Biography
Robert Lowell, winner of three Pulitzer Prizes, was the only child of Commander R.T.S. Lowell, U.S. Navy, and Charlotte Winslow Lowell, born on March 1, 1917, in Boston, Massachusetts. He comes from the noble family. His family was famous, including James Russell Lowell, 19th-century poet and ambassador to England; Amy Lowell, another notable New England poet; and A. Lawrence Lowell, president of Harvard. On his mother’s side, Robert was descended from early New England colonists, including Edward Winslow, one of the Pilgrim Fathers; the key masculine figure in young Lowell’s life was his maternal grandfather, Arthur Winslow. His troubled childhood is candidly pictured in “91 Revere Street,” an autobiographical prose memoir included in Life Studies (1959).
He was at St. Mark’s School, a prominent prep-school in Southborough, Massachusetts, before attending Harvard College for two years and transferring to Kenyon College in Gambier, Ohio, to study under John Crowe Ransom. He converted from Episcopalians to Catholicism, which influenced his first two books, Land of Unlikeness (1944) and the Pulitzer Prize – winning Lord Weary’s Castle (1946).
He was married to novelist Jean Stafford from 1940 to 1948. In 1949 he married the writer Elizabeth Hardwick. By the end of the forties, he left the Catholic church. In 1950, Lowell was included in the influential anthology Mid-Century American Poets as one of the key literary figures of his generation.
Lowell was politically involved—he became a conscientious objector during the Second World War and was imprisoned as a result, and actively protested against the war in Vietnam—and his personal life was full of marital and psychological turmoil.
He suffered from severe episodes of manic depression, for which he was repeatedly hospitalized. In 1970 he left Elizabeth Hardwick for the British author Lady Caroline Blackwood.
Lowell’s poetry is individualistic and intense, rich in symbolism and marked by great technical skill. His later work indicates a philosophic acceptance of life and the world. His Life Studies (1959) is a frank and highly autobiographical volume in verse and prose, one of the first and most influential works of what is widely called “confessional” poetry and “familial” poet. Lowell often used his life as raw material for his verse, writing, for instance, of his family, his relationships with his wives, and his frequent bouts of depression and madness.
He spent many of his last years in England. Lowell died in 1977, having suffered a heart attack in a cab in New York City on his way to see Hardwick. He is buried in Stark Cemetery, Dunbarton, New Hampshire.
The analysis of “Dunbarton” By Robert Lowell
Allusion
J Arthur Winslow, Lowell’s grandfather
J Devereux Winslow 1892-1922, Lowell’s uncle, brother of his mother.
J Mary Devereux Winslow (I6551), 1866-1944, Lowell’s grandmother
J Robert Traill Spence Lowell III (I6549), 1887-1950, Lowell’s father, he is the U.S navy.
J Boston, the place of birth of Lowell. It is in Massachusetts, USA
J Dunbarton, town in New Hampshire, it is located in United Kingdom. It’s also the burial place of Robert Lowell, the family seat of one branch of the poet’s ancestry.
J Nashua, the second largest city in the state of New Hampshire, Nashua combines residential, retail and high-tech industrial areas into one large, historic community filled with places to go and things to do, located just north of the Massachusetts border in southern Hillsborough County.
- Priscilla, it is the name of hotel or restaurant in Nashua town.
- George, he is great-great-grandpa of narrator. He is the first president of USA.
- Grandfather's Aunt Lottie, Lottie is the sister of Lowell’s father, Grandfather’s Aunt Lottie is George (the first president of America)
- Francis Winslow, 1818-1862, Lowell's great-grandfather
- Edward Winslow (I6568), 1669-1753, Lowell's five times great-grandfather, high sheriff of Suffolk County, Massachusetts between 1728 and 1743.
- At the battle of Shiloh, Hardian country, Tennesseen April 6-7 1862, General Sherman was largely responsible for the Union Victory.
Paraphrase
“Dunbarton” written by Robert Lowell is one of the poems from his “Life Studies” book. It's a short poem of only two pages but it has very deep meaning. The poem alludes to the poet's relationship with his grandfather. So, in this analysis I will analyze this piece in detail and talk about the author's connection with his grandfather.
