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NECO Literature in English Drama & Poetry Questions & Answers [1st July, 2024]
(1)
Madam Yoko is a tragic heroine, a historical figure and the
wife of Chief Gbanya of Senehun, emerges as a tragic heroine in the
play, embodying the multifaceted qualities of determination, empathy,
and sacrifice. Her narrative is a compelling exploration of her
high-spirited nature and relentless willpower, intertwined with her
tragic flaws and ultimate downfall.
From the onset, Madam Yoko's
ambition and determination are apparent. She is unwavering in her
insistence that Gbanya fulfill his promise to pass the chiefdom to her.
Despite Gbanya's vacillation and his attempt to bestow the chiefdom on
his chief warrior, Ndapi, Yoko remains resolute. Her refusal to concede,
even in the face of societal and patriarchal pressures, highlights her
indomitable spirit. This unyielding nature is both her strength and her
flaw, a hallmark of a tragic hero. Her intense desire to rule and bring
peace to her people drives her actions but also sets the stage for her
ultimate downfall.
As a leader, Yoko's empathy and sensitivity to
the plight of her people distinguish her from many power-hungry rulers.
She demonstrates genuine concern for those she governs, and her
leadership style is marked by a desire for peace and a reluctance to
shed innocent blood. This is evidenced by her efforts to end wars during
her reign and her calm demeanor in tense situations, such as when she
is accused of causing Jeneba's death. Yoko's emotional intelligence and
empathetic nature make her a beloved leader, yet they also render her
vulnerable to the emotional toll of leadership.
Yoko's tragic
flaws lie in her sensitivity and the psychological burden she carries.
The weight of her responsibilities and the various crises she faces
deeply affect her mental state. Her inability to manage the stress and
emotional strain leads her to believe that taking her own life is the
only solution to achieve peace. This tragic decision underscores the
paradox of her character: a strong leader undone by her own emotional
depth.
Madam Yoko's life is marked by significant personal
sacrifices. She sacrifices her womanhood and the chance to bear children
in order to fulfill her role as a leader, a decision made with her
husband, Gbanya. However, Gbanya's betrayal, when he reneges on his
promise to pass the chiefdom to her, compounds her sense of sacrifice
and loss. Yoko's lamentation about her sacrifices being in vain captures
the essence of her tragic heroism. Her profound sense of betrayal by
Gbanya and her people deepens her tragic narrative, as she feels
abandoned and alone despite her numerous sacrifices.
(2)
The
play "Let Me Die Alone" explores betrayal, blackmail, and deceit,
presenting a grim portrait of human nature and political machinations.
Central to these themes are Lamboi and Musa, whose actions encapsulate
the destructive power of blackmail, corrupting individuals, disrupting
societal order, and leading to tragic outcomes.
Lamboi, Yoko's
blood brother, and Musa, the seer and medicine man, use blackmail to
achieve their goals. Driven by the fear of a woman becoming chief in
Senehun, Lamboi conspires with Musa to kill Chief Gbanya, believing he
might pass the chiefdom to his wife, Yoko. Lamboi manipulates Musa by
threatening to reveal his past crimes, including the murders of Yattah's
son and Mama Kidi's daughter. Lamboi’s threat to expose Musa’s
secret—“Those ones you slaughtered and whose fat you used for your
bofima. Do you want me to name what charms you made with their private
parts?”—forces Musa into complicity, highlighting how blackmail can
compel individuals to act against their moral compass.
The
significance of blackmail in the play extends beyond individual
manipulation to broader social and political implications. Lamboi and
Musa’s conspiracy to destabilize Yoko’s reign by kidnapping and killing
Ndapi and Jilo’s daughter, Jeneba, aims to turn the community against
Yoko. By framing Yoko for the child's death and suggesting she used
Jeneba as a sacrificial offering for power, they incite rebellion and
undermine her authority. This plot illustrates how blackmail and deceit
can manipulate public perception and disrupt governance, contributing to
Yoko's eventual suicide as she feels betrayed and overwhelmed.
The
quest for power drives Lamboi and Musa to commit heinous acts, showing
how the desire for authority leads to moral degradation. Lamboi fears
Yoko's influence over Gbanya—"I fear that woman, Yoko. If he lives
longer, she might be able to convince him to pass the chiefdom to
her"—motivating his ruthless actions. This pursuit of power leads to
Gbanya's murder and the attempt to frame Yoko, using blackmail as a
means to gain control.
