International Journal of Research (IJR) e-ISSN: 2348-6848, p- ISSN: 2348-795X Volume 2, Issue 06, June 2015 Available at http://internationaljournalofresearch.org

Mythic Dimension and Modern Consciousness in Girish Karnad’s

H. N. Vishwakarma Research Scholar UPRTOU, Allahabad Abstract Karnad was born on 19 May, 1943 at Of all forms of literature, drama is the most Matheran in Bambay. He spent his childhood popular and effective medium of entertainment, in Sirsi, a small village in Karnataka where he education and instruction. It appeals directly to had first hand live experience of indigenous the audience and make them think of the folk theatre. In his childhood Karnad would go reality. It is best medium for raising to see Natak Company performances which left contemporary social issues. Girish Karnad is lasting impressions on his mind. Karnad went one of shining stars in the galaxy of Indian through diverse influences during his formative English drama. He has borrowed the plots of years. He was exposed to a literary phenomena his plays from myths, folktales and historical where there was a direct clash between events. He has reinterpreted the themes of this Western and native traditions. During the his plays in modern perspectives. Karnad’s decades of fifties and sixties in India there plays are the reflection of his vision on the surfaced two streams of thought in all walks of contemporary social issues. Karnad does not life - adoption of new modernistic techniques, take the whole myth for his plays. He takes only legacy of the colonial rule and adherence to the small and complicated segments of myths and rich cultural past of the country. Karnad completes it with the help of his imagination. adopted a unique way to reach the heights his Yayati is Karnad’s first plays based on the literary career. Karnad had three distinct theme of responsibility. The plot of the play has dramatic traditions- classical , regional been taken from the “Adiparva” of the or folk theatre and Western theatre to learn and . The present paper endeavors to experiment various theatrical techniques. present a comprehensive study on the mythic Karnad is a great contributor to the dimension and modern consciousness. development of Indian English drama. He has taken Indian English drama to a new height by Keywords: employing new trends of modern theatre. Myth; consciousness; dimension; folktales; vision; vogue; complicated; segment Mythic dimension and modern consciousness are the two qualities of the play Girish Karnad (b. 1938), a pioneering which make it unique in the tradition of Indian and distinguished contemporary playwright, English drama. The term ―consciousness‖ has has given new dimensions to Indian English been defined in many ways by different drama both thematically and technically. He theorists. Consciousness is the quality or state wrote his plays in Kannada and later on himself of awareness, or, of being aware of an external translated them into English. In his plays, object or something within oneself. It has been Karnad has created modern consciousness defined as: sentience, awareness, subjectivity, while interpreting ancient myths and legends. the ability to experience or to feel, He has enriched Indian English drama with his wakefulness, having a sense of selfhood, and unique literary creative genius. the executive control system of the mind. Despite the difficulty in definition, many