This poem is actually the reflection of author to tell about his memory when he was together with his grandfather. The word “I” mentioned in the poem is the Author. So, the author is the narrator. The memory involves more than fact, according to these investigations; it also represents a fictionalizing process of self. For Lowell, memory is a way of knowing by which himself learns to recognize itself in the world. Through this poem, he wanted to show to the reader that his living with grandfather is unforgettable memory. If we look around to the biography of author (Robert Lowell) and all of his master pieces we could see and infer that he is the only poets who really respect his family. “Dunbarton” is one of his poem which is dedicated to his grandfather. He also writes the poem by the title “Grandfather”.
The poem “Dunbarton” follows a similar technique. Recalling a visit to the family graveyard, the poem pursues the memory of his relationship with his grandfather. The poem presents some moments that remind the closeness of their relationship (the relationship between the narrator and his grandfather) such as: the drive to Dunbarton with the grandfather, their ritualistic service for the ancestors, and lighting a bonfire. Lowell also remembers stabbing with his grandfather’s cane for newts. Finally, the poem ends with his memory of cuddling in his grandfather’s bed. Although the child’s perception predominates throughout the poem, the adult’s consciousness intrudes into the lines.
We could see the closeness between the author and his grandfather starting from the first stanza:
My grandfather found
His grandchild’s fogbound, solitudes
Sweeter than human society.
When uncle Deveroux died,
Daddy was still in the sea-duty in the pacific;
When uncle Deveroux died, Daddy was still in the sea duty in the pacific; This stanza describes that his father was a navy. When author’s uncle died, he cannot come to see his uncle bury on his burial. It’s because he must do his duty as a navy. But actually this stanza can also meant that his father has passed away. That is why he cannot see his uncle’s burial, and finally the author really close to his father.
It seem spontaneous and proper
For Mr. Macdonald, the farmer,
Karl, the chauffeur, and even my grandmother
to say “your father.” They meant my grandfather.
He was my father. I was his son.
This stanza really reflects the close relation between author and his grandfather. After the death of his father, the author really has the close relationship with his father. He really considers his grandfather as his father (To say “your father.” They meant my grandfather. He was my father. I was his son.). He doesn’t mind when everyone called his grandfather as his father, such as Mr. Macdonald, the farmer, Karl, the chauffeur, even my grandmother. From this stanza, He consider his grandfather as same as his father.
Our yearly new autumn get-aways from Boston
to the family graveyard in Dunbarton,
he took the wheel himself –
like an admiral at the helm.
Freed from Karl chuckling over the gas he was saving.
he let his motor roller-coaster
out of control out each hill.
In this line, the author recall the time when he and his grandfather went to the family graveyard in Dunbarton. He went there in the autumn every year. His father drives his motor by himself from Boston. When his grandfather drives, the author compares his grandpa as the president who lead the country (Like an admiral at the helm). From this moment he really loves that journey (it is proven by chuckling each other).
We stop in the Priscilla in Nashua
for brownies and root-beer,
And later ”pumped ship” together in the Indian summer.......
Before they arrived to Dunbarton, they drop in for brownies and root-beer in Priscilla. Priscilla is the name of place like the hotel or restaurant located in Nashua. Nashua is the town in New Hampshire, United Kingdom.
At the graveyard, a sauve Venetian Christ
gave the sheepdog’s nursing patience
to Grandfather’s aunt Lottie, his mother, the stone but not the bones
of his father, Francis.
Failing as when Francis Winslow could count
them on his fingers,
The clump of virgin pile still stretched patchy ostrich necks
over the disused millpond’s fragrantly woodstained water,
a reddish blur,
like the ever- blackening wine-dark coat
in our portrait of Edward Winslow
once sheriff for George the second,
the sire of bankrupt Tories.
This line is talking about the ritualistic service to ancestor that their family usually do. The ritual is by giving sheepdog to the graveyard of Grandfather’s Aunt Lottie. The great-grandpa of the narrator.
Grandfather and I
raked leaves from our dead forebears.
defied the dank weather
with “dragon” bonfires.
This stanza is talking about the condition of their ancestors’ grave where the place is full of leave. So they tried to clean it. The weather is wet and damp, but it’s not matter. They can dank it by making bonfires.
Our helper, Mr Burroughs,
had stood with Sherman at Shiloh –
had thermos of shockless coffee
was milk and grounds;
his illegal home-made claret
was as sugary as grape jelly
in a tumbler capped with paraffin.