Blackmail's psychological toll on victims
is evident in Musa's coerced participation in Lamboi’s schemes,
reflecting his internal turmoil and moral conflict. As a seer and
medicine man, Musa's role is to protect the land and its people, yet
blackmail forces him into betrayal, emblematic of broader ethical
dilemmas under such pressure.
Blackmail also has far-reaching
consequences for the community, sowing distrust and discord within
Senehun and leading to social instability. The false accusations against
Yoko create fear and suspicion, eroding the social fabric and
undermining communal solidarity, showcasing blackmail’s destructive
power.
The play also explores colonial domination through
Governor Rowe, whose interference in Senehun’s affairs and humiliation
of Gbanya contribute to instability. Rowe's actions compound the
internal strife caused by Lamboi and Musa’s blackmail, highlighting how
multiple forces of domination undermine leadership and governance.
(3)
In
the play, Sidi's visit to Chief Baroka's bedroom is pivotal, rich in
dramatic and thematic significance. This encounter encapsulates
manipulation, irony, and the clash between tradition and modernity,
shaping the destinies of the main characters and highlighting human
desires and social dynamics.
The scene begins with Chief Baroka
wrestling with his official wrestler, setting an intimate tone. Sidi's
unexpected entrance initiates events revealing Baroka's cunning. He
feigns surprise and unease at the intrusion, masking his true intentions
behind vulnerability and annoyance, especially toward his favorite
wife, Ailatu.
Sidi's visit is initially marked by her apology for
rejecting Baroka's marriage proposal. Her statement, "I have come,
Bale, as a repented child," signifies a shift in her attitude, driven by
Sadiku’s earlier machinations convincing her of Baroka’s impotence.
Baroka pretends to be unaware of Sidi’s change of heart, setting the
stage for dramatic and verbal irony. The audience, along with Baroka,
knows the truth that Sidi is oblivious to: Baroka's impotence is a ruse.
The
dramatic irony intensifies as Sidi performs a mock gesture behind
Baroka’s back, betraying her belief in his impotence. This gesture,
coupled with her suspicious glances, reveals her naivety and sets her up
as a victim of Baroka’s scheme. The irony is palpable as Sidi walks
into Baroka's trap, unaware of his knowledge and power over her.
As
the scene progresses, Baroka's manipulation becomes evident. He engages
Sidi in conversation, drawing her attention to a magazine featuring
their photographs and a stamp-making machine. Baroka's discussion about
progress and modernization aligns with Sidi’s desires for fame and
recognition, initially exploited by Lakunle. Baroka’s words, “I do not
hate progress,” are laden with irony, as he uses the concept of progress
to ensnare Sidi. His seduction of Sidi underscores his mastery in
exploiting human weaknesses.
Baroka’s wisdom and cunning are
showcased as he plays on Sidi’s pride and hunger for fame. His ability
to adapt and manipulate modern ideas contrasts sharply with Lakunle’s
clumsy approach. While Lakunle superficially embraces modernity, Baroka
uses it to reinforce his traditional authority. This juxtaposition
highlights the complexity of the clash between tradition and modernity
and how traditional figures can co-opt modern ideas.
The scene
culminates in Baroka’s triumph as he seduces Sidi, asserting his
dominance and control. The final image of Baroka and Sidi in a romantic
evening as the light fades symbolizes Baroka’s victory. Sidi, who
initially sought to resist Baroka’s advances, finds herself ensnared by
his manipulation. This outcome reinforces Baroka's status as the “Lion”
who captures his prey and comments on the dynamics of power, gender, and
tradition in the play.
(4)
Sadiku plays a significant
role, contributing to the plot's progression and thematic development.
As the senior wife of Chief Baroka, Sadiku embodies the traditional
values and customs of their society. Her unwavering loyalty to Baroka
and her acceptance of her role within the patriarchal system reflect the
entrenched norms of her community. She is sent by Baroka to woo Sidi on
his behalf, she entices Sidi with soothing words thereby highlighting
the benefit accruing to being the Bale’s wife. As Bale’s last wife, she
is in a privileged position to be the next Bale’s head wife.