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International Journal of Research (IJR) e-ISSN: 2348-6848, p- ISSN: 2348-795X Volume 2, Issue 06, June 2015 Available at http://internationaljournalofresearch.org philosophers believe that there is a broadly experience, whereas scientific truth is based on shared underlying intuition about what facts and results. consciousness is. As Max Velmans and Susan Schneider wrote in The Blackwell Companion Karnad has faithfully adhered to the to Consciousness: concept of modern consciousness in his plays. This concept has enabled him to interpret the Anything that we are aware of at a plots of his plays from contemporary angle. In given moment forms part of our Indian English drama, playwrights have consciousness, making conscious profusely exploited myths to give a new experience at once the most familiar meaning. As Vanshree Tripathi has said: and most mysterious aspects of our lives. (Velmans and Schneider: 2007). Literature and myth merely dramatize, heighten and highlight what is In literature the term ―modern theoretically possible in nature and consciousness‖ implies breaking away from the science. (Tripathi: 2004) established rules, traditions, and conventions both in theme and techniques, in form and The term ―Myth‖ originated from style. Literature itself is the most celebrated Greek word ―Mythos‖, meaning story or plot. form of expressions of our consciousness. In Literary historians and critics have defined the twentieth century the development of myths according to their own interpretations. In science and technology has changed the classical Greek, it signified a story or plot, mindset of people to view literature. Modern whether true or invented. Defining the myths, writers go deeper into the well of M. H. Abrams says: consciousness to deconstruct it as scientists do In its central modern significance, in various fields of their study. Modern however, a myth is one story in a literature is an attempt to fathom and to mythology—a system of hereditary recreate the state of an individual‘s awareness. stories of ancient origin which were In classical Indian writings such as the once believed to be true by a particular , consciousness is thought to be the cultural group, and which served to essence of Atman, a primal, immanent self that explain (in terms of the intentions and is ultimately identified with Brahman, a pure, actions of deities and other supernatural transcendental, subject-object-less beings) why the world is as it is and consciousness that underlines and provides the things happen as they do, to provide a ground of being of both man and nature. Due to rationale for social customs and changes in knowledge about the world and the observances, and to establish the use of new technologies which emerged from sanctions for the rules by which people this knowledge, our reflection of these changes conduct their lives. Most myths are in art, literature, and architecture have became related to social rituals—set forms and radically new. Art emerges from creative procedures in sacred ceremonies—but genius of human beings, from some mysterious anthropologists disagree as to whether stratum intermingled with consciousness in rituals generated myths or myths ways which sometimes elude direct awareness. generated rituals. If the protagonist is a Art that is purely intellectual and calculated human being rather than a supernatural rarely finds as large audience as did modernism being, the traditional story is usually in all of its manifestations. Both literature and not called a myth but a legend. If the science express a kind of truth. As regards hereditary story concerns supernatural literary truth, it is based on perception and

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International Journal of Research (IJR) e-ISSN: 2348-6848, p- ISSN: 2348-795X Volume 2, Issue 06, June 2015 Available at http://internationaljournalofresearch.org

beings who are not gods, and the story myths on the basis of subject, such as is not part of a systematic mythology, it Psychological Myths, Political Myths and is usually classified as a folktale. Social Myths. Myths have provided a rich (Abrams: 1997). source for literary creation. Writers of Greek and Roman drama have extensively used myths Lillian Fedger defines myth as under: in their plays to deal with the themes of universal human values. Indian English Myth is a story involving human playwrights have tried to deal with limitation and superhuman strivings and philosophical view, religious convictions, accomplishments which suggests political issued, social problems, psychological through action ̶ usually of a ritual , matters, etc. through myths, legends, historical ceremonial, or compulsive nature ̶ events, and day-to-day happenings. man‘s attempt to express and thus Rabindranath Tagore, Sri Aurobindo, T.P. control his own anxiety about those Kailasam, H.N. Chattopadhya and Bharati features of his physiological and Sarabhai are some noted playwrights of pre- psychological make-up and his external Independence phase of Indian English drama, environment which he cannot who have used myths in their plays. comprehend, accept or master. The Rabindranath Tagore‘s Sannyasi or the Asetic, character of myth may be gods, men or The King and the Queen, Sacrifice, Chitra, The monstrous creatures with the qualities King of the Dark Chamber, ’s Prayer, both, but narrative material, the and and all are based on mythical portrayal of conflict and sorrow, and themes and characters. Sir Aurobindo‘s play the resolution or revelation are all Perseus the Deliverer is based on Perseus reflections of human concerns. (Feder: myth. Girish Karnad, Badal Sircar, Uma 1977). Parameswaran are the contemporary Myth is not a story told as history, but a playwrights who have used Indian as well as history told as story. Myth is a short narrative foreign myths in their plays. which has no specific writer. It orally passes Yayati (1961) is Girish Karnad‘s first from one generation to the other. Literary attempt in the field of playwriting. The play critics and historian have divided myths mainly was originally written in Kannada and later on into four groups: Cultural Myths, Ritual Myths, translated into English by the writer himself. Nature Myths and Creation Myths. ―Cultural The play has received wide popularity and Myths‖ deals with the culture of hero‘s acclaim due to its contemporary appeal and bringing to man the arts, foods, devices, relevance. In the play Karnad retells an ancient inventions, and usages beneficial to him. myth taken from the ―Adiparva‖ of the ―Ritual Myths‖ refers to activities related to Mahabharata in modern perspectives. Karnad religious ceremonies, closely associated with has tried to bring forward the absurdity of life primitive forms of it wherein man seeks to win with all its elemental passions, conflicts within favour or appease the anger of a god. ―Nature the man and his eternal struggle to achieve Myths‖ deals with the origin of natural fulfillment of desires. Myths, legends and phenomena such as changes of seasons, day folktales are in fact the embodiments of and night, occurrence of rain, thunder, storm cultural ethos and represent the underlying and lighting etc. ―Creation Myths‖ deals with values and principles of life, the shared the creation of world, the origin of men and experience of the race, the rules and the codes animals, and the births of god. Apart from this division; critics have suggested other types of

