Soon after my return from the West Indies I was enabled to change my district in Ireland for one in England. For some time past my official work had been of a special nature, taking me out of my own district; but through all that, Dublin had been my home, and there my wife and children had lived. I had often sighed to return to England—with a silly longing. My life in England for twenty-six years from the time of my birth to the day on which I left it, had been wretched. I had been poor, friendless, and joyless. In Ireland it had constantly been happy. I had achieved the respect of all with whom I was concerned, I had made for myself a comfortable home, and I had enjoyed many pleasures. Hunting itself was a great delight to me; and now, as I contemplated a move to England, and a house in the neighbourhood of London, I felt that hunting must be abandoned.* Nevertheless I thought that a man who could write books ought not to live in Ireland—ought to live within the reach of the publishers, the clubs, and the dinner-parties of the metropolis. So I made my request at headquarters, and with some little difficulty got myself appointed to the Eastern District of England—which comprised Essex, Suffolk, Norfolk, Cambridgeshire, Huntingdonshire, and the greater part of Hertfordshire.
At this time I did not stand very well with the dominant interest at the General Post Office. My old friend Colonel Maberly had been, some time since, squeezed into, and his place was filled by Mr. Rowland Hill, the originator of the penny post. With him I never had any sympathy, nor he with me. In figures and facts he was most accurate, but I never came across any one who so little understood the ways of men,—unless it was his brother Frederic. To the two brothers the servants of the Post Office,—men numerous enough to have formed a large army in old days,—were so many machines who could be counted on for their exact work without deviation, as wheels may be counted on, which are kept going always at the same pace and always by the same power. Rowland Hill was an industrious public servant, anxious for the good of his country; but he was a hard taskmaster, and one who would, I think, have put the great department with which he was concerned altogether out of gear by his hardness, had he not been at last controlled. He was the Chief Secretary, my brother-in-law—who afterwards succeeded him—came next to him, and Mr. Hill’s brother was the Junior Secretary. In the natural course of things, I had not, from my position, anything to do with the management of affairs;—but from time to time I found myself more or less mixed up in it. I was known to be a thoroughly efficient public servant; I am sure I may say so much of myself without fear of contradiction from any one who has known the Post Office;—I was very fond of the department, and when matters came to be considered, I generally had an opinion of my own. I have no doubt that I often made myself very disagreeable. I know that I sometimes tried to do so. But I could hold my own because I knew my business and was useful. I had given official offence by the publication of The Three Clerks. I afterwards gave greater offence by a lecture on “The Civil Service” which I delivered in one of the large rooms at the General Post Office to the clerks there. On this occasion, the Postmaster-General, with whom personally I enjoyed friendly terms, sent for me and told me that Mr. Hill had told him that I ought to be dismissed. When I asked his lordship whether he was prepared to dismiss me, he only laughed. The threat was no threat to me, as I knew myself to be too good to be treated in that fashion. The lecture had been permitted, and I had disobeyed no order. In the lecture which I delivered, there was nothing to bring me to shame,—but it advocated the doctrine that a civil servant is only a servant as far as his contract goes, and that he is beyond that entitled to be as free a man in politics, as free in his general pursuits, and as free in opinion, as those who are in open professions and open trades. All this is very nearly admitted now, but it certainly was not admitted then. At that time no one in the Post Office could even vote for a Member of Parliament.
Through my whole official life I did my best to improve the style of official writing. I have written, I should think, some thousands of reports—many of them necessarily very long; some of them dealing with subjects so absurd as to allow a touch of burlesque; some few in which a spark of indignation or a slight glow of pathos might find an entrance. I have taken infinite pains with these reports, habituating myself always to write them in the form in which they should be sent—without a copy. It is by writing thus that a man can throw on to his paper the exact feeling with which his mind is impressed at the moment. A rough copy, or that which is called a draft, is written in order that it may be touched and altered and put upon stilts. The waste of time, moreover, in such an operation, is terrible. If a man knows his craft with his pen, he will have learned to write without the necessity of changing his words or the form of his sentences. I had learned so to write my reports that they who read them should know what it was that I meant them to understand. But I do not think that they were regarded with favour. I have heard horror expressed because the old forms were disregarded and language used which had no savour of red-tape. During the whole of this work in the Post Office it was my principle always to obey authority in everything instantly, but never to allow my mouth to be closed as to the expression of my opinion. They who had the ordering of me very often did not know the work as I knew it—could not tell as I could what would be the effect of this or that change. When carrying out instructions which I knew should not have been given, I never scrupled to point out the fatuity of the improper order in the strongest language that I could decently employ. I have revelled in these official correspondences, and look back to some of them as the greatest delights of my life. But I am not sure that they were so delightful to others.
