Erothanatos

A Peer-Reviewed Quarterly Journal on Literature

Vol. 3, Issue 1, January, 2019.
URL: https://www.erothanatos.com/v3i1n6
E-ISSN 2457-0265

Female Voice against Patriarchal Oppression: A Study on Tree

without Roots

Safi Ullah

Moniruzzaman

Abstract

Tree without Roots (1948) is a debut novel of Syed Waliullah, a Bangladeshi novelist, short-

story writer and playwright. In the novel, he focuses on vital social factors, religious

fundamentalism, superstitions, domination of patriarchal society and subject to the ravages of

nature. This novel deals with misrepresentation of a religion and dominating a society by

means of that religion. In this novel, Majeed, the protagonist and central character, represents

oppressive patriarchy who dominates everything of Mahabbatpur village. He claims to be a

religious and spiritual guide of the people and thus establishes his position in the village

declaring an antique grave to be the grave of a saint named Mudasser Pir. Jamila plays a

significant and dominant role in this novel as a female character. She epitomizes the most

salient and rebellious voice who questions and refuses oppressive patriarchy. She holds a

feminist voice which is quite loud in this text. There are other female characters including

Rahima, Kulsum and wife of Khaleque Bepary who represent different features of women of

the mid-20th century Bengali Muslim society. This paper analyzes how Jamila voices for the

silent majority of the society and how she speaks against all suppression of Majeed and

breaks the binary boundary created by Majeed. Noteworthy to mention is that feminism

portrayed by Jamila indicates radical feminism, a perspective of feminism signifying the

elimination of patriarchal order of the society created by them.

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Keywords: radical feminism, patriarchy, authoritativeness.

Introduction

Feminism and voicing for women are a much-talked topic at present time. Feminism

academically starts with the publication of The Vindication of the Rights of Women (1792) by

Mary Wollstonecraft and it is going on till date. With the passage of time, it changes, rather

enhances and broadens its focus and objectives. There are three main waves of feminism that

began with the rights of suffrage and now it deals with the elimination of patriarchal order

that fetters women in every aspect and sphere of life. Women are not silent though sometimes

they are intentionally unheard and technically marginalized. Women express themselves in

many ways. In writings of female writers, women have come up with their own and original

voices. Male writers also portrayed and still portraying women sometimes from their own

perspectives, sometimes from an objective position. Thus women and their real condition are

illustrated in literary texts.

Tree without Roots (1948) is a Bengali novel dealing with a mid-20th century Bengali

society. Syed Waliullah exposes the real scenario of that society vividly. Women of that time

were speechless and some of them tried to raise their voice and those women were

technically avoided, if not they were excluded from the scenario or stopped forever. Jamila of

Tree without Roots (1948) is a character of such type. This paper will divulge the miserable

condition of the mid-twentieth century women and a strong female character who questions

this authoritativeness of patriarchy embodied by Majeed. This paper will also examine how

this voice questions the authority and how it was stopped forever. Another goal of this paper

is to exhume the patriarchal oppression that dominates in its self-created patriarchal world.

Literature Review

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In order to conduct this research, readers will face some terms and words that need special

attention to explain. Here in this article, feminism and patriarchy are two prominent subjects

and without a proper understanding of these, it is difficult to get the associated meanings of

this paper. One more issue will be discussed here as the summary of the text titled Tree

without Roots since this will be found as an unread text to many. So a synopsis of this novel

will be added here.

Firstly, ‘feminism’ is a voice which perpetuates sexual inequality. The word derives

from the French word ‘feminisme’ and according to Cambridge Online Dictionary, feminism

“is the belief that woman should be allowed the same rights, power and opportunities as men

and be treated in the same way, or the set of activities intended to achieve this state.”

According to Encyclopedia Britannica, feminism deals with “the belief in the social,

economic, and political equality of the sex” (Brunnel & Burkett). The word itself is used to

describe a cultural, political or economic movement aiming for equal rights for both women

and men. Feminism is concerned with ‘conditioning’ and ‘socialization’- a cruel set of the

distinction between the terms ‘feminist', ‘female' and ‘feminine'. Toril Moi expounds it the

first ‘a political position’ the second ‘a matter of biology’ and third ‘a culturally defined

characteristics.’ (Peter Berry 117) “Feminism is more than a voice of protest or questioning.

