUS REFORM MOVEMENTS AND
THEIR IMPACT ON THE LITERARY SENSIBILITIES OF THE TWENTIETH
CENTURY. HE SECOND CHAPTER TREATS THE IERY COLLECTION
OF URDU PROSE,
ANG*RE
(EMBERS), THE SENSATIONAL IMPACT
OF WHICH FAR OUTPACED ITS AESTHETIC MERITS. HE THIRD AND
FOURTH CHAPTERS ARE A DILIGENT DOCUMENTATION AND NARRA-
TIVE OF THE PROGRESSIVE WRITERS* ASSOCIATION, THE LITERARY
MOVEMENT*WITH ITS CALLS TO JUSTICE AND ACCOUNTABILITY*
THAT IS AT THE CRUX OF THIS STUDY. HE ITH CHAPTER AC-
COUNTS FOR THE MOVEMENT*S MOST TRIUMPHANT YEARS, ATER
IT EMERGED FROM THE IERCE AND PROTRACTED DEBATES IN THE
KREMLIN, LONDON, LUCKNOW, AND HYDERABAD. HE SIXTH
CHAPTER NARRATES THE *DECLINE* OF THE MOVEMENT IN THE
WAKE OF THE PARTITION OF 1947. IN CHAPTERS 7 THROUGH
11, COPPOLA PARSES THE LIFE STORIES AND THE VERSES OF IVE
ICONIC PROGRESSIVES: FAIZ AHMED FAIZ, ASRARUL HAQ MA-
JAZ, MAKHDUM MOHIUDDIN, ALI SARDAR JAFRI, AND SAHIR
LUDHIANVI. FINALLY, THE CONCLUSION AND THE ANCILLARY MA-
TERIAL BRING CLOSURE TO THE WORK AND FURTHER DISPLAY THE
AUTHOR*S DEDICATION.
COPPOLA*S PAINSTAKING RESEARCH IS READILY APPARENT IN
HIS DOCUMENTATION OF THE INTERVIEWS AND MEETINGS HE HAD
WITH THE TOWERING IGURES OF THIS MOVEMENT. HE DOC-
UMENTS THE LETERS HE EXCHANGED WITH AMRITA PRITAM,
AHMED ALI, RAJINDER SINGH BEDI, KRISHAN CHANDER, ISMAT
CHUGHTAI, FAIZ AHMED FAIZ, URRATULAIN HYDER, ALI SAR-
1
H-NET REVIEWS
DAR JAFRI, MOHAN RAKESH, N. M. RASHED, SAHIR LUDHIANVI,
SAJJAD ZAHEER, RAZIA SAJJAD ZAHEER, SIBTE HASAN, AKHTAR
HUSAIN RAIPURI, AND OTHERS. OUR AUTHOR*S PERSONAL EN-
GAGEMENTS WITH THESE LITERARY IGURES PAINT HIS PERSPEC-
TIVES AS THOSE OF AN INSIDE OBSERVER. YET HIS DET ANALYSIS
OF HISTORY AND POLITICS OF THE NINETEENTH AND TWENTIETH
CENTURIES AND HIS SKILL IN TELLING STORIES THROUGH POETRY
LEND THIS WORK AN AURA OF SCHOLARSHIP AND ARTISTRY THAT
IS RARE IN SOUTH ASIAN LITERARY HISTORIES WRITEN IN EN-
GLISH. COPPOLA IS UNIQUELY ADEPT AT RELAYING THE CULTURAL
DEBATES THAT RUN THE GAMUT OF BEAUTY, JUSTICE, LOYALTY, OB-
SCENITY, AND DISILLUSION. HE LUCIDLY DRAWS OUR ATENTION
TO THE QUESTIONS THAT LURKED BEHIND NATIONALISM OF VAR-
IOUS STRIPES. HE DOES NOT FORGET THOSE WHO BUCKED THE
PROGRESSIVE TREND YET REMAINED PROGRESSIVE. WE LEARN
HOW THE PROGRESSIVE AGENDA DURING THE 1946 TELANGANA
UPRISING, AND UNDER JAWAHARLAL NEHRU AND VARIOUS GOV-
ERNMENTS OF PAKISTAN, WAS OTEN CIRCUMVENTED BY WELL-
MEANING ACTORS; HOW IDEALS OF COMMUNAL HARMONY CON-
FRONTED THE REALITY OF 1947; AND HOW DRAWN-OUT URDU-
HINDI DEBATES PAINTED PLURALISTIC LANGUAGES WITH EXCLU-
