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April 23    Scripture

People - Ancient Greece: Sophocles
One of the great Ancient Greek tragedians, who lived from c. 497/6 BCE - winter 406/5 BCE.

Sophŏcles in Harpers Dictionary of Classical Antiquities (1898) The second of the three great Greek tragedians, son of Sophilus or Sophillus, the wealthy owner of a manufactory of arms. He was born about B.C. 495 in the deme Colonus near Athens. He received a careful education in music, gymnastics, and dancing, and as a boy of fifteen was chosen to lead the paean sung by the chorus of boys after the victory of Salamis (Athen. p. 20). He afterwards showed his musical skill in public, when he represented the blind singer Thamyris in his drama of the same name, and played the cithara with such success that he was painted as Thamyris with the cithara in the Stoa Poicilé. Again, in the play called the Nausicaa, he won for himself general admiration in acting the part of the Phaeacian princess, by the dexterity and grace with which he struck the ball Sophocles. (Lateran Museum, Rome.) (Athen. p. 20 E). In all things his external appearance and demeanour were the reflex of a lofty mind. At his very first appearance as a tragic poet in 468, when twenty-seven years old, at the Great Dionysia, he gained a victory over Aeschylus, who was thirty years older, and from that time to extreme old age he kept the first place in tragedy. Unlike Aeschylus and Euripides, he never accepted the invitations of foreign princes. Though possessing no special inclination or fitness for political affairs, as his friend, the poet Ion of Chios, declares, he yet took his place in public life. Thus, in B.C. 440, he was one of the ten generals who, with Pericles, were in command of the fleet sent against Samos. Owing to his practical skill he was also employed in negotiations with the allies of Chios and Samos. During the Peloponnesian War he was again one of the generals, together with Nicias. In 435, as Hellenotamias, he was at the head of the management of the treasure of the allies, which was kept on the Acropolis; and, when the question arose in 413, of giving to the State an oligarchical constitution, he was on the commission of preliminary investigation (C. I. A. i. 237). The charm and refinement of his character seem to have won him many friends. Among them was the historian Herodotus, who much resembled him in taste and temperament. He was also deemed by the ancients a man specially beloved by the gods, especially by Asclepius, whose priest he probably was, and who was said to have granted him health and vigour of mind to extreme old age. By the Athenian Nicostraté he had a son, Iophon , who won some repute as a tragic poet, and by Theoris of Sicyon another son, Ariston, father of the Sophocles who gained fame for himself by tragedies of his own, and afterwards by the production of his grandfather's dramas. There was a story that a quarrel arose between Sophocles and his son Iophon , on account of his preference for this grandson, and that, when summoned by Iophon before the court as weak in mind and unable to manage his affairs, he obtained his own absolute acquittal by reading the parodos on his native place in the Oedipus Coloneus, just written, but not yet produced (Plutarch, Moral. p. 775 B). But this appears to be a legend founded on a misunderstood pleasantry of a comic poet. The tales of his death, which happened in B.C. 405, are also mythical. According to one account, he was choked by a grape; according to others, he died either when publicly reciting the Antigoné, or from excessive joy at some dramatic victory. The only fact unanimonsly attested by his contemporaries is, that his death was as dignified as his life. A singular story is connected even with his funeral. We are told that Dionysus, by repeated apparitions in dreams, prompted the general of the Spartans, who were then investing Athens, to grant a truce for the burial of the poet in the family grave outside the city. On his tomb stood a Siren as a symbol of the charm of poetry. After his death the Athenians worshipped him as a hero and offered an annual sacrifice in his memory. In later times, on the proposal of the orator Lycurgus, a bronze statue was erected to him, together with Aeschylus and Euripides, in the theatre; and of his dramas, as of theirs, an authorized and standard copy was made, in order to protect them against arbitrary alterations. Sophocles was a very prolific poet. The number of his plays is given as between 123 and 130, of which above 100 are known to us by their titles and by fragments; but only seven have been preserved complete: the Trachiniae (so named from the chorus, and treating of the death of Heracles), the Ajax, the Philoctetes, the Electra, the Oedipus Tyrannus, the Oedipus at Colonus, and the Antigoné. The last-mentioned play was produced in the spring of 440; the Philoctetes in 410; the Oedipus at Colonus was not put on the stage until 401, after his death, by his