For she brings with her a jar (which, due to textual corruption in the sixteenth century, came to be called a box)[10][11] [12] containing "countless plagues" (100). Hesiod. However, according to others Pandora more properly means "all-giving". But on the front of the chest, a medallion showing the serpent wound about the tree of knowledge recalls the old interpretation of Pandora as a type of Eve. When Epimetheus returns, she begs him to kill her but he accepts joint responsibility. Prometheus had (fearing further reprisals) warned his brother Epimetheus not to accept any gifts from Zeus. 177–194, This page was last edited on 19 October 2020, at 11:22. H.J. It has been argued that it was as a result of the Hellenisation of Western Asia that the misogyny in Hesiod's account of Pandora began openly to influence both Jewish and then Christian interpretations of scripture. Her left arm is wreathed by a snake (another reference to the temptation of Eve) and that hand rests on an unstopped jar, Pandora's attribute. [37], In between these two had come James Barry’s huge Birth of Pandora, on which he laboured for over a decade at the turn of the nineteenth century. There is an additional reason why Pandora should appear nude, in that it was a theological commonplace going back to the early Church Fathers that the Classical myth of Pandora made her a type of Eve. Verdenius, p. 64, comment on line 94, on pithos. La Estatua de Prometeo (1670) by Pedro Calderón de la Barca is made an allegory in which devotion to learning is contrasted with the active life. Hesiod, both in his Theogony (briefly, without naming Pandora outright, line 570) and in Works and Days, gives the earliest version of the Pandora story. If Pandora appears suspended between the roles of Eve and of Pygmalion’s creation in Voltaire’s work, in Charles-Pierre Colardeau’s erotic poem Les Hommes de Prométhée (1774) she is presented equally as a love-object and in addition as an unfallen Eve: Having been fashioned from clay and given the quality of “naïve grace combined with feeling”, she is set to wander through an enchanted landscape. Prometheus moulds a clay statue of Minerva, the goddess of wisdom to whom he is devoted, and gives it life from a stolen sunbeam. Our panel for Adobe Premiere Pro uploads to Vimeo and simplifies your workflow. This woman goes unnamed in the Theogony, but is presumably Pandora, whose myth Hesiod revisited in Works and Days. As well as the many European paintings of her from this period, there are examples in sculptures by Henri-Joseph Ruxthiel (1819),[42]John Gibson (1856),[43] Pierre Loison (1861, see above) and Chauncy Bradley Ives (1871).[44]. When he stole Fire from Mt. Représentation ancienne 1038 femmes représentées La vengeance de Zeus Représentation contemporaine Chaque côté est associé à une époque The Dinner Party/Le dîner festif Sophia: sagesse Athéna: « celle qui fait sortir les présents des profondeurs » dévoré par un aigle chaque jour [63] The work was performed on 2 July 1789, on the very eve of the French Revolution,[64] and was soon forgotten in the course of the events that followed. According to Proclus, Prometheus had received the jar of ills from the satyrs and deposited it with, The development of this transformation was sketched by, According to West 1978, p. 168, Erasmus "probably" confused the story of Pandora with the story found elsewhere of a box which was opened by, William E. Phipps, "Eve and Pandora contrasted", Jeffrey M. Hurwit, "Beautiful Evil: Pandora and the Athena Parthenos", E.g. Archaic and Classic Greek literature seem to make little further mention of Pandora, but mythographers later filled in minor details or added postscripts to Hesiod's account. Outside the palace, a high wind is bending the trees. The Hesiodic myth did not, however, completely obliterate the memory of the all-giving goddess Pandora. Court-métrage de fin d'étude à l'ESEC, section montage - truquage Mythe de la boîte de Pandore - tourné sur fond vert… Early dramatic treatments of the story of Pandora are works of musical theatre. Le mythe de Pandore. Over the course of the 19th century, the story of Pandora was interpreted in radically different ways by four dramatic authors in four countries. The earliest of these works was the lyrical dramatic fragment by Johann Wolfgang von Goethe, written between 1807 and 1808. Later poets, dramatists, painters and sculptors made her their subject and over the course of five centuries contributed new insights into her motives and significance. Best known in the end for a single metaphorical attribute, the box with which she was not even endowed until the 16th century, depictions of Pandora have been