I succeeded, however, in getting the English district,—which could hardly have been refused to me,—and prepared to change our residence towards the end of 1859. At the time I was writing Castle Richmond, the novel which I had sold to Messrs. Chapman & Hall for £600. But there arose at this time a certain literary project which probably had a great effect upon my career. Whilst travelling on postal service abroad or riding over the rural districts in England, or arranging the mails in Ireland,—and such for the last eighteen years had now been my life,—I had no opportunity of becoming acquainted with the literary life in London. It was probably some feeling of this which had made me anxious to move my penates back to England. But even in Ireland, where I was still living in October, 1859, I had heard of the Cornhill Magazine, which was to come out on the 1st of January, 1860, under the editorship of Thackeray.
I had at this time written from time to time certain short stories, which had been published in different periodicals, and which in due time were republished under the name of Tales of All Countries. On the 23rd of October, 1859, I wrote to Thackeray, whom I had, I think, never then seen, offering to send him for the magazine certain of these stories. In reply to this I received two letters,—one from Messrs. Smith & Elder, the proprietors of the Cornhill, dated 26th of October, and the other from the editor, written two days later. That from Mr. Thackeray was as follows:
36 Onslow Square, S. W.
My Dear Mr. Trollope,
Smith & Elder have sent you their proposals; and the business part done, let me come to the pleasure, and say how very glad indeed I shall be to have you as a co-operator in our new magazine. And looking over the annexed programme, you will see whether you can’t help us in many other ways besides tale-telling. Whatever a man knows about life and its doings, that let us hear about. You must have tossed a good deal about the world, and have countless sketches in your memory and your portfolio. Please to think if you can furbish up any of these besides a novel. When events occur, and you have a good lively tale, bear us in mind. One of our chief objects in this magazine is the getting out of novel spinning, and back into the world. Don’t understand me to disparage our craft, especially YOUR wares. I often say I am like the pastrycook, and don’t care for tarts, but prefer bread and cheese; but the public love the tarts (luckily for us), and we must bake and sell them. There was quite an excitement in my family one evening when Paterfamilias (who goes to sleep on a novel almost always when he tries it after dinner) came up-stairs into the drawing-room wide awake and calling for the second volume of The Three Clerks. I hope the Cornhill Magazine will have as pleasant a story. And the Chapmans, if they are the honest men I take them to be, I’ve no doubt have told you with what sincere liking your works have been read by yours very faithfully,W. M. Thackeray
This was very pleasant, and so was the letter from Smith & Elder offering me £1,000 for the copyright of a three-volume novel, to come out in the new magazine—on condition that the first portion of it should be in their hands by December 12th. There was much in all this that astonished me;—in the first place the price, which was more than double what I had yet received, and nearly double that which I was about to receive from Messrs. Chapman & Hall. Then there was the suddenness of the call. It was already the end of October, and a portion of the work was required to be in the printer’s hands within six weeks. Castle Richmond was indeed half written, but that was sold to Chapman. And it had already been a principle with me in my art, that no part of a novel should be published till the entire story was completed. I knew, from what I read from month to month, that this hurried publication of incompleted work was frequently, I might perhaps say always, adopted by the leading novelists of the day. That such has been the case, is proved by the fact that Dickens, Thackeray, and Mrs. Gaskell died with unfinished novels, of which portions had been already published. I had not yet entered upon the system of publishing novels in parts, and therefore had never been tempted. But I was aware that an artist should keep in his hand the power of fitting the beginning of his work to the end. No doubt it is his first duty to fit the end to the beginning, and he will endeavour to do so. But he should still keep in his hands the power of remedying any defect in this respect.
