surely when you write your literature and not write to your friend if it is understood-Father Coyle Loyola 1958 .
On Fri, 10 May 2024 at 21:58, gopala krishnan <[email protected]> wrote: > Respected sir, > > You have forwarded a posting about Grammar and it is stated Grammar is the > mouth of Vedapurusha. It is through the mouth, every body takes the food. > So the importance of keeping mouth clean and perfect. > > Though at times *most of us slip in grammar in any language,* it gives > the importance of grammar in using Languages either orally or in written > form. > > So, *all of us *have to give atmost importance for grammar in any > language either in oral or written form. > > Gopalakrishnan > > On Saturday, 11 May, 2024 at 07:47:11 am IST, Rajaram Krishnamurthy < > [email protected]> wrote: > > > Sanathana dharma VYAKARANA Part 21 K Rajaram IRS 10524/11524 > > VYAKARANAM > > > > Mouth of the Vedapurusa > > Vyakarana or grammar is the "mukha" of the Vedapurusa, his mouth. The > Tamil word for grammar is "illakanam". Grammar deals with the "laksanas" of > a language. "Laksmana(n)" is "llukkumanan" in Tamil. In the same way, > "laksana(m)" becomes "illakanam" in that language. > > There are a number of works on Sanskrit grammar. The most widely used and > important is the one by the great sage Panini. There is a gloss - a > vartika- on his "Vyakarna-sutra" by Vararuci. Patanjali has written a > bhasya or commentary on Panini's sutras. These three are the chief works on > Sanskrit grammar. > > There is a difference between grammar and other sastras. In the case of > other subjects, the original sutras constituting them are esteemed more > than their bhasyas. But, in the case of grammar, or Vyakarana, the Vartika > is more valued than the sutras and still more valued is the bhasyas > > According to one reckoning, there are six sastras. Vyakarana is one of > them. Four of the sastras are particularly important: apart from Vyakarana, > Tarka(logic), Mimamsa and Vedanta. Vyakarana is also one of the Vedic > sadanga (six limbs of the Vedas ). > > "Sucant sutram ", so it is said. (The sutra is just an indication of > something, a truth or a principle. ) Every sastra has a bhasya and each > such bhasya is known by a particular name. The vyakarana bhasya (of > Patanjali) alone is called "Mahabhasya", "the great commentary ". > > Grammar and Siva > > Siva temples have a mandapa (pavilion or hall) called " > vyakarana-danamandapa". In Tamil it has come to be called " vakkanikkum > mandapam". There are such halls in many temples in the Chola territory of > Tamil Nadu. One such is in Tiruvotrriyur near Madras. Why should there be a > mandapa for grammar in Siva temples? What is Siva's connection with > language? Isn't Siva in his form of Daksinamurti all silent? > > > > Nrttavasane Nataraja-rajo nanada dhakkam navapancavaram > > Uddhartukamah Sankadisiddhanetadvimarse Sivasutrajalam > > I will speak briefly about this stanza. The silent Siva remains still [as > Daksinamurti]. But the same Siva [in another form of his] keeps dancing all > the time and it was from his dance that the science of language was born. > > Nataraja is the name of the dancing Paramesvara. "Nata" is a member of a > troupe which also consists of the "vita" and "gayaka". The nata dances. > Nataraja is the king of all dancers-- he who cannot be excelled as a > dancer-- and he is also called Mahanata [the great dancer]. The Amarakosa, > the Sanskrit lexicon, has these two words: " Mahakalo mahanatah". In Tamil > they say " Ambala- k-kuttaduvan". We find from royal inscriptions that in > the old days Brahmins too had such Tamil names-- " Ambala-k-kuttaduvan > Bhattan", for instance. > > There used to be a publishing establishment in Bombay called the Nirnaya > Sagara Press. It once brought out old poetical works in Sanskrit under > the general name, " Kavyamala Series ". There were some books in this > series with the name " Pracinalekhamala" . Reproduced in one of them is the > text of a copper-plate inscription belonging to the Vengi kingdom. Vengi is > situated between the Godavari and the Krsna. > > The Cola rulers of the Telugu country and the Colas of Tanjavur were > related by marriage. Rajaraja Cola (Narendra) reigned in Tanjavur; it was > he who built the Brhadisvara temple. Kulottunga Cola who belonged to the > family of the grandson of a king of Vengi ruled as a member of the Cola > dynasty of Tanjavur. Once he visited the Cola kingdom and on his return > took some 500 Brahmins with him to