Sadiku's
character is complex, revealing both a manipulative and a cunning side.
Her influence and understanding of traditional practices allow her to
maneuver situations to her advantage, as seen when she attempts to
persuade Sidi to marry Baroka. Despite this, Sadiku also displays a
certain naivety and gullibility. She is easily deceived by Baroka's ruse
about his impotence, failing to see through his cunning plan. This
naivety underscores a lack of insight into Baroka's true nature,
highlighting a vulnerability in her character.
She lacks the
ability to keep secrets. When Sadiku returns with the news of Sidi's
rejection of Baroka’s offer of marriage, Baroka feels disappointed and
shocked. Baroka declaring that his manhood ended near a week ago
knowing fully well that Sadiku will not keep it a secret and she lives
up to the expected consequence. She blubs and Sidi is lured into
Baroka’s plot. Sadiku represents the typical village gossip and
talebearer and a victim of Baroka’s trick and manipulation.
At
one point, Sadiku feels a sense of empowerment, believing she has
triumphed over Baroka's masculinity. Her joy at the thought of Baroka's
impotence represents a temporary victory for women in their patriarchal
society. However, this empowerment is short-lived as she eventually
realizes she has been deceived. This moment of disillusionment adds
depth to Sadiku's character, illustrating the complexities of
empowerment and the fragile nature of perceived victories in a
male-dominated world.
She has a sugar-coated tongue capable of
wooing any woman for her Bale and that is what she used to tame Sidi.
She also defends Baroka before Sidi when Lakunle raises the case
concerning how the Bale foiled the public works attempt.
(6)
(PICK ANY THREE)
(i) Irony:
Irony
is a powerful tool in "Look Back in Anger," used to highlight the
contradictions and hypocrisies in the characters' lives and society at
large. Jimmy's diatribes against the establishment and the middle class
are often laced with irony, as his own actions and attitudes sometimes
mirror the very things he criticizes. Additionally, the irony in the
characters' interactions underscores the gap between their ideals and
their reality, emphasizing the theme of disillusionment.
(ii) Realism:
Osborne's
play is known for its stark realism, which was revolutionary at the
time of its debut. This technique involves creating a believable and
authentic representation of life, focusing on the mundane and often
harsh realities of everyday existence. In "Look Back in Anger," the
characters speak in naturalistic dialogue and engage in everyday
activities, such as ironing clothes or reading newspapers. The setting—a
dingy, one-room flat—adds to the authenticity, emphasizing the
characters' struggles and frustrations. The realistic portrayal allows
the audience to deeply connect with the characters' emotions and
conflicts, making their experiences and grievances more relatable and
impactful.
(iii) Monologue:
Monologues in "Look Back in Anger"
are crucial for providing insight into the inner lives and emotions of
the characters, particularly the protagonist, Jimmy Porter. Jimmy's
monologues are filled with anger, frustration, and bitterness,
expressing his disillusionment with the world around him. For example,
his long speeches about the state of the country, his feelings of
betrayal by society, and his personal disappointments reveal the depth
of his internal turmoil. These monologues allow the audience to
understand the motivations behind his often cruel and abrasive behavior,
adding layers to his character and highlighting the generational and
class conflicts central to the play.
(iv) Symbolism:
Osborne
uses symbolism to add layers of meaning to the narrative. One notable
symbol is the bear and squirrel game that Jimmy and Alison play. This
game represents their desire to escape the harsh realities of their
lives and retreat into a fantasy world where they can express their true
selves without societal constraints. The bear symbolizes Jimmy's
aggressive, confrontational nature, while the squirrel represents
Alison's more passive and nurturing personality. This symbolic
interaction highlights the dynamics of their relationship and their need
for escapism.
(v) Conflict:
Conflict is a driving force in
"Look Back in Anger," both at a personal and societal level. The play's
central conflict is between Jimmy Porter and his wife, Alison. Their
turbulent relationship is marked by intense verbal battles and emotional
manipulation, reflecting the broader social and generational discontent
of the time. The conflict extends to other characters as well, such as
Jimmy's antagonistic relationship with Alison's upper-class friend,
Helena, and his complex friendship with Cliff. These interpersonal
conflicts are emblematic of the larger struggles within society, such as
class divisions, the search for identity, and the quest for meaning in a
rapidly changing world. The relentless tension and clashes among
characters keep the audience engaged and underscore the play's themes of
frustration and alienation
Through Troy Maxson, baseball serves as a metaphor for missed opportunities and a lens to examine the African American experience in the mid-20th century.