grandson Sophocles. Besides tragedies, Sophocles composed paeans, elegies, epigrams, and a work in prose on the chorus. With his tragedies he gained the first prize more than twenty times, and still more often the second, but never the third. Even in his lifetime, and indeed through the whole of antiquity, he was held to be the most perfect of tragedians; one of the ancient writers calls him the “pupil of Homer.” If Aeschylus is the creator of Greek tragedy, it was Sophocles who brought it to perfection. He extended the dramatic action * 1. by the introduction of a third actor, while in his last pieces he even added a fourth; and * 2. by a due subordination of the chorus, to which, however, he gave a more artistic development, while he increased its numbers from twelve to fifteen persons. (See Reissenmayer, De Choro Sophocleo [1878]). He also perfected the costumes and decoration. Rejecting the plan of Aeschylus, by which one story was carried through three successive plays, he made every tragedy into a complete work of art, with a separate and complete action, the motives for every detail being most skilfully devised. His art was especially shown in the way in which the action is developed from the character of the dramatis personae. Sophocles' great mastery of his art appears, above all, in the clearness with which he portrays his characters, which are developed with a scrupulous attention to details, and in which he does not content himself, like Aeschylus, with mere outlines, nor, as Euripides often did, with copies from common life. His heroes, too, are ideal figures, like those of Aeschylus (Aristot. Poet. 25). While they lack the superhuman loftiness of the earlier poet's creations, they have a certain ideal truth of their own. Sophocles succeeded in doing what was impossible for Aeschylus and Euripides with their peculiar temperaments, in expressing the nobility of the female character, in its gentleness as well as in its heroic courage. In contrast to Euripides, Sophocles, like Aeschylus, is profoundly religious; and the attitude which he adopts towards the popular religion is marked by an instinctive reverence. The grace peculiar to Sophocles' nature makes itself felt even in his language, the charm of which was universally praised by the ancients. With his noble simplicity he takes in this respect also a middle place between the weightiness and boldness of the language of Aeschylus and the smoothness and rhetorical embellishment which distinguish that of Euripides. The seven existing plays of Sophocles are all found in the same Codex Laurentianus in Florence that contains the plays of Aeschylus. Cobet regards all the other extant MSS. of the plays as derived from this. Few of them have the whole seven. Of these, two (a Codex Parisinus of the thirteenth century and a Codex Venetus of the fourteenth) are the best. See Meifert, De Sophoclis Codicibus (1891). The editio princeps of Sophocles appeared at Venice in 1502. The chief editions of the entire seven plays are those of Brunck, 4 vols. (1786-89); G. Herrmann (1830-41); Wunder (1847-1878); Dindorf (Leipzig, 1825); Schneidewin, rev. by Nauck (Berlin, 1877-82); and Wolff (Leipzig, 1858-65). Annotated English editions are those of Blaydes and Paley, 2 vols. (1859-80); L. Campbell, 2 vols. (1871-81); and Jebb, vols. i.-v. (Cambridge, 1884- 95). There are editions of separate plays with English notes by various scholars, among them the Oedipus Tyrannus by Jebb (1884), and by White (1890); the Oedipus Coloneus by Paley (1881), the Antigoné by Paley (1881), and by D'Ooge (1890); of the Philoctetes by Graves (1893); of the Electra by Jebb (1870); of the Ajax by Jebb (1869); and of the Trachiniae by Pretor (1877). There is a lexicon to Sophocles by Ellendt (2d ed. revised by Genthe, Berlin, 1867-72), with a supplementary Index Commentationum (1874). There is a good translation of Sophocles into English verse by Plumptre (1871), and one by Campbell (1873). For general criticism, etc., see Hense, Studien zu Sophocles (1880); Patin, Études sur les Tragiques Grecs, vol. ii. (last ed. 1877); Campbell, Sophocles (1879); id. A Guide to Greek Tragedy (1891); Schlegel's Lectures; Kennedy's Studia Sophoclea (1874); and Ribbeck, Sophokles und Seine Tragödien (1869). On his language, style, etc., see the following monographs: Altum, Similitudines Homeri cum Sophoclis (1855); Borschke, Aeschylus und Sophocles (1872); Lichtenstein, Shakspeare and Sophocles (1850); Fleischmann, Kunst der Characteristik bei Sophokles (1875); Harmsen, De Collocatione Verborum apud Sophoclem (1880); Hartz, De Anacoluthis apud Sophoclem (1856); Jacobi, De Usu Alliterationis apud Sophoclem (1872); Juris, De Sophoclis Verbis Singularibus (1876); Maenss, Die Präpositionen bei Sophokles (1883); Schindler, De Sophocle Verborum Inventore (1877); Struve, De Dictione Sophoclis (1854); Schlegel, Die tragische Ironie bei Sophokles (1869); Fittbogen, De Sophoclis Sententiis Ethicis (1842); and Koch, De Proverbiis apud Sophoclem (1892).