Servetur ad imumQualis ab incepto processerit,6
should be kept in view as to every character and every string of action. Your Achilles should all through, from beginning to end, be “impatient, fiery, ruthless, keen.” Your Achilles, such as he is, will probably keep up his character. But your Davus also should be always Davus, and that is more difficult. The rustic driving his pigs to market cannot always make them travel by the exact path which he has intended for them. When some young lady at the end of a story cannot be made quite perfect in her conduct, that vivid description of angelic purity with which you laid the first lines of her portrait should be slightly toned down. I had felt that the rushing mode of publication to which the system of serial stories had given rise, and by which small parts as they were written were sent hot to the press, was injurious to the work done. If I now complied with the proposition made to me, I must act against my own principle. But such a principle becomes a tyrant if it cannot be superseded on a just occasion. If the reason be “tanti,” the principle should for the occasion be put in abeyance. I sat as judge, and decreed that the present reason was “tanti.” On this my first attempt at a serial story, I thought it fit to break my own rule. I can say, however, that I have never broken it since.
But what astonished me most was the fact that at so late a day this new Cornhill Magazine should be in want of a novel. Perhaps some of my future readers will he able to remember the great expectations which were raised as to this periodical. Thackeray’s was a good name with which to conjure. The proprietors, Messrs. Smith & Elder, were most liberal in their manner of initiating the work, and were able to make an expectant world of readers believe that something was to be given them for a shilling very much in excess of anything they had ever received for that or double the money. Whether these hopes were or were not fulfilled it is not for me to say, as, for the first few years of the magazine’s existence, I wrote for it more than any other one person. But such was certainly the prospect—and how had it come to pass that, with such promises made, the editor and the proprietors were, at the end of October, without anything fixed as to what must be regarded as the chief dish in the banquet to be provided?
I fear that the answer to this question must be found in the habits of procrastination which had at that time grown upon the editor. He had, I imagine, undertaken the work himself, and had postponed its commencement till there was left to him no time for commencing. There was still, it may be said, as much time for him as for me. I think there was,—for though he had his magazine to look after, I had the Post Office. But he thought, when unable to trust his own energy, that he might rely upon that of a new recruit. He was but four years my senior in life but he was at the top of the tree, while I was still at the bottom.
Having made up my mind to break my principle, I started at once from Dublin to London. I arrived there on the morning of Thursday, 3rd of November, and left it on the evening of Friday. In the meantime I had made my agreement with Messrs. Smith & Elder, and had arranged my plot. But when in London, I first went to Edward Chapman, at 193 Piccadilly. If the novel I was then writing for him would suit the Cornhill, might I consider my arrangement with him to be at an end? Yes; I might. But if that story would not suit the Cornhill, was I to consider my arrangement with him as still standing,—that agreement requiring that my manuscript should be in his hands in the following March? As to that, I might do as I pleased. In our dealings together Mr. Edward Chapman always acceded to every suggestion made to him. He never refused a book, and never haggled at a price. Then I hurried into the City, and had my first interview with Mr. George Smith. When he heard that Castle Richmond was an Irish story, he begged that I would endeavour to frame some other for his magazine. He was sure that an Irish story would not do for a commencement;—and he suggested the Church, as though it were my peculiar subject. I told him that Castle Richmond would have to “come out” while any other novel that I might write for him would be running through the magazine—but to that he expressed himself altogether indifferent. He wanted an English tale, on English life, with a clerical flavour. On these orders I went to work, and framed what I suppose I must call the plot of Framley Parsonage.