In this stanza, he remember the time where Mr. Burroughs gave them a coffee, claret (red wine) which he made by himself. The taste of it is sugary like grape jelly.
I borrowed grandfather’s cane
carved with the name and altitudes
of Norwegian mountain he had scaled –
more a weapon than a crutch.
I lanced it in the fauve ooze for newts.
In a tobacco tin after capture, the umber yellow mature newts
lost their leopard spots,
lay grounded as numb
as scroll of candied grapefruit peel.
In this stanza, Lowell remembers stabbing with his grandfather’s cane for newts. Then lanced it and took it in the umber made by tin.
The closing lines are interesting examples in which childhood and adult consciousnesses are combined. Here he remember his memory of cuddling in his grandfather’s bed.
I saw my self as a young newt,
neurasthenic, scarlet
and wild in the wild coffee-colored water.
In the mornings I cuddled like a paramour
in my Grandfather’s bed,
while he scouted about the chattering greenwood stove. (55-60)
The comparison to a young newt offers a picture of helplessness, the young boy like a young newt, hardly distinguishable from its pond.
Based on the story his grandfather is handicapped. However, he doesn't act as though he is, and he certainly does not want to be treated in any special way. He is handicap because of accident evoke to him.
His grandfather was asleep one night on a Coast Guard cutter when another ship, a destroyer, appeared in the distance. The destroyer hit his grandfather's ship in the exact spot where he was sleeping. When he awoke, he found himself in the freezing water, watching his friends swim ashore to safety. They were leaving his grandfather there to die. Luckily, an angel in the form of a Coast guard chef rescued him and sought out help. The next thing he knew, he was in a hospital bed without legs (from the kneecap down) and with a broken neck. The fact says that his grandfather resumed a normal life-style after being released from the hospital two years after his accident. Not only did he get married, but he raised six children.
The effort of his grandfather to survive without being disappointed effects Lowell’s life. It is one lesson that he should apply in his life. We know that Robert Lowell’s life also face some events that make him down to face the life that he married three times, send to jail, and having mentality problem. But this condition makes him recognize that he should continue his life and never give up because of this condition. That’s why all of his writing about his family and his relatives are kind of his reflection and respect how important family and relatives are!.
Autobiographical analysis of “Dunbarton”
The main cause of the birth of literary is the author. It called Autobiography. Autobiographical approach is the literary approach which uses the biography of the author as the main subject in study. It tends to research on the private life of the author. Author’s autobiography can be the center of subject study because it studied about the of author who is so genius, investigate the development of moral, mental, and author’s intelligent. It can be consider as systematic study about author’s psychology and creative process. (“teori kesusastraan, rene wellek & austin warren”). The poem Dunbarton is one of the examples of this approach. It’s because the subject matter of this poem is about the narrator’s life experience. The narrator in this poem is the author himself, he express his memory when he and his grandpa have a journey to Dunbarton (the place of his ancestor’s funeral).
Lowell wrote a book named “life study”. In this life study book, he told all of his biography and his literary works. He concern on the poem. Most of his poems are written based on his own life experience. Such as Dunbarton, Grandfather, My Last Afternoon with Uncle Devereux Winslow, Beyond the Alps, Skunk Hour (presented for Elizabeth Bishop), Commander Lowell, etc. His Life Studies was first published in London by Faber & Faber. This was to allow for it to be entered for selection by the Poetry Book Society, one condition being that the first edition must be British. Because of the rush to release the book in Britain, the British first edition does not include the "91 Revere Street" section. The first American edition was published in 1959 by Farrar, Straus and Cudahy, New York, and won the National Book Award for Poetry in 1960. Lowell's previous books were Land of Unlikeness, Lord Weary's Castle, and The Mills of The Kavanaughs. The book is in four parts. Part One contains four poems:
- Beyond the Alps
- The Banker's Daughter
- Inauguration Day: January 1953
- A Mad Negro Soldier Confined at Munich
Part Two is a long prose passage entitled "91 Revere Street"
Part Three contains four poems:
- Ford Madox Ford
- For George Santayana
- To Delmore Schwartz
- Words for Hart Crane
Part Four is titled "Life Studies" and comprises:
I
♠ My Last Afternoon with Uncle Devereux Winslow
♠ Dunbarton ♠ Terminal Days at Beverly Farms
♠ Grandparents ♠ Commander Lowell
♠ Father's Bedroom ♠ For Sale
♠ Sailing Home from Rapallo ♠ During Fever
II
♠ Memories of West Street and Lepke ♠ Man and Wife
♠ "To Speak of Woe That Is in Marriage" ♠ Skunk Hour
In those volumes, Lowell returns to recollect his private past; his act of remembering becomes the poetic process by which Lowell is able to create the retrospective truth of his life. The most important feature of memory in his life-writing is in its role as an imaginative reconstruction. Memory involves more than fact, according to these investigations; it also represents a fictionalizing process of self. For Lowell, memory is a way of knowing by which his self learns to recognize itself in the world (“Abstract, Kang Thesis, August 2003”).
