BEGC-101

Indian Classical Literature

Assignment July, 2022 & January 2023 Sessions
(Based on Blocks 1 - 4)
Max. Marks: 100

Answer all questions.

Section A

Write short notes/ answer with reference to the context in about 100 words each: 4 × 5 = 20

1.
(i) The purpose of Dramatic Art
(ii) The Sanskrit Epic Tradition
(iii) “Now I see no other course open but the fourth – punishment. The kings are
marching to Kurukshetra to their doom!”
(iv) ... “And from that exalted line/ Of heavenly nymphs was Matavi descended./ A
woman of flawlwss birth, of broad shoulders,/ And curly hair, spilling pollen, she
was/ Noted for her style of great distinction.”

Section B
Answer the following in about 350 words each: 4 X 20 = 80

1. Examine the difference between the Shakuntala in Abhijnana Shakuntala and the Shakuntala
episode in the Mahabharata.

2. Write a critical note on the predicament of Karna in the Mahabharata.

3. Discuss the significance of the storm in Mrichchhkatika?

4. Write a detailed note on the idea of justice in Cilappatikaran.

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 BEGC-101
Indian Classical Literature
Assignment July, 2022 & January 2023 Session
(Based on Blocks 1 - 4)
TMA 01/2022-23
Max. Marks: 100

Answer all questions.

Section A
Write short notes in about 100 words each: 4 × 5 = 20

(i) The purpose of Dramatic Art

Ans:
Theatre or theater is a collaborative form of performing art that uses live performers,
usually actors or actresses, to present the experience of a real or imagined event before a live
audience in a specific place, often a stage. The performers may communicate this experience to
the audience through combinations of gesture, speech, song, music, and dance. Elements of
art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality,
presence and immediacy of the experience. The specific place of the performance is also named
by the word "theatre" as derived from the Ancient Greek. Modern Western theatre comes, in
large measure, from the theatre of ancient Greece, from which it borrows technical
terminology, classification into genres, and many of its themes, stock characters, and plot
elements. Theatre artist Patrice Pavis defines theatricality, theatrical language, stage writing
and the specificity of theatre as synonymous expressions that differentiate theatre from the
other performing arts, literature and the arts in general.
Modern theatre includes performances of plays and musical theatre. The art forms
of ballet and opera are also theatre and use many conventions such as acting, costumes and
staging. They were influential to the development of musical theatre; see those articles for
more information.

(ii) The Sanskrit Epic Tradition

Ans:
The ancient Sanskrit epics the Ramayana and Mahabharata comprise together
the Itihāsa ("Writer has himself witnessed the story") or Mahākāvya ("Great Compositions"),
a canon of Hindu scripture. Indeed, the epic form prevailed and verse remained until very
recently the preferred form of Hindu literary works. Indian culture readily lent itself to a literary
tradition that abounded in epic poetry and literature. The Puranas, a massive collection of
verse-form histories of India's many Hindu gods and goddesses, followed in this
tradition. Itihāsa and Puranas are mentioned in the Atharva Veda and referred to as the fourth
Veda.

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The language of these texts, termed Epic Sanskrit, constitutes the earliest phase of Classical
Sanskrit, following the latest stage of Vedic Sanskrit found in the Shrauta Sutras.
The Suparṇākhyāna, a late Vedic poem considered to be among the "earliest traces of epic
poetry in India," is an older, shorter precursor to the expanded legend of Garuda that is
included within the Mahābhārata.
The Buddhist kavi Aśvaghoṣa wrote two epics and one drama. He lived in the 1st-2nd century.
He wrote a biography of the Buddha, titled Buddhacarita. His second epic is called
Saundarananda and tells the story of the conversion of Nanda, the younger brother of the
Buddha. The play he wrote is called Śariputraprakaraṇa, but of this play only a few fragments
remained.
The famous poet and playwright Kālidāsa also wrote two epics: Raghuvamsha (The Dynasty of
Raghu) and Kumarasambhava (The Birth of Kumar Kartikeya). Other Classical Sanskrit epics are
the Slaying of Śiśupāla Śiśupālavadha of Māgha, Arjuna and the Mountain
Man Kirātārjunīya of Bhāravi, the Adventures of the Prince of
Nishadha Naiṣadhacarita of Śrīharṣa and Bhaṭṭi's Poem Bhaṭṭikāvya of Bhaṭṭi.

