Author Topic: The MAHABHARATA  (Read 258 times)

Offline Michael

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The MAHABHARATA
« on: April 03, 2014, 12:09:46 AM »
I have finally begun this mammoth book, which stands as the most sacred text of India. I'll begin my posts with a few things you should know, so you can understand later matters.

Maha-bharata = Great-India. Except you should know this has recently become political as the BJP claim the rapes in India could only happen in 'India' not in 'Bharat'. The British perpetrated a lie that there was no conceptual identity of greater India before the British came, which is vaguely politically true. The problem is that the British only thought in political terms. There has always been a conceptual identity of the land now known as Pakistan, India and Bangladesh, in the spiritual realm of Indian pilgrimage. Oddly, most of that now lies within current India. The Mahabharata makes no mistake of identifying all of India as belonging to Bharatavarsha, and a political whole.

The Mahabharata is essentially the story of Krishna's task of ending the yuga. There are four yugas: Satya, Treta, Dwapar, Kali. The Ramayana took place earlier in the Dwapar yuga, the Mahabharata takes place at the very end of the Dwapar yuga - in fact it is all about the story leading to the final battle which closes the Dwapar yuga and opens Kali yuga.

The Dwapar yuga is the age of kings and warriors, the kshatriya. In India there are four primary castes: brahamana, kshatriya (pronounced shat-tree-a, I think), vaishya and sudra (priest, warrior, business people, servants).

Vishnu incarnated as Krishna to bring the age of the kshatriya to a close, and due to their predilection, that could only happen in the most god-awful war.

While every man and his dog wrote a version of the Ramayana, as far as I know, there is only one version of the Mahabharata. It is written in Sanskrit and is an epic 100,000 couplets: seven times as long as the Iliad and the Odyssey combined. Ganesha wrote it down with the tusk he tore from his head, in a single session.

The version I am reading is an translation, yet it still is two huge volumes.Translated by Ramesh Menon it is a can't-put-down ripping yarn. I must say though, it is before the time of women's liberation - dreadful stereotyping of women within the value system of beauty. But there are a few exceptions to this - very few unfortunately. (There was one horrendous line which I'd best not quote.) But the Mahabharata is much more than a gender trip - it is stupendous in it's scope and wisdom.

So much of it is about the code of the warrior, and of how that came to be an unsustainable burden upon the world. But the thing which is fascinating is that it is an age when the doors of heaven, of the realm of the gods, was still open to earth and humanity. There was much inter-marrying with fantastic results. A time when myth lived in reality, intertwined with humanity. That time has now closed to all but the sharmanic vision.

Krishna was a complete arsehole - a true friend of Don Juan in that he used every trick to push the world into its final cataclysm. He is constantly referred to as with his sardonic smile. This is a dark Krishna, a being whose task is one of horror, yet he is still kind, humorous, gentle and unfathomable.

The basic story follows the lives of the five Pandavas - sons of Pandu. One is Arjuna, the greatest archer on earth (the son of Indra and Kutni). The Bhagavad Gita is a small section within the Mahabharata where Krishna explains the core of Hinduism to Arjuna, in the midst of the great battle.

Offline Michael

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Re: The MAHABHARATA
« Reply #1 on: April 10, 2014, 10:35:04 PM »
This book is incredible! This is by far the greatest book I've read - Primo Levi probably next.

I am exploding in gasps and weeping so I can't read. Such truths, such courage, such evil and such noble response to that. So many characters and how they confront their destiny. And the women, well I said they had been confined to looks, but that has changed. Above all, Draupadi, the most beautiful woman from a time after which such beauty became forgotten, stood her ground against all the stupid men. When they tried to strip her of her single garment, her last quiet words were 'Krishna', and He did not disappoint. After that she walked through the story as the soul of purity and nobility, with her hair hanging down all over her, and her dress stained with menstrual blood. She it was who caused the downfall of the entire warrior yuga, for which she was created out of sacred fire.

Offline Nichi

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Re: The MAHABHARATA
« Reply #2 on: April 11, 2014, 04:32:26 AM »
This book is incredible! This is by far the greatest book I've read - Primo Levi probably next.

