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This lesson presents excerpts from the crucifixion sequence of Passio Christi (lines 181-360), the emotional and theological center of the second Ordinalia play. These passages demonstrate how fronting patterns intensify during moments of high dramatic tension, with word order violations serving both poetic meter and theological emphasis. The crucifixion scene employs sophisticated fronting to convey the cosmic significance of Christ's death while maintaining the ABABABAB rhyme scheme essential to Middle Cornish dramatic verse.
Historical Context: The Ordinalia crucifixion would have been performed at the center of the plen-an-gwary, with Christ elevated on a scaffold representing Calvary. The sophisticated fronting patterns helped project key theological points across the outdoor amphitheater while creating dramatic emphasis through syntactic disruption.
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What is this text about? The crucifixion sequence depicts Christ's suffering on the cross, dialogue with the two thieves, mockery by soldiers, and the cosmic disturbances accompanying his death. The text demonstrates how emotional intensity drives fronting frequency, with objects of suffering, instruments of torture, and cosmic phenomena consistently moved to sentence-initial position.
How the text will be used We examine fifteen examples showing how fronting creates emotional emphasis and maintains complex rhyme patterns. Each example illustrates different aspects of "passion fronting" - the syntactic patterns specific to expressing suffering and redemption in Middle Cornish religious drama.
Educational Value This material suits intermediate learners ready to encounter emotionally charged literary texts. Understanding crucifixion fronting patterns is essential for reading medieval Cornish passion plays and religious poetry, where suffering and salvation are expressed through word order manipulation.
Fronting Pattern Preview The crucifixion sequence exhibits: -
Instrument fronting (tools of torture) [IF] -
Body-part fronting (physical suffering) [BPF] -
Cosmic phenomenon fronting [CPF] -
Temporal marker fronting [TMF] -
Exclamatory fronting [EF]
Key Takeaways -
Emotional intensity correlates with fronting frequency -
Instruments of passion consistently front for emphasis -
Cosmic disturbances front as active subjects -
Temporal markers frame salvific moments -
Understanding these patterns unlocks medieval religious expression
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11.1a Kentrow (KEN-trow) nails hir (heer) long res (rehs) necessary yw (yoo) is dhyn (dheen) to-us [IF]
11.1b Kentrow (KEN-trow) nails hir (heer) long res (rehs) necessary yw (yoo) is dhyn (dheen) to-us
11.2a Rag (rahg) for staga (STAH-gah) fasten Krist (kreest) Christ dhe'n (dhen) to-the pren (prehn) wood [Purpose fronting]
11.2b Rag (rahg) for staga (STAH-gah) fasten Krist (kreest) Christ dhe'n (dhen) to-the pren (prehn) wood
11.3a Y (ee) his dhywla (DHEW-lah) two-hands ha'y (high) and-his dhywdros (dhew-DROHS) two-feet [BPF]
11.3b Y (ee) his dhywla (DHEW-lah) two-hands ha'y (high) and-his dhywdros (dhew-DROHS) two-feet
11.4a Fast (fahst) firm y (ee) PART fynn' (fin) will aga (AH-gah) them settya (SET-yah) set
11.4b Fast (fahst) firm y (ee) PART fynn' (fin) will aga (AH-gah) them settya (SET-yah) set
11.5a An (an) the howl (howl) sun a (ah) PART gyllas (GIL-las) lost y (ee) its golow (GOH-low) light [CPF]
11.5b An (an) the howl (howl) sun a (ah) PART gyllas (GIL-las) lost y (ee) its golow (GOH-low) light
11.6a Tewlder (TEW-lder) darkness a (ah) PART dheth (dhehth) came war (wahr) on an (an) the nor (nohr) earth [CPF]
11.6b Tewlder (TEW-lder) darkness a (ah) PART dheth (dhehth) came war (wahr) on an (an) the nor (nohr) earth
11.7a Pan (pan) when veu (vew) was Krist (kreest) Christ krowsys (KROW-sis) crucified [TMF]
11.7b Pan (pan) when veu (vew) was Krist (kreest) Christ krowsys (KROW-sis) crucified
11.8a Tri (tree) three eur (er) hour a (ah) of dywes (DEW-es) day po (poh) or moy (moy) more
11.8b Tri (tree) three eur (er) hour a (ah) of dywes (DEW-es) day po (poh) or moy (moy) more
11.9a Ow (ow) O Tas (tahs) Father prag (prahg) why y'm (eem) me gwesas (GWEH-sas) forsake? [EF]
11.9b Ow (ow) O Tas (tahs) Father prag (prahg) why y'm (eem) me gwesas (GWEH-sas) forsake?
11.10a Eli (EH-lee) Eli Eli (EH-lee) Eli lama (LAH-mah) lama sabachthani (sah-bakh-THAH-nee) sabachthani [EF]
11.10b Eli (EH-lee) Eli Eli (EH-lee) Eli lama (LAH-mah) lama sabachthani (sah-bakh-THAH-nee) sabachthani
11.11a Lader (LAH-der) thief da (dah) good kofha (KOV-hah) remember ahanan (ah-HAN-an) of-me
11.11b Lader (LAH-der) thief da (dah) good kofha (KOV-hah) remember ahanan (ah-HAN-an) of-me
11.12a Pan (pan) when dheffo (DHEF-foh) you-come yn (in) in dha (dhah) your wlaskor (WLAS-kor) kingdom [TMF]
11.12b Pan (pan) when dheffo (DHEF-foh) you-come yn (in) in dha (dhah) your wlaskor (WLAS-kor) kingdom
11.13a Hedhyw (HEDH-yoo) today genes (GEN-es) with-me ty (tee) you a (ah) PART vydh (veedh) will-be [TMF]
11.13b Hedhyw (HEDH-yoo) today genes (GEN-es) with-me ty (tee) you a (ah) PART vydh (veedh) will-be
11.14a Yn (in) in paradys (par-ah-DEES) paradise yn (in) in certan (KER-tan) certain
11.14b Yn (in) in paradys (par-ah-DEES) paradise yn (in) in certan (KER-tan) certain
11.15a Gorfennys (gor-FEN-nis) finished yw (yoo) is