On my journey back to Ireland, in the railway carriage, I wrote the first few pages of that story. I had got into my head an idea of what I meant to write,—a morsel of the biography of an English clergyman who should not be a bad man, but one led into temptation by his own youth and by the unclerical accidents of the life of those around him. The love of his sister for the young lord was an adjunct necessary, because there must be love in a novel. And then by placing Framley Parsonage near Barchester, I was able to fall back upon my old friends Mrs. Proudie and the archdeacon. Out of these slight elements I fabricated a hodge-podge in which the real plot consisted at last simply of a girl refusing to marry the man she loved till the man’s friends agreed to accept her lovingly. Nothing could be less efficient or artistic. But the characters were so well handled, that the work from the first to the last was popular,—and was received as it went on with still increasing favour by both editor and proprietor of the magazine. The story was thoroughly English. There was a little fox-hunting and a little tuft-hunting, some Christian virtue and some Christian cant. There was no heroism and no villainy. There was much Church, but more love-making. And it was downright honest love,—in which there was no pretence on the part of the lady that she was too ethereal to be fond of a man, no half-and-half inclination on the part of the man to pay a certain price and no more for a pretty toy. Each of them longed for the other, and they were not ashamed to say so. Consequently they in England who were living, or had lived, the same sort of life, liked Framley Parsonage. I think myself that Lucy Robarts is perhaps the most natural English girl that I ever drew,—the most natural, at any rate, of those who have been good girls. She was not as dear to me as Kate Woodward in The Three Clerks, but I think she is more like real human life. Indeed I doubt whether such a character could be made more lifelike than Lucy Robarts.
And I will say also that in this novel there is no very weak part—no long succession of dull pages. The production of novels in serial form forces upon the author the conviction that he should not allow himself to be tedious in any single part. I hope no reader will misunderstand me. In spite of that conviction, the writer of stories in parts will often be tedious. That I have been so myself is a fault that will lie heavy on my tombstone. But the writer when he embarks in such a business should feel that he cannot afford to have many pages skipped out of the few which are to meet the reader’s eye at the same time. Who can imagine the first half of the first volume of Waverley coming out in shilling numbers? I had realised this when I was writing Framley Parsonage; and working on the conviction which had thus come home to me, I fell into no bathos of dullness.
I subsequently came across a piece of criticism which was written on me as a novelist by a brother novelist very much greater than myself, and whose brilliant intellect and warm imagination led him to a kind of work the very opposite of mine. This was Nathaniel Hawthorne, the American, whom I did not then know, but whose works I knew. Though it praises myself highly, I will insert it here, because it certainly is true in its nature: “It is odd enough,” he says, “that my own individual taste is for quite another class of works than those which I myself am able to write. If I were to meet with such books as mine by another writer, I don’t believe I should be able to get through them. Have you ever read the novels of Anthony Trollope? They precisely suit my taste—solid and substantial, written on the strength of beef and through the inspiration of ale, and just as real as if some giant had hewn a great lump out of the earth and put it under a glass case, with all its inhabitants going about their daily business, and not suspecting that they were being made a show of. And these books are just as English as a beef-steak. Have they ever been tried in America? It needs an English residence to make them thoroughly comprehensible; but still I should think that human nature would give them success anywhere.”
This was dated early in 1860, and could have had no reference to Framley Parsonage; but it was as true of that work as of any that I have written. And the criticism, whether just or unjust, describes with wonderful accuracy the purport that I have ever had in view in my writing. I have always desired to “hew out some lump of the earth,” and to make men and women walk upon it just as they do walk here among us,—with not more of excellence, nor with exaggerated baseness,—so that my readers might recognise human beings like to themselves, and not feel themselves to be carried away among gods or demons. If I could do this, then I thought I might succeed in impregnating the mind of the novel-reader with a feeling that honesty is the best policy; that truth prevails while falsehood fails; that a girl will be loved as she is pure; and sweet, and unselfish; that a man will be honoured as he is true, and honest, and brave of heart; that things meanly done are ugly and odious, and things nobly done beautiful and gracious. I do not say that lessons such as these may not be more grandly taught by higher flights than mine. Such lessons come to us from our greatest poets. But there are so many who will read novels and understand them, who either do not read the works of our great poets, or reading them miss the lesson! And even in prose fiction the character whom the fervid imagination of the writer has lifted somewhat into the clouds, will hardly give so plain an example to the hasty normal reader as the humbler personage whom that reader unconsciously feels to resemble himself or herself. I do think that a girl would more probably dress her own mind after Lucy Robarts than after Flora Macdonald.