I am exploding in gasps and weeping so I can't read. Such truths, such courage, such evil and such noble response to that. So many characters and how they confront their destiny. And the women, well I said they had been confined to looks, but that has changed. Above all, Draupadi, the most beautiful woman from a time after which such beauty became forgotten, stood her ground against all the stupid men. When they tried to strip her of her single garment, her last quiet words were 'Krishna', and He did not disappoint. After that she walked through the story as the soul of purity and nobility, with her hair hanging down all over her, and her dress stained with menstrual blood. She it was who caused the downfall of the entire warrior yuga, for which she was created out of sacred fire.



Krishna continued to supply her with more sari, as the men attempted to spin her out of hers.
Not here, not there, but everywhere - always right before your eyes.
~Hsin Hsin Ming

Offline Nichi

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Re: The MAHABHARATA
« Reply #3 on: April 11, 2014, 05:45:46 AM »
M, I've never read the Mahabharata, but you are inspiring me to do so.
Not here, not there, but everywhere - always right before your eyes.
~Hsin Hsin Ming

Offline Michael

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Re: The MAHABHARATA
« Reply #4 on: April 11, 2014, 08:08:05 AM »
Certainly this version I'm reading is a real can't-put-down book. But I doubt it is cheap. Julie bought it at a book fair in Calcutta, and it is a set of two very large volumes, which was what put both of us off for some time. Not until I began reading it did I realise how easy it is to be swept up in this story. I will post a few extracts when I can.

Offline Michael

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Re: The MAHABHARATA
« Reply #5 on: April 11, 2014, 08:34:02 AM »


Krishna continued to supply her with more sari, as the men attempted to spin her out of hers.

This is perhaps the most famous scene from the story. The men on the right in bare chests are the five Pandavas, the heroes of the story, the eldest brother (Yudhishtira) of which has just lost everything in a game of dice to the evil sons of the blind king on the throne. Yudhishtira gambled away his kingdom, then his brothers, then Draupadi, the wife of the five brothers. The evil sons of the king then dragged Draupadi into the hall to humiliate her. But she gave them a stinging lesson in dharma, which didn't stop the sons from trying to strip her naked. In the end the king felt such remorse, he asked her for any three boons. All she asked for was the freedom of her Pandava husbands, when she could have asked for much more. This really impressed the Pandava's mother, Kunti. Of course, there is much more to the story, and the realisation by the brothers that this was all part of the destiny of world dharma, which would lead to the final cataclysm. All the time, the hand of Krishna moves behind it all.

Offline Michael

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Re: The MAHABHARATA
« Reply #6 on: April 12, 2014, 11:29:30 PM »
flowering Hell, this book has got me! I don't what I'll do when I've finished it.

Offline Michael

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Re: The MAHABHARATA
« Reply #7 on: May 02, 2014, 10:32:28 PM »
So, the basic story: five sons of Pandu, the king's brother. The mother was Kunti, but due to a curse, Pandu could not sire his children, who were needed to carry on the line of rulers. Pandu was cursed by a rishi he had shot and killed with his bow and arrow, while the rishi was having sex with his consort in the shapes of deer. Before he died the rishi cursed Pandu that the next time he had sex with a woman he would die.

But Kunti, his first wife, had been blessed by another rishi long ago, with the mantra to manifest a Deva, any Deva, for the purposes of sex. (The Mahabharata is full of sex.) So Kunti called each Deva for three sons by herself and two twins by Pandu's second wife.

Yudhishtira: the oldest and wisest. The son of Kunti and the God of Dharma.

Bhima: the strongest man on earth. The son of Kunti and the God of the Wind.

Adjuna: the finest archer, and the reincarnation of Nara. (Krishna was Narayana, the divine incarnation of Vishnu, while Nara, the human soul, is Narayana's eternal companion). The son of Indra.

Nakula and Sahadeva: the most beautiful men. The sons of Madri and the Ashwini Kumaras ("They symbolise the shining of sunrise and sunset, appearing in the sky before the dawn in a golden chariot, bringing treasures to men and averting misfortune and sickness.")

