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AHURĀEAN [GODLY] AND AHRIMANIAN [SATANIC] WORDS IN ’S

Dr. ALI ESHGHI SARDEHI1*; SAFURA RAMSHINI2; Dr. SAEED RUZBEHANI3

1Assistant professor, and literature, Islamic Azad University, Sabzevar Branch, Sabzevar, 2PhD student, Persian language and literature, Islamic Azad University, Sabzevar Branch, Sabzevar, Iran 3Assistant professor, Persian language and literature, Islamic Azad University, Sabzevar Branch, Sabzevar, Iran *[email protected]

ABSTRACT Exploration and investigation of the past texts from various aspects causes the maximum recognition and discovery of their unknown capabilities and, besides providing literary pleasure, paves the way for and guides the different users and researchers in line with their creation of better works in future. Ferdowsi’s Shahnameh is one of the most prominent and most valuable works enumerated amongst the first hand artworks in terms of literary, national and semantic value hence one of the subjects that can be pondered and investigated therein is the words’ functions in terms of their positive or negative loads which have been well applied by Hakim Ferdowsi for expanding the breadth of his words; every word is somehow expressive of goodness and beauty or evil and ugliness. Thus, the manifestations of Ahura and Ahriman are indeed indicative of the beauties and ugliness and they have been actually reflective of the deployment of the right against the wrong and goodness and benevolence against badness and filths. Shahnameh is a full-scale mirror of Iran’s brilliant history and ethics and culture and past. Shahnameh is not just an epical work but a response to an internal call for justice and fairness. It is a manifestation of goodness and badness, sweetness and bitterness, human beings’ feelings and subtle pains and so forth; its sage composer has made proper use of words in every corner thereof to well mirror the visage of goodness and evilness. The present study uses a descriptive-analytical method to deal with the role of some of the words in fostering the story in Ferdowsi’s Shahnameh and the current study’s researcher intends to represent part of Ferdowsi’s abilities and creativities that have been impressiveness effective in the attractiveness of Shahnameh’s words during the past several hundred years but they have not been focused and explored so far. Keywords: flycam, Geoslope/W, slope failure, safety factor, 3B highway

INTRODUCTION Undoubtedly, Ferdowsi’s Shahnameh is an unexampled epical and national work to the Persian speakers and it is valuable from this perspective that, besides being an outstanding literary work and showcasing Iranians’ national identity, it is also notable from the perspective of the original and meaningful words featuring a vast inclusion circle. “The vastness of Ferdowsi’s treasury of words is not hidden to anyone and his proficiency over the Persian language is unprecedented” (Shafi’ei Kadkani, 2006, p.39). One of the methods used for processing the story in Shahnameh is the utilization of words that play a considerable role in indirectly demonstrating the indecencies and beauties in such a way that the reader perceives the actions and deeds of some characters and responds to them upon being confronted with these words. These binary words “have stepped into the area of existence and parallelly left behind the path of perfection and promotion like twins” (Mo’tamen, 1985, p.107). On the other hand, Shahnameh scholars and researchers believe that “the description and illustration are excellent in Shahnameh as compared to all the texts because the finest images are observed in the form and state of classical Persian in Shahnameh” (Hamidian, 1993, p.401). therefore, it is well evident that Ferdowsi has been well capable of presenting such descriptions and illustrations in such a way that “no other poet has been able to keep pace with him in this regard in Persian language” (Safa, 1999, p.238). A group of highly repeated words in Shahnameh includes the terms symbolizing goodness or evilness; these words will be investigated and discussed herein under the title of Ahurāean and Ahrimanian words. “Ferdowsi generally keeps a constant look on the position and situation of the heroes and heroines hence tries articulating words and expressing sentences in proportion to their moods and states” (Shamisa, 2018, p.700).

DISCUSSION Shahnameh has been written and composed based on ancient Iranian beliefs so there is a belief that the world has two poles and two sources, namely good and evil. On the one hand, there is Ahura Mazda (Sepanta Minu) and, on the other hand, there is Ahriman (Angra Minu) and the world is continuously the arena of struggle and fight between these two forces.