SIVIST COLORS. HIS CITATIONS OF PRIMARY SOURCES, INCLUD-
ING THE MINUTES OF MEETINGS OF THOSE WHO LABORED TO FACE
THE PRESSURES OF EMERGING NATION-STATES AND THEIR WAVER-
ING IDEOLOGUES, ARE PARTICULARLY WELCOME. BY ENCOUNTER-
ING MULTIPLE LASHPOINTS IN THE PROGRESSIVE TRAJECTORY, THE
BOOK GIVES READERS A SENSE OF HOW THE AESTHETICS AND IDEO-
LOGICAL PRIORITIES IN URDU WERE MANEUVERED BY CENSORSHIP
AND MARKET FORCES, AND HOW THIS DIMINISHED THE MOVE-
MENT*S PROSPECTS OF LITING UP THE OPPRESSED*AN OBJECTIVE
TO WHICH ALL THE PROGRESSIVES IN THIS STUDY AT LEAST PAID LIP
SERVICE.
WHILE ADMIRING COPPOLA*S SHARP EYE FOR COMPELLING
HISTORICAL ANALYSIS, STUDENTS OF LITERATURE MIGHT VERY WELL
DISAGREE WITH THE AUTHOR*S APPROACH TO HERMENEUTICS, THE
WAY HE TAKES CERTAIN CATEGORIES FOR GRANTED, AND THE MAN-
NER IN WHICH HE OVERLOOKS SOURCES THAT WOULD HAVE ADDED
FURTHER DEPTH TO THIS WORK. IN THE STUDY AT HAND, THE AU-
THOR IMPLIES THAT TO BE A GOOD PROGRESSIVE, ONE HAD TO
BEAR THE BRUNT OF INJUSTICE DIRECTLY. HE ILL EFECTS OF COLO-
NIALISM AND CAPITALISM ON THE LARGER SOCIETY DO NOT COUNT
FOR MUCH, THEY DO NOT EVEN LEAVE ARTISTS ROOM FOR COM-
PLAINTS AGAINST THE REIGNING ORDER. FOR INSTANCE, WHEN
SPEAKING OF SAHIR, COPPOLA SUGGESTS THAT THE POET HELD
AN ELITIST VANTAGE POINT BY VIRTUE OF THE CLASS INTO WHICH
HE WAS BORN AND BY DEMANDING A SALARY HIGHER THAN THAT
OF OTHER ILM LYRICISTS. SAHIR*S BACKGROUND SHOULD THUS
DISCOURAGE US FROM PROITABLY READING HIM AS A TRUE PRO-
GRESSIVE, EVEN IF IT DOES NOT IMMEDIATELY REPUDIATE HIS
RIGHT TO SPEAK FOR SUBALTERNS: *IF FAMILY BACKGROUND AND
SUBSEQUENT LIFESTYLES ARE ANY INDICATIONS OF A PERSON*S IN-
NER FEELINGS AND BELIEFS, THEN ONE CAN ONLY CONCLUDE THAT,
ON SUCH BASES, SAHIR LUDHIANVI WAS NOT A PROGRESSIVE AT
ALL, OR THAT HE WAS, WITH HIS FAST, LASHY CARS, EXPENSIVE
BOOZE, AND SARTORIAL ELEGANCE, AT BEST, A *PARLOUR* OR *ARM-
CHAIR* PROGRESSIVE. WHILE IT IS TRUE THAT MOST PROGRES-
SIVES HAD COME FROM MIDDLE-CLASS RATHER THAN LOWER-CLASS
BACKGROUNDS, SAHIR WAS UPPER MIDDLE-CLASS, PERHAPS EVER
UPPER-CLASS. HEREFORE, IT IS NOT SURPRISING THAT THE QUAL-
ITY OF HIS INTERPRETATION OF AND COMMITMENT TO PROGRES-
SIVISM WERE DIFERENT FROM THOSE OF OTHER POETS OF HUM-
BLER ORIGINS* (P. 532). COPPOLA IMPLIES THAT THE BEST PRO-
GRESSIVE WRITING HAS AN INVERSE CORRELATION WITH THE AU-
THOR*S ECONOMIC STANDING IN HIS SOCIETY. MORE IMPOR-
TANTLY, MANY OF THE DETAILS HE PROVIDES ABOUT THE POETS*
LIVES DO NOT OFER ANY SIGNIICANT INSIGHTS INTO THEIR CRE-
ATIVE PROCESSES.