Baseball is crucial to Troy's past. Once a talented player in the Negro Leagues, his dreams of playing in the Major Leagues were thwarted by the color barrier, which had not fully broken when he was at his peak. This personal history encapsulates Troy’s disillusionment and struggle against racial discrimination. His past achievements and failure to advance reflect broader societal limitations placed on African Americans. This disappointment affects Troy's outlook, breeding a cynicism that colors his interactions with his family and views on their aspirations.
Troy’s relationship with his son Cory is significantly shaped by baseball. Cory, a promising football player, could secure a college scholarship and a future in sports. However, Troy’s bitter experiences lead him to oppose Cory’s pursuit of an athletic career. He insists Cory focus on a more practical path, fearing his son will face the same racial barriers. This conflict highlights generational tension and differing perspectives on progress and opportunity. Troy’s reluctance to support Cory’s dreams can be seen as both protective and a projection of his own unfulfilled aspirations.
The recurring baseball metaphors underscore Troy’s internal and external battles. He frequently speaks in baseball terms, framing his struggles and achievements in the context of the game. His confrontation with death is likened to a high-stakes baseball game, symbolizing his combative approach to life’s challenges. The fence Troy builds around his yard can be seen as a metaphorical barrier, representing his desire to protect his family and control his environment, much like the boundaries of a baseball field.
Troy’s fixation on baseball underscores his resistance to change and inability to adapt. While opportunities slowly open up for African Americans in sports and other fields, Troy remains anchored in his past. His refusal to acknowledge the achievements of contemporary black athletes like Hank Aaron reflects his stubbornness and deep-seated sense of injustice. This resistance isolates him from his family and friends, as they move forward while he remains stuck in his memories and regrets.
The motif of baseball in "Fences" highlights personal responsibility and the burden of past mistakes. Troy’s affair with Alberta and his illegitimate child are errors in his personal game, leading to profound consequences for his family. His attempts to navigate these mistakes, much like a player trying to recover from a bad inning, reflect his struggle to balance his desires and duties. The baseball hanging from a tree in the yard, where Troy eventually meets his death, symbolizes unresolved tensions and the culmination of his life's battles.
(8)
Women play a pivotal role in the narrative, acting as stabilizing forces, moral compasses, and catalysts for the unfolding drama. Through characters like Rose Maxson, Wilson explores themes of loyalty, resilience, and the struggle for identity and respect within societal expectations and personal relationships. The women's experiences and actions significantly shape the male characters' trajectories and the overall arc of the play.
Rose Maxson, the central female character, is the emotional and moral backbone of the Maxson family. Her role as a devoted wife and mother contrasts sharply with Troy’s domineering and often destructive behavior. Rose's loyalty and strength are evident from the outset as she supports Troy through his challenges while managing the household and nurturing their son, Cory. Her presence is a stabilizing force in the chaotic environment created by Troy’s actions and attitudes.
Rose’s resilience is a key theme in the play. She represents the sacrifices and endurance of women who bear the emotional and practical burdens of family life. Her plea to Troy to let Cory play football, despite understanding Troy’s fears, shows her willingness to advocate for her son's dreams and future. Rose’s confrontation with Troy about his infidelity and the resulting child with Alberta marks a significant turning point. Her response to this betrayal—deciding to raise Raynell, Troy's illegitimate child, as her own—highlights her deep compassion and sense of duty, even as she withdraws from her emotional connection with Troy.
The other women, such as Alberta and Bono’s wife, Lucille, also contribute to the play's dynamics, albeit more peripherally. Alberta’s presence, though she never appears on stage, acts as a catalyst for revealing Troy’s flaws and the subsequent unraveling of his relationships. Her affair with Troy brings issues of fidelity, trust, and the consequences of selfish desires to the forefront. Alberta's death during childbirth serves as a dramatic climax, forcing Troy to confront the ramifications of his actions and pushing Rose to decide how to move forward.
Lucille, while a minor character, helps shed light on the expectations placed on women and their roles within marriages. Bono's discussions about his wife and his loyalty to her serve as a counterpoint to Troy’s behavior, emphasizing the value of faithfulness and respect in a relationship. This contrast underscores the different ways men and women navigate responsibilities and desires within marriage.