further confused with other holders of receptacles – with one of the trials of Psyche,[72] with Sophonisba about to drink poison[73] or Artemisia with the ashes of her husband. Over time this "all-giving" goddess somehow devolved into an "all-gifted" mortal woman. [18] The phrase "Pandora's box" has endured ever since. Bishop Jean Olivier's long Latin poem Pandora drew on the Classical account as well as the Biblical to demonstrate that woman is the means of drawing men to sin. [36] William Etty’s Pandora Crowned by the Seasons of a century later is similarly presented as an apotheosis taking place among the clouds. [22] Certain vase paintings dated to the 5th century BC likewise indicate that the pre-Hesiodic myth of the goddess Pandora endured for centuries after the time of Hesiod. ", Hesiod also outlines how the end of man's Golden Age (an all-male society of immortals who were reverent to the gods, worked hard, and ate from abundant groves of fruit) was brought on by Prometheus. [58] In this work, Pandora, the statue in question, plays only a passive role in the competition between Prometheus and his brother Epimetheus (signifying the active life), and between the gods and men. [33], In a late Pre-Raphaelite painting by John D. Batten, hammer-wielding workmen appear through a doorway, while in the foreground Hephaestus broods on the as yet unanimated figure of “Pandora”. Then in the latter’s house an “oaken chest, Carven with figures and embossed with gold” attracts her curiosity. Jeffrey M. Hurwit has interpreted her presence there as an "anti-Athena." [59] There too the creator of a statue animates it with stolen fire, but then the plot is complicated when Jupiter also falls in love with this new creation but is prevented by Destiny from consummating it. In the 15th-century AD an attempt was made to conjoin pagan and scriptural narrative by the monk Annio da Viterbo, who claimed to have found an account by the ancient Chaldean historian Berossus in which "Pandora" was named as a daughter-in-law of Noah in the alternative Flood narrative. An alternative name for Pandora attested on a white-ground kylix (ca. 460 BC) is Anesidora, which similarly means "she who sends up gifts." [2][3] As Hesiod related it, each god cooperated by giving her unique gifts. As before, she is created by Hephaestus, but now more gods contribute to her completion (63–82): Athena taught her needlework and weaving (63–4); Aphrodite "shed grace upon her head and cruel longing and cares that weary the limbs" (65–6); Hermes gave her "a shameless mind and a deceitful nature" (67–8); Hermes also gave her the power of speech, putting in her "lies and crafty words" (77–80) ; Athena then clothed her (72); next Persuasion and the Charites adorned her with necklaces and other finery (72–4); the Horae adorned her with a garland crown (75). The shift is back to the culture of blame whenever she steps outside it. The Pandora myth is a kind of theodicy, addressing the question of why there is evil in the world. Meanwhile, Pausanias (i.24.7) merely noted the subject and moved on. This necessitated her falling “as if dead” on hearing the judgement against Prométhée in Act 1; a funeral procession bearing her body at the start of Act 2, after which she revives to mourn the carrying out of Prométhée's sentence; while in Act 3 she disobeys Prométhée by accepting a box, supposedly filled with blessings for mankind, and makes the tragedy complete. "Scatter-brained [of Zeus the woman, the maiden whom he had formed." [17] Erasmus, however, translated pithos into the Latin word pyxis, meaning "box". Her other name—inscribed against her figure on a white-ground kylix in the British Museum[4]—is Anesidora (Ancient Greek: Ἀνησιδώρα), "she who sends up gifts"[5] (up implying "from below" within the earth). [65] Though it bears the title Pandora, what exists of the play revolves round Epimetheus’ longing for the return of the wife who has abandoned him and has yet to arrive. TM + © 2020 Vimeo, Inc. All rights reserved. According to this, Pandora opened a jar (pithos) (commonly referred to as "Pandora's box") releasing all the evils of humanity. "[30] Sometimes,[31] but not always, she is labeled Pandora. He also writes that it may have been that Epimetheus and Pandora and their roles were transposed in the pre-Hesiodic myths, a "mythic inversion". For Harrison, therefore, Hesiod's story provides "evidence of a shift from matriarchy to patriarchy in Greek culture. Liam Lennihan,"The Writings of James Barry and the Genre of History Painting", Routledge 2017, Online version at the Perseus Digital Library, "Periklean Athens and its Legacy. On s'accorde généralement pour considérer le