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It has been stated in Gaats that “the onset of a twin was in the thoughts. One represents goodness and the other represents badness in thought, speech and deed. Out of these two essences, the sage chooses truthfulness and correctness and insane and unwise one does the otherwise; so, Sepanta Minu is the incrementing force adding to the universe and Angra Minu is the reductive or destructive force” (Hajizadeh, 2006, p.90).

A. Ahura Mazada and Ahriman: Ahura Mazda is an Avestan word and one of the God’s names and it means the great existence-bestowing sage. Zoroaster’s Ahura Mazda is the sagest lord and the loftiest and the most superior quintessence deserving worshipping. In Gaats, Ahura Mazda is the only mighty God and the sole sage creator. He resides the peak of the sky. He has not been born and nobody resembles it. There is nothing beyond him and without him. He is the most superior existence and every other living being borrows his or her or its existence from him. He is the most superior of them all. He is the very one God who adores truthfulness and detests lie. Nobody is superior or identical to him. Nobody denies his superiority and no one claims his position. On the contrary, Ahriman is a malicious and filthy existence that makes efforts for destroying the goodness. In opposition to Ahura, Ahriman always intends to drag mankind to inferiority and abjectness and make him go astray from the right path. Ahriman loves darkness and, in opposition to Ahura who is the sole omniscient and creates sagacity, it supports ignorance, insanity and wastage. In Bundaheshn, Ahriman has been introduced as the generator of badness of any kinds. Based on the ancient beliefs of the Zarvāni creed and other religions after it like Manichaeism, Ahura Mazda and Ahriman are both the children of Zarvān (god of time) and the world has always been the arena of the battle between these two good and evil forces; however, it is Ahura Mazda who will eventually dominate the world and, since Ahura Mazda is the absolute purity and badness has no way to enter into him, every bad thing is Ahrimanic. Based on what was mentioned, in Ferdowsi’s opinion, as well, some elements of epic feature Ahurāean manifestations and some others feature Ahrimanic embodiment and their related words have been accordingly used as symbols of goodness and badness in Shahnameh.

Words with Ahurāean Manifestations: Sorush (call): it means obedience and submission and, especially, complying with the God’s commands. It is also the name of an angel which is the manifestation of obedience and submission to the Ahurāean commands. In the latest Zoroastrian books and Persian dictionaries. Sorush is a God’s messenger and carrier of the revelation. It is the angel that brings the good news and messages and it is actually the guide of the mankind in the life’s meandering paths: “By the command of the God, the blessed messenger showed its face to me in sleep last night” (Shahnameh, 2/199) Farr (glory): it is a concept in Iranian myths and it means the divine blessing or light. Besides what is believed in the myths, Farr represents the existence of hope in the superego of Iranians regarding their and their land’s stability and impermeability and it is actually an Ahurāean gift. In Shahnameh and from the story of Kiymarth to the Sassanids’ era, the sovereignty glory and the divine affirmation are the secrets of the persistence and continuation of the sovereigns and heroes and Iranians’ esteem and victory: “When the blessed was born, the world was provided with another sovereign” “He was fostered into a straight cedar; the kingship glory was radiating from him” (Shahnameh, 1/247) Or, about Kaykhosow: “The divine glory emerged in him and wisdom’s flag was waving above him” Kherad (wisdom): Ferdowsi has begun Shahnameh by the name of the God who owns the souls and wisdom and it can be understood consequently that he gives a lot of value to the humanity, sagacity and magnificence of the words and credibility of the discourse. “In the name of the God of souls and wisdom for nothing more superior than him can be thought” (Shahnameh, 1/5) Wisdom is of a great importance in Hakim Tus’s idea and Ferdowsi has adopted a scrutinizing and subtle look at the wisdom and astuteness and sagacity of the kings and heroes: “Wisdom is the guide and wisdom is the cheer of the heart; wisdom can help you get your hands to both of the worlds” (Shahnameh, 1/5) Ātash (fire): at the time of , fire (the divine light) is visited and it is in this way that a huge evolution is created in the human beings: “He said that this god is a light and one should worship it if s/he is wise” (Shahnameh, 1/12) commissions a group to the protection of fire and validation of this divine blessing. In the story of Siāvash, fire is the manifestation of cleanliness and illumination and the scale and instrument of recognizing innocence from sinfulness and cleanness from uncleanness and Siāvash was exonerated from a slander and his innocence was proved after he pridefully passes through the fire: “A plain of men was watching with blood-stained eyes to see when he comes out of the fire” “Upon bearing witness to him, uproar was made that the new king has come out of the fire” (Shahnameh, 3/36)