It is moral self-reflection, a conquering of inner fears and a realization of self-worth... It does

not abandon values or relationships but goes on to create new ones” (Jasbir Jain 2011).

Nonetheless, feminism did not get popularity until 1970 even in the western countries.

There are different phases of feminism namely first phase, second phase and third

phase of feminism. The first phase existed till 1920s. Mary Wollstonecraft, the grandmother

of British feminism, published A Vindication of the Rights of Women (1792) advocated the

social and moral equality of the sexes. The first phase of feminism existed during the 19th

century and early 20th century in the developed countries like UK, Canada, the Netherlands

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and the USA. It focused on de jure inequalities and gaining suffrage. It was moderate and

conservative than radical or revolutionary.

Then there begins the second phase of feminism in the 1920s. This wave includes

radical feminists that emphasized on the superiority of women over men. It demanded the

intuitive, supportive and sisterly atmosphere whereas men are rational, competitive and

patronizing. It gave a political shake-up of the society. They considered sexist subordination

of women as the fundamental form of oppression. The family is at the center of oppression

through sexual slavery and forced motherhood. This phase of feminism retained women’s

control over their body and brought protest against domestic violence. Thus essential

femaleness sought to reclaim beyond the structure of the patriarchal family.

Finally, the third phase is considered to begin after the 1950s. Diverse strains of

feminism are noticed at this phase which was a response to the second phase.it quizzed the

initiatives and failures during the second phase.it raised the voice against the colours,

ethnicities, religions and cultural discriminations. It was not a single feminist idea. The third

wave usually incorporates elements of queer theory; individualist feminism; new feminist

theory, transgender politics, and a rejection of the gender binary.

In radical feminism, man is the source of all oppression. Culture is male-dominated.

Patriarchy separates women's culture with a separate set of values, which are different from

that of men. Radical feminists tend to be more rebellious in their advancement than other

feminists. The purpose of the radical feminists is to dismantle patriarchy rather than making

advancement through legal changes. They oppose patriarchy rather than men. The root of the

radical feminism was in the wider radical contemporary movement. Radical feminism is

incorporated in Tree without Roots (1948) in which Jamila epitomizes the voice of radical

feminism while Majeed embodies patriarchal order.

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Another term used in this paper is patriarchal oppression. The term ‘patriarchy' comes

from Latin word “pater” referring to father and “arch” referring to rule. Therefore patriarchy

indicates rule of the father. Father or father-figures hold the authority in a patriarchy.

Patriarchy is “a system of society or government in which men hold the power and women

are largely excluded from it” (English Oxford Living Dictionary). A doctrine aims at the

power structures in the family, male domination, social practices and social institutions which

are medium of mechanism of marginalizing the position of women. Subjugation of women is

the core fact of it. It is connected with authority, order, repression, and control over the

female society in conscious and unconscious mind.

Finally, the synopsis of Tree without Roots (1948) is essential here before to elaborate

the ideas of feminism and feminist voice against patriarchal oppression. Tree without Roots

(1948) is about a nice picture of a Bangladeshi village from a very artistic point of view. The

protagonist of this novel Majeed comes from a remote village, a devotee Muslim background.

He declared an old grave as a mausoleum, covered it with a red cloth and began ritualistic

activities. Then he played a psychological game based on religious points of view of the

uneducated villagers. Then the people believed that he had some divine power and the Mazar

is the source of the power. They came to Majeed and devoted lots of valuable things for the

Mazar. In this way he opened an illegal business and played a dominating role in society. His

first wife is Rahima who always feared her husband. She is an image of typical women of

Bengali society. Majeed remarries a teenager named Jamila. She represents a strong voice

who for the first time questions the authoritativeness of Majeed and refuses to follow him

blindly, though not explicitly but by her actions. Majeed tried to control her behaviour and to

do so he tied her up in the Mazar and consequently she died there. During her death, her leg

touched the Mazar and her dress was in disorder. Before death, she spat in the face of

Majeed. This novel ends with a climactic disaster.