promote Vedic learning in Vengi. The > "Dravidalu" of Andhra Pradesh are the descendants of these Brahmins. > > The names of all these Brahmins and their gotras are mentioned in the > copper-plate inscription together with the subjects in which they were > proficient and duties they had to perform. The landed property allotted to > each is referred to, so also the names of the donors and of the recipients. > The Brahmins from Tamil Nadu had to teach the Vedas and sastras. That is > why gifts of lands were made to them. > > " Rupavatara-vaktuk eko bhagah": these words are from the inscription. It > means " one share to the Brahmin who is proficient in the Rupavatara. " > Rupavatara is a work on grammar. > > In Ennayiram, near Tindivanam (Tamil Nadu), there was a school with 340 > students. Of them 40 studied Rupavatara, says an inscription of Rajendra > Cola I. In Tribhuvanam, Pondicerri(Pondicherry), also there was a Vedic > school supported by Rajadhiraja (A. D. 1018-1050) where the Rupavatara was > taught. We also learn from an inscription of Vira-Rajendra Devam dated A. D > 1067, that this grammatical work was taught at a school in Tiru- ulldal, > near Kanchi.{ Ennayiram means eight thousand in Tamil. An inscription > dated 1025 CE, belongs to the Rajaraja Chola mentions the name "Ennayiram". > Hence the name "Ennayiram" is 1000 years old. It also refers to the caste > name of Jain merchants. It has close connection *with Ashtasahasram,* a > sub sect of Tamil Iyer community.And I am proud of it} > > Siddhanta-Kaumudi is a very popular treatise on grammar. It is a > commentary on Panini's sutras by Bhattoji Diksita who was a disciple of > Appayya Diksita. The latter was born in Adayappalam and was the author of > 104 works, many of them on Saiva themes. His Kuvalayananda, a work on > poetics, is also famous. > > Ardha-matra-Iaghavena putrotsavam manyante vaiyakaranah > > This speaks of the great joy experienced by grammarians: if they gain as > much as half a matra it is a cause for jubilation like the birth of a son > to a man who has been long childless. > > The sutras are very brief and very precise. The Siddhanta- Kaumudi is > also famous for its brevity and exactitude; there is no circumlocution in > it, no beating about the bush. Maybe the sutras themselves are wordy but > not Bhattoji Diksita's commentary on the same. Written some 400 years ago, > it is very popular even today and is the first book of grammar prescribed > for students. (Bhattoji Diksita also wrote the Tattavakaustubha and > dedicated it to his guru, Appayya Diksita. In this he seeks to establish > that there is no Truth other than the Brahman and that, to claim that there > is, is not in keeping with the teachings of the Upanisads. Bidden by his > guru, he also wrote an attack on Madhvacarya's philosophy of dualism. The > work, Madhvamata vidhvamsanam, is a cause of dispute among philosophers but > Bhattoji Diksita's commentary on grammar is acceptable to all systems.) > > Before Siddhanta-Kaumudi, Rupavataram was the grammar work famous among > students. "Rupam" here means the "complete form of sound"; "avataram" is > descent, but in the present context "history". Rupavataram was published by > Rangacari, of Presidency College, Madras. > > That gifts of land were made to scholars who taught Rupavataram [the > reference here is to the Vengi inscription], shows the importance attached > to sanskrit grammar in those times. > > The Vengi inscription dates back to 850 years ago. As mentioned earlier, > the names of Brahmins who received gifts are given in it. Many of them had > the title "Sadangavid" (learned in the six Vedic Angas). Some had Tamil > names -- "Ambala-k-kuttaduvan Bhattan", "Tiruvarangamudayan Bhattan", etc. > Of the foregoing two names the first is associated with the Cidambaram > temple which is Saiva and the second with the Srirangam temple which is > Vaisnava . Both Brahmins were Smartas, even the one with the Vaisnava name. > There has been as much devotion to Siva as there has been to Visnu at all > times. In the North and in Kerala, even today, Smartas perform puja in all > temples. The man called "Tiruvarangamudayan Bhattan" is not to be taken as > a Vaisnava from his name. The Sanskrit equivalent of the name is > Rangasvamin. "Udayan" means "svamin", "svam" denoting possession. > > The Tamil name of Nataraja is "Tiruvambala Kuttaduvan". I wanted to speak > about Nataraja and his connection with grammar. Let us go back to the > stanza with the first