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Pary (fairy): it is an imaginary creature having wings and feathers but it cannot be seen and it is mostly benevolent. In some of the texts, it has been used synonymous to angel and it generally symbolizes the human beings’ divine essence. It is recounted as the symbol of the good deed and behavioral beauty. It is outstanding in terms of beauty and the beautiful persons with good deeds are compared with it: “A child was separated from him like a fairy who looked like an Āzari idol in face” (Shahnameh, 3/10) Izad-Yazdān (god): in Avestan, Yazteh from the root “Yaz” means admiring and worshipping and the term “Izad” means deserving worshipping and it is used for the angels who have the same ranks as Amesha Spenta. The term “Yazdān” is used in Persian as a singular noun meaning god. Yazdān is the great god who is superior to all the creatures in position and rank. He is the God that sources everything in the universe and determines the fate of all the creatures by his powerful hands. His power is beyond the universe and his will is dominant over all the creatures: “Nobody can ever find a key to the God’s divine court for He has created them like this” (Shahnameh, 9/335) Khadiv (overlord): it is also the god and, of course, it has also been used synonymous to king and owner and sultan in ancient Persian as well as in Shahnameh. “Siāmak was wasted by his own hand and ordinance of the ogre and the association was left without a king” (Shahnameh, 1/30) (king): it is used to refer to king and sovereign. This term has also been Shah in Pahlavi language and it has been derived in Sanskrit from the root “Shās” which means ruling and governing. In ancient Iranians’ beliefs, Shah is the shadow of the god on earth and that it has been the origin and the god and also that a person is called king or shah for he has authority over the people. In the world of Shahnameh, Shah possesses divine glory, i.e. a divine confirmation verdict. Thus, he has to be obeyed and supported. The elder and the chief and the predecessor of any race is called Shah. A shah is the god’s shadow on earth as far as he keeps obeying the divine commands; no badness can find a way into his essence unless otherwise is proved: “He will not do wrong things as long as he sees you; moreover, how the Iranian king can perform evil” (Shahnameh, 6/275) Mubed (Magi): Mubed is the general title of all the Zoroastrian clergymen. Magi are the members of the religious society and they have proved an accentuated presence in Shahnameh. It has to be mentioned that clergymen have always been considered as the outstanding class of the society in the ancient Iran and they enjoyed a great deal of influence in the kings’ royal courts. According to Shahnameh, magi are the religious leaders and, besides having knowledge and sciences of their time, they have been one of the primary pillars of the government: “On the other day, Gashtāsp met the magi, elders, clergymen and army commanders” “He was confronted with enemies attacking him from every door; he defeated them but he forgave them” (Shahnameh, 6/86) Akhtar (star): it means star and it has been often interpreted in Shahnameh as luck and good fortune. It is a sort of good divine destiny determined for a person: “May the world-holder’s hail be on the shah; may his crown be the high moon” (Shahnameh, 7/247) Derafsh Kāviāni (Sovereignty Flag): Iran’s mythical and historical flag was used from the ancient time to the end of Sassanid’s kingship and, according to the Islamic historians, it was worth thousands of thousand gold coins. Sovereignty Flag dates back in Iranian myths to the uprising of Kaveh, the blacksmith, against Zahhāk’s tyranny and suppression. The latter is the symbol of oppression and injustice and the former is the symbol of justice and righteousness and he puts his leather apron on the tip of a spear and gathers the people underneath it and asks them to rise up against Zahhāk. After enthronement, Fereydun orders to decorate Kaveh’s leather apron with yellow, red and purple brocade and hang gold and gems to it and calls it the kingship flag. This flag features an Ahurāean manifestation for it has always been a source of conquer and conquest for the Iranian armies: “He ornamented it with yellow, red and purple brocade and called it the sovereignty flag” (Shahnameh, 1/65) (fast horse): it is the name of the horse of , the mythical protagonist in Shahnameh. When Rostam goes to the shepherds for selecting his horse, they tell him that it is not clear which horse it is and a lot of dispute arises about it: “We call it Rakhsh which is brindled and blond; it is fast as water and of the color of fire” (Shahnameh, 2/53) It is in this way that Rostam becomes the owner of a mysterious and peculiar horse. This animal accompanies Rostam in all his battles and its presence is more accentuated in the seven contests in comparison to the other parts of Shahnameh and the surprising thing is that it loses its life along with Rostam in the well of Shaqād’s maliciousness and malevolence. Iran Zamin (Iran’s land): the name “Iran” has been used in Shahnameh for 1400 times and it has become one of the most frequently applied words of Shahnameh. Although the collection of the epical events that occur in Shahnameh are about the heads and heroes with Shahnameh being originally the biography of the elders and heroes and heroines, they occur in the grounds of Iran and for the preservation and persistence of it. The emergence of Iran features a mythical color and appearance in Shahnameh and it is at the tie that Fereydun, the mythical king in Shahnameh, divides the world between three of his children, namely , Tour and and endows the best of the lands to his youngest but most deserving son, i.e. Iraj. In the world of Shahnameh, Iran is the land of glory and magnificence and it is the Aryans’ holy territory and whatever the thing and whoever the person existing and living in this geographical domain is under the shade of the God’s unlimited mercy and grace and enjoys human veneration: “Amongst them, when the turn came for Iraj; his father chose the kingship of Iran for him” (Shahnameh, 1/91)