(iii) “Now I see no other course open but the fourth – punishment. The kings are marching to
kurukshetra to their doom!”
Ans:
According to the Puranas, Kurukshetra is a region named after King Kuru, the ancestor of Kauravas and
Pandavas in the Kuru kingdom, as depicted in epic Mahabharata. The Kurukshetra War of
the Mahabharata is believed to have taken place here. Thaneswar whose urban area is merged with
Kurukshetra is a pilgrimage site with many locations attributed to Mahabharata.
In the Vedas Kurukshetra is described not as a city but as a region ("kshetra" means "region" in Sanskrit). The
boundaries of Kurukshetra correspond roughly to the central and western parts of the state of Haryana and
southern Punjab. According to the Taittiriya Aranyaka 5.1.1., the Kurukshetra region is south of Turghna
(Srughna/Sugh in Sirhind, Punjab), north of Khandava (Delhi and Mewat region), east of Maru (desert), and
west of Parin.
According to the Vamana Purana, King Kuru chose land at the banks of the Sarasvati River for embedding
spirituality with eight virtues: austerity (Tapas), truth (Satya), forgiveness (Kshama), kindness (Daya), purity
(Shuddha), charity (Daana), devotion (Yajna), and conduct (Brahmacharya). Lord Vishnu was impressed with
the acts of King Kuru and blessed him with two boons—first, that this land forever will be known as a Holy

3
Land after his name as Kurukshetra (the land of Kuru); second that anyone dying on this land will go to
heaven.
Kurukshetra was conquered by the Mauryan empire in the late 4th century BCE and subsequently became a
center of Buddhism and Hinduism. The history of Kurukshetra is little-known in between the collapse of the
Mauryans and the rise of the Kushans who conquered the region. After the decline of Kushan power in the
region, Kurukshetra became independent only to become conquered by the Gupta empire in the early 4th
century CE. Under Gupta rule, Kurukshetra experienced a cultural and religious revival and became a center
for Hinduism. After the fall of the Gupta, the Pushyabhuti dynasty ruled over Kurukshetra.

(iv) …”And from that exalted line/Of heavenly nymphs was Matavi descended./ A woman of
flawlwss birth , of broad shoulders ,/And curly hair , spilling pollen , she was/Noted for her
style of great distinction.”
Ans:
Exalted has mechanical and thematic similarities to White Wolf's previous game series, the
old World of Darkness, but exists in its own product line, called the Age of Sorrows. The game
has a sales record on par with the company's flagship title, Vampire: The Masquerade, the
second edition core rulebook achieving a sales ranking at #23,558 on Amazon.com with a 4.5-
star mean user review rating based on 31 user reviews as of January 2019.
Madhavi means something in Hinduism, Sanskrit, Marathi. If you want to know the exact
meaning, history, etymology or English translation of this term then check out the descriptions
on this page. Add your comment or reference to a book if you want to contribute to this
summary article.
Before we answer that question, let’s take a little bit of a history lesson, shall we? So, the first
person to classify the different hair textures into different types was hairstylist Andre Walker.
Now, Andre Walker styles the hair of THE Oprah Winfrey so you can rest assured he knew what
he was doing when he divided the hair into 4 different hair types: Type 1- Straight Hair; Type 2-
Wavy Hair; Type 3- Curly Hair; and Type 4- Coily Hair. Now, this system worked well and good
until people realized that wavy hair, curly hair, and coily hair are not the same. There was a
wide variation in the size of the waves, curls, and coils that needed to be taken into
consideration. So, this is where NaturallyCurly jumped in. They divided the hair types into 3
more subcategories each – A, B, and C – according to the diameter of the curl.
Section B
Answer the following in about 350 words each: 4 X 20 = 80
1. Examin the difference between the Shakuntala in Abhijnaa Shakuntala and the Shakuntala
episode in the Mahabharata.
Ans:
While Kalidasa's Abhijnanashakuntalam does more for the narrative as it only focuses on the
story of Shakuntala and Dushyanta, the portrayal of Shakuntala is far more submissive in his
work. Ved Vyasa's Mahabharata creates an image of Shakuntala that is aware of living in a
patriarchal society but has the strength to speak out.
Dushyanta was the powerful king of Hastinapur, considered virtuous by all. Shakuntala was the
daughter of rishi Viswamitra and apsara Menaka. She had been adopted by rishi Kanva. Once,
while out hunting, Dushyanta was chasing a wounded deer. He came across a