http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.04.0062%3Aalphabetic+letter%3DS%3Aentry+group%3D15%3Aentry%3Dsophocles-harpers


Sophocles in Wikipedia Sophocles (pronounced /ˈsɒfəkliːz/ Σοφοκλῆς Sophoklēs, his name was very likely pronounced [sopʰoklɛ̂ːs]; (c. 497/6 BCE - winter 406/5 BCE)[1] was the second of the three ancient Greek tragedians whose work has survived. His first plays were written later than those of Aeschylus and earlier than those of Euripides. According to the Suda, a 10th century encyclopedia, Sophocles wrote 123 plays during the course of his life, but only seven have survived in a complete form: Ajax, Antigone, Trachinian Women, Oedipus the King, Electra, Philoctetes and Oedipus at Colonus.[2] For almost 50 years, Sophocles was the most-feted playwright in the dramatic competitions of the city-state of Athens that took place during the religious festivals of the Lenaea and the Dionysia. Sophocles competed in around 30 competitions; he won perhaps 24 and was never judged lower than second place; in comparison, Aeschylus won 14 competitions and was defeated by Sophocles at times, while Euripides won only 4 competitions.[3] The most famous of Sophocles' tragedies are those concerning Oedipus and Antigone: these are often known as the Theban plays, although each play was actually a part of different tetralogy, the other members of which are now lost. Sophocles influenced the development of the drama, most importantly by adding a third actor and thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights such as Aeschylus.[4] Life Sophocles, the son of Sophilos, was a wealthy member of the rural deme (small community) of Colonus Hippius in Attica, which would later become a setting for one of his plays, and he was probably born there.[1][5] His birth took place a few years before the Battle of Marathon in 490 BC: the exact year is unclear, although 497/6 is perhaps most likely.[1][6] Sophocles' first artistic triumph was in 468 BC, when he took first prize in the Dionysia theatre competition over the reigning master of Athenian drama, Aeschylus.[1][7] According to Plutarch the victory came under unusual circumstances. Instead of following the custom of choosing judges by lot, the archon asked Cimon and the other strategoi present to decide the victor of the contest. Plutarch further contends that Aeschylus soon left for Sicily following this loss to Sophocles.[8] Although Plutarch says that this was Sophocles' first production, it is now thought that this is an embellishment of the truth and that his first production was most likely in 470 BC.[5] Triptolemus was probably one of the plays that Sophocles presented at this festival.[5] Sophocles became a man of importance in the public halls of Athens as well as in the theatres. At the age of 16, he was chosen to lead the paean, a choral chant to a god, celebrating the decisive Greek sea victory over the Persians at the Battle of Salamis. The rather insufficient information about Sophocles’ civic life implies he was a well-liked man who participated in activities in society and showed remarkable artistic ability. He was also elected as one of ten strategoi, high executive officials that commanded the armed forces, as a junior colleague of Pericles. Sophocles was born extremely wealthy (his father was a wealthy armour manufacturer) and was highly educated throughout his entire life. Early in his career, the politician Cimon might have been one of his patrons, although if he was there was no ill will borne by Pericles, Cimon's rival, when Cimon was ostracized in 461 BC[1] In 443/2 he served as one of the Hellenotamiai, or treasurers of Athena, helping to manage the finances of the city during the political ascendancy of Pericles.[1] According to the Vita Sophoclis he served as a general in the Athenian campaign against Samos, which had revolted in 441 BC; he was supposed to have been elected to his post as the result of his production of Antigone.[9] In 420 he welcomed and set up an altar for the image of Asclepius at his house, when the deity was introduced to Athens. For this he was given the posthumous epithet Dexion (receiver) by the Athenians.[10] He was also elected, in 413 BC, to be one of the commissioners crafting a response to the catastrophic destruction of the Athenian expeditionary force in Sicily during the Peloponnesian War.[11] Sophocles died at the age of ninety or ninety-one in the winter of 406/5 BC, having seen within his lifetime both the Greek triumph in the Persian Wars and the terrible bloodletting of the Peloponnesian War.