These warriors were the tools by which Krishna achieved his dark purpose of destroying the foothold that evil was seeking to gain at the cusp of the yugas - from dwapar to kali yuga. Had evil got a foothold into the initiation of the kali yuga, there would have been no stopping it, as the kali yuga was the age of evil anyway. It was essential Vishnu incarnate as Krishna, to block the attempt by ancient dark and evil forces from inseminating the kali yuga.

To do this, he set up a gigantic war, where his side, led by the Pandavas, defeated the dark side, led by Duryodhana, the proxy for those ancient powers of darkness - the Daityas and the Danavas. Krishna was unable to do this on his own, because his own power was too great - it would consume the universe. He had to fight by proxy, himself, only doing the occasional little scurry with his discus, and being the charioteer of Arjuna.

But the story of how this all came to pass is the magic and fantastic of the Mahabharata. It has so many twists and turns, sub-plots and adventures, that it never seems to end.

Here are some excerpts.

The first is the vision of Narada at the coronation of Yudhishtira, long before the great war. ("Narada is arguably ancient India's most travelled sage with the ability to visit distant worlds and realms. He is depicted carrying a Veena, with the name Mahathi and is generally regarded as one of the great masters of the ancient musical instrument.")

The second will be a description of the kali yuga. I'm sure you will recognise it immediately.
« Last Edit: May 03, 2014, 06:31:01 PM by Michael »

Offline Michael

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Re: The MAHABHARATA
« Reply #8 on: May 02, 2014, 10:41:35 PM »
"During the coronation, as he listened to the chanting of hymns, and watched Pandu's son being crowned sovereign of all Bharatavarsha, Narada Muni had a strange and oppressive vision. At first, a pang of panic gripped him, and he turned to look at Krishna, who sat smiling as brightly as ever beside Yudhishtira.

Suddenly, as in a hallucination, Narada saw the smile disappear from the Avatara's face. The muni saw how grim Krishna's expression was, his eyes full of awesome destiny. In a moment, Narada was borne out of himself on a phantasm of the future: of a cataclysmic war, which revolved mysteriously around the Avatara.

Narada saw dismembered corpses piled on a vast battlefield, where the earth was covered with a scarlet patina, a lake of kshatriyas' blood. He saw the kings and princes from Yudhishtira's yagna lay upon that field in the grotesque and passionate postures of death. Some had their heads dissevered, others had arrows and swords protruding from them like organs of horror sprouted from their bodies, and screams frozen on their contorted faces. Narada saw, with terrible prescience, the devastation of kshatriya kind. He saw a new age, of the sudra ruler, risen over the earth: the kali yuga of perpetual night.

In the daze of that chasmal vision, as if he had no will any more, Narada turned to look at the man being crowned emperor today. He saw the goodness on that face, the very quality that would cause the gruesome war.

Narada's eyes wandered from Yudhishtira's face to the face of the unreally beautiful woman who sat beside him. He gazed raptly at Draupadi. With mystic insight, the muni saw the prophecy that attended her birth being fulfilled: that she would be the nemesis of kshatriya kind. How perfect she was, like a dark Goddess who had come where she did not belong. She is too beautiful for this earth, thought Narada; she belongs in a rarer realm, or in the lost past of the world when beauty like hers would have found some comparison. Now, she was alone in her stunning loveliness, like a full moon among dim planets, peerless by a long way: she, the empress of Bharatavarsha.

Sighing, Narada turned his eyes away from Panchali's supernatural beauty. His gaze alighted on Duryodhana. The Kaurava smouldered with the envy in his heart. The rishi wanted to laugh aloud at that prince – his obsession was so absurd. Then, Narada had a powerful premonition of the tragedy in which Duryodhana's envy would result, inevitably, even as night follows day. He glanced at Krishna again, and saw the Dark One was intent once more. The rishi saw Krishna also glance at Duryodhana, watching the Kaurava trying to mask the monstrous hatred that shone so plainly in his pale eyes for a moment.