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Findings

Feminism, by definition, is “the belief and aim that women should have the same rights and

opportunities as men” (Hornby 565). Though primarily feminism deals with the equal rights

of women, it is concerned with some other broad issues. Radical feminism voices for the

elimination of patriarchal order. Patriarchy indicates "a society, system or country that is

ruled or controlled by men" (Hornby 565). Radical feminism is against such type of

patriarchal order that is dominating them for years, for generations and for ages.

Tree without Roots (1948) is a mid-twentieth century novel revealing the ins and outs

of Bengali Muslim society. This novel slightly but vividly portrays the real circumstances of

women of that society. “Majeed represents the patriarchal power of the Bengali Muslim

society of the 20th century” (Literary Articles 2015). This paper also states, “Jamila also

refuses to conform to patriarchal norms set for women. Her spontaneous outburst into the

terrain of maleness, i.e. speech and loud laughter, disturbs the neatly crafted silence of

Majeed’s household near his ‘invented shrine.” Thus Majeed and Jamila both represent two

classes of people of the society.

Before discussing concepts and idea of the mid-20th century Bengali society employed

in Tree without Roots (1948), it is necessary to notice the real scenario of that time. Bengali

Muslim society follows the purdah system, an Islamic way that covers women in decent

clothes. But this was misinterpreted according to the patriarchal laws. In ‘The Role of

Bengali Muslim Women in the 19th and 20th Century,’ Shahanara Hossain (1985) writes that

“observation of purdah restricts the mobility of women. It also restricts women’s contact with

men” (24). In the same article, Hossain (1985) adds, “Islam sanctions purdah for modesty,

but it has been misinterpreted according to existing social circumstances" (24). In Tree

without Roots (1948), Rahima and Jamila are asked to walk slowly and obviously without

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making any sound and they are also suggested to talk in such a way that does not reach the

ears of other males. Jamila is accused of laughing loudly. All these are not Islamic rules but

misinterpreted by Majeed, a perfect epitome of the patriarchal order. He did it not that he

abides by Islamic rules but not to question his authority and therefore to make a permanent

authoritative position in the society. He not only tries to dominate his wives but also

convinces Khaleque Bepary by addressing him by a friend though he did not get a

satisfactory response from that person.

Noteworthy to mention is that in Bengali society, there was hardly any option for

education for women and they could only read the Quran, though without understanding its

meaning. They were separated from other part of society. Tree without Roots (1948)

represents such a society where women lead a life but not of their own. The society claims

that women will basically be subservient to male. “Obedience to male guardians was

expected from a woman according to male interpretation and she was to play the role of a

docile daughter, a compliant wife and a dependent mother” (Hossain 25). In Tree without

Roots (1948), the society represents such type of society. Rahima was a wife who was

subservient to Majeed, her husband. She respected and feared him and thus she is a typical

Bengali Muslim wife.

On the contrary, Begum Rokeya Sakhawat Hossain was a pioneer to voice for the

rights of women. She very tactfully depicted the real situation of Bengali women in her

writings. She writes Sultana’s Dream that reveals a hidden desire of women to lead the

nation. Shahanara Hossain writes in ‘Feminist Ideas in Begum Rokeya Sakhawat Hossain's

Sultana’s Dream' that "She [Rokeya] writes about a far-off lady land, where ladies rule over

the country and control all social matters, while gentlemen are kept in the Murdana to mind

babies to cook and to do all sorts domestic work" (77). Rokeya thus represents the society in

her writings. Jamila of Tree without Roots (1948) was neither afraid of her husband nor

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followed the rules imposed by her husband. She was a breaker of the established order. She

plays the role of Sultana of Sultana’s Dream in Tree without Roots and pushes the oppressive

order of patriarchy, though she stopped forever with her unexpected and immature death.

