September 01, 2006 – Kurt Heinzelman, Michael Charlesworth – Tony Harrison’s ‘v.’

Welcome to the first British studies seminar of the fall semester 2006.

This is a landmark in the history of the seminar because as you can see,
the three of us here at the head table are wearing microphones. British studies
has entered the 20th century, if not the 21st. We
are now establishing a full sound archive. Each
of the sessions from now on will be recorded. Believe
it or not, we also have a British studies website. That it’s going up next Wednesday.
This is indeed a revolutionary
development, as is for quite a different reason. The session this afternoon,
the two speakers are Curt Hinds, Cilman Professor of English, and Michael
Michael Charlesworth Charlesworth, the historian of art. Michael
is actually a junior fellow in British studies. British the junior
fellows program in British studies is somewhat of a metaphysical concept.
Once you are a junior fellow, even you become old and famous. As in the case
of Michael, you are still always a junior fellow. Now,
the reason that the session this afternoon is also
a landmark is because some people have actually read the poem and it is
expressed amazement that people have actually come to the session this afternoon.
Now, there was a certain amount of comedy in all of this because when
Kirt first mentioned to me the topic for this afternoon session, it was at the same time
that the movie V for Vendetta was playing. And I thought somehow
that the session was going to be about the happy anarchism associated with Sidney
monads. It turned out to be something. It was a wonderful movie,
by the way, something to be quite different. Somehow, though, I thought
that the Churchills V sign would be a quite appropriate way
to greet KERTH. Whenever I saw him here in the halls of the the
HRC, and I was reminded that when Churchill start
first started giving his V sign, one of his ministers said, No,
Prime Minister, you can’t do that. V in Turkish is an obscenity.
That rather stirred Churchill on because it reminded him of
Gallipoli, of course. And so he took great pleasure in the V sign.
And whenever I would see Kurt here, I would always greet him with a V
and a little. Did I know it a little? Did he know that he was getting a Turkish obscenity?
A lot of this does, in a way, seem to be very appropriate for the poem this
afternoon. I find this very funny, ironic because British
studies has always been considered to be among among the most staid of
the liberal arts programs. And here we are beginning
our first broadcast with the poem
V. Kurt, I will let you begin with this. And whereas
our podium here this year, I have several excellent
copies now, OK? Oh, yes. OK.
Actually, Michael is going to begin. Yeah. Should I begin your show?
Right. Please. Well, I won’t need it. Really. Michael, because the acoustics.
Right. Should I stand up? Yeah. Just.
Well, I should say we’re to do some terrible swearing
up at this end of the room. You know, the effing and blinding you’re going to hear is sloughing on Earth.
So I will understand if sensitive souls have to depart in the middle because
it’s all too much. And I’m not quite sure really why
we’re discussing Vae at this particular time is the reason for this cut.
You got me into this. I asked you to do it. Is there any reason why 2006
in particular? Yes, but they’re not they’re recording. Not broadcasting to you. Semper fi.
Right. That’s the next steps in the next century.
Patients question. So that’s a no, is
it? There’s no particular reason why 2006. But
my job really since I lived in the West Yorkshire coalfield from
About events or at least alluding to events of the previous year. My job is really to give
some context for the poem to start with. And then we’ll
hear an extract of Tony Harrison reading
some of the well. And then Kurt will make some statements and then we’ll hear Tony Harrison reading
part of the poem. So the context really was obviously that Mrs.
Thatcher had won the election in nineteen seventy nine after three years
of possibly the most inert and do nothing government that anybody could remember.
The Labor government of Jim James Callahan,
possibly the most feeble prime minister that we had. I understand. I’m trying to give you the context
of how things felt back in 1984. And whatever we may say now about
Mr. Callahan, few kind things were said about him on either side. Back in 1984,
I remember the election. I remember it was the conservative slogan was Labor
isn’t working. Wasn’t it? The posters had Labor isn’t working with queues of people standing
next to miles of rubbish in the streets. And I can remember the labor poster
which had a picture of Mr. Callahan with the slogan The Labor Way is the
better way, which sounded a bit like some sort of grammar problem in primary school. But anyway,
it had no ability to reach the electorate who presumably felt
that some energy was going to be preferable to five more years
of total inertia and voted the Conservatives in. Mrs. Thatcher
becoming the least popular prime minister, had ever had, ever.