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Esfandiyār (a proper noun): Esfandiyār is amongst the Ahurāean characters of Shahnameh. He is the son of Gashtāsp and Katāyun and he is chosen by Gashtāsp as the promoter of Behi Creed () for his submission thereto; he is washed by Zoroaster in the holy water and he consequently becomes the first ironman of Shahnameh. Esfandiyār draws the attention of the elders of Zoroastrianism and it is due to the same reason that the phoenix warns Rostam about the killing of Esfandiyār and the secret of Rostam’s heart-rending death in the well of his brother’s deceit and trickery might be the result of this Iranian hero’s killing of Esfandiyār: “The phoenix told him that I want to inform you of the secret of universe out of my kindness” “Know that if a person sheds the blood of Esfandiyār, s/he will be denounced by the time” “Also, s/he will not get rid of sufferings as long as s/he lives and s/he will not have any treasury left for him” “S/he would suffer bad luck in this world and s/he will be in pain and hardship in the other” (Shahnameh, 6/297) Siāvash: he is one of the other Ahurāean characters of Shahnameh. He is the son of Kavus, king of Iran, and an anonymous girl who has been a descendent of Fereydun. Signs of his marvelousness are seen at birth. Siāvash is fostered and trained by Rostam for many years without his father’s knowledge thereof. Upon being entangled by Sudābeh’s deceit, he pridefully comes out of the fire by the assistance of the God and by relying in the purity of his own existence and he finally is murdered by the conspiracy of Afrāsiāb in Turān land. “No fruit was produced during this time even when the green spring became colorful” “A child was separated from her like a fairy; he was like Āzari idol in face”