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International Journal of Research (IJR) e-ISSN: 2348-6848, p- ISSN: 2348-795X Volume 2, Issue 06, June 2015 Available at http://internationaljournalofresearch.org of the society. The play has been interpreted in despite having all sources of pleasure in the light of contemporary concepts. materialistic world. When king Yayati is cursed of premature old age by sage Yayati is one of the six sons of king Sukracharya, he is worried about his fate Nahusha. is the daughter of sage because he does not want old age or Sukracharya and is the daughter decrepitude so soon. Sharmishtha suggests of king Vrishparva, the king. Devayani Yayati that no one can escape old age. She and Sharmishtha are childhood friends. Once requests Yayati to accept it and go to the forest. they had a dispute over a minor issue. She assures him to accompany him to the Sharmishtaha pushed Devayani into a nearby forest. When Sharmishtha advises him to dry well. Fortunately king Yayati happens to accept this old age, Yayati defends her pass by the well he heard the cries of Devayani forcefully. Yayati says: and rescued her by taking out from the well. Solitude? What are you talking about? I Devayani falls in love with Yayati. She offers don't want solitude. I can't bear it. I to marry with him. Yayati, being a Kshtriya want people around me. Queens, prince, initially showed his inability to marry a ministers, armies, enemies, the Brahmin girl. However, with the consent of populace. I love them all. Solitude? The sage Shukrachrya the marriage was very thought is repulsive. If I have to solemnized. Sharmishtha, as result of know myself, Sharmishtha, I have to be punishment, was sent with Devayani as her young. I must have my youth. (Karnad: maid servant. Sharmishtha also falls in love 2008. 43). with Yayati. Yayati‘s relationship with He is not satisfied with his present Sharmishtha infuriates Devayani. In her anger status instead wandering to gain more sensual and jealousy, she goes to her father pleasure. Karnad adds new characters to Shukracharya and complains of this illicit deepen and evolve richness of his drama and relationship to him. Shukracharya curses gives it a contemporary appeal. Yayati of senility and decrepitude. However, Karnad‘s re-working of the myth is there is a saving clause, if Yayati is able to different from the original myth. Pooru is a not persuade someone else to bear the curse on his the son of Sharmishtha as shown in the original behalf then he would enjoy everlasting youth. myth. He is the son of another queen who died Yayati, who is indulged in the sensual pleasure, when Pooru was a child. He is a philosophical asks the people of his kingdom and at last in youth; but self-hating outsider who is desperation to his sons to exchange their youth distraught by the questionable legitimacy of his with him. Only Pooru, the youngest son birth. His acceptance curse is not mediated by willingly offers his youth in filial devotion. obedience, but in an attempt to overcome his Yayati promptly accepts Pooru‘s offer. He feelings of unworthiness. Karnad‘s version remains young while his son turns into a weak questions the patriarch in Yayati and brings a and senile man. Yayati forsakes his life of transformation in him. In the Mahabharata sensual pleasure only after indulging in it for a Yayati recognizes the nature of desire himself, thousand years. Yayati is the representative of whereas in Karnad‘s play Yayati realizes his modern man. Modern man is drifting towards mistakes only after the tragic end of his uncontrolled desires. Despite receiving Chitralekha. He is deeply worried and restless much happiness in life, modern man is to know that Chitralekha has committed suicide adopting unmoral and unethical means of by consuming poison. Sharmishtha is the success to satisfy his desires. Here in the play, representative of modern woman who is less king Yayati remains restless and discontented affected by the patriarchal pattern of society.