mythe de Dédale et d'Icare comme celui qui illustre le mieux le thème des voyages aériens des mortels. Her right elbow rests on a skull, indicating the bringing of death, and she holds an apple branch in that hand – both attributes of Eve. This initiates a debate among the gods whether a creation outside their own work is justified; his devotion is in the end rewarded with permission to marry his statue. ", The more famous version of the Pandora myth comes from another of Hesiod's poems, Works and Days. [47] At the same period appeared a 5-act tragedy by the Protestant theologian Leonhard Culmann (1498-1568) titled Ein schön weltlich Spiel von der schönen Pandora (1544), similarly drawing on Hesiod in order to teach conventional Christian morality. [45] Each is the first woman in the world; and each is a central character in a story of transition from an original state of plenty and ease to one of suffering and death, a transition which is brought about as a punishment for transgression of divine law. But Epimetheus did not listen; he accepted Pandora, who promptly scattered the contents of her jar. [13] Hesiod closes with a moral (105): there is "no way to escape the will of Zeus. As the life-bringing goddess Pandora is eclipsed, the death-bringing human Pandora arises. Both were motherless, and reinforced via opposite means the civic ideologies of patriarchy and the "highly gendered social and political realities of fifth-century Athens"[29]—Athena by rising above her sex to defend it, and Pandora by embodying the need for it. Rose wrote that the myth of Pandora is decidedly more illiberal than that of epic in that it makes Pandora the origin of all of Man's woes with her being the exemplification of the bad wife.[28]. [40] Its ideological purpose, however, was to demonstrate an equal society unified by the harmonious function of those within it. For example, the Bibliotheca and Hyginus each make explicit what might be latent in the Hesiodic text: Epimetheus married Pandora. La Boîte de Pandore Le mythe: La boîte de Pandore La morale Les personnages principaux Fonction du mythe Les Travaux et Les Jours – Hésiode La plus ancienne et complète version du mythe Pandore - 1ère femme humaine - créée par les dieux - épouse d' Epiméthée (titan) - signifie: He commands Hephaestus to mold from earth the first woman, a "beautiful evil" whose descendants would torment the human race. [19] M. L. West writes that the story of Pandora and her jar is from a pre-Hesiodic myth, and that this explains the confusion and problems with Hesiod's version and its inconclusiveness. But she was "sheer guile, not to be withstood by men." The ancient myth of Pandora never settled into one accepted version, was never agreed to have a single interpretation. After humans received the stolen gift of fire from Prometheus, an angry Zeus decides to give humanity a punishing gift to compensate for the boon they had been given. The Pandora myth first appeared in lines 560–612 of Hesiod's poem in epic meter, the Theogony (c. 8th–7th centuries BC), without ever giving the woman a name. When she opens it, Jupiter descends to curse her and Prometheus, but Hope emerges from the box and negotiates their pardon. This vase painting clearly depicts Hephaestus and Athena putting the finishing touches on the first woman, as in the Theogony. An icon used to represent a menu that can be toggled by interacting with this icon. Hesiod's pithos refers to a large storage jar, often half-buried in the ground, used for wine, oil or grain. [55] The same innocence informs Odilon Redon’s 1910/12 clothed figure carrying a box and merging into a landscape suffused with light,[56] and even more the 1914 version of a naked Pandora surrounded by flowers, a primaeval Eve in the Garden of Eden. A.H. Smith,[25] however, noted that in Hesiod's account Athena and the Seasons brought wreaths of grass and spring flowers to Pandora, indicating that Hesiod was conscious of Pandora's original "all-giving" function. Hesiod does not say why hope (elpis) remained in the jar. Pandore, tenant dans ses mains un grand vase, en souleva le couvercle, et les maux terribles qu'il renfermait se répandirent au loin. One other musical work with much the same theme was Aumale de Corsenville's one-act verse melodrama Pandore, which had an overture and incidental music by Franz Ignaz Beck. However, his patron Minerva descends to announce that the gods have gifted Pandora with other qualities and that she will become the future model and mother of humanity. The mistranslation of pithos, a large storage jar, as "box"[15] is usually attributed to the sixteenth century humanist Erasmus of Rotterdam when he translated Hesiod's