[1] As with many famous men in classical antiquity, Sophocles' death inspired a number of apocryphal stories about the cause. Perhaps the most famous is the suggestion that he died from the strain of trying to recite a long sentence from his Antigone without pausing to take a breath. Another account suggests he choked while eating grapes at the Anthesteria festival in Athens. A third account holds that he died of happiness after winning his final victory at the City Dionysia.[12] A few months later, the comic poet wrote this eulogy in his play titled The Muses: "Blessed is Sophocles, who had a long life, was a man both happy and talented, and the writer of many good tragedies; and he ended his life well without suffering any misfortune."[13] This is somewhat ironic, for according to some accounts his own sons tried to have him declared incompetent near the end of his life; he is said to have refuted their charge in court by reading from his as yet unproduced Oedipus at Colonus.[14] One of his sons, Iophon, and a grandson, also called Sophocles, both followed in his footsteps to become playwrights.[15] Sophocles as erastês It was common in fifth-century Greece for men of the upper classes to cultivate sexual relationships with adolescent boys. Sophocles was one such participant in the relationship between the erastês ("lover") and eromenos ("beloved").[16] Athenaeus reports two stories of this kind, one, if authentic, from a contemporary: a symposium in which Sophocles cleverly steals a kiss from the boy sitting next to him,[17] and another in which Sophocles entices a young boy to have sex outside the walls of Athens, and the boy takes Sophocles' cloak.[18] According to Plutarch, when he caught Sophocles admiring a young boy's looks, Pericles rebuked him for neglecting his duty as a strategos.[19] Sophocles' sexual appetite reportedly lasted well into old age. In The Republic (1.329b-329c) Plato tells us that when he finally succumbed to impotence, Sophocles was glad to be free of his "raging and savage beast of a master."[20] It is debatable how far such anecdotes were invented as references to this well-known passage. In yet another such account, a satirical one by Machon involving a hetaira known for her ironical sense of humor, we are told that, "Demophon, Sophocles' minion, when still a youth had Nico, already old and surnamed the she-goat; they say she had very fine buttocks. One day he begged of her to lend them to him. 'Very well,' she said with a smile,—'Take from me, dear, what you give to Sophocles.'"[21][22] Works and legacy Among Sophocles' earliest innovations was the addition of a third actor, which further reduced the role of the chorus and created greater opportunity for character development and conflict between characters.[4] Aeschylus, who dominated Athenian playwrighting during Sophocles' early career, followed suit and adopted the third character into his own work towards the end of his life.[4] Aristotle credits Sophocles with the introduction of skenographia, or scenery-painting. It was not until after the death of the old master Aeschylus in 456 BCE that Sophocles became the pre-eminent playwright in Athens.[1] Thereafter, Sophocles emerged victorious in dramatic competitions at 18 Dionysia and 6 Lenaia festivals.[1] In addition to innovations in dramatic structure, Sophocles' work is also known for its deeper development of characters than earlier playwrights.[4] His reputation was such that foreign rulers invited him to attend their courts, although unlike Aeschylus who died in Sicily, or Euripides who spent time in Macedon, Sophocles never accepted any of these invitations.[1] Aristotle used Sophocles' Oedipus the King in his Poetics (c. 335 BCE) as an example of the highest achievement in tragedy, which suggests the high esteem in which his work was held by later Greeks.[23] Only two of the seven surviving plays[24] can be dated securely: Philoctetes (409 BCE) and Oedipus at Colonus (401 BCE, staged after Sophocles' death by his grandson). Of the others, Electra shows stylistic similarities to these two plays, which suggests that it was probably written in the latter part of his career. Ajax, Antigone and The Trachiniae are generally thought to be among his early works, again based on stylistic elements, with Oedipus the King coming in Sophocles' middle period. Most of Sophocles' plays show an undercurrent of early fatalism and the beginnings of Socratic logic as a mainstay for the long tradition of Greek tragedy.