And then the Argentines obligingly
invaded the Falkland Islands, enabling her to score her greatest victory
in 1982 and to become the most popular prime minister we’d ever seen
ever. So she then
went into the process of really dismantling
or attempting to dismantle the coal mining industry of Britain on the grounds that
we no longer needed the coal. It’s not so much the coal was old fashioned or that
it was warming the globe up. It was just that we didn’t need it
for economic reasons. Now, she had prepared for this by
as soon as being elected in 1979, she had greatly enlarged
recruitment into the police force on the wave
of money that she unleashed to the police. Something in the order of a 35
per cent pay rise was awarded to the police within her first year. So
at the same time, she was quite happy in that first year to concede to the miners a
sort of habitual really after the struggles with the previous conservative government of
the early 1970s. But the miners in accepting this
pay rise made a Foulston bargain with the National Coal Board because
they agreed to productivity increases, which meant that
they produced more coal than we consumed. And by the end of 1983,
there were great big stockpiles of coal all over the place, just
all ready for the Central Electricity Generating Board to use in the power stations
to create the electricity that the country needed. So when the miners went into their strike
in the winter of 1993 to nineteen eighty four, they were up against this huge difficulty.
Unlike the previous successful miners strikes of ten years earlier of having all these
giant heaps of coal oil all over the country so that
by the year the strike could last all winter long. And then beginning of spring, when demands
for electricity were lessened, the stockpiles of coal were finally becoming
exhausted. So it made a huge great. The miners dug themselves into a huge, great hole, really,
by agreeing to the productivity deal, part of the bargain back in 1979.
And it reflects the fact they didn’t have a particularly brilliant leader. He was
a sort of a bit of a showman, really. And in this, he was always
getting himself on television and office. A girl who came from Barnsley.
But he wasn’t necessarily the greatest strategic thinker that the miners had ever had.
So he didn’t really seem to have much of a response to the difficulties of the strike other than
to appeal for a more general strike among the working population.
And it all ended sort of badly for the miners, of course. But I should say that the
country was absolutely split down the middle between people who wanted to try to help the miners,
sending food, enjoining picket lines and
trying to put pressure on the government from that side of things. And those who just wanted to see them, their
power broken and them swept away. And so the country was completely split down the middle.
And that’s in after a rather contentious decade of the 1970s in
which various splits within the population became apparent
based on politics, based on class and based on race particularly. So it’s
quite a contentious decade, the 1970s. And this was really the
kind of logical conclusion really to the to that what you might call the long decade.
So that some of the background to the poem being
written in nineteen eighty five, the poet’s response really to a visiting his
parents grave in Leeds where he came from is a Yorkshireman, Tony Harrison, and
I’m finding it marked up by somebody with a
spray tan of paint. Tony Harrison himself got
away from Leeds and is famous, of course, for his theatrical
translations of the ancient Greek plays, for the librettos
that he wrote for Harrison Bird whistles, operas and four other really
high culture stuff that he did down in London,
bastion of high culture. Having got away from Leeds and having two houses, one in
Newcastle upon Tyne, even further north in Yorkshire is and one in Florida. So he
made a brilliant success of learning many.
Is that OK? Yeah. What I’m going to do now is just
give a very brief interpretive
paraphrase of the poem for those of you who didn’t have a chance to read it. This will be very
short and my synopsis will take us up to the point at which
we’re going to listen to Harrison perform the poem,
and that will take us two thirds of the way through the poem. And then we’ll start talking about
the last third, which to me is the is where the rubber meets the road. I mean, it’s the difficult,
tonally difficult part of the poem.
Tony Harrison is a rare example in the modern world of a poet who makes
his living as a writer and not as a university creative writing teacher,
which is a fact that may be of some significance to this poem,
which is a poem in some sense about victory, about what constitutes
victory and victory of one kind of writing over another, one
class over another. He was born in 1937 in Leeds, and he grew up there,
eventually reading classics at Leeds University. He subsequently lectured in Nigeria
and Prague and was for several years the resonant dramatist at the National Theater,
as Michael has mentioned. He’s an opera librettist. He’s also a translator.