There are many who would laugh at the idea of a novelist teaching either virtue or nobility—those, for instance, who regard the reading of novels as a sin, and those also who think it to be simply an idle pastime. They look upon the tellers of stories as among the tribe of those who pander to the wicked pleasures of a wicked world. I have regarded my art from so different a point of view that I have ever thought of myself as a preacher of sermons, and my pulpit as one which I could make both salutary and agreeable to my audience. I do believe that no girl has risen from the reading of my pages less modest than she was before, and that some may have learned from them that modesty is a charm well worth preserving. I think that no youth has been taught that in falseness and flashness is to be found the road to manliness; but some may perhaps have learned from me that it is to be found in truth and a high but gentle spirit. Such are the lessons I have striven to teach; and I have thought it might best be done by representing to my readers characters like themselves—or to which they might liken themselves.
Framley Parsonage—or, rather, my connection with the Cornhill—was the means of introducing me very quickly to that literary world from which I had hitherto been severed by the fact of my residence in Ireland. In December, 1859, while I was still very hard at work on my novel, I came over to take charge of the Eastern District, and settled myself at a residence about twelve miles from London, in Hertfordshire, but on the borders both of Essex and Middlesex—which was somewhat too grandly called Waltham House. This I took on lease, and subsequently bought after I had spent about £1,000 on improvements. From hence I was able to make myself frequent both in Cornhill and Piccadilly, and to live, when the opportunity came, among men of my own pursuit.
It was in January, 1860, that Mr. George Smith—to whose enterprise we owe not only the Cornhill Magazine but the Pall Mall Gazette—gave a sumptuous dinner to his contributors. It was a memorable banquet in many ways, but chiefly so to me because on that occasion I first met many men who afterwards became my most intimate associates. It can rarely happen that one such occasion can be the first starting-point of so many friendships. It was at that table, and on that day, that I first saw Thackeray, Charles Taylor (Sir)—than whom in latter life I have loved no man better—, Robert Bell, G. H. Lewes, and John Everett Millais. With all these men I afterwards lived on affectionate terms;—but I will here speak specially of the last, because from that time he was joined with me in so much of the work that I did.
Mr. Millais was engaged to illustrate Framley Parsonage, but this was not the first work he did for the magazine. In the second number there is a picture of his accompanying Monckton Milne’s Unspoken Dialogue. The first drawing he did for Framley Parsonage did not appear till after the dinner of which I have spoken, and I do not think that I knew at the time that he was engaged on my novel. When I did know it, it made me very proud. He afterwards illustrated Orley Farm, The Small House of Allington, Rachel Ray, and Phineas Finn. Altogether he drew from my tales eighty-seven drawings, and I do not think that more conscientious work was ever done by man. Writers of novels know well—and so ought readers of novels to have learned—that there are two modes of illustrating, either of which may be adopted equally by a bad and by a good artist. To which class Mr. Millais belongs I need not say; but, as a good artist, it was open to him simply to make a pretty picture, or to study the work of the author from whose writing he was bound to take his subject. I have too often found that the former alternative has been thought to be the better, as it certainly is the easier method. An artist will frequently dislike to subordinate his ideas to those of an author, and will sometimes be too idle to find out what those ideas are. But this artist was neither proud nor idle. In every figure that he drew it was his object to promote the views of the writer whose work he had undertaken to illustrate, and he never spared himself any pains in studying that work, so as to enable him to do so. I have carried on some of those characters from book to book, and have had my own early ideas impressed indelibly on my memory by the excellence of his delineations. Those illustrations were commenced fifteen years ago, and from that time up to this day my affection for the man of whom I am speaking has increased. To see him has always been a pleasure. His voice has been a sweet sound in my ears. Behind his back I have never heard him praised without joining the eulogist; I have never heard a word spoken against him without opposing the censurer. These words, should he ever see them, will come to him from the grave, and will tell him of my regard—as one living man never tells another.
Sir Charles Taylor, who carried me home in his brougham that evening, and thus commenced an intimacy which has since been very close, was born to wealth, and was therefore not compelled by the necessities of a profession to enter the lists as an author. But he lived much with those who did so—and could have done it himself had want or ambition stirred him. He was our king at the Garrick Club, to which, however, I did not yet belong. He gave the best dinners of my time, and was—happily I may say is*—the best giver of dinners. A man rough of tongue, brusque in his manners, odious to those who dislike him, somewhat inclined to tyranny, he is the prince of friends, honest as the sun, and as openhanded as Charity itself.