I WOULD ALSO CRITICIZE COPPOLA*S COMPARISONS, AS THESE
DO NOT DO JUSTICE TO THE BREADTH OF THE OEUVRES OF THE PRO-
GRESSIVE POETS. COPPOLA UNCRITICALLY ACCEPTS THE LITERARY
CRITIC ALE AHMAD SUROOR*S CLASSIICATION OF MAKHDUM*S
POETRY AS *LOUD* (P. 444), WITHOUT QUESTIONING WHETHER
THERE WAS, IN FACT, ANYONE IN THE PANTHEON OF THE PROGRES-
SIVES WHO WAS NOT LOUD. CERTAINLY, MAKHDUM*S POETRY
IS NO LOUDER THAN *BOL* (SPEAK UP), THE POEM PENNED BY
MAKHDUM*S DEAR FRIEND FAIZ. AND IN THE INTEREST OF LOCAT-
ING LOUDNESS, HE NEGLECTS TO DELVE INTO THE WORKS OF THE
MOST BOMBASTIC OF ALL THE PROGRESSIVES, JOSH MALIHABADI.
IN FACT, THE EVER-EXPANDING
MUSHAIRA
(POETRY READINGS)
FORUM OF PUBLIC RECITATION IN WHICH MANY OF THESE PO-
ETS SPOKE, AND WHICH BROUGHT ABOUT THE RISE OF MANY OF
THESE POETS, APPLAUDED LOUDNESS. IN ADDITION, THE THROB
IN MAKHDUM*S POETRY, WHETHER IT WAS GENERATED BY SUB-
STANCE (IDEAS, WORDS) OR FORM (METER AND RHYME), REP-
RESENTS AN IMPORTANT LONG-STANDING DEBATE IN URDU, ONE
THAT IS NICELY CAPTURED BY SIKANDAR AHMAD IN *MAKHD*M
MOHIUDD*N K* SHE*R* *HANG.*[1] A CORRECTION IS IN ORDER:
MAKHDUM*S LAST POEM WAS NOT WRITEN IN 1966 AS COP-
POLA STATES (P. 462); IN FACT, HE WROTE A BEAUTIFUL ODE TO
THE AMERICAN CIVIL RIGHTS LEADER, MARTIN LUTHER KING JR.,
ATER KING*S ASSASSINATION IN APRIL 1968.
HIS BOOK WOULD HAVE BEEN FURTHER STRENGTHENED
BY AN ENGAGEMENT WITH THE SATIRISTS IN THE MOVEMENT:
THE WITY KANHAIYA LAL KAPOOR AND SULAIMAN KHATEEB,
AMONG OTHERS. BY INCLUDING THE VERSES OF THESE SATIRISTS,
COPPOLA COULD HAVE SHED LIGHT ON THE REGIONAL ANIMUS
MARRING URDU LITERATURE. HESE WERE THE PROGRESSIVE
VOICES THAT KEPT PROGRESSIVISM IN CHECK BY BROADCAST-
ING THE HIERARCHIES AND SENSE OF ENTITLEMENT IN THE VERY
MOVEMENT THAT WAS ASPIRING TO RISE ABOVE THEM.