In Life Studies, he also explores his lost self in memories and situates it within American culture generally, transposing his own case to the national level. Lowell seems to remove the essentialist idea of self and instead adopts an idea of the self recreated by remembering. Lowell’s self is culturally constituted and dominated. Finally, memory seems to serve Lowell in knowing not only himself but also others better. Lowell also achieves new images of his parents that represent a revised and reshaped attitude to those formative figures. He comes to understand his parents as humans in light of his evolving recollection. For Lowell, memory is a creative force of the poet’s artistic imagination continuously reconstituting the past in the present.
There also some poems that is related to his memory when he was child. There are at least three poems that I’m going to mention to fulfill this analysis. They are, My Last Afternoon with Uncle Devereux Winslow, Grandfather, and Dunbarton. The poem “My Last Afternoon with Uncle Devereux Winslow,” represent the time where he was with his uncle. Lowell uses the double-consciousness of the young child and the adult self. On the one hand, the original events and backgrounds are seen through a young self, and on the other hand the adult self comments on them.
The poem opens with the child’s shouting: “I won’t go with you. I want to stay with Grandpa!” The following voice is that of the adult who explains it from the present perspective: “That’s how I threw cold water / on my Mother and Father’s / watery martini pipe dreams at Sunday dinner” (2-4). This kind of dialogue invites the reader to the reconstructive process of remembering. Rather than recollecting the fixed memories, Lowell shows the process of both remembering and analyzing his original experience. In the first part of the second stanza, the young self carries his sense of past memories “looking through / screens as black-grained as drifting coal” (14-15):
One afternoon in 1922,
I sat on the stone porch, looking through
screens as black-grained as drifting coal.
Tockytock tockytock
clumped our Alpine, Edwardian cuckoo clock,
slung with strangled, wooden game.
Our farmer was cementing a root-house under the hill.
One of my hands was cool on a pile
of black earth, the other warm
on a pile of lime. (13-22)
The poem shows a sense of the exact date and place just like a snapshot. Lowell connects the past and present consciousness with the double consciousness of the child and the adult: “Tockytock, tockytock / clumped our Alpine, Edwardian cuckoo clock.” A childlike onomatopoeic word “Tockytock, tockytock” is mixed with the adult consciousness recognizing the clock as Alpine and Edwardian. The last three lines reveal the young Lowell’s elemental grappling with the truth of life or the fact of death. Both images of earth and lime suggest life and death. His hands sense the coolness of a pile of black earth and the warmness of a pile of lime.
In the last section, Lowell’s double consciousness shows the difficulty he has in reconstructing his family life. This section begins with the boy’s daydream but soon returns to the adult world. From the boy’s perspective, Lowell first presents the images such as “a sail-colored horse” with which his uncle’s death is associated. The poem’s perspective, however, changes into the adult’s as he remembers the duck shooters:
Double-barrelled shotguns
stuck out like bundles of baby crow-bars.
A single sculler in a camouflaged kayak
was quacking to the decoys…. (101-04)
“Uncle Devereux was closing camp for the winter” (107) foreshadows his uncle’s death. In the following lines, Lowell presents the personality of his uncle through the series of student’s posters: the posters of Mr. Punch, La Belle France, the pre-war music hall belles and a poster of two or three young men in khaki kilts. All of these posters suggest the fantastic quality of the young uncle’s life. “Mr. Punch” is described as a watermelon in hockey tights; young men in khaki kilts are bushwhacked. The final verse paragraph carries the boy’s shocked awareness of death.