tale of Pandora into Latin. [48], The equation of the two also occurs in the 1550 allegorical painting by Jean Cousin the Elder, Eva Prima Pandora (Eve the first Pandora), in which a naked woman reclines in a grotto. The Pandora myth first appeared in lines 560–612 of Hesiod's poem in epic meter, the Theogony (c. 8th–7th centuries BC), without ever giving the woman a name. [39] An early drawing, only preserved now in the print made of it by Luigi Schiavonetti, follows the account of Hesiod and shows Pandora being adorned by the Graces and the Hours while the gods look on. [57] Such innocence, “naked and without alarm” in the words of an earlier French poet, portrays Pandora more as victim of a conflict outside her comprehension than as temptress. Please enable JavaScript to experience Vimeo in all of its glory. It was used as a vehicle to illustrate the prevailing ideologies or artistic fashions of the time and eventually became so worn a coinage that it grew confused with other, sometimes later, stories. Above hangs the sign from which the painting gains its name and beneath it is a closed jar, perhaps the counterpart of the other in Olympus, containing blessings.[49]. Images of Pandora began to appear on Greek pottery as early as the 5th century BCE, although identification of the scene represented is sometimes ambiguous. On a fifth-century amphora in the Ashmolean Museum (her fig.71) the half-figure of Pandora emerges from the ground, her arms upraised in the epiphany gesture, to greet Epimetheus. It is in fact a philosophical transformation of Goethe's passion in old age for a teenaged girl. The pattern during the 19th century had only repeated that of the nearly three millennia before it. L'entreligne, Paris 2011, distribution Daudin, Schlegel, Catherine and Henry Weinfield, "Introduction to Hesiod" in, Vernant, J. P. « Le mythe prométhéen chez Hésiode », in Mythe et société en Grèce ancienne, Paris, Maspéro, 1974, pp. [20] He writes that in earlier myths, Pandora was married to Prometheus, and cites the ancient Hesiodic Catalogue of Women as preserving this older tradition, and that the jar may have at one point contained only good things for humanity. But in the actual painting which followed much later, a subordinated Pandora is surrounded by gift-bearing gods and Minerva stands near her, demonstrating the feminine arts proper to her passive role. Download PDF: Sorry, we are unable to provide the full text but you may find it at the following location(s): http://www.persee.fr/docAsPDF/... (external link) But an alternative interpretation of Pandora’s curiosity makes it merely an extension of childish innocence. [29] And in fifth-century Athens, Pandora made a prominent appearance in what, at first, appears an unexpected context, in a marble relief or bronze appliqués as a frieze along the base of the Athena Parthenos, the culminating experience on the Acropolis. Beall, E. "The Contents of Hesiod's Pandora Jar: Patrick Kaplanian, Mythes grecs d'Origine, volume I, Prométhée et Pandore, Ed. Pandore, d’une beauté absolue fut créée par Zeus, Héphaïstos et les autres Dieux pour incarner la perfection. Record and instantly share video messages from your browser. "gift", thus "the all-endowed", "all-gifted" or "all-giving")[1] was the first human woman created by Hephaestus on the instructions of Zeus. Problems and Perspectives", Dictionary of Greek and Roman Biography and Mythology, https://en.wikipedia.org/w/index.php?title=Pandora&oldid=984303714, Articles containing Ancient Greek (to 1453)-language text, Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License. The main English commentary on Works and Days states that Hesiod shows no awareness [of this]. Accompanying an illustration of her opening the lid of an urn from which demons and angels emerge is a commentary that condemns “female curiosity and the desire to learn by which the very first woman was deceived”. [14]. Thus, Pandora was created and given the jar (mistranslated as 'box') which releases all evils upon man. "All-Gift"], because all they who dwelt on Olympus gave each a gift, a plague to men who eat bread" (81–2).