word, "Nrttavasane. . . " Nataraja performs an awe- > inspiring dance. It seems to bring together all the dances that all of us > have to perform, the rhythms of all our lives. The head of the Nataraja > idol has something that seems spread over it, something falling down on > both sides. What is it? It is the god's mass of matted locks. I am reminded > of the snapshot photographs taken nowadays. A snapshot is a rapid > photograph that captures an object in one of its fleeting moments. It is > not a study that is static but one suggestive of motion. Nataraja dances > fast, but momentarily seems to stop dancing. His matted locks give the > impression of fanning out over the two sides of his face. The sculptor of > those times seems to have taken a mental snapshot of that moment to create > the image of Nataraja. > > Nataraja has a drum in one hand, called the dhakka or damaruka. The tala > of this drum (the time kept by it) is in keeping with the "footwork" of the > dancing god, the movement of his feet. The beat of his drum is referred to > in the words, "nanada dhakkam". > > There are chiefly three types of musical instruments. Those made of skin > like the dhakka, the tavil (drum accompaniment to nagasvaram music), the > kanjira (a kind of hand drum), the mrdanga; stringed instruments like the > vina, the violin; wind instruments like nagasvaram, the flute. The final > beat of the drum is called cappu. Similarly at the end of Nataraja's dance > (" nrttavasane ") the damaruka produced the cappu sound. > > When Nataraja dances, Sanaka and his brother sages, Patanjali Vyaghrapada > and so on stand around him. They are great ascetics, so they are able to > see the dance. Nataraja's dance can be seen only by those who have the > inner vision of jnana. The Lord himself bestowed on Arjuna the divine eye > with which the pandava could see his cosmic form. Vyasa imparted the same > power to Sanjaya so that he could describe this wondrous form to > Dhrtarastra. Only they (Arjuna and Sanjaya) could see Krsna's universal > form. Others on the battlefield of Kuruksetra could not. Because of the > great efforts made by them, the celestials, the sages and yogins obtained > the divine eye to see the dance of Nataraja. In the Gita such a sight is > called "divya-caksus" (divine eye). > > Sanaka and others saw the dance with their real eyes. Visnu played the > drum called the maddala, while Brahma kept time. At the close of the dance, > the concluding beats(cappu) produced fourteen sounds. It is these fourteen > that are referred to in the stanza ("Nrttavasane", etc) as > "navapancavaram"; "nava" is nine and "panca" is five, so fourteen in all. > "Nanada dhakkam navapancavaram. " If the number of sounds produced by > Nataraja's dhakka is fourteen, the branches of Vedic learning are also the > same number (caturdasavidya). If the foundation of Hindu dharma is made up > of these fourteen vidyas, Nataraja'a cappu produced fourteen sounds which, > according to the verse, were meant for the [Atmic] uplift of Sanaka and > others. You must have seen in the sculptural representations of > Daksinamurti in temples four aged figures by his side. They are the Sanaka > sages. It is not Saiva works like the Tevaram and the Tiruvacakam alone > that mention how instruction was given to the four but also the Vaisnava > songs of the Azhvars. > > The fourteen sounds produced by Nataraja's drum are the means by which the > reality of Siva is to be known and experienced within us in all its > plenitude. Nandikesvara has commented upon the fourteen sounds in his > Sivabhaktisutra. > > > > Among those present at Nataraja's dance was Panini. His story is told in > the Brhatkatha which was written by Gunadhya in the Prakrt called Paisaci. > Ksemendra produced a summary of it in Sanskrit and, based on it, Somadeva > Bhatta wrote the Katha-sarat-sagara. It is the source of some of the > stories of The Arabian Nights, Pancatantra and Aesop's Fables. Perunkathai > is a Tamil version, the title being Tamil for Brhatkatha. > > The story of Panini is told in the Katha-sarit-sagara. In Pataliputra > (modern Patna), in Magadha, there were two men called Varsopadhyaya and > Upavarsopadhyaya - the second was the younger of the two. Upakosala was > Upavarsopadhyaya's daughter. Panini and Vararuci were Varsopadhyaya's > students. Panini made little progress in his lessons. So his teacher asked > him to go to the Himalaya and practise austerities. The student did so and > through the grace of Isvara received the power to