I cowered in terror. I wasn’t a child at all---
unseen and all-seeing, I was Agrippina
in the Golden House of Nero…. (129-32)
The child’s awareness of death is introduced by a comparison of himself to Agrippina under threat of death by her son Nero. Most shocking is that his uncle’s death takes place in the prime of his life. This is the moment when the adult’s perspective merges with the child’s perception. The last section ends with the image of earth and lime which has run throughout the poem:
He was dying of the incurable Hodgkin’s disease….
My hands were warm, then cool, on the piles
of earth and lime,
a black pile and a white pile….
Come winter,
Uncle Devereux would blend to the one color. (147-52)
“My hands were warm, then cool, on the piles / of earth and lime” carries the immediacy of memory recollected from childhood. “Come winter, / Uncle Devereux would blend to the one color” comes from the adult’s later understanding of the event. The poem skillfully presents both the immediacy of childlike perceptions and an adult’s understanding of the event.
Throughout the poem, these two images reappear to hint at the death to come. The snapshots of his grandfather are introduced to represent his grandfather’s house and his career:
All about me
were the works of my Grandfather’s hands:
snapshots of his Liberty Bell silver mine;
his high school at Stukkert am Neckar;
[………………………………………]
Like my Grandfather, the décor
was manly, comfortable,
overbearing, disproportioned. (22-25, 34-36)
These vivid pictures record the important moments of grandfather’s life through metonymic associations: his high school days and mountain climbing. The legs of the Rocky Mountain chaise have lost their original varnish; “Huckleberry Finn” has grown “pastel-pale.” The last lines of the second stanza, however, carry the present self’s perception of grandfather’s life: “Like my Grandfather, the décor / was manly, comfortable, / overbearing, disproportioned.” Lowell’s use of double consciousness reveals the early memories that might have been embedded in his unconscious. This mechanism provides the reader with the opportunity to gain a new insight on his life. The reader gains cumulative insight into the memories of the characters in the poem.
This is a poem about the young Lowell’s first facing of death. Throughout, Lowell carefully prepares for his younger self’s cognition of death in the last section. The closing lines of the first section introduce Lowell’s memory of the dead Scottie puppy with the images of black earth and lime that suggest death throughout the poem. The second section presents an illusion of perfection in terms of the young Lowell’s reflection of himself in the mirror. He sees himself as an Olympian figure. But he realizes that his face in the mirror is just a distorted image: “Distorting drops of water / pinpricked my face in the basin’s mirror” (59-60). In the third section, Aunt Sarah’s life compares with the “naked Greek statues” at Symphony Hall, deathlike in the off-season summer.
The poem “Dunbarton” follows a similar technique. Recalling a visit to the family graveyard, the poem pursues the memory of his relationship with his grandfather. The poem presents some moments that evoke the closeness of their relationship: the drive to Dunbarton with the grandfather, their ritualistic service for the ancestors, and lighting a bonfire. Lowell also remembers stabbing with his grandfather’s cane for newts. Finally, the poem ends with his memory of cuddling in his grandfather’s bed. Although the child’s perception predominates throughout the poem, the adult’s consciousness intrudes into the lines. The closing lines are interesting examples in which childhood and adult consciousnesses are combined:
I saw my self as a young newt,
neurasthenic, scarlet
and wild in the wild coffee-colored water.
In the mornings I cuddled like a paramour
in my Grandfather’s bed,
while he scouted about the chattering greenwood stove. (55-60)
“Grandparents” captures memories of his young years when he spent time with his grandparents, but, unlike “Dunbarton,” it focuses on present pain. Although his grandparents now belong to the other world, Lowell recollects their memories: “Grandpa still waves his stick” and Grandmother still wears her veil. Memories of his grandparents are vividly carried in the present tense. Now he has inherited the farm where he spent his childhood years. In the second verse paragraph, the billiard table arouses his sense of loss. Listening to “O Summer
Time!” on the old gramophone, Lowell notes that his grandfather’s “favorite ball, the number three, / still hides the coffee stain” (26-27). The concluding lines catch his present grief and judgment on his grandfather:
Never again
to walk there, chalk our cues,
insist on shooting for us both.
Grandpa! Have me, hold me, cherish me!