2
H-NET REVIEWS
WHEN ENGAGING A PROJECT AS AMBITIOUS AS THAT OF COP-
POLA*S, WE MIGHT ALSO QUIBBLE WITH CATEGORIES AND TRANSLA-
TION CHOICES:
NIG*R
(THE RENOWNED URDU JOURNAL) SHOULD
HAVE BEEN TRANSLATED AS *PAINTING* OR *PICTURE* RATHER
THAN *WRITER* (P. 214); NOTWITHSTANDING THE FACT THAT SAR-
DAR JAFRI HAILED FROM A SHII FAMILY AND SEVERAL OF HIS VERSES
MAKE REFERENCE TO KARBALA, HE SHOULD NOT BE PLACED UN-
DER THE CATEGORY OF *ORTHODOX.* HERE IS NO SUCH CATEGORY
IN SHII ISLAM AND ONE WOULD BE HARD-PRESSED TO EXPRESS
THIS ADJECTIVE IN URDU. IN AN INSTANCE OF OVER-READING:
COPPOLA TRANSLATES
JAFRI
AS *PUREST GOLD* (P. 466). IN THE
SCHEME OF ISLAMIC NAMES, JAFRI REPRESENTS THE CATEGORY
OF PEOPLE WHO CLAIM DESCENT FROM THE PROPHET OF ISLAM,
THROUGH THE SIXTH SHII IMAM, JAFAR AL-SADIQ. SARDAR JAFRI
CERTAINLY WOULD NOT HAVE WANTED ANYONE TO TRANSLATE HIS
SURNAME AS A PRECIOUS METAL. JAFRI WAS ALSO NOT THE ONLY
PEN NAME USED BY THE POET: HE ALSO USED SARDAR MANY
TIMES AND LIKE HIS COMRADES, EVEN OMITED HIS PEN NAME
IN AN EFORT TO BE UNOBTRUSIVE, TO CAST HIS POETRY AS THE
VOICE OF THE MASSES AND NOT ONE OF A PRIVILEGED INDIVID-
UAL. HOW CAN HIS DEVOUT READERS FORGET HIS LINES FROM
MER* SAFAR
(MY JOURNEY): *
HAR **SHIQ HAI SARD*R YAH*N
HAR MA*SH*QAH SULTANA HAI
* (EVERY LOVER IS SUPREME HERE
AND EVERY BELOVED THE SOVEREIGN)? SULTANA WAS ALSO THE
NAME OF JAFRI*S LIFE COMPANION.
IN HIS CONCLUSION TO THIS STUDY, READERS WOULD HAVE
BENEITED FROM AN ANALYSIS OF THE SIGNIICANT INLUENCE OF
THE PROGRESSIVE MOVEMENT ON URDU RESISTANCE POETRY IN
GENERAL, AND IN THE DECADES TO COME, ON SPECIIC RESISTANCE
POETRY, THAT WHICH REPRESENTED THE ANTI-STATUS QUO, THE
FEMINIST, AND THE QUEER. HE LEGACY OF THIS MOVEMENT SUR-
VIVES THROUGH THE HABIB JALIBS, KISHWAR NAHEEDS, AND ITI
NASIMS*THOSE WHO ENTERED THE PROGRESSIVE FRAY WITHOUT
FUSSING OVER THE SEMANTICS OF CATEGORIZATION AND PROUDLY
EMBRACED THE LEGACIES OF FAIZ AND MAKHDUM.
MY CRITICISM OF THIS WORK, WHICH FULLY DESERVES THE
APPRECIATION OF SCHOLARS WITH VASTLY DIFERENT APPROACHES
TO LITERATURE (AS IS EVIDENT FROM THE BLURBS) IS PRESENTED IN
THE SPIRIT OF GENERATING FURTHER DISCUSSION OF THE THEMES
THAT COPPOLA SO METICULOUSLY LAYS OUT FOR US. HIS BOOK
SPEAKS TO THE MAGNITUDE OF THE PROJECT THAT WILL UNDOUBT-
EDLY CONTINUE TO STIMULATE FRESH APPROACHES TO THE HIS-
TORY OF PROGRESSIVISM AND SOUTH ASIAN LITERATURE. HIS
WORK NOT ONLY IS A CORE TEXT OF MODERN URDU LITERARY HIS-
TORY BUT ALSO SERVES AS A REMINDER THAT THE CLARION CALLS
FOR JUSTICE THAT IRST ROSE FROM THE POETRY OF THE URDU PRO-
GRESSIVE MOVEMENT ARE MORE RELEVANT TODAY THAN EVER. AS
MAKHDUM WOULD SAY, *
HAY*T LE KE CHALO KAIN*T LE KE CHALO,
CHALO TO S*RE ZAM*NE KO S*TH LE KE CHALO
* (CARRY WITH YOU
LIFE, CARRY THE COSMOS; WHEN YOU MOVE, MOVE WITH THE EN-
TIRE UNIVERSE [IN YOUR EMBRACE]). COPPOLA*S WORK SHOULD
BE PRAISED FOR HELPING US TO GLIMPSE THE GRAND DREAMS, AS-
PIRATIONS, AND PROMISES IN THE MOST AFECTIONATE WORDS.