One of his most notable works was the or a satire that he translated for
Peter Hall at the National Theater. That’s the one that’s done with the white masks. It’s on
film. If you ever want to see it. And as Michael also mentioned, he lives in
now in England and Florida and is married. This is important for the poem. He’s married
to the opera singer Theresa Stratus, who’s one
of whose famous roles was Lulu in the Auburn Bag Opera.
The Speaker of V. Harrison’s poem, a four hundred and forty eight lines written in Brian Quatrains,
identifies himself as a Liesman and a poet. Indeed, he identifies himself
as Tony Harrison. The poem begins with his visit to the Beeston Hill
Cemetery in Leeds, where his parents are buried. The family plot, which is placed among
the plots for butcher, publican and Baker for WORDSWORTH, the
church organ builder Byron, the leather worker and Appleyard, the haberdasher
has one space left, presumably waiting for, as the poet puts
it. Me baade. This is the same cemetery
he used to visit regularly as a boy with his father, but the many differences between then and
now quickly start to add up. Harrison is not now a regular visitor,
but a transient one, catching a memorial moment here before he catches the train
back to London, where he lives. The gravestones have tipped even more because
of the subsidence of the earth under them. The cemetery is built on a hill underneath which are old
mine coal mines. The stones are even more marked than ever before, with
graffiti obscenities written by Leeds United fans, quote, taking
a shortcut home through these graves here who reassert the glory of their team
by spraying words on tombstones, pissed on beer.
And the demographics of Leeds has become increasingly less Anglo, more colored
and more Muslim. Roughly the first third of the poem is a monologue.
It is the Orwellian year 1984, the start of what would be a
major coal miners strike. And the narrator is thinking deep liberal thoughts
about his own mortality. He is nearing 50 and the polarities that divide
us and these are some that he mentions. Man, the wife,
communist, the fascist left. The right class, the class.
Hindu, Sikh. Soul, body, heart. Mind, EastWest.
Was them. And of course, leads the derby.
The poet intimates that his poem. This Penns, all I have of magic
wand, he says, is his high-brow attempt to make sense of why these,
quote, kids use aerosols to tag everything in sight
and what they’re outlawed writing has to do with the decompositional. He sees
all around him. At this point, one of those
skinhead yobbos with the spray can suddenly enters the poem and engages
the poet in a dialog, a dialog in which many readers have found the skinhead
gets the upper hand. And it’s at this point that I would like
to turn to Tony Harrison’s reading
of the poem. This is a reading
Michael mentioned. The poem was published in nineteen eighty five. It’s published in the London
Review of Books. Of course, almost no one read it. It was then several years later,
made into a film that was shown on Channel 4
and it was at this point that the that the that the poem really
acquired some notoriety, and particularly for this section
that we’re about to hear where the skinhead speaks in his
demotic language and Harrison responds
in the same in the same diction.
This recording is taken off the film, so it’s not pristine quality,
but I think you’ll be able to to hear what’s happening.
And as I say, this is the moment at which Harrison’s own monologue is
disrupted, disrupting the whole shape of the poem from here on out.
White House Reagan, Suzanne, then.
Right. Really? And she
might choose to listen to this. We’re at
line 150. If you have a lined text. And as I say, it’s
this about a third of the way into the poem.
If you have the text I passed out, it’s the upper left side of page five ninety six.
And he’s just asked these big questions. Why inscribe these graves with content
shed? First,
he’s just said, why inscribe these graves with content [INAUDIBLE]? Why choose neglected
tombstones to disfigure?
This pigment of black century packing backing. This
blows that blow up and that’s how.
That to shock the living not allowed the dead from to piece
to live in support of a pool of his way down the list of the dead.
It was one desecration. Jobless,
though, they are helping these cities, even though they’re king off one note in
the needs of the pack, Michigan. Even get sprayed on the tombstones here.
Then what is it that these crude words revealing?
What is it? With real life hitting the dead, is
xenophobic feeling or just a treat occur because men die?
So I think you guys feel that we did get food.
Thank you. I get it now. [INAUDIBLE] do go [INAUDIBLE] yourself.
Pre-destined. She didn’t tell you to stop
turning left or. She didn’t understand we have something
else. She’s always looking for help in English
on this issue with aspirations. First, the press
might have made a call to Britain and to all of the
nations made in the name of love for peace.
Taxation front of them talking too much to
the [INAUDIBLE] that don’t come. That’s cool as fine.