Narada saw into Duryodhana's heart: Dhritarashtra's violent son imagined himself killing Yudhishtira and, drenched in his cousin's blood, he mounted the emperor's throne. He saw Panchali become his queen; he held her naked in his arms.

Narada looked away from Duryodhana and found himself staring at another face, in which all the darkness of the human soul seemed focused – eyes that mirrored a heart so cold, so malevolent, that even Narada, who had seen plenty of evil men in his time, shivered. He was looking at the crafty and disdainful face of Shakuni. Shakuni saw Narada's regard and favoured him with a sardonic smile; above it, his eyes were like those of a cobra. Narada nodded quickly to Shakuni and turned his gaze away to Karna, who sat not far from Duryodhana's uncle.

Such a contrast: here, if ever, was a noble face, though masked with a studied indifference, a permanent bitterness. Yet, the eyes were honest. Like Yudhishtira's eyes, thought Narada, like Kunti's. If destiny had been less cruel, not Yudhishtira, but Karna would have sat on the emperor's throne today. Then, in a lucid image that only Krishna could have inveigled into his mind, Narada saw Karna also slain. An arrow, shot by a brother who did not know who he was, cut his head from his neck.

The vision of a horrible battlefield engulfed the rishi again. He saw Dhritarashtra's hundred sons being slaughtered, one after the other. He saw all these mighty kshatriyas, who had come to the Rajasuya, laid out on that savage field, their limbs askew in death's final attitudes.

Narada had witnessed the most ancient and legendary battles of the earth. He had seen Siva burn Daksha's sacrifice, in times when the world was a nebulous mystery, an age when the first stars were still being strewn in the sky. Yet, even that muni was filled with horror by what he saw of the war these kshatriyas would fight among them.

Shivering, partly in pity, and partly in fear, Narada turned back to Krishna. Now, the Blue One smiled so knowingly at him, and those fathomless black eyes mocked the rishi tenderly."
« Last Edit: May 03, 2014, 06:25:36 PM by Michael »

Offline Michael

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Re: The MAHABHARATA: Kali Yuga
« Reply #9 on: May 09, 2014, 09:20:47 PM »
"But in the kali, the age of wrath and darkness, the earth becomes a realm of night, and the sattva guna is all but lost in dominating sinfulness. It is in the spiritual apostasies of the brahmanas that the evil of kali yuga is rooted; for, the holy ones are corrupted in that age, and forgetting dharma, they turn to unthinkable sins. Why, in the kali yuga, the twice-born themselves are ignorant of the Veda."

Markandeya sighed as if he could hardly bear the thought. The Pandavas shuddered at the mention of the kali, the fell yuga that lay in wait around the corner of time. Krishna, alone, was as serene as ever. He said with a laugh, "But the kali is the age into which every spirit of all the other ages prays to be born. For it is the easiest age in which to have moksha." Softly he said, "They say that in the kali yuga a man need not perform any great deed or sacrifice; he need not even be pure. Let him but take the name of God, and he shall be liberated. Is this true, O Markandeya?"

There were fathomless mysteries beneath the surface of his words. Did his tone gently mock the rishi? Was there so much the sage had left out of what he said, which, indeed, he did not begin to suspect? Great truths that dark Krishna knew. Other worlds stirred in the heart of the earth: unknown, unknowable, legendary dimensions, all of them uncannily part of Krishna's mystery. The Pandavas saw their cousin transformed. It was not a physical change; but for that instant, he seemed to encompass the very universe within himself.

The moment passed. Krishna smiled at them. He looked at Markandeya, who seemed to have turned to stone in the Avatara's mystic moment. The Blue One said, "Muni, you have not answered my question about the kali yuga. Is it true, what they say, that it is the simplest age for a man to attain moksha in? Is it enough for a man to chant the name of God in the evil yuga, for him to find nirvana?"