A prime concern of this paper is to discover how Syed Waliullah represents the mid-

20th century Bengali Muslim society in his Tree without Roots (1948). The uneducated

women or rather women who did not get the opportunity of education are the leading

characters of this novel.

First finding of this research is a patriarchal presentation with the character of Majeed.

Majeed is considered to be an epitome of patriarchy. This patriarchy is obviously oppressive.

In Tree without Roots, that Majeed came to Mahabbatpur in order to survive and followed a

trick of befooling the countrymen by means of a shrine of a saint but when he read the soft

mind of the people for religion and they are blind supporters of religion, Majeed utilizes this

opportunity. He came here with nothing but makes houses, wives, lands and wealth. He did

everything to strengthen his position. Akkas, a representative of the postcolonial society

endowed with modern education, tries to find an English medium school in the village. It is

well-acknowledged that schools impart modern education. But Majeed gets frightened with

this attempt and stops this by saying that schools preach education of the non-believer while

madrasas and mosques are for Islamic education. Though this was his argument, the thinking

hidden in him is that if people come to know of the hollowness of the Mazar, his authority

will be questioned, even might be broken. So to make his position safe, he stopped to found a

school. And he suppressed his wife in the disguise of managing them. Patriarchal

authoritativeness of Majeed thus invades all across the novel.

Secondly, Jamila is a strong female character who protests against Majeed’s

oppression. Jamila is a very simple young village teenager who got married to Majeed, an

aged man. Early marriage of girls and polygamy of males are very common in that society.

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All other girls tolerate this type of incidents silently. Jamila was also silent but expresses her

curiosity making fun of her marriage with aged Majeed. When her marriage took place, she

thought, "he's [Majeed] the bridegroom's father" (Waliullah 95). Thus she satirizes the

marriage of an aged man with a very young girl. The age difference is so high that the girl

thought her would-be husband to be her father in law.

Another protest against the order of Majeed is that she refuses to follow the law of

Majeed. Majeed declared that women should not laugh loudly but Jamila laughed loudly.

Syed Waliullah (1948) writes, “For no apparent reason Jamila burst into laughter.” (94)

Waliullah adds, “Jamila went on laughing as if some devil had taken possession of her. Her

laughter this time was not like the tinkling of golden bangles, but rather like a warm bright

sunburst piercing the clouds, utterly fearless and irresistible.” (94) Thus she silently revolts

against the established order of the patriarchy of Majeed.

Thirdly, Jamila, a woman who cannot be confined within boundaries of oppression or

of order, loves to talk what she knows or thinks. This urge or desire to talk indicates the

desire for expression and emancipation. “She loved to talk and had so many things to talk

about” (93). Here the statement states utterly that Jamila is born to speak, not to be silent and

not to tolerate everything. Though literally, Jamila loves to talk normal issues, connotatively

it indicates her desire to speak the truth and raise her voice against all issues. In contrast,

“Rahima never laughed at all” (93). Rahima silently tolerates everything and believes Majeed

blindly. So she follows what is to be asked to follow by Majeed. Thus Jamila is utterly

different from Rahima, a meek, silent, docile wife of Majeed.

Jamila never tolerates oppression and she has the courage to protest, if not, tries to

protest. When her husband Majeed tries to tie her with a rope in the Mazar, she does not

surrender easily. Rather she tries to free herself. She could not free herself from the hand of

Majeed but she tried the best. Though “he was too strong for her,” he did not forget to

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protest. What she did is that “coming up close to him, she spat in his face” (Waliullah 117).

This spitting is nothing but an explicit protest. This can be compared with the closing of

doors of Nora Helmer destructively in front of Torvald. In A Doll’s House (1879), Nora did

the same thing as Jamila did in Tree without Roots (1948). Nora tried to make Torvald

understand her situation but he blames her for all the problems. Finally, she left the house by

shutting the door. She left her children and found her own way of life. In the stage direction,

Henrik Ibsen (1879) writes, “She goes out by the hall door” (176). He again writes, “From

below is heard the reverberation of a heavy door closing” (176). The introduction of A Dolls’

House exposes, “Nora is an example of how society restricts the experience and choices

available to women” (Tuhin Mukherjee 16). Similarly, Jamila is an example of how a

patriarchal order restricts the freedom of women and women come out of this chain with the

maximum attempt.