Just looking for
a new united moving gets too insane. And how far the half
inside you makes you go with all the again,
again, again. I’ll tell you then what made
it out of the blue? It’s been on my great job. They
butcher public. They taught me how to do anything.
No, you his. If I lost in the sense and I
was killed, then that’s alive. Do what seniors are going to
work with and build it. This book about adoption
is the number one committee listening to the listening DVD.
And I hope you don’t think I’m doing like [INAUDIBLE] shockingly.
Then I can do is take an angel down and
do what is up to the boy Mason for that job.
I hope that fine. This rough work wooden
job online through Byron Thomas last year in
two inches or in politics and the age of you. I’m not even
close to the word
comes before you start your jeering. The reason
why I want this in a book to give people like you a hearing.
Yes. You did not listen. The only reason
I liked this boy. I still don’t like you to do the dirt on the
desk to give to them. I feel like looking for
that, too. Did you it?
No. And it doesn’t matter. You do in point
united [INAUDIBLE] Rambo’s for a
[INAUDIBLE] you uptown. Yes. No, not
really. We’re talking. Go
to Kingdom. Come and find party going up against him on the line. It’ll be great till
I’m done. I’ve done my best to
not compromise. Yes.
Let me tell you a couple while. I’ll
tell you how to clean it up. A letter that
I won’t be surprised a while. Just why I made my mind up. I’ve got to
get in. I’m.
It wasn’t just the speeding. And at the same time, half the crowd
jeering. You may be in a problem.
But I think, you know, high soprano range beyond
all reason and control in the world. Are you? Nothing changes.
It seems pretty silly. I tell you
what I heard. I know that rule of thumb. You refuse to
electioneering straight from the walking home. I complain, though I hardly
know. I make it
a fire extinguisher on don’t donkeys
and Dorian Gray. I could run back to then
a good job. They yell down, but not the to.
And then you see all their lives and get a better man. The
chicken. They want to create a system that is a mess
and jump in and
out now. Given it is all your
fault. Not much less. Give me that.
Not. That’s why they’ve resisted. They couldn’t come say
that they ever so get behind me that every kid
gets a double dip. I don’t know it. It’s normal
working. Then masc.
it is not a working marriage. I mean, look and may like that Symphony.
And I take him on to be obscene. He has it a little slit
to one. There are have been
races in the morning. You’re going to get
it’s not you to remain in this class war killing
yourself healthy. Come on, me something. I
don’t know. I probably work. I’m sure all, you know,
be thinking,
oh, you’re so proud. It. My
next goal for a half an arm spray. Next time you take the shortcut.
He took the time to read
the novel and prepared to sign nice break from
that. And so the.
It was mind.
So this apparently antagonistic
confrontation reveals that the skinhead
is actually an other or brother, poet or doppelganger or secret sharer
or whatever you want to call him. And then the poem again reverts to
monologue, but with a newly urgent need to explain publicly
what as a man, a husband and a poet that is as a mainly Middle-Class but culturally
elitist Leeds expatriate, Harrison believes in the poem ends
with intimations of his own mortality. And like the poem that is one of Harrison’s overt
models, namely Thomas Gray’s elegy written in a country churchyard, the poet closes
by penning his own epitaph. Now,
what I hope we can we can spend some time talking about is
the the aftermath of this of this confrontation
in which. Harrison, the speaker realizes
that he is more united with this skinhead
than he can imagine. And in fact, the first sign of his
of his union with him is that he he picks up the the language,
the language that the that the guy is using and tries to outdo
him. Although I think I think myself that skinhead has the better lines
all the way through. You know, I told you, no more Greek has just a great line.
You think I’m [INAUDIBLE] dumb? At least
one of the issues at stake here is who owns
the act of writing? Who owns the act of writing? And why does it
matter to even raise the question? I just want to remind you that historically
writing is a skill that has been taught
and learned through long apprenticeship at scribal
skills is not something that is taken lightly. Historically speaking, it’s
only really in the the post computer era.
Where? Penmanship, for instance, is no longer taught in
schools. Where MySpace is your space and
anyone can blog. That the question of who owns the act of
writing becomes a newly urgent. What the computer has done with the keyboard
has done is to utterly democratize this this act.