And now, here was another mystery: Krishna was full of earnest inquiry; he was an anxious seeker. Truly, as if he sought liberation for himself, or as if he could liberate all mankind, if he only found moksha first; as if all Time was just Krishna's quest for his own freedom. Markandeya and the Pandavas sat absorbed in the Dark One's mystery. Somehow, they had never thought of him as a seeker. They realized now, especially the Pandavas, that they had never thought of him as having any needs of his own.

Krishna flashed his smile again, breaking the trance. He urged Markandeya, once more, "Tell us, Muni, about the kali yuga. Forgive my foolish interruptions; I only wondered about moksha, and how it was to be had most easily."

Markandeya said in a low voice, "Krishna, there is nothing on heaven or earth that you do not know. But it is, indeed, as you say: the kali is the simplest age in which a man may find moksha, and he can find it by just saying the name of God. Yet, the reason for this is not simple. For a man suffers horribly merely by being born into the age of wrath.

"He suffers undreamt-of terror, constantly, from within himself and from the world, as well. He lives shrouded in evil; every breath he draws is in fear. In the kali yuga, the kings who sit upon the thrones of the earth will have neither tranquillity nor dharma. They will be men mainly of tamas, full of rage, vanity and lust, full of lies. They will find their pleasure in inflicting torment and death on their subjects, even women and children. And they rise to power just briefly, and then fall away. The kings of the kali will be short-lived, greedy and rapacious.

"The people will be contaminated by the customs of others. Kings will employ wild barbarians and murderers, and these will have their say in the violent affairs of state. And with the people living in perversion, far from dharma, ruin will come to all the land.

"Wealth alone will confer nobility, regardless of a man's birth or his character; power alone will define virtue. Pleasure will be the only reason for marriage, seductiveness the quintessence of womanhood. In disputes of justice, the ability to distort the truth will determine who prevails. Just wearing a thread will determine who is a brahmana; for the twice-born will lose their dharma and be steeped in sin themselves. They will not have dhyana, gyana, yagna or bhakti, in the age of night.

"All the world will be plunged in a turbid darkness of the spirit, and the earth will be full of deceit and passion, greed and wrath. The precious waters of the soil will dry up at the fearsome ways of men. A man's worth will be decided not by his truthfulness, by his wisdom or goodness, but only by the wealth he has amassed, by even the vilest means.

"Arrogance and sin will pass for wisdom and righteousness, brashness and a loud voice for scholarship. Only the poor will have any honesty or virtue left, and the powerful will make life so miserable for them, that they, too, will become corrupt. Feebleness will be the only reason for not being employed. Just a bath in water will come to signify purification, and charity will be the only surviving virtue.

"Unimaginable evil will engulf the sons of men. Abduction will be equal to marriage, and wearing costly clothes and ornaments to dharma. The very affectation of being great will pass for greatness, and boastfulness for heroism.

"Men of power, men of great faults within themselves, and kings with the hearts of monsters, will rule the earth. Oppressed beyond endurance by their rulers, the good people of the world will flee the macabre cities of kings to hide in secret valleys between mountains, where they will turn to nature for succour, living off wild honey, roots and fruit, birds and flowers. Violence and perversions will rot the cities, and all the land. Terrible wars and demonic diseases will decimate the human race, and savage cold and scathing heat, scorching droughts and sweeping floods will terrorize the people of the kali yuga. Until, the earth will be a hell in creation, where souls are born for no pleasure at all, but only searing expiation."

Yudhishtira said quietly, "Already, there are omens of what is to come."

"It is not far from us," said Markandeya. "Why, it is prophesied that with your war against the sons of Dhritarashtra, the kali yuga will begin." He paused, and said in a low voice, "And it will truly set in when Krishna leaves the world."

Krishna murmured thoughtfully, "Yes, it will be rare for men to even say the name of God in the age of evil."

"And so they will indeed find moksha, if they do, with a devout heart," put in the rishi.

Offline Michael

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Re: The MAHABHARATA
« Reply #10 on: June 19, 2014, 10:18:05 PM »
Oh boy! This book!