4
picturesque ashram where the Vedas were being taught. He saw a maiden so beautiful that she
couldn't have been human. He asked around to find out that the ashram belonged
to rishi Kanva, and that the maiden was Shakuntala, Kanva's adopted daughter. He went up to
her and said, "I have come to pay reverence to the great rishi. Where could I find him?"
Shakuntala replied, offering a glass of water, "He is away on tapas, he will be back only in a
couple of months. You are welcome to wait or come back, as you please, King Dushyanta," she
added his name, recognising the royal insignia. "Oh, thank you, Shakuntala, I think I will stay
back," said Dushyanta, revealing his knowledge. Dushyanta and Shakuntala fell in love almost
immediately, with each matching the other's humour.
They spent two whole months together before Dushyanta was called by his ministers back to
Hastinapur on an urgent matter. But, before he left, he ran to Shakuntala. "Marry me!" he
panted, running up to her. "What? No... not yet. My father isn't here. Please wait until he
comes back, then we will get married in his presence," said Shakuntala. "It has to be now, I
leave for court immediately. A council of ministers has beckoned me for an important matter.
Please," Dushyanta said. "I can't. We can't," Shakuntala decided. Unused to not getting what he
wanted as a king, he was momentarily taken aback, but then he counselled her on the eight
types of marriages– one of which was Gandharva (celestial creatures) vivah. Shakuntala was
hesitant, but was persuaded by his knowledge of the Vedas. But, before leaving, he gave her his
ring. The one with his emblem on it. He promised to return as soon as the matter was resolved.
Unbeknownst to them both, Shakuntala was pregnant with a son, whom they named Bharata,
later. Time passed, and Shakuntala, wondering why Dushyanta did not return for her.
Meanwhile, her child is born.
When Kanva returns, he happily welcomes another addition to the family. The child celestial
himself, and can do things that no child can like subdue wild tigers and leap of ledges.
Impressed with his abilities, rishi Kanva decided it was time that Dushyanta met his son, and
took him, and Shakuntala to Hastinapur. Upon being brought to the court, Dushyanta, refused
recognise either, Shakuntala or Kanva, and accused them of trying to lay claim to his kingdom.
"Look at the ring you gave me," displayed Shakuntala. "I give away many rings to subjects that I
feel benevolent towards. You have laid your hands on one, doesn't mean Bharata is my son,"
denied Dushyanta, but then he attacked her, "Besides, women are known to lie, and make up
stories to get their means." Shakuntala was enraged, "We both know who is the liar, King! This
is your child and you know it. Whether you like it or not, this child will take over the world." She
turned around to leave.
Suddenly, a booming voice from heavens spoke, Dushyanta this is your son. Shakuntala is
telling the truth. The son grows up to be the father, if you do not accept his birthright, then
you will suffer the most in future. Dushyanta then addressed the court, "I knew the truth all
along, I was feigning ignorance. If I had accepted it right away, you would all have questioned
the veracity of my marriage, and my judgement, from here on.

2. Write a critical note on the predicament of Karna in the Mahabharata.

Ans:
In the narrative Dhritarashtra asks Sanjaya to narrate to him the conversation that takes place
between Krsna and Karna, after Krsna asks the latter to mount the chariot. Sanjaya tells him