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She is frank and outspoken. She did not refrain poison is drunk by Chitralekha. In the second from telling Devayani that Yayati married her Act of the play, Sharmishtha takes revenge on not because of her beauty but because of her Devayani by making Yayati to flirt with her. father‘s ‗Sanjeevani Vidya‘, the magical power Due to the sexual relationship between Yayati of immortality. Karnad through Sharmishtha and Sharmishtha, Devayani becomes very endeavors to prove that women with education angry and she wants to prove her superiority to and understanding do not yield to the pressure the daughter of the Asura race. It leads to a or demands of patriarchy. She posses strength complex clash. When Devayani comes to know of mind and thus cannot bear any insult or about the relationship, she suggests Yayati to dishonour from male domination. She does not expel her from the place and to this give way to stimulate or excite tenderness and Sharmishtha reacts: gratify the arrogance and pride. Yayati knows Me his concubine? You must be joking. that Sharmishtha‘s way of behavior is Yes, I got him into bed with me. That unfamiliar to family. When Yayati was my revenge on you. After all, as a threatens Sharmishtha to expel her from the slave, what weapon did I have but my palace, she tells Yayati that she can‘t go body? Well, I am even with you now. anywhere because the palace is her home. And And I am free. I shall go where I please. her father has given Devayani‘s father his word (Karnad: 2008. 29). that Sharmishtha shall be Devayani‘s slave. Yayati is attracted towards beauty and She also knows that slavery transfers a person physic of Sharmishtha. He has no other into an animal, a domesticated animal and once alternative than to marry with Sharmishtha. ready to act is destroyed due to slavery. This raises more anger in Devayani to such an Sharmishtha brings turmoil in the life of extent that she pears the marriage thread from Yayati. It is because of her that Devayani falls around her neck, snatches pieces of jewelry and into the well and Yayati appears on the scene throws them. She asks Swarnalata the and saves her. Sharmishtha explains how she whereabouts of her father, Shukracharya. She had in fact worshipped Devayani during the joins her father who is resting in the ‗Shambhu days of their shared childhood. Devayani Shrine‘ and narrates him the things happened seemed completely unconscious of the fact that with her. Pooru is Yayati‘s beloved son who she belonged to a superior race. Sharmishtha has stayed away from the palace for a long loved and was proud of Devayani‘s friendship. time and now he is back with his bride, Sharmishtha‘s narrations of the past things Chitralekha. However. Pooru fails to execute indicate how much she is disturbed in present his responsibilities and accepts old age from because no one tries to understand her. his father under obligation. Everyone knows that due to her Devayani falls As the play Yayati is based on the into the well but nobody knows what made her theme of responsibility. Yayati himself is to do the act. The intolerable remarks of responsible for his downfall. But he hesitates to Devayani agitated Sharmishtha and she take the responsibility of the things which have misbehaved her friend. Sharmishtha has come come to him as reactions to his own actions. to the conclusion that there won‘t be happiness Pooru is sent to convince Shukracharya to take in her life of the palace because she has to his curse back. In Act three of the play, Pooru serve Devayani as a slave. Her father has given returns from Shukracharya and informs Yayati her a vial of lethal poison and she tells Yayati that the curse will not have its effect on Yayati, that she was thinking of killing Devayani, but if a young man admits to take it upon himself now she has decided to kill herself. Yayati does and offers his youth to Yayati in exchange. not allow her to drink the poison. Later, this Yayati is confident that any young person will