[25][26] The Theban plays The Theban plays consist of three plays: Antigone, Oedipus the King (also called Oedipus Tyrannus or Oedipus Rex), and Oedipus at Colonus. All three plays concern the fate of Thebes during and after the reign of King Oedipus.[27] They have often been published under a single cover.[28] Sophocles, however, wrote the three plays for separate festival competitions, many years apart. Not only are the Theban plays not a true trilogy (three plays presented as a continuous narrative) but they are not even an intentional series and contain some inconsistencies among them.[27] He also wrote other plays having to do with Thebes, such as The Progeny, of which only fragments have survived.[29] Subjects Each of the plays relates to the tale of the mythological Oedipus, who killed his father and married his mother without knowledge that they were his parents. His family is fated to be doomed for three generations. In Oedipus the King, Oedipus is the protagonist. Oedipus' infanticide is planned by his parents, Laius and Jocasta, to avert him fulfilling a prophecy ; in truth, the servant entrusted with the infanticide passes the infant on through a series of intermediaries to a childless couple, who adopt him not knowing his history. Oedipus eventually learns of the Delphic Oracle's prophecy of him, that he would kill his father and marry his mother ; Oedipus attempts to flee his fate without harming his parents (at this point, he does not know that he is adopted). Oedipus meets a man at a crossroads accompanied by servants; Oedipus and the man fought, and Oedipus killed the man. (This man was his father, Laius, not that anyone apart from the gods knew this at the time). He becomes the ruler of Thebes after solving the riddle of the sphinx and in the process, marries the widowed Queen, his mother Jocasta. Thus the stage is set for horrors. When the truth comes out, folling from another true but confusing prophecy from Delphi, Jocasta commits suicide, Oedipus blinds himself and leaves Thebes, and the children are left to sort out the consequences themselves (which provides the grounds for the later parts of the cycle of plays). In Oedipus at Colonus, the banished Oedipus and his daughters Antigone and Ismene arrive at the town of Colonus where they encounter Theseus, King of Athens. Oedipus dies and strife begins between his sons Polyneices and Eteocles. In Antigone the protagonist is Oedipus' daughter. Antigone is faced with the choice of allowing her brother Polyneices' body to remain unburied, outside the city walls, exposed to the ravages of wild animals, or to bury him and face death. The king of the land, Creon, has forbidden the burial of Polyneices for he was a traitor to the city. Antigone decides to bury his body and face the consequences of her actions. Creon sentences her to death. Eventually, Creon is convinced to free Antigone from her punishment, but his decision comes too late and Antigone commits suicide. Her suicide triggers the suicide of two others close to King Creon: his son, Haemon, who was to wed Antigone, and his wife who commits suicide after losing her only surviving son. Composition and inconsistencies The plays were written across thirty-six years of Sophocles' career and were not composed in chronological order, but instead were written in the order Antigone, Oedipus the King, and Oedipus at Colonus. Nor were they composed as a trilogy - a group of plays to be performed together, but are the remaining parts of three different groups of plays. As a result, there are some inconsistencies: notably, Creon is the undisputed king at the end of Oedipus the King and, in consultation with Apollo, single-handedly makes the decision to expel Oedipus from Thebes. Creon is also instructed to look after Oedipus' daughters Antigone and Ismene at the end of Oedipus the King. By contrast, in the other plays there is some struggle with Oedipus' sons Eteocles and Polynices in regard to the succession. In Oedipus at Colonus, Sophocles attempts to work these inconsistencies into a coherent whole: Ismene explains that, in light of their tainted family lineage, her brothers were at first willing to cede the throne to Creon. Nevertheless, they eventually decided to take charge of the monarchy, with each brother disputing the other's right to succeed. In addition to being in a clearly more powerful position in Oedipus at Colonus, Eteocles and Polynices are also culpable: they condemn their father to exile, which is one of his bitterest charges against them.[27] Other plays Other than the three Theban plays, there are four surviving plays by Sophocles: Ajax, The Trachiniae, Electra, and Philoctetes, the last of which won first prize.