[9]. A scholium to line 971 of Aristophanes' The Birds mentions a cult "to Pandora, the earth, because she bestows all things necessary for life". Robert Graves, quoting Harrison,[27] asserts of the Hesiodic episode that "Pandora is not a genuine myth, but an anti-feminist fable, probably of his own invention." Hesiod, both in his Theogony (briefly, without naming Pandora outright, line 570) and in Works and Days, gives the earliest version of the Pandora story.. Theogony. Vase paintings and literary texts give evidence of Pandora as a mother earth figure who was worshipped by some Greeks. as on a volute krater, ca 450 BC, in the. [46] The doctrinal bias against women so initiated then continued into Renaissance times. In this retelling of her story, Pandora's deceitful feminine nature becomes the least of humanity's worries. Make social videos in an instant: use custom templates to tell the right story for your business. One item, however, did not escape the jar (96–9): Only Hope remained there in an unbreakable home within under the rim of the great jar, and did not fly out at the door; for ere that, the lid of the jar stopped her, by the will of Aegis-holding Zeus who gathers the clouds. [50] In the succeeding century that desire to learn was equated with the female demand to share the male prerogative of education. Written above this figure (a convention in Greek vase painting) is the name Anesidora. Broadcast your events with reliable, high-quality live streaming. [32] But there have also been alternative interpretations of such scenes. [52] There is a social message carried by these paintings too, for education, no less than expensive adornment, is only available to those who can afford it. An independent tradition that does not square with any of the Classical literary sources is in the visual repertory of Attic red-figure vase-painters, which sometimes supplements, sometimes ignores, the written testimony; in these representations the upper part of Pandora is visible rising from the earth, "a chthonic goddess like Gaia herself. In view of such evidence, William E. Phipps has pointed out, "Classics scholars suggest that Hesiod reversed the meaning of the name of an earth goddess called Pandora (all-giving) or Anesidora (one-who-sends-up-gifts). In Juan de Horozco's Spanish emblem book, Emblemas morales (1589), a motive is given for Pandora's action. Arrêtée sur les bords du vase, elle ne s'envola point, Pandore ayant remis le couvercle, par l'ordre de Jupiter qui porte l'égide et rassemble les nuages. [20][21] Hesiod's myth of Pandora's jar, then, could be an amalgam of many variant early myths. Elle est offerte en épouse à Épiméthée, le Titan. Hesiod goes on to lament that men who try to avoid the evil of women by avoiding marriage will fare no better (604–7): [He] reaches deadly old age without anyone to tend his years, and though he at least has no lack of livelihood while he lives, yet, when he is dead, his kinsfolk divide his possessions amongst them. It is a costume drama peppered with comic banter and songs during which the gods betroth Pandora to a disappointed Prometheus with “only one little box” for dowry. He remarks that there is a curious correlation between Pandora being made out of earth in Hesiod's story, to what is in the Bibliotheca that Prometheus created man from water and earth. When she first appears before gods and mortals, "wonder seized them" as they looked upon her. It was based in part on the Prometheus Bound of Aeschylus but was rewritten so as to give the character of Pandore an equal part with his. This is "THEME "RSE, mythe de l'Arlésienne ou boite de Pandore" - GROUPE 11" by melody pomier on Vimeo, the home for high quality… In two of these she was presented as the bride of Epimetheus; in the two others she was the wife of Prometheus. Cf. would not have omitted describing such an important detail. La boîte de Pandore Le mythe de la boîte de Pandore est lié à la tentation. In this version of the myth (lines 60–105),[8] Hesiod expands upon her origin, and moreover widens the scope of the misery she inflicts on humanity. Originally appearing in 1541 and republished thereafter, it was soon followed by two separate French translations in 1542 and 1548. This comes out in portrayals of Pandora as a young girl, as in Walter Crane’s “Little Pandora” spilling buttons while encumbered by the doll she is carrying,[53] in Arthur Rackham’s book illustration[54] and Frederick Stuart Church’s etching of an adolescent girl taken aback by the contents of the ornamental box she has opened. The meaning of Pandora's name, according to the myth provided in Works and Days, is "all-gifted". The latter is also typical of Voltaire’s ultimately unproduced opera Pandore (1740). In Nicolas Regnier’s painting “The Allegory of Vanity” (1626), subtitled “Pandora”, it is typified by her curiosity about the contents of the urn that she has just unstopped and is compared to the other attributes of vanity surrounding her (fine clothes, jewellery, a pot of gold coins). After she eventually gives in to temptation and opens it, she collapses in despair and a storm destroys the garden outside. At the end the couple quit their marriage couch and survey their surroundings “As sovereigns of the world, kings of the universe”.