The women's roles also highlight the broader societal expectations and limitations placed on them. Rose’s decision to stay with Troy despite his betrayal reflects societal pressures on women to maintain family unity and stability, often at the cost of their happiness and well-being. Her eventual assertion of independence, though subtle, marks significant personal growth and empowerment. Rose’s increased involvement in the church and dedication to her moral and spiritual well-being symbolize her reclaiming her identity outside her marriage to Troy.
(9)
"The Grieved Land" is a protest poem highlighting the suffering and resilience of African societies during and after colonialism, slavery, and the transatlantic slave trade. The poet grieves the inhumanity inflicted upon Africans and reflects on the historical and ongoing consequences of these atrocities.
The poem begins by expressing sorrow for the enduring pain caused by slavery and colonialism, suggesting that the suffering of Africans is both historical and contemporary. The "tearful woes of ancient and modern slave" symbolize the persistent anguish felt by the African people.
In the second stanza, the poet describes the destruction of African culture by European colonizers. The "stunning perfumes of the flower" represent the vibrant African society, which was crushed by the "iron and fire" of the colonizers, indicating violence and oppression.
The third stanza focuses on the personal suffering of enslaved Africans. The poet laments the lost potential and thwarted dreams of those enslaved, whose lives were controlled by their captors. The "jingling of gaoler’s keys" symbolizes their constant confinement and lack of freedom.
The fourth stanza reveals the cruel irony of the slave masters' excitement over exploiting African labor for their benefit. The captors' dreams of developing their own societies were built on the suffering and hard work of African slaves.
In the fifth stanza, the poet describes the grim reality of the transatlantic journey, where many enslaved Africans perished. The "corpses thrown up by the Atlantic" highlight the disregard for human life, as the dead were discarded into the ocean.
The final stanzas shift to a tone of resilience and hope. Despite the immense suffering, the African people possess a strong will to survive and overcome adversity. The poem celebrates their determination and resilience, emphasizing their moral strength and pursuit of justice.
The poem concludes by reaffirming the indomitable spirit of the African people. The "imperishable particles" symbolize their enduring legacy and will to live. The title, "The Grieved Land," encapsulates the collective sorrow and resilience of Africa, scarred by colonialism and slavery but steadfast in its pursuit of justice and dignity.
(10)
The Leader and the Led" uses animal symbolism to critique the leadership crisis in Africa, particularly Nigeria. The poem highlights the problematic attitudes of both leaders and followers in the political landscape.
The poem begins by depicting the struggle for leadership in Nigeria through the metaphor of animals. The lion, often considered the king of the jungle, represents authoritarian politicians who dominate and intimidate the masses. The lion's aggressive rule reflects the harsh and self-serving nature of many African leaders who exploit their power and ignore the needs of their followers.
Other animals, such as the hyena, elephant, giraffe, zebra, warthog, and rhino, symbolize different types of leaders with various flaws. The hyena, with its lethal appetite, represents politicians driven by greed and corruption. The elephant, though powerful, is feared for its potential to become a dictator. The giraffe, with its lofty vision, is disconnected from the realities of the masses. The zebra's duplicity and the warthog's and rhino's negative traits highlight the lack of trustworthy and competent leadership options.
The poem also criticizes the followers, who are depicted as passive and fearful. Just as the animals are too scared to challenge the lion's rule, the masses in Nigeria are often too intimidated to oppose corrupt politicians. This lack of action perpetuates the cycle of poor leadership and hinders societal progress.
(11)
(PICK ANY THREE)
(i) Simile: The singular use of direct comparison in the poem occurs within three lines such as “
(i) “Like a glove, a black glove thrown up at the light”
(ii) Wing like bits of umbrella”
(iii) Hanging upside down like rows of disgusting old rags”
The above comparisions are meant to complement the persona’s hatred and dislike for the Bat. And they all depict the Bat in the poet’s assessment as ugly, tiny and odious creatures as he never presents the Bat in good light.
(ii) Personification: Natural objects or phenomena are given human attributes in the poem to project the odious characteristic of the Bat. They includes;
(i) “When the tired flower of Florence is in gloom”
(ii) “A green light enters against stream”
(iii) “Where light enters through”. Also “changing guard” is also a personification because one can hardly imagine the swallows and bat changing guard like soldiers. Basically, personification is used here to explain the period of the day.