Robert Bell has now been dead nearly ten years. As I look back over the interval and remember how intimate we were, it seems odd to me that we should have known each other for no more than six years. He was a man who had lived by his pen from his very youth; and was so far successful that I do not think that want ever came near him. But he never made that mark which his industry and talents would have seemed to ensure. He was a man well known to literary men, but not known to readers. As a journalist he was useful and conscientious, but his plays and novels never made themselves popular. He wrote a life of Canning, and he brought out an annotated edition of the British poets; but he achieved no great success. I have known no man better read in English literature. Hence his conversation had a peculiar charm, but he was not equally happy with his pen. He will long be remembered at the Literary Fund Committees, of which he was a staunch and most trusted supporter. I think it was he who first introduced me to that board. It has often been said that literary men are peculiarly apt to think that they are slighted and unappreciated. Robert Bell certainly never achieved the position in literature which he once aspired to fill, and which he was justified in thinking that he could earn for himself. I have frequently discussed these subjects with him, but I never heard from his mouth a word of complaint as to his own literary fate. He liked to hear the chimes go at midnight, and he loved to have ginger hot in his mouth. On such occasions no sound ever came out of a man’s lips sweeter than his wit and gentle revelry.
George Lewes—with his wife, whom all the world knows as George Eliot—has also been and still is one of my dearest friends. He is, I think, the acutest critic I know—and the severest. His severity, however, is a fault. His intention to be honest, even when honesty may give pain, has caused him to give pain when honesty has not required it. He is essentially a doubter, and has encouraged himself to doubt till the faculty of trusting has almost left him. I am not speaking of the personal trust which one man feels in another, but of that confidence in literary excellence, which is, I think, necessary for the full enjoyment of literature. In one modern writer he did believe thoroughly. Nothing can be more charming than the unstinted admiration which he has accorded to everything that comes from the pen of the wonderful woman to whom his lot has been united. To her name I shall recur again when speaking of the novelists of the present day.
Of “Billy Russell,” as we always used to call him, I may say that I never knew but one man equal to him in the quickness and continuance of witty speech. That one man was Charles Lever—also an Irishman—whom I had known from an earlier date, and also with close intimacy. Of the two, I think that Lever was perhaps the more astounding producer of good things. His manner was perhaps a little the happier, and his turns more sharp and unexpected. But “Billy” also was marvellous. Whether abroad as special correspondent, or at home amidst the flurry of his newspaper work, he was a charming companion; his ready wit always gave him the last word.
Of Thackeray I will speak again when I record his death.
There were many others whom I met for the first time at George Smith’s table. Albert Smith, for the first, and indeed for the last time, as he died soon after; Higgins, whom all the world knew as Jacob Omnium, a man I greatly regarded; Dallas, who for a time was literary critic to the Times, and who certainly in that capacity did better work than has appeared since in the same department; George Augustus Sala, who, had he given himself fair play, would have risen to higher eminence than that of being the best writer in his day of sensational leading articles; and Fitz-James Stephen, a man of very different calibre, who had not yet culminated, but who, no doubt, will culminate among our judges. There were many others—but I cannot now recall their various names as identified with those banquets.
Of Framley Parsonage I need only further say, that as I wrote it I became more closely than ever acquainted with the new shire which I had added to the English counties. I had it all in my mind,—its roads and railroads, its towns and parishes, its members of Parliament, and the different hunts which rode over it. I knew all the great lords and their castles, the squires and their parks, the rectors and their churches. This was the fourth novel of which I had placed the scene in Barsetshire, and as I wrote it I made a map of the dear county. Throughout these stories there has been no name given to a fictitious site which does not represent to me a spot of which I know all the accessories, as though I had lived and wandered there.
|Copyright ©||Anthony Trollope, 1883|
|By the same author||There are no more works at Badosa.com|
|Date of publication||November 2003|
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