witness the tandava dance > of Nataraja. With this divine gift of the Lord, Panini indeed saw the > tandava and heard the fourteen sounds at its conclusion. For him these > sounds meant the fourteen cardinal sutras of grammar and on them he based > his Astadhyayi. As its very name suggests, this work, which is the source > book of Sanskrit grammar, has eight chapters. > > The fourteen sounds are recited at the upakarma ceremony. Since they > emanated from the drum of Mahesvara(Nataraja), they are called > "Mahesvarasutras". Human beings can produce only inarticulate sounds on the > musical instruments played by them. The hand of Paramesvara is verily the > Nadabrahman and Sabdabrahaman incarnate, so his cappu on the damaruka at > the conclusion of his tandava sounded as a series(garland) of fourteen > letters: > > 1. a i un; 2. rlk; 3. e on; 4. ai auc; 5. hayavarat; 6. lan; 7. nama nana > nam; 8. jha bha n; 9. gha da dha s; 10. ja ba ga da da s; 11. kha pha cha > tha tha catatav; 12. kapay; 13. sa sa sar; 14. hal-iti Mahesvarani sutrani. > > *How did Panini make use of the fourteen sounds? He created an index from > the sutras to vocalise the letters or syllables together.* According to > the arrangement made by him, the first letter or syllable of a sutra voiced > with the last letter or syllable of another sutra will indicate the letters > or syllables in between. For example, the first syllable of "hayavarat", > "ha", and the last letter of "hal", "l", together make "hal". This embraces > all the consonants in between. Similarly, the first letter of the first > sutra, "a", and the last letter of the fourth sutra together form "ac"-this > includes all the vowels. The first letter of the first sutra and the last > letter of the fourteenth sutra together form "al" - it includes all letters. > > "Halantasya" is one of the sutras of Astadhyayi. "Al" itself has come to > mean writing. > > "A-kara" is the first letter in all languages. In Urdu it is alif; in > Greek it is alpha. Both are to be derived from "al". So too "alphabet" in > English. Here is another fact to support the view that, once upon a time, > the Vedic religion was prevalent all over the world. > > We know thus that the prime source of grammar is constituted by the > Mahesvara-sutras > emanating from the drum of Nataraja. Since Paramesvara was the cause of > the sabda-sastras (all sciences relating to sound, speech), > "grammar-pavilions" have been built in Siva temples, but not in Visnu > shrines. > > By the side of Nataraja are Patanjali and Vyaghrapada. I went to a temple > near Sirkazhi(in Tamil Nadu). There, beside Nataraja, were Patanjali and > Vyaghrapada. Beneath their images were inscribed their names. Patanjali's > name was seen here as "Padamcolli" - the error must be attributed to the > ignorance of the man who had inscribed the names. I was however happy that > ironically enough, this name benefited the sage and that even ignorance was > the cause of something appropriate. "Padam" has the meaning of grammar[as > in] "padavakya pramana". Here "pada" means grammar. So "Padamcolli" [the > second half of the name in Tamil] means one who "says" grammar. > > When I saw this inscription I was reminded of another thing. We speak of > "gunaksara-nyaya". "Guna" here means an insect like the white ants which > eats into wood and palm-leaves. Sometimes in this process letters are > formed accidentally. If something meaningful results from an act committed > unconsciously or unwittingly it is said to be according to the > "gunaksara-nyaya". This term is thus applicable to Patanjali being written > as "Padamcolli" > > Some years ago I happened to see the Sahitya-Ratnakara. The author of this > poetical work is Yajnanarayana Diksita who composed it 400 hundred years > ago during the reign of Raghunatha Nayaka of Tanjavur. Diksita was a great > devotee of Siva and in one of his hymns there is a reference to grammar. > > Adau pani-ninadato' ksara-samamnayopadesena yah > > Sabdanamanusasananyakalayat sastrena sutratmana > > Bhasyam tasya ca padahamsakaravaih praudhasayam tam gurum > > Sabdarthapratipatti-hetumanisam Candravatamsam bhaje > > --- Sahitya-Ratnakara, 11. 