And in fact, Harrison goes on to say, look, he signed his name and it was
mine. His last name is Harrison, too. Harrison says, you know, I’ve seen my name in neon
lights in on Broadway and on the spines of books. He says, why
shouldn’t he sign, you know, sign the tombstone? What’s the big what’s the big deal
here? Why am I so aggro about all this aggro? Does it affect what Harrison asks?
I think actually, Michael and I look at the ending of the poem
somewhat differently. I see. I see the last half of the pond, the last third
of the poem as a as a.
A profound retreat. On Harrison’s part from the questions
that he raised prior to the intervention of the skinhead, and
those questions are stated most clearly
at lines one sixty and one sixty two and the passage we just heard.
What is it that these crude words are revealing? What is it that this agro
act implies? Giving the dead their xenophobic feeling or just a
creed occur. Because man dies and he’s
preceded those questions by saying that he believes the dead would want their desecrations caught.
What happens at the end of the poem is that.
Is that Harrison tries to out yobbo the yobbo by writing
an epitaph that contains its own desecration.
For those of you who haven’t read to the end, let me just let me just take you there.
Let me pick up about six, seven stanzas from the from the end.
Remember, this is 1930, in 1984. So he is thinking millennial
thoughts, he’s thinking those deep or wellin thoughts about what the
big future holds. And he says, next millennium, you’ll have to search quite hard to find out where
I’m buried, but I’m near the grave of haberdasher. Appleyard. The pile of harps or some new
neon beer? Find Byron WORDSWORTH or turn left between one grave. Mark Broadbent.
One Mark Richardson. Bring some solution with you that can clean whatever new crude
words have been sprayed on. If love of art or love gives
you a front that the grave I’m in. Graffiti, then maybe a race. The
more offensive [INAUDIBLE] [INAUDIBLE]. But leave with the worn united one small v
victory. For vast, slow coal creating forces
that hue the bodies seems to get the soul.
Will Earth run out of her diurnal courses before repeating her creation of black
coal? But choose a day like I chose in mid-May
or earlier when Apple and Hawthorn tree. No matter if boys boot their ball all
day clinging to their blossoms and won’t shake them free if having come this far.
Somebody reads these verses and he she wants to understand. Face this grave on
Beeston Hill. You’re back to Leeds and read the chiseled epitaph. I’ve planned.
Beneath your feet is a poet than a poet. poetries supporter
if you’re here to find how poems can grow from feature to it. [INAUDIBLE].
Find the beef, the beer, the bread. Then look behind.
Now.
Which is, of course, a classic working class put down. I mean,
what he’s saying is I got away. You know, I’ve got my education.
I got to I don’t have to stay in Moldea leads with you lot where everything’s changing
and the world that you knew, all that my father knew is disappearing.
And immigrants are moving in and everything’s changing. I got out.
It’s a classic working class triumphal gesture. Sort of
a rude gesture in the face of everybody who failed to get out. It’s basically what the poem does.
It’s what the poet does. It’s the poet’s epitaph, right? And
the art was quite it was quite surprising to me, really, to.
To come back to this poem after so long and realize that.
So on one level, there’s that, but he also put the last third of the poem,
acknowledges that he can’t do without the skinhead inside him. He goes
home, he hangs up his clothes. It’s all really nice. He talks about love and he
says a voice that scorns chorales is yelling [INAUDIBLE].
It’s the aera selling skin. I met today’s. So the person is
inside him. The Skins United underwrites the poet, and as
well as being about ownership of writing this poem is surely also about ownership of
speech in the sense that it was immensely controversial
to broadcast it on BBC 2. I think it was on Channel Four in Miami
back in 1980, something or other. I mean, I don’t know whether in the context of 2006,
the language seems just, you know, more ordinary or tame because we’ve heard so much
more of it all the time. And throughout the culture or not.
But in a sense and in a sense, you could also relate it to Wordsworth’s
arguments a long time ago about how the language of poetry has to be the language
of the common man. This is a classic endorsement of that, I
suppose, in another way. So it’s quite a complicated relationship
that he has with any and that skinhead. Had he got away
from Leeds, would himself have turned round and made a triumphal gesture to everybody
who didn’t get out? You know, if he’d gone away and been successful as Harrison Wells and made
lots of money, that would have been his response to so. But it’s
it’s it’s prefaced by a very long section where he meditates on the state of the world.