Tears smut my fingers. There
half my life-lease later,
I hold an Illustrated London News---;
disloyal still,
I doodle handlebar
mustaches on the last Russian Czar. (28-37)
Lowell comes to deep grief when he realizes his grandfather is dead, never to return again. His grandparents and their world have passed away. The reference to the marriage ceremony suggests the sense of stability he found in his relationship with his grandparents.
Part Four of the life study book comprises a series of deaths in Lowell’s family: the deaths of Lowell’s uncle, grandparents and parents. Shaping the memories and observations of his personal past, Lowell reconstructs his relationship with grandparents and parents. He selects incidents and objects to make an agonizing reappraisal of his seedtime. In “My Last Afternoon with Uncle Devereux Winslow,” Lowell introduces the parents and grandparents who are depicted in the poems to come. Though its title indicates an elegy on his uncle, the poem really sets the stage for Lowell’s childhood life. As in the poems about his uncle and grandparents, Lowell here represents his direct, remembered experience and its accompanying emotions. He reconstructs his artistic truth out of the flux of direct experience. Even if not always factually true, it offers him the means of self-examination.
Robert Lowell’s religion also appears in the poem Dunbarton. The biography of his life shows that he has made the journey in both directions (Catholics and protestant). Lowell, who was born into a traditionally Puritan New England family, converted to Catholicism in 1943, but re-entered the Episcopal church in 1955.
Just as Lowell's Protestantism seems to have influenced the poetry he wrote during his Catholic stage, so his Catholicism seems have influenced his post-Catholic writing. This is most evident in those poems that critics have labeled "confessional" (by which they mean a kind of poetry that confides in the reader by conveying intimate autobiographical experiences). One such example is the opening of ‘Dunbarton’:
When Uncle Devereux died,
Daddy was still on sea-duty in the Pacific,
it seemed spontaneous and proper
for Mr. MacDonald, the farmer,
Karl, the chauffeur, and even my Grandmother
to say, 'your Father.' They meant my Grandfather.
He was my Father. I was his son.
On our yearly autumn get-aways from Boston
to the family graveyard in Dunbarton,
he took the wheel himself -
like an admiral at the helm.
Freed from Karl and chuckling over the gas he was saving,
he let his motor roller-coaster
out of control down each hill.
We stopped at the Priscilla in Nashua
for brownies and root-beer,
and later 'pumped ship' together in the Indian Summer...
It is likely that Catholicism influenced this style of writing by providing Lowell with two models of confessional discourse, namely Saint Augustine's autobiographical Confessions and the sacrament of confession (in which Catholics confess their sins to a priest). (“To and from Rome: John Donne, Gerard Manley Hopkins and Robert Lowell as Catholic Writers, English Association Bookmarks No. 38”)
These are probably not close or direct influences: ‘Dunbarton’ is hardly very moralistic and, overall, the text perhaps sounds closer to the kind of reminiscence one might utter at the start of a psychotherapy session. Yet the Catholic models provide a background to the poem, most likely influencing Lowell in his overall choices concerning the form, subject matter and nature of his poetry.
For my conclusion, I infer that memory become his core topic. His life experience is the interesting one to build up reader’s attention that life experience can be the center of lesson. No wonder if Lowell labeled as “poet confession” (poet who uses autobiography as major of matter). He is really successful on that. His poem is vividly to respect and recall his family. Even though, he ever down into misery by his mental sickness, it never extinguish his spirit to create literary work. It seem real, that his sickness feel suffer to him. But at least he can make it as s good life experience.
Bibliography
Endraswara Suwardi, 2006,Metodologi Penelitia sastra: Epistimologi, Model, Teori, dan Aplikasi: Yogyakarta, Pustaka Widyatama.
Peck John and Coyle Martin, 1984, Literary Terms and Criiticism: London, MacMillan, Ltd.
Wellek Rene & Warren Austin, 2008, Teori Kesusastraan, Laskar.
Yu Kang-Gye, 2003, Robert Lowell’s life-writing and memory (thesis), Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the
requirements for the degree of Master of Arts in The Department of English.
Antony Haynes, 200 7, To and from Rome: John Donne, Gerard Manley Hopkins and Robert Lowell as Catholic Writers, English Association and Anthony Haynes.
http//: www.HistoryBoston.com
http//: www.Wikipedia.com
http//: www.HistoryDumbarton.com
membantu bgt, thanks for share
BalasHapusyupz..... saya berharap postingan ini sangat bermanfaat
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