Words with Ahrimanic Manifestations: Ahriman (Satan): it is a malicious creature that endeavors to destroy the goodness. In , Ahriman is in the form of Angra Minu and it means the mean and filthy wisdom. In Shahnameh, Ahriman is the symbol of wrath and jealousy and hatred and avarice and bloodshed and tyranny and oppression. In the entire length of Shahnameh, Ahrimanians are busy fighting with all the goodness symbols in the disguise of various characters; sometimes in the clothing of a clever consultant; sometimes in the shape of a horrible ogre; sometimes in the role of a beautiful woman and sometimes in the role of a deceitful witch. They are busy performing evil in the stories of Shahnameh and they complete the story’s epical setting. For example, in the story of Zahhāk and at the time he leans on the kingship throne, he says: “The turn had now come for him and he appeared in this long time” “The rites of the sages were disappeared and the names of the insane persons were spread” “Art was humiliated and magic became valuable; truthfulness was hidden and damage was done in public” “The hands of the ogres were stretched towards doing bad; talks about good things were made only stealthily” (Shahnameh, 1/51) (ogre): this term has been used in Shahnameh for various meanings. It sometimes refers to wrongdoers who do not know the ways of servitude to and worshipping of the God: “You should consider ogres as the bad people; they are those who do not express gratitude to the God” “He who has quitted to be a man should be considered as an ogre not a human” (Shahnameh, 4/310) It has occasionally been used to point to the filthy Devil or the very Satan: “He ordered the ogre to give him a firm kiss as his mate” (Shahnameh, 1/48) It has also been sometimes used as an adjective for describing the appearances: “Iranian horse-riders were angrily shouting from behind him like ogres” (Shahnameh, 3/179) However, ogre is generally a filthy and devilish creature that sometimes appears in a physical existence and plays the role of a character in Shahnameh’s stories such as Akwan Div, Sanjeh, Foruzan, Arjang, Poolad Ghandi, the white ogre, Owlad and so forth; it is occasionally used allegorically to showcase the mankind’s wrongdoings and evildoings; in fact, each of the human beings’ immoralities and wrongdoings can be considered as an ogre of a sort: “Kasra asked him that what are the ten ogres from which the wisdom should be cleaned” “He answered that avarice and needfulness are two ogres with a lot of power and tall necks” “The other is anger and envy and stigma and hatred like the backbiters and duplicitous persons and infidels” “The tenth is the person who does not thank the others’ goodness and does not also know the God” (Shahnameh, 8/196) Ejdahā (): Ejdahā is a word made of Eji meaning snake and Dahā meaning an Ahrimanic creature and it is amongst the other filthy creatures in Shahnameh. It has been depicted in Shahnameh in the form of a harmful and dreadful creature with strong claws. The of Shahnameh are all famous for their wastage and corruption and they are often killed by a faithful and noble hero. This creature sometimes appears on the path of a story’s protagonist within the format of an animal and it is killed after a grueling battle like the dragon that appeared in Rostam’s third contest; a malicious and evildoing human being occasionally appears on the path of the human beings like a horrible dragon and causes them a lot of efforts like Zahhāk whose apparent characteristics and ugly body as well as his bad deeds and behaviors are associated with the very Ahrimanic dragon in the human mind: “A dragon came out of the moor and you would imagine that even elephant cannot release itself from its paws” (Shahnameh, 2/94)