5
that the words that Krsna spoke to mighty Karna are both pleasant and in conformity with the
Dharma. And then he goes on to narrate the conversation between the two. Krsna praises
Karna for being knowledgeable about the truth, the dharma and the sacred teachings of the
Vedas. And then he reveals that Karna was born to Kunti before her marriage to Pandu, and
thus according to dharma, he then is the son of Pandu. After revealing the truth about his birth,
Krsna then tries to tempt Karna with all kinds of favours and comforts and luxuries that he will
enjoy if he so chooses to side with the Pandavas. Krsna tells him that if he comes with him, he
will become the King, and that the Pandavas will recognise him as the eldest brother, for he was
born even before Yudhishthira. Krsna then tells him that all those who have gathered to fight in
favour of the Pandavas, including the Pandavas and their sons, will bow down to him, and also
that he will be able to approach Draupadi with her own willingness. Krsna tells Karna that the
latter will have the assistance of the Pandavas, the five sons of Kunti, the Panchalas, and the
Chedis, and Krsna himself will instate him as the king and ruler of the earth. He finally asks the
mighty warrior to change sides so that he can enjoy the fruits of the kingdom along with his
brothers, i.e. Pandavas. Krsna tells Karna that he needs to make a choice immediately as he
must establish the blood line between him and his Pandavas brothers. In this manner Krsna
keeps tempting Karna. We shall examine the conversation with Krsna in detail in the next
section.
Conversation with Krsna
Having asked Karna to mount his chariot, Krsna begins to unveil a seminal truth about the
former’s life. He draws on the scriptures to suggest that a son born to a woman before
marriage stands to claim his right as a legitimate son and “You Karna were born that way; under
law you are the son of Pandu. 47 Under the constraint of the book of law, come with me and
you shall be king”. This is a moment of great testing for Karna. He has been waiting all his life to
lay claim to his Kshatriya lineage. Now, when it is offered to him and along with the opportunity
to be king, he has to make the tough choice. Krsna tempts him by presenting a visual picture of
his would-be kingship— “The five Pandavas shall clasp your feet as your brothers and so shall
the five sons of Draupadi and the unvanquished son of Subhadra” (92). Krsna is aware that
nothing would please Karna better than to see the Pandavas at his feet and himself as the
unchallenged king. Krsna further draws a picture of wealth and plenitude that would be on
offer if Karna decides to join the Pandavas—“Baronesses and daughters of kings shall bring
golden, silver, and earthen vessels, herbs, all seeds, all gems, and shrubs for your imagination.
Karna’s Response to Krsna
Instead, Karna shares his negative feelings with Krsna by claiming, “Yes Krsna, under law I was
born the son of Pandu. But Kunti cast me out as though I had been stillborn!” The pain attached
to being discarded at birth is palpable in Karna’s speech. He recounts how Adhiratha, the Suta,
carried him home with love to Radha and “out of love for me the milk of Radha’s breasts
poured forth at once and she accepted my piss and shit, Madhava! How could a man like me
deny her the ancestral offering?” (93). It is this obligation that Karna finds difficult to turn away
from. Also, it is meant to depict the contrast between Kunti, a mother who left him at the
mercy of fate and another, Radha, who accepted him with love.
Karna’s Dream

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Speaking of Karna’s dream you will note that it carries “portentous signs” that “foredoom great
danger” for him and his allies. Karna narrates the picturesque dream he has to Krsna in which
he says “I saw Yudhisthira and his brothers ascend to a thousand-pillared palace” wearing
“white turbans and white robes” and “they all had beautiful stools”. The grandeur of the palace
here is heightened by the exaggeration that a dream easily facilitates. Also in the dream the
Pandavas are wearing white robes and turbans that give them an ethereal quality. Still, white is
also the colour of harmony, peace and justice signifying that a new order has been set up. Next,
Karna says to Krsna, … In my vision I saw you drape the blood-fouled earth with entrails, Krsna
Janardana. A boundless august Yudhisthira mounted a pile of bones and joyously ate rice mixed
with ghee from a gold platter.
3. Discuss the significance of the storm in Mrichchhkatika.
Ans:
Still more important in the Fifth Act is the storm following the gathering of dark clouds. As
indicated earlier, it is presented as a mirror in which the passion of the lovers for each other is
reflected. The grandeur of the storm is caught in words, and on stage in particular, it may be
combined with music, human movements, and the scene of trees falling, and leaves flying
around. Act V, called “A Stormy Day” ends on the following note: Shrilly on the tala leaves,
rumbling on the branches, harshly on stones and fiercely on the water; thus do the showers fall,
resembling lutes played upon inmusical concerts to the keeping of time. (147) The attention
paid by the playwright to the storm symbolises the commonness between nature and
humanity. We do not miss the fact that the appearance of natural phenomenon presented
through the storm is fundamentally a human act—that is how nature is shaped by the help of
the human imagination. On the other hand, the impact of nature is only registered in the
human mind (the picture of the storm is constructed because such a thing as the storm exists
outside the human subject). Irrespective of how the storm is shaped by the human mind, it was
already there as an objective fact. The point being made is that both humanity and the outside
world of wind, vegetation, sounds and the facts of hardness or softness coexist and affect one
another. For the playwright Sudraka, the storm is a happening of great proportions and makes
him and the audience aware of the power and appeal hidden in nature. This is to be noted and
equally well celebrated. The storm also arouses an aesthetic feeling, something that calls for
definition and sways humans into participating in the domain of movements outside
themselves. Act VI begins with a long exchange of views between Vasantasena and her
maidservants. The conversation is marked by wit and playfulness. However, there is a tinge of
sadness in the voice of Vasantasena; that is caused by the distance that exists between her and
her lover Charudatta. In this act, she prepares to meet him away from home in a garden. This is
the crucial moment in the play—it is an occasion of mix-up of the two carriages, the one of
Charudatta that waits at the door of the house for Vasantasena and the second that belongs to
Sakar/ Samsthanaka, the villain of the play and the brother-in-law of the king. The mix-up helps
the important prisoner of the state escape from jail and move out of the city. The prisoner is
none other than the would-be king Aryaka, a coward and an insurgent. This act involves a lot of
action and suspense. Would Aryaka be able to escape from the clutches of the king’s officers, or
will he be captured and brought back to the jail from where he has run away? The playwright
has presented the sequence of events in such a way that one mistake on the part of the officers