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International Journal of Research (IJR) e-ISSN: 2348-6848, p- ISSN: 2348-795X Volume 2, Issue 06, June 2015 Available at http://internationaljournalofresearch.org be ready to accept his curse. But Pooru informs logic end. She picks up the vial of poison and him that no one is ready to do so. If someone swallows the poison. Chitralekha dies without accepts the curse, Yayati is ready to give a lot realizing marital bliss as her husband has of wealth to the person. Pooru also suggests become old in the prime of his youth. Yayati is that Yayati should accept the curse and behave transformed when he sees the dead body of as Sharmishtha suggests. At last Pooru tells Chitralekha. At last Yayati accepts his old age Yayati that he is ready to sacrifice his youth for by embracing Pooru. Pooru once again his father. Act IV opens with the acceptance of becomes young but he has lost his beautiful old age by Pooru. Swarnalata and Chitralekha bride on the nuptial night when he was to meet are sharing their views. Chitralekha has found a her. Yayati is the story of a king who longs for pendant from the marriage thread of Devayani. eternal youth. He is involved in sexual Chitralekha tells Swarnalata about her maid at pleasures in such an extent that he does not her mother‘s home. She wants to know more hesitate assert the youth and vitality of his son. about Swarnalata‘s life. Swarnalata tells Yayati is the representative of the modern man Chitralekha that her husband has left her and who is self-centered and shifting his own gone away as he was tired of life. As responsibilities to others. Girish Karnad‘s plays Swarnalata is telling more about her married are concerned with the life of modern man who life, there is thunderous eruption of the drums is very complex and not complete in it. He and conch shells. It indicates the arrival of employs the old myth to focus on the absurdity Pooru. Swarnalata informs Chitralekha about of modern life with all its elemental passions what Pooru has done. and conflicts. In the hands of Girish Karnad, The King Yayati comes to meet the mythic story has become medium for Chitralekha by listening to her screams. Yayati communicating the predicament of modern tells Chitralekha that she should display more man. Being influenced by Marxism and self-control. She has to behave like Anga Existentialism there is a fundamental change in princess and Bharata queen. If she behaves his outlook. boldly, the people will be grateful to her. The sub plot of the play is Karnad‘s Yayati also tells to Chitralekha that as it is the own creation. Through the subplot he has palace of Bharata‘s he can order her not as her deepen the significance of main story. The father-in-law but as her ruler. He also subplot moves around the character of reprimands her about the vow she has taken Swarnalata. Her husband thinks that before during the marriage. Chitralekha blames Yayati marriage Swarnalata was in love with her because he has pushed his son into the funeral teacher. In order to take revenge on her he pyre. Later Chitralekha shows him two things indulges himself in many women and drinks. which she finds there. One is pendant and With a single affair of his wife Swarnalata‘s another is vial of poison. Yayati requests husband is disturbed. But he does not think of Chitralekha to help him in the situation. As Swarnalata and her mind, what would have Yayati has taken Pooru‘s youth, now it is the happened to her by his many affairs? In responsibility to accept everything that comes mythology women‘s freedom is curtailed and attached to it. She has married Pooru for his the same happens in Karnad‘s Yayati also. The youth. For his potential to plant the seed of male characters suppress the women. Only Bharata‘s in her womb. As Pooru has lost it, Chitralekha thinks in a rational way. Pooru is the responsibility goes to Yayati. Yayati married with Chitralekha and the young blames Chitralekha and calls her a beast. When married couple has arrived into the palace. On Chitralekha comes to know that Yayati cannot the nuptial evening itself Pooru accepts the old return her husband back nor can he accept her age of his father and when he regains his youth