NOTE
[1]. SIKANDAR AHMAD, *MAKHD*M MOHIUDD*N K*
SHE*R* *HANG,*
FIKR O TAHQ*Q
(APRIL-JUNE 2008): 79-88.
IF THERE IS ADDITIONAL DISCUSSION OF THIS REVIEW, YOU MAY ACCESS IT
THROUGH THE NETWORK, AT:
HTPS://NETWORKS.H-NET.ORG/H-ASIA
CITATION:
S. AKBAR HYDER. REVIEW OF COPPOLA, CARLO,
URDU POETRY, 1935-1970: HE PROGRESSIVE EPISODE
. H-ASIA, H-NET
REVIEWS. JULY, 2018.
URL:
HTP://WWW.H-NET.ORG/REVIEWS/SHOWREV.PHP?ID=51213
HIS WORK IS LICENSED UNDER A CREATIVE COMMONS ATRIBUTION-NONCOMMERCIAL-
NO DERIVATIVE WORKS 3.0 UNITED STATES LICENSE.
3
|
| any_adam_object | 1 |
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| callnumber-search | PK2040 |
| callnumber-sort | PK 42040 |
| callnumber-subject | PK - Indo-Iranian |
| ctrlnum | (OCoLC)1003190760 (DE-599)BSZ493262199 |
| edition | First edition |
| era | Geschichte 1935-1970 gnd |
| era_facet | Geschichte 1935-1970 |
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| id | DE-604.BV044905884 |
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| indexdate | 2024-07-10T08:04:23Z |
| institution | BVB |
| isbn | 9780199403493 |
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| physical | XIV, 684 Seiten |
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| record_format | marc |
| series2 | Platinum series |
| spelling | Coppola, Carlo Verfasser (DE-588)138173370 aut Urdu poetry, 1935-1970 the progressive episode Carlo Coppola Urdu poetry First edition Karachi, Pakistan Oxford University Press 2017 XIV, 684 Seiten txt rdacontent n rdamedia nc rdacarrier Platinum series Geschichte 1935-1970 gnd rswk-swf Urdu (DE-588)4062117-0 gnd rswk-swf Lyrik (DE-588)4036774-5 gnd rswk-swf Urdu poetry / History and criticism Urdu (DE-588)4062117-0 s Lyrik (DE-588)4036774-5 s Geschichte 1935-1970 z DE-604 SWB Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030299555&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Rezension |
| spellingShingle | Coppola, Carlo Urdu poetry, 1935-1970 the progressive episode Urdu (DE-588)4062117-0 gnd Lyrik (DE-588)4036774-5 gnd |
| subject_GND | (DE-588)4062117-0 (DE-588)4036774-5 |
| title | Urdu poetry, 1935-1970 the progressive episode |
| title_alt | Urdu poetry |
| title_auth | Urdu poetry, 1935-1970 the progressive episode |
| title_exact_search | Urdu poetry, 1935-1970 the progressive episode |
| title_full | Urdu poetry, 1935-1970 the progressive episode Carlo Coppola |
| title_fullStr | Urdu poetry, 1935-1970 the progressive episode Carlo Coppola |
| title_full_unstemmed | Urdu poetry, 1935-1970 the progressive episode Carlo Coppola |
| title_short | Urdu poetry, 1935-1970 |
| title_sort | urdu poetry 1935 1970 the progressive episode |
| title_sub | the progressive episode |
| topic | Urdu (DE-588)4062117-0 gnd Lyrik (DE-588)4036774-5 gnd |
| topic_facet | Urdu Lyrik |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=030299555&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT coppolacarlo urdupoetry19351970theprogressiveepisode AT coppolacarlo urdupoetry |