7
will lead to another and chance happenings too, will contribute to Aryaka’s great escape that
will happen in Act VI. Coming back to the sequence of acts, we are struck by the beginning of
the VI Act; in it we get a glimpse of Charudatta’s son Rohasena, a young child who wishes to
play with a toy-cart made of gold. Rohasena’s father having fallen on bad days cannot afford a
golden cart. The maidservants of the house offer him a cart made of clay which Rohasena
abhors. We mark that the play takes its title from this clay cart, a small detail that in no way
reflects anything vital in the play. Yet, the play is called “the clay cart” or “Mrichchhakatika.” As
the said “mix-up” that gives the impression of being evoked by the cart of the child, is central to
the VI Act, rightly then the act is summed up as “The Exchange of the Carriages.” Act VII is short
and shows only the climax of Aryaka successfully escaping from the arms of the state. In it, we
witness Charudatta coming face – to - face with Aryaka. The two exchange greetings. Aryaka is
beholden to Charudatta since the latter has assisted him in slipping away from the city. The act
also carries the seed of the final resolution of the play that hinges upon gaining his strong
economic position; in this he will get theCharudattare support of the new king. Also, the two
men, Charudatta and Aryaka, impress the audience with their upright moral stance and indicate
that the city will earn stability and peace under the able handling of issues by a new king and
his associates. The Seventh Act also lets the audience see that the value of goodness and a
balanced temperament is essential for the smooth running of life in the kingdom. We see how
the message of happiness and tranquillity is conveyed in an artistic sense in the play. The
summing up of the action of this part of the play is descriptive—“The Escape of Aryaka.”
4. Write a detailed note on the idea of justice in Cilappatikaran.
Ans:

Cilappatikaram starts with the marriage of Kannaki, the “noble daughter of a prince among
merchants” to Kovalan, an equally virtuous man. The ideals of virtue around this time, for a
woman, had much to do with her “chastity”. Kannaki is portrayed as the prime “wife-
material”, so to speak, literally mentioned in how “beyond all praise was Kannaki’s name
renowned for making a home”. But as it so very often happens with the men in classical
literature, Kovalan inevitably falls in love with Matavi, a courtesan, and “under her spell”
abandons Kannaki. Courtesans around this time were one of the only women to be highly
educated, skilled in arts and crafts traditionally reserved for men. The use of “under her spell”
however, points to the relatively similar sentiments of the public itself. She is someone who is
almost “witch-like”, someone who will “steal” away the man -by “bewitching” him.
In ‘Cilappatikaram‘, Kannaki is the ideal wife. The translation would be that she has a
subversive nature disguised in the form of “devotion”. Distraught, she remained “chaste and
innocent”, loyal, and waited for her infidel of a husband to come back.

But, in Cilappatikaram, Kannaki is the ideal wife. The translation would be that she has a
subversive nature disguised in the form of “devotion”. Distraught, she remained “chaste and
innocent”, loyal, and waited for her infidel of a husband to come back. And Kovalan does
indeed come back, but only because of a misunderstanding that drives him away from Matavi.