Really? I dont. I see the first section of poem
as being sort of wishy washy liberal response to the fact that somebody vandalized
his parents grave. He goes through all these, you know, tedious pink
posturing about it’s not really there for you. He does realize
that the dead would want their desecrating code, does realize that much. But it’s maybe
this is a creed occur because of the human condition or something. And then this the
encounter with the skinhead who sort of surges interview. Froze all that out.
Really? And then he’s thrust back on what he does believe in. Which is love
when the horse of the blood ties hacked and frayed, what’s left for us? He says his love.
But even that is that meditation is disturbed by the skinheads voice
whose aerosol can be said with bauk love.
So. The last third of the poem, when I listened to this again last week, I was astonished
at how it dwelt upon the kinds of.
Polarized political conflict
that he. We are very much living with. I mean, he
uses the television news as a way of. You know, figuring
on bringing onto center stage all the conflicts of the world, which he’s sort of
previewed in in the part that you read us. But
it seemed to be a stunning sort of statement about the entire
quarter century or something that we’ve had, and that’s not quite as long that 21 years we’ve had
since it was it was written with us in the middle of problems which are just
emerging and prefigured by this or in some cases have just shifted their
geographical location. So so
I found it quite a satisfying poem on the level that that
he doesn’t indicate any kind of easy solution to this. He may may endorse,
you know, John Lennon’s thing. All you need is love. But
at the end of the day, it’s also a very lonely kind of position because could consider that
a lot of this is set in a graveyard. There’s no intimation of any spiritual or religious.
Compensation or. Response Oh, Perth, for sure.
There’s no yeah, there’s no Harrison himself doesn’t believe in a post mortal
solution to any of the polarities that are talked about in the poem.
But I would I would just suggest that there’s a difference between
saying that he believes that love. Compensates for everything. And
actually persuading us that that is the case. I mean, there is
a there’s a facetious quality about the concluded conclusion
of the poem in which he he says, well, I’m going home, home to my woman, home
to my hearth, home to where I live. And we’re going to put on Lulu and listen to
Tereza Stratas sing high D that will
crack the stratosphere. He mix that pun and.
And. You could also you could also say that what the poem
is doing is not acknowledging his inner yobbo. His inner skinhead,
but trading on the language, the demotic language
of the streets in order to make a make a poem that
is that is controversial and can get made into a film.
I mean, there’s a sense in which there’s a co-option that’s going on here, even as.
Even as Harrison is saying goodbye to Leeds, turning
his back on it in every significant way, he’s exploiting it.
Using it to. To fuel.
To throw Cole on his own high brow fire. And
he keeps on going in this elusive vein
right down to the to the last. The quotation from WORDSWORTH at the
end. Will Earth run out of her diurnal courses? Well, who’s supposed to get that exactly?
And well, many, many others.
There are many other allusions and quotes that are going on here that require
not a yobbo reader, but the likes of us. So I’m
I’m suspicious of that ending, even though I think Michael’s right,
that he’s that it’s that it’s a put down. I don’t know whether it’s a put down
in a loving spirit. Yeah, well, I mean,
you know, here to talking about this here, we should endorse what he says in a way. He says,
you know, when you look back, when you face the graves of the other family members who are bakers and butchers and.
Public publicans. And then you turn round in the graveyard
and look the other way. You see the institutions of learning that got him, the education
that took him out of this, which is what we should endorse. Really, we should have no problem
with that. But here’s what I mean by the facetious quality
and the kind of one upsmanship that for me, I give the poem finally a kind
of facetious or or.
Annoyingly elitist feel. Remember when the yobbo takes one of those
bees and draws the slit in it. And of course, he’s making an obscenity,
but. But Harrison knows and everyone who came to the technologies
of writing exhibition down in the ransom gallery knows that that V with a slit in it is the
Sumerian word for woman. Yeah. I mean, this is
the kind of jokey stuff that is going on all the time in the poem, like the reference
to the year 1984, we are supposed to hear or well we are supposed
to hear horrible. Well we’re supposed to understand diurnal courses. WORDSWORTH, not the WORDSWORTH, who is the
church organ builder. But you know, that other guy that me bard is competing
with. And I don’t think that the poem ever relinquishes
that kind of almost. Kind of fraternity boy.
So here’s where, Michael, you’re overstating this. OK.
Well, what what is what is your take on this poll? I think it’s quite an interesting
and justly controversial.