[62]. "[26] Thus, Harrison concludes "in the patriarchal mythology of Hesiod her great figure is strangely changed and diminished. Get your team aligned with all the tools you need on one secure, reliable video platform. [35] In one case it was part of a decorative scheme painted on the ceiling at Petworth House by Louis Laguerre in about 1720. In revenge the god sends Destiny to tempt this new Eve into opening a box full of curses as a punishment for Earth’s revolt against Heaven.[60]. [66], Henry Wadsworth Longfellow’s The Masque of Pandora dates from 1876. For details on the meaning of the name "Pandora" see "Difficulties of Interpretation" below. [34] There were also earlier English paintings of the newly created Pandora as surrounded by the heavenly gods presenting gifts, a scene also depicted on ancient Greek pottery. It begins with her creation, her refusal by Prometheus and acceptance by Epimetheus. [69], In England the high drama of the incident was travestied in James Robinson Planché’s Olympic Revels or Prometheus and Pandora (1831), the first of the Victorian burlesques. "Yet Pandora is unlikely to have brought along the jar of ills from heaven, for Hes. Hesiod's interpretation of Pandora's story went on to influence both Jewish and Christian theology and so perpetuated her bad reputation into the Renaissance. [68] Iconographical elements from the masque also figure in Walter Crane's large watercolour of Pandora of 1885. In Greek mythology, Pandora (Greek: Πανδώρα, derived from πᾶν, pān, i.e. [38] Well before that he was working on the design, which was intended to reflect his theoretical writings on the interdependence between history painting and the way it should reflect the ideal state. In some cases the figure of Pandora emerging from the earth is surrounded by figures carrying hammers in what has been suggested as a scene from a satyr play by Sophocles, Pandora, or The Hammerers, of which only fragments remain. (Harrison 1922:284). [7], Hesiod concedes that occasionally a man finds a good wife, but still (609) "evil contends with good. A winged ker with a fillet hovers overhead: "Pandora rises from the earth; she is the Earth, giver of all gifts," Harrison observes. There Prometheus, having already stolen fire from heaven, creates a perfect female, “artless in nature, of limpid innocence”, for which he anticipates divine vengeance. [41], In the individual representations of Pandora that were to follow, her idealisation is as a dangerous type of beauty, generally naked or semi-naked. [70], At the other end of the century, Gabriel Fauré’s ambitious opera Prométhée (1900) had a cast of hundreds, a huge orchestra and an outdoor amphitheatre for stage. from She is no longer Earth-Born, but the creature, the handiwork of Olympian Zeus." More commonly, however, the epithet anesidora is applied to Gaea or Demeter. They each add that the couple had a daughter, Pyrrha, who married Deucalion and survived the deluge with him. [74] Nevertheless, her very polyvalence has been in the end the guarantor of her cultural survival. Hesiod elaborates (590–93): For from her is the race of women and female kind: of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no helpmeets in hateful poverty, but only in wealth.[6]. Olympus and gave it to mortal man, Zeus punished the technologically advanced society by creating a woman. After Hephaestus does so, Athena dresses her in a silvery gown, an embroidered veil, garlands and an ornate crown of silver. Finally, Hermes gives this woman a name: "Pandora [i.e. She is only differentiated from other paintings or statues of such females by being given the attribute of a jar or, increasingly in the 19th century, a straight-sided box. As a result, Hesiod tells us, the earth and sea are "full of evils" (101). L'Espérance seule resta. [51] Again, Pietro Paolini’s lively Pandora of about 1632 seems more aware of the effect that her pearls and fashionable headgear is making than of the evils escaping from the jar she holds. "all" and δῶρον, dōron, i.e. Historic interpretations of the Pandora figure are rich enough to have offered Dora and Erwin Panofsky scope for monographic treatment. [67] The work was twice used as the basis for operas by Alfred Cellier in 1881 and by Eleanor Everest Freer in 1933. Another point to note about Calderón’s musical drama is that the theme of a statue married by her creator is more suggestive of the story of Pygmalion. She is pictured as sprawled over a carved wooden chest on which are embossed golden designs of the three fates who figure as a chorus in Longfellow's scene 3.
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