124 > > "Aksara-samamnayam" in this stanza means grammar, a grouping together of > letters. Isvara's breath constitutes the Vedas. The wind produced by his > hand [as he beats the drum] is "Aksara-Veda", the Mahesvara-sutras. It is > called "sabdanusasanam". "Pani-ninadatah" means "produced sounds with your > hands" or "the sounds came by to Panini". Thus the words have two meanings. > The idea is that Panini created his grammar with the sounds produced by > Isvara with his hand. > > The stanza goes on to say: "With the movement of your hand the sutras of > grammar were created and with the movement of your feet its commentary has > been produced. " Patanjali, author of the Mahabhasya, was an incarnation of > the primordial serpent Adisesa. Adisesa is now the anklet of Parameshvara. > It is in keeping with this that the poet says that Siva created the bhasya > with the movement of his feet. He concludes by remarking that sound and > meaning originate in Siva. > > In this way, Siva is the prime source of grammar. That is why there are > mandapas in his temples where vyakarana is to be taught. > > Works on Grammar > > In the stanza [in the previous chapter ] we saw that the poet calls Siva > "Candravatamsa". > It means the god who has the moon for a head ornament. "Candrasekhara" and > "Indusekhara" mean the same. Remarkably enough, "Indusekhara" occurs in > the titles of two grammatical works. One is Sabdendusekharam, and the other > pariposendusekharam. A student who has read grammar up to > Sabdendusekharam is considered a master of the subject. {Have any of you > know or heard of any one in our clan near you sirs? KR} > > If there are thirty books on Siksa, there are any number on grammar. > Foremost among them are Panini's sutras, Patanjali's bhasya for it and > vararuci's > vartika (mentioned earlier). I make this statement in the belief that > Vararuci and Katyayana are the same person. Some think that they are not. > Vararuci was one of the "Nine gems" of Vikramaditya 's court. > > > > Bhartrhari's Vakyapadiyam is also an important grammatical treatise. > There are said to be nine [notable] Sanskrit grammar works, "nava- > vyakarana". Hanuman is believed to have learned them from the sun god. > Sri Rama praises him as "nava-vyakarana -vetta ". One of these nine works > is *Aindram a*uthored by Indra. It is said that the basic Tamil grammar > book, the *Tolkappiyam, follows Aindram.* > > Sanskrit and Tamil Grammar > > Just as "illakanam", the Tamil word for grammar, is derived from the > Sanskrit "laksana", so too a number of other words that have to do with > grammar in that language are of Sanskrit origin. For instance, there are > two terms used in Tamil grammar, pakuti (pahuti) and vikuti (vihuti). To > illustrate in the word "Ramanukku" (for Raman ), "Raman " is pakuti and > "ku" is "vikuti". Both terms pakuti and vikuti are derived from Sanskrit > grammar. "How do you say so? " it might be asked. "Is it not pakuti an > original tamil word derived from "pakuttal? " Pakuti in the sense of that > which has been divided is indeed a Tamil word. But I say that there is > another pakuti that is a corrupt form of the Sanskrit "prakarti". It is > in the sense of "prakarti" that the word "Raman" in "Ramanukku" is > described as pakuti. As for "vikuti" it is from the Sanskrit "vikriti": > there is no such word as "vikuttal" in Tamil corresponding to pakuttal. > From the undisputed fact that vikuti is from vikriti, we may conclude for > certain that pakuti is from prakrti. (Vikrti is also called "pratyaya", > which gives many meanings to the same prakrti. When it is said "Ramanai > aditten"-(I) beat Raman-the pratyaya "ai" added makes Raman the person who > is beaten. If it is said Ramanal adipatten-(I) was beaten by Raman-the > prakrti Raman with the al makes him the one who beat.) > > On the subject of grammar I have mentioned certain facts and it is not > my intention to elevate one language above another. > > Sanskrit : The Universal Language > > Sanskrit is the language of all mankind; it is an international language > and also the language of the gods. The gods are called "girvanas"; so > Sanskrit is called "Gairvani". While the emperor of Tamil poetry, Kambar, > describes it as the "devabhasa", the Sanskrit poet Dandin calls it " daivi > vak"(divine speech) in his Kavyadarsa: " Samskrtam nama daivi vak. " > Sanskrit has no syllable that is indistinct or unclear. Take the English > "word". It has neither a distinct "e-kara" nor "o-kara". There are no such > words in Sanskrit. Neither is the "r" in "word" pronounced distinctly nor > is it silent. Sanskrit, besides, has no word that cannot be traced to its > root. Whatever the word it can be broken into its syllables to elucidate > its meaning. Sanskrit is sonorous and auspicious to listen to. You must > not be ill disposed towards such a