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Spell, Magic, Deceit, Bewitchment and Conspiracy: these are all amongst the instruments of Ahrimans in Shahnameh. Deceitful persons and wrongdoers of Shahnameh’s stories use this tool for achieving their goals: “The deceit-making Satan told him that O’ the tall-neck and rebellious king may you live a happy life” (Shahnameh, 1/47) “He fostered them by magic and taught them to do wrong and exhibit bad temperament” (Shahnameh, 1/51) “The spell that Zahhāk had made had its head up in the sky” (Shahnameh, 1/68) “He told him that O’ the king, you are the Fereydun who will destroy conspiracy and witchcrafts” (Shahnameh, 1/70) “Upon listening to the speech of the Jewish man, Zarvān could figure out the secret of his bewitchment” (Shahnameh, 8/148) Simorq (phoenix): phoenix is a mythical-legendary Iranian countenance that plays a significant role in Shahnameh’s stories. It resides the mythical mountain of Qāf. It is wise and knows the hidden secrets. In Shahnameh, phoenix has two different Ahurāean (in the story of Zāl) and Ahrimanic (in Esfandiār’s seven contest) visages. “He told him to choose a more straightforward horn with the tallest tip and smallest body” (Shahnameh, 6/298) “Esfandiyār’s intelligence is for this tamarisk tree and never think that it is useless” “Place a chord on this bow and use this tamarisk wood that has been poisoned as an arrow” “Straighten the eyebrows of its eyes by both your hands as done by the tamarisk-worshipping people” (Shahnameh, 6/299) Zahhāk: Zahhāk is the mythical king of Iran. He is Eji Dehāk with three snouts and three heads and six eyes and it knows a thousand kinds of trick and agility and he is a powerful ogre and it is this same feature of him that damages the human beings. Zahhāk is amongst the Ahrimans of Shahnameh and he is condemned in everybody’s mind for his wrongdoings and evildoings as well as his tyrannical treatment of the people. He gave up to Satan’s commands and temptations out of impurity and belittling and murdered his righteous and god-worshipping father, Mardās, through digging a well and playing a trick on him. The world (Iran) is messed out after his enthronement: “The rites of the sages were disappeared and the names of the insane persons were spread” “Art was humiliated and magic became valuable; truthfulness was hidden and damage was done in public” (Shahnameh, 1/51) Another of Zahhāk’s devilish manifestations was his complicity and accompaniment with and of Satan in such a way that he makes a firm decision to destroy the mankind by Satan’s plot: “Look to see what Satan did and what he looked for after this conversation” “Unless he covertly devises a solution so that the world can be processed by the people” (Shahnameh, 1/48) Afrāsiāb: one of the other characters with devilish characteristics in Shahnameh is Afrāsiāb Turāni who held Iranians’ grudge in his heart for all his life and fostered the intention of Iranians’ destruction in his mind. Afrāsiāb murders his brother, Aqrirath, to seize the power and entices the young Sohrāb to take an army to Iran for breaking through Iran’s army and killing Rostam: “So that that chivalrous bull-like hero might be killed by the hands of this lion man” “If we grasp Iran and kill Rostam, the world will be tightened to Kavus” (Shahnameh, 2/181) Treason, conspiracy, breaking the vows and tyranny even to the closest persons are amongst the attributes of this Turāni king. Nobody is safe of his wrongdoings and eh does not even have mercy and kindness for his daughter. Afrāsiāb is called the king of duplicity and deceit and conspiracy for he has spent all his life doing so. His life has been captured by corruption and depravity and maliciousness and malevolence are well evident in every of his actions and deeds. One of his biggest crimes is seen in the story of Siāvash when he cunningly provides shelter to Siāvash who has run away from his father and then murders him for an absurd excuse. Avarice, greed, anger and power-seeking finally cause him death and he is eventually killed in a combat with Iranians. Shaqād: one of the most heinous characters in Shahnameh is Shaqād, son of Zāl and Rostam’s stepbrother. He is a stepbrother who has the stigma of stamped on his forehead as normally exercised by all the devilish characters in Shahnameh’s stories and has become eternally notoriously known for all his wrongdoings. Stimulated by the ruler of , Shaqād holds a grudge for Rostam and drags him to Kabul’s hunting zone with the excuse of holding a feast and party and throws the great hero of Iran in the well of conspiracy, trick and betrayal by Ahriman’s temptation: “They dug wells on his way in the entire breadth of the hunting zone’s plain” “The very blades, spears and swords of hatred made him play a trick on him and dig holes on his way” “He thought of a solution and covered the holes and they could not be seen neither by a man nor by an animal’s eyes” (Shahnameh, 6/329) Shaqād is the symbol of conspiracy, duplicity, hatred and avarice. He is a wrongdoer envying the position of Rostam and such jealousy blinds his eyes and heart in such a way that he blemishes his hands with fratricide by Satan’s temptations and buys the stigma of this notoriety forever. It can be comprehended based on what was mentioned in this section that, in order to lay the foundation of this lofty palace the establishment of which lasted thirty years, Ferdowsi has paid attention to the use of special words in addition to the utilization of his poetical art and intrinsic verve. In fact, he has created many of the lean and beautiful images of his stories by the appropriate use of these same words. Using artistic magic, the great sage of Tus has seminally bestowed an Ahurāean and an Ahrimanic soul to each of these words and subsequently created pretty images through using them within the verses of his splendid Shahnameh.

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CONCLUSION AND CONCEPTIONS According to what was dealt with in this research paper, the following results were figured out: 1) Ferdowsi’s Shahnameh is a boundless treasure that magnificence has kept on showing up from inside its verses and hemstitches during long years and the more one deals with this masterpiece, the more its capabilities and competencies are revealed. 2) Contemplation over the words in Shahnameh from various aspects clearly demonstrates the outstanding features of this precious artwork to the readers. 3) In Shahnameh, there are words featuring a heinous or beautiful and good or bad nature and they have reserved themselves a special characteristic in the story’s context. These words that are divided into two parts of the Ahurāean and Ahrimanic terms have been exactly applied in proportion to the properties of the intended character.

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