(iii) Metaphor: The poet employs a few numbers of indirect comparisons in the poem. They are:
(i) “Black piper on an infinitesimal pipe” - metaphor for small but mighty, singer with sonorous voice
(ii) “little lumps that fly in air and have voices indefinite, wildly vindictive”
(iv) Apostrophe: The poet addresses the birds and bats as though they are listening to him in a face of dialogue. Also, senses of sight and vision are quickly employed when the persona exclaims: ‘swallow/Bats’, pistrello, etc.
(v) Symbolism: In the last past of the poem, we are told that in china, the Bat itself stands for a symbol of happiness and it is a great meat for Chinese. It also symbolizes the beginning of night life. Bats are often seen as sign of ill-omen or bad luck in some societies. The appearance or presence of swallows in the poem is also symbolic as they also represent hope and fulfillment. Sailors often use swallows to know the distance of a Journey, such that the presence of a swallow means the Journey is near.
(vi) Onomatopoeia: The words listed below suggest their meaning through its sound which adds to the sound and clarity of the poem. Examples are: ‘gloom’, ‘obscure’, ‘scoop’, ‘serrated’, ‘pipestrello’, lump’, ‘trotter’, etc
(vii) Diction and language: The poem is written in simple prose-like style, as the poet demonstrates his power of description and brilliance which then enhances vividness and succeeded in creating an emotional and sensory impact in the following expressions. “Black piper of an infinitesimal pipe, ‘serrated wings’, wings like bit of umbrella”. The clear choice of words help to create in our mind eyes, a clear descriptive imagery of the bat and swallows even if one has not seen a bat or swallows for the first time.
Also, note that pipistrello is an Italian word for bat, meaning little piper, Other Italian word such as “River Arno’, mountain of Carrara and vecchio help to fix the setting and background of the poem.
NECO LITERATURE
(12)
"The Journey of the Magi" uses the journey motif to explore themes of spiritual quest and transformation. The poem recounts the story of the three wise men traveling to witness the birth of Jesus, presenting a journey that is both physically arduous and spiritually significant. Through vivid imagery and symbolic elements, Eliot portrays the journey as a metaphor for the challenging path toward enlightenment and profound personal change.
The poem opens with a depiction of the harsh conditions faced by the Magi. The cold winter weather, described as "the worst time of the year," immediately sets a tone of difficulty and discomfort. This initial setting highlights the physical struggles of the journey, suggesting that the path to spiritual discovery is often fraught with obstacles. The Magi’s complaints about the "ways deep and the weather sharp" emphasize the arduous nature of their quest, underscoring the idea that true understanding requires enduring significant hardships.
As the Magi continue their journey, they encounter numerous challenges that test their resolve. The camels are described as sore-footed and reluctant, mirroring the Magi’s own weariness and doubts. The travelers recall the comforts of home—the "summer palaces on slopes" and "silken girls bringing sherbet"—which serve as temptations to abandon their quest. The contrast between their current suffering and their past luxuries highlights the sacrifice involved in seeking spiritual truth.
The towns they pass through offer little respite, characterized by dirty villages, high prices, and unfriendly inhabitants. The Magi are forced to sleep in snatches, constantly on the move and unable to find true rest. This continuous struggle and lack of comfort reflect the ongoing difficulties faced by those on a spiritual journey, where the search for meaning often involves leaving behind familiar comforts and facing uncertainty.
Upon arriving in Bethlehem, the Magi find a setting that defies their expectations. Instead of a grand palace, they find a humble manger in a temperate valley. This modest location for the birth of a king symbolizes the unexpected and often humble nature of true spiritual revelations. The Magi's initial doubt about the significance of such a place emphasizes the theme that spiritual enlightenment often comes in unexpected forms and settings.
Witnessing the birth of Jesus profoundly transforms the Magi. The journey, which began with physical hardships, culminates in a spiritual awakening. The narrator reflects on how this experience has brought about a metaphorical death of their old selves, marking a rebirth into a new spiritual life. The birth of Christ represents not just the arrival of a new king, but the beginning of a new understanding and way of being for the Magi.
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