Gilbert and Gubar write in ‘The Madwoman in the Attic’ (1980) that first wife of

Edward Rochester was addressed to be mad and was confined in a room by her husband.

Gilbert and Guber tried to define that first wife of Rochester was defined as mad, confined in

a room and controlled by the patriarchal order. The term ‘mad’ used for her was imposed by

patriarchy (819). If she follows the conventional rules and norms of the society and if she

never questions the authority, she was not termed as mad. In the same way in Tree without

Roots, Jamila is addressed to be infected with Satan. Majeed says, "An evil spirit has found

its way into you. It can do harm to you and to all of us. You are now sitting by the side of the

Mazar, in the presence of the saint" (119). Even he forces her to stay there by tying with a

rope. Waliullah writes, “He soon returned with a rope” (119). Majeed says, “I’ll tie you up

here so that you can’t run away. With the evil spirit prompting you, who knows what you

might do” (119). “Jamila was pale, her mouth agape. She said not a word. He tied her hands

together, but she still remained quiet” (199). Again it proves that due to her protest against

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patriarchy and because of her voice, she was stopped and tried to rest forever. This attempt

indicates the attempt of Rochester. In Tree without Roots, while she was tied, it was justified

with a comment by Majeed that “It is my duty because you’re my wife” (119). Thus with the

excuse of wife, women are downtrodden and therefore made a subaltern of the patriarchy. If

women are subalterns, the authority is the patriarchy. These subalterns cannot speak (Spivak)

or intentionally unheard. The concepts of us and them are also relevant here. (Said) Women

are the ‘other’ referring to them while patriarchy is the ‘us’. Thus women are victims of

patriarchy.

In the mid-20th century, women were considered nothing but an object that can meet

physical pleasure. Women were valued with their physical charms. Before marrying Rahima,

Majeed “had been noticing for brief moments a tall, heavily-built woman who was a widow,

but young and childless. Her massive figure possessed a beauty that was fleshy and easy to

sense even from a distance... she aroused desire in frail-bodied Majeed. Quietly, secretly, this

desire burned within him while he weighed marrying her, considered it and then reconsidered

it until one day he brought her home as his wife” (20-21). Physical appearances of Rahima

are given as follows: “Rahima was tall and broad, with large breasts and wide heaps” (21).

This attitude for the physical charm of women is found again even while punishing Jamila,

second wife of Majeed. "Her body was as light as straw, yet warm and soft. Like a burst of

flame, the desire suddenly rose within him to press her close to his heart, so long ravaged by

loneliness." Though this desire got vanished due to her excessive patriarchal and dominating

characteristics, he could not manage to hide his emotion. Another example can be given.

When the sky was black with clouds and it was thundering loudly, Majeed came to untie

Jamila from the Mazar, though he came as a result of the request of Rahima. She was lying

senselessly. Even when Majeed looked at her, he firstly looked at her boy-like breast.

Waliullah writes, "Her breasts seemed as flat as those of a boy” (124). Though this is narrated

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from a third person point of view, it expresses the subconscious mind of Majeed. Thus

women are characterized as tools that can be seen or voyeurised. Laura Mulvey writes, due to

the male gaze, people love to look at the secret organs of the female. Here in the novel,

Majeed, despite his claim of being a religious guide, cannot free him from this sort of look.

Rather his subconscious lust is expressed. And this is utterly patriarchy. Radical feminism

tries to break; more specifically eliminate this social order and structure created by a male,

created by patriarchy.

Finally, the death of Jamila also refuses the patriarchal order established by Majeed.

The incident of Jamila's death is unexpected as she was punished to be corrected. But storms

and thunderbolt started but she was not untied. As a request of Rahima, Majeed came to the

Mazar and "he found Jamila stretched out on the floor, her eyes shut. Her sari was in

disorder, and her bosom was bare" (124). "One of her feet, which were painted with heena,

touched the grave” (124). Here Jamila's sari was in disorder though Majeed ordered her to be

polite, decent and covered with dress. But she violates his order throughout her life at the

house of Majeed, even at the time of death so does she.