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Chitralekha is no more. Pooru does not think of the play. Sharmishtha‘s throwing Devayani in his responsibility towards his newly married the well, Shukracharya‘s curse, Swarnalata‘s wife and he accepts the old age of his father. husband‘s behaviour –all these actions are not Yayati craves for power and youth. When shown on the stage but those are narrated. But Sharmistha suggests that Yayati should accept these actions are very significant because these the old age and go into solitude, he is not ready are the causes of the further actions. The action to sacrifice his throne. He loves his youth and of drinking a poison on the stage is a throne and is ready to sacrifice anything for his melodramatic action. There is a good relevance youth. He sacrifices his son‘s youth for his in all these actions which lead to the final personal advantage. The struggle between action of the play that is the old Yayati takes Devayani and Sharmishtha is also for power. Sharmistha and goes in isolation. Karnad‘s Devayani does not want that Sharmishtha plays are particularly concerned with the should enter and encroach on her relationship psychological problems of dilemma and with Yayati. Devayani is angry with conflicts experienced by modern man. The Sharmishtha because she is worried about her story of Yayati has close similarity with the influence on Yayati. At the end of the play the situation as Karnad himself had to face in his father in Yayati is awakened and he hands over life when he was planning to go abroad for all the power as well as youth to his son Pooru higher studies. As Karnad says : and goes in solitude with Sharmishtha. In the play Karnad has brilliantly dealt While I was writing the play, I saw it with the contemporary social issues such as only an escape from my stressful class distinction and the caste distinction which situation. But looking back, I am take the society to violence. Sharmishtha, being amazed at how precisely the myth disturbed by the comments of Devayani, pulls reflected my anxieties at the moment, her with her long hair, takes her to a well and my resentment with all those who throws her inside. Sharmishtha‘s behaviour is seemed to demand thatg I sacrifice my violent whereas Devayani‘s words are violent. future. By the time I had finished In order to take revenge on Devayani, working on Yayati- during the three Sharmishtha seduces Yayati. Being weeks it took the ship to reach England psychologically disturbed by Sharmishtha‘s and in the lonely cloisters of the behaviour Devayani goes to her father and university-the myth had enabled me to makes him to curse Yayati. Pooru‘s acceptance articulate to myself a set of values that I of old age is responsible for the death of have been unable to arrive at rationally. Chitralekha. The most violent thing in the play Whether to return home finally seemed is Chitralekha‘s death. Karnad has created the most minor of issues: the myth had Chitralekha‘s character on his own. It is due to nailed me to my past. (Karnad : 1999). Chitralekha‘s death Yayati‘s mind changes. The inexhaustible lore of myths, Karnad has introduced another subplot in the parables and legends that pattern and define play. The episode of Swarnalata and her our culture offers immense scope for Indian husband is an additional plot which comments dramatists. Karnad as a playwright is on the suspicious behaviour of male preoccupied with the idea of reinterpreting of community. The actions around which the play Indian myths, legends, folklores and history. moves are the curse of Shukracharya, Pooru‘s Karnad has tried to explore a symbolic form acceptance of old age, Chitralekha‘s suicide out of tension between the archetypal and and at last Yayati‘s acceptance of the curse. mythical experience and a lively response to There are some actions which are narrated in life and its value in his plays. Karnad concerns

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International Journal of Research (IJR) e-ISSN: 2348-6848, p- ISSN: 2348-795X Volume 2, Issue 06, June 2015 Available at http://internationaljournalofresearch.org himself with the problems of existence of self, are very common to Indian audience. So he search for identity and problems of isolation makes use of such myths and legends as and frustration in the modern perspectives. metaphors for contemporary situations. He Yayati is an embodiment of typical treats history as myth rather than writing a modern man, who in spite of having much strictly factual history play he gives it pleasure of life, is dissatisfying and impatient. symbolical reshaping to reinforce the He is blindly in pursuit of pleasure. He takes contemporary issues. the youth of his youngest son Pooru in order to satisfy his physical needs. By doing so he Reference: suppresses the value and morality of his [1.] Abrams, M.H. A Glossary of Literary character. Each and every individual should th Terms.7 ed. India: Wordsworth bear the responsibility posed by the family and Pulications, 1997. Print. society. It is pathetic that king Yayati and his son Pooru realize their responsibilities only at [2.] Feder, Lillian. Ancient Myth in Modern the cast of one‘s life. The dramatist portrays Poetry. Princeton: Princeton University the selfless nature and the helpless plight of the Press, 1977. Print. Indian woman who, by willingly sacrificing their lives, make the members of their family realize their nobility. [3.] Karnad, Girish. Yayati. New Delhi: Oxford University Press, 2008. Print. Girish Karnad‘s plays are embedded in Indian mythology and history, be it myths from [4.] Tripathi, Vanshree. Three Plays of the epics, folktales and historical events, he has Girish Karnad: A Study in Poetics and endeavored to relate the past with the present to Culture. New Delhi: Prestige, 2004. 89. make a convincing blend of fact and fiction. Print. Indeed Karnad has felt the challenges posed by these two realities. In the Indian theatre [5.] Velmans, Max and Susan Schneider. tradition, there has been a strong impact of The Blackwell Companion to mythology and history in literature. Karnad Consciousness. USA: Blackwell was aware that this tradition has an amazing Publishing, 2007. Print. potential, as the elements of myth and history

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