8
At a festival dedicated to the god Indra, they both sing of lovers, and they both assume they
mean someone else. The reason why Kovalan leaves her is important, it shows the almost
hypocritical arrogant belief he had and not because of his sense of duty
to Kannaki. Kannaki never gets the choice of being angry-her character must be “ideal” at all
times. Embodied in her almost radical character, Matavi exerts her own agency. She keeps the
memories but decides to not beg for his love.

Kovalan returns to Kannaki, who unsurprisingly forgives him. She even moves away with him to
the city of Maturai because the people who know them are angry at Kovalan for what he has
done (rightfully so). In dire need of money, Kannaki takes off her anklets and asks him to sell
them. This is a noteworthy motif because the anklet was an auspicious symbol of their
marriage. The anklet changes the course of the story. Because it resembles the Queen’s stolen
anklet, Kovalan is dubbed a thief and killed for it. The King is unjust, he looks for a thief only to
satisfy his “nagging” wife. The relationship married men and women share in Cilappatikaram is
almost relatable. It distinctly reminds one of Whatsapp jokes of men (who benefit from
patriarchy) complaining about their nagging wives and how they are a “slave” to them.

Back to the story, Kannaki finds out about his death when she goes to look for Kovalan;
enraged, disheveled, resembling goddess Kali, she enters the palace and breaks her other
anklet to reveal gems (the queen’s anklet has pearls) and immediately establishes her
husband’s innocence. She then goes on a rampage tearing off her breasts and sets the city
ablaze. The act itself becomes a symbol. Not only has she ended her marriage by breaking her
second anklet and “saved” her husband(‘s reputation), she has ripped off
her “feminine” features. The only people her fire spares are brahmins, good men, chaste
women, cows, the young and the old. Surprise, surprise.

The gods take pity on her, she ascends to heaven on Indra’s chariot, is reunited with Kovalan,
and becomes a goddess still worshipped today, Pattani. The rest of the story follows a King who
uses her identity as an excuse to start wars.

Cilappatikaram uses symbolisms liberally, flowers defining “moods” of Sangam poetry amongst
everything else. It is a reflection of the politics of the time as well. In fact, there is a bit about
the unjust, unfair, corrupt royal family-the omens of their misfortune, however are not very
sensitive in modern context: “hunchbacks, dwarfs, mutes and maidservants clustered thickly
about the queen”. Right from the beginning, the politics of class lurks behind the curtains; the
significance of Kannaki and Kovalan’s family being of a certain class and how it directly relates
to them being virtuous is obvious. But behind the façade of a woman “saving” her husband is
an interesting dynamic of chastity as a weapon. The reason of the King’s death is an
embodiment of this idea. He dies because he fails to protect “chaste and moral” woman, he
does Kannaki wrong. It is not entirely because he is guilty of corruption and has ignored his duty
to the kingdom-but because he cannot protect chastity either.

9
In Cilappatikaram, in her rant in front of the Queen, Kannaki mentions seven women and how
they were all rewarded. A woman was told that a mound of sand on a river bank was her
husband, so she didn’t move, and the river left the mound alone. Another woman was given
back her husband when he was carried off by a river and she prayed to the gods-“embracing
him, the golden vine of a girl returned home”. Another woman turned herself into a stone to
avoid the gaze of onlookers to keep herself chaste for her husband- while waiting for him to
come back from the sea.

Chastity is also the major reason why Kannaki was rewarded. The eight women are not
rewarded for their loyalty at heart, but the lengths they’d go to to protect the societal notions
of an “ideal” wife. Kannaki is probably raised to the status of a god only because she was
chaste. The story would have taken a completely different path if at any
moment, Kannaki deviated from this ideal. Women are again hidden away, or told to hide
away, they compromise and they put up with what’s given to them in marriage-going as far as
to rip their own “monkey face” off so that no one lusts after them. And yet, this monkey face
must be taken off in front of the husband, the face is not “ideal”.

In this sphere, the question that looms is-what becomes of women

like Matavi in Cilappatikaram? She is smart and intelligent, and by no means a chaste woman.
She grieves for Kovalan’s absence but she doesn’t get hung up on it. Not only is it important
for the sake of the plot, it also makes her a mistress more than a courtesan.

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