language, taking the narrow view that it > belongs to a few people. To speak Sanskrit is not to make some noises and > somehow convey your message. The sounds, the phonemes, in it are, as it > were, purified and the words and sentences refined by being subjected to > analysis. That is why the language is called "Sanskrit''[Samskritam]. The > purpose of Siksa, and in greater measure of Vyakarana, is to accomplish > such refinement.To speak the language of Sanskrit itself means to be > refined, to be cultured. As the language of the gods it brings divine grace. > The sounds of Sanskrit create beneficial vibrations of the nadis and > strengthen the nervous system, thereby contributing to our health. > > Linguistic Studies and Religion > > Siksa, Vyakarna and the subjects with -Chandas and Nirukta-are Vedangas-(limbs > of the Vedas) connected with language. Next I am going to deal with *prosody. > *By works on religion we ordinarily mean those[directly] relating to God, > worship, devotion, jnana, dharma and so on. Would not the right thing for > me then be to speak about such works? Kalpa, Mimamsa, the Puranas and > Dharma sastra., But in between has arisen the science of language that has > apparently no connection with religion. In the Vedic view everything is > connected with the Lord. There is no question of dividing subjects into > "religious" and "non-religious' '. Even the science of medicine, Ayurveda, > which pertains to physical wellbeing, is ultimately meant for Atmic uplift- > or for that matter, military science (Dhanurveda). That is why they were > made part of traditional lore. So too political economy which is also an > Atma-sastra. > > Grammar is associated with Sabdabrahman. Worship of the Nadabrahman which > is the goal of music is a branch of this. If sounds are well discerned and > employed in speech they will serve not only the purpose of communication > but also of cleansing us inwardly. The science of language is helpful > here.I have already mentioned that Pathanjali's commentary on Panini's > Sutras is called the Mahabhasya. The prefix "Maha" in the name of the work > is an indication of the high degree of importance given to grammar in our > tradition. Illustrious teachers have written commentaries on the Vedas, on > the Brahmasutra, on the Upanisads, on the Bhagavadgita, and so on. But none > of these has "maha" prefixed to it. There is a saying that a scholar > derives as much happiness from learning the Mahabhasya as from ruling an > empire. > > Mahabhasyam va pathaniyam maharajyam va sasaniyam > > I came across another piece of evidence like *the Vengi inscription* to > prove how in the old days our rulers nurtured and propagated the science of > grammar. > > *** Dhar was a state in the formal Central Provinces (now a part of > Madhya Pradesh). It is the same as Dhara which was the capital of Bhojaraja > who was a great patron of arts and who made lavish gifts to poets and > artists. *There is a mosque in the town of Dhar now. Once a cave was > discovered in the mosque which on examination revealed some writings in > Sanskrit.* But the department of epigraphy could not carry out any > investigations until some years after freedom. {Muslim atrocity KR} Then, > with the permission of the authorities of the mosque, they studied their > finding.*To their amazement they saw a wheel inside with verses dealing > with grammar inscribed on it in the form of a chart*. The mosque stands > today where a temple to Sarasvati stood during Bhojaraja's time. The idea > behind the wheel is that the science of language (grammar)must form part of > the temple to Sarasvati, the goddess of speech---and grammar is the > Vedapurusa's mouth*. They say that grammar could be learnt at a glance > from this wheel.* It is because the science of language is worthy of > worship that the wheel inscribed with grammar was installed in the temple. > With the blessings of Vagdevi (Sarasvati) we have obtained the wheel, > though long after the mosque was built at that site. *The department of > epigraphy has published the text of the inscription with an English > translation. *We learn thus that sastras like grammar were not regarded > merely as of worldly interest but in fact considered worthy of worship. > That is why rulers promoted them. > > K Rajaram IRS 11524//10524 NB: ***Vide ASI Dr Kalyanaraman inscription > article with photos of archaeology 76 pages. If Any who may need may write > and I shall send a PDF. 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