Another noteworthy issue is that her leg touched the grave, the grave where a saint

was lying. Though there is saint in the grave literally and it was a claim of Majeed. This

grave was the source of Majeed’s all power. When Jamila touches the grave with legs, though

after death, it connotes her last and ultimate protest against the oppressive patriarchal order

founded by Majeed.

Conclusion

Tree without Roots (1948) is a splendid modern novel written in Bangla portraying the real

condition of women of the mid-20th century Bengali Muslim society. Majeed is presented as a

symbol of the patriarchal order. In contrast, Jamila is portrayed as an epitome of radical

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feminist who tries to eliminate the patriarchal order established by Majeed. Apparently, she

was not successful as she unexpectedly dies being a victim of Majeed's oppression. But in a

deeper sense, she was the only character of Tree without Root who questions Majeed's

authority and utterly refuses him. Her spitting at the face of Majeed is the ultimate protest and

then kicks the hollow Mazar that is the centre and source of Majeed's all hypocrisy and

power. Her kicking off the Mazar symbolizes that this is hollow and nothing to fear as

Majeed created this only to ensure his future, his authoritativeness and in the broader sense

patriarchy. Syed Waliullah successfully depicts the characters of Majeed, Rahima and Jamila.

All of them play a significant role portraying the real condition of the mid-20th century

Bengali Muslim society. To sum up, Jamila is the remarkable feminist voice who protests

against the patriarchal oppression of Majeed.

Works Cited

Barry, Peter. Beginning Theory: An Introduction to Literary and Cultural Theory. Viva Books Private

Limited. 3rd ed. 2010.

Brunnel, L and E. Burkett. “Feminism.” Encyclopedia Britannica,

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English Oxford Living Dictionaries. https://en.oxforddictionaries.com/definition/patriarchy

Gilbert, S and S. Gubar. “The Madwoman in the Attic.” Literary Theory: An Anthology, edited by

Revkin, J. and Ryan M. Blackwell Publishing, 2nd ed. 2004. pp. 812-825

Hornby, A.S. Oxford Advanced Learner’s Dictionary of Current English. Oxford University Press. 7th

ed. 2005.

Hossain, Shahanara. Unobingsho o Bingsho Shotabdite Bangali Muslim Nari: Rokeyar Naribaad o

Tar Dharabahikota. Dhaka: Bangla Academy. 2014.

Ibsen, Henrik. A Doll’s House. Dhaka: Friends’ Book Corner. 2006.

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Jain, Jasbir. Indigenous roots of FEMINISM Culture, Subjectivity, and Agency. Sage India, 2011.

Mulvey, Laura. Visual Pleasures and Narrative Cinema. University of Wisconsin. 1973.

Said, Edward, “Orientalism.” The Post-colonial Studies Reader, edited by Bill Ashcroft, et al.,

Routledge. 2nd ed. 2006, pp. 24-27.

Spivak, Gayatri Chakravorty. “Can the Subaltern Speak?”. From Modernism to Postmodernism: An

Anthology, edited by Lawrence Cahoone. Blackwell Publishing, 2003, pp. 319-341.

Waliullah, Syed. Tree without Roots. Dhaka: Writers.ink, 2015.

About the Author

Safi Ullah, a Postgraduate from the University of Dhaka, teaches English literature at Z. H.

Sikder University of Science & Technology, Shariatpur, Bangladesh. He has authored two

collections of fictions namely Sat Number Bus (2016) and Golpogulor Ortho Nei (2018). He

is also an essayist and translator. His areas of interest are modernism, postmodernism, gender

studies and translation studies. He may be contacted at [email protected].

Moniruzzaman, a Postgraduate from the University of Dhaka, teaches English literature at Z.

H. Sikder University of Science & Technology, Shariatpur, Bangladesh. His areas of interest

are feminism, modernism, postmodernism, Victorian poetry and Modern novels. He may be

contacted at [email protected].

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