[30] Ajax focuses on the proud hero of the Trojan War, Telamonian Ajax, who is driven to treachery and eventually suicide. Ajax becomes gravely upset when Achilles’ armor is presented to Odysseus instead of himself. Despite their enmity toward him, Odysseus persuades the kings Menelaus and Agamemnon to grant Ajax a proper burial. The Trachiniae (named for the Trachinian women who make up the chorus) dramatizes Deianeira's accidentally killing Heracles after he had completed his famous twelve labors. Tricked into thinking it is a love charm, Deianeira applies poison to an article of Heracles' clothing; this poisoned robe causes Heracles to die an excruciating death. Upon learning the truth, Deianeira commits suicide. Electra Corresponds roughly to the plot of Aeschylus' Libation Bearers. It details how Electra and Orestes' avenge their father Agamemnon's murder by Clytemnestra and Aegisthus. Philoctetes retells the story of Philoctetes, an archer who had been abandoned on Lemnos by the rest of the Greek fleet while on the way to Troy. After learning that they cannot win the Trojan War without Philoctetes' bow, the Greeks send Odysseus and Neoptolemus to retrieve him; due to the Greeks' earlier treachery, however, Philoctetes refuses to rejoin the army. It is only Heracles' deus ex machina appearance that persuades Philoctetes to go to Troy. Fragmentary plays Fragments of The Tracking Satyrs (Ichneutae) were discovered in Egypt in 1907.[31] These amount to about half of the play, making it the best preserved satyr play after Euripides' Cyclops, which survives in its entirety.[31] Fragments of The Progeny (Epigonoi) were discovered in April 2005 by classicists at Oxford University with the help of infrared technology previously used for satellite imaging. The tragedy tells the story of the second siege of Thebes.[29] A number of other Sophoclean works have survived only in fragments, including: * Aias Lokros (Ajax the Locrian) * Akhaiôn Syllogos (The Gathering of the Achaeans) * Aleadae (The Sons of Aleus) * Creusa * Eurypylus * Hermione * Inachos * Lacaenae (Lacaenian Women) * Manteis or Polyidus (The Prophets or Polyidus) * Nauplios Katapleon (Nauplius' Arrival) * Nauplios Pyrkaeus (Nauplius' Fires) * Niobe * Oeneus * Oenomaus * Poimenes (The Shepherds) * Polyxene * Syndeipnoi (The Diners, or, The Banqueters) * Tereus * Thyestes * Troilus * Phaedra * Triptolemus * Tyro Keiromene (Tyro Shorn) * Tyro Anagnorizomene (Tyro Rediscovered). Sophocles' view of his own work There is a passage of Plutarch's tract De Profectibus in Virtute 7 in which Sophocles discusses his own growth as a writer. A likely source of this material for Plutarch was the Epidemiae of Ion of Chios, a book that recorded many conversations of Sophocles. This book is a likely candidate to have contained Sophocles' discourse on his own development because Ion was a friend of Sophocles, and the book is known to have been used by Plutarch.[32] Though some interpretations of Plutarch's words suggest that Sophocles says that he imitated Aeschylus, the translation does not fit grammatically, nor does the interpretation that Sophocles said that he was making fun of Aeschylus' works. C. M. Bowra argues for the following translation of the line: "After practising to the full the bigness of Aeschylus, then the painful ingenuity of my own invention, now in the third stage I am changing to the kind of diction which is most expressive of character and best."[33] Here Sophocles says that he has completed a stage of Aeschylus' work, meaning that he went through a phase of imitating Aeschylus' style but is finished with that. Sophocles' opinion of Aeschylus was mixed. He certainly respected him enough to imitate his work early on in his career, but he had reservations about Aeschylus' style,[34] and thus did not keep his imitation up. Sophocles' first stage, in which he imitated Aeschylus, is marked by "Aeschylean pomp in the language".[35] Sophocles' second stage was entirely his own. He introduced new ways of evoking feeling out of an audience, like in his Ajax when he is mocked by Athene, then the stage is emptied so that he may commit suicide alone.[36] Sophocles mentions a third stage, distinct from the other two, in his discussion of his development. The third stage pays more heed to diction. His characters spoke in a way that was more natural to them and more expressive of their individual character feelings.[37]
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