I'm getting near the end, and its twists, its devastation, its emotion, is overwhelming again and again. No one is spared, even Krishna is cursed, although of course it matter nothing to him. But the insights into Krishna's character are gobsmacking. His unique line on dharma is something to wonder at. He cares nothing for deceit, but everything for the tears of innocent victims. He, who ultimately caused the entire savagery of the war, is yet the ultimate god of love.

The complexities of honour, love and allegiance, twist and overlap a hundred times, until neither you nor the characters know what is right and what is wrong. And they speak it out! Only Krishna stands untroubled in his clarity, and his voice ends the matter.

Offline Nichi

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Re: The MAHABHARATA
« Reply #11 on: October 02, 2015, 11:49:26 AM »


Draupadi prays to Krishna: "Krishna!" she cried. "O Govinda! O Keshava! O beloved of the gopis and Lord of Vrindavana! O Janardana, You are the destroyer of all affliction. I am sinking into the Kaurava ocean. O Lord, O soul of the universe, O creator of the world, save me! I am distressed and losing my senses in this evil assembly!"~Mahabharata
Not here, not there, but everywhere - always right before your eyes.
~Hsin Hsin Ming

Offline Michael

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Re: The MAHABHARATA
« Reply #12 on: October 02, 2015, 08:33:07 PM »
Classic and pivotal scene in the big M. Unfortunately, the realists say it was added in later - part of the mystification of the M, and would not have been in the original story. Problem is, no one has the original story, and furthermore, no one cares. The story has no doubt been added to, and possibly was an original account of some tribal stouch. It open the question of what constitutes the valuable aspect of any old culturally seminal story?

They also say the Gita was added in later. Can anyone imagine what modern Hinduism would look like without the Gita?

There are some aspects of the M as currently received, which it is curious to know the literary and male-egoist deceits involved, but really, they are academic curiosities rather than magical soul-seeking considerations.

This tale of the endless sari of Draupadi sourced from Krishna is told over and over across India, and is such a delight! For a woman to be dragged into the assembly of men, bleeding with her periods and stripped naked, is such a feminist as well as Indian symbolism of dharma and adharma, of virtue and outrage, and so pertinent today as well as throughout the centuries. I'm not sure you could find such an imagery anywhere in any other national story. But that she was betrayed in her dignity and privacy by her five husbands through a gambling wage, just complicates the story.

It is this scene which lies at the heart of the M. She was born to bring about the downfall of the entire cosmic age, and this scene is the moment that destiny, to which Krishna was incarnated to complete, was set.

And yet, Draupadi was not an uncomplicated being - she was born of fire and magic by the yogis of the forest. She drank the blood of the man in this scene who outraged her the most - on the timeless battle field of Kurukshetra. She was the most stunning beauty of the entire age. She was left behind where she fell, by the five Pandavas on their final journey of life, because she had sinned by loving Arjuna more than the other brothers. There is no easy answer to this woman, and yet she stands in India as the ancient 'human' symbol of female power and individuality 'as a woman'.

But as far as I know, Draupadi is not used as a name for female babies in India - she is too conflicted a character even for Indians to comprehend, and yet, I confess to being most attracted to her - she has the kind of guts that will her to abandon all convention, while retaining a wild and violent beauty that cannot be dismissed. Kali is rarely if never used, similarly, Durga.

BTW, that painting is obscenely wrong. Draupadi was dark, and her beauty was ethereal - from a past age, while that depiction looks exceedingly English.

Offline Nichi

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Re: The MAHABHARATA
« Reply #13 on: October 03, 2015, 02:46:45 PM »
BTW, that painting is obscenely wrong. Draupadi was dark, and her beauty was ethereal - from a past age, while that depiction looks exceedingly English.

Sorry about that. Are any of these better?

Incidently, while I'm sure it's by no means complete, this is a good sketch of all the complexities of her story. https://en.wikipedia.org/wiki/Draupadi
Not here, not there, but everywhere - always right before your eyes.
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Offline Michael

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Re: The MAHABHARATA
« Reply #14 on: October 04, 2015, 09:16:01 PM »
That was interesting about her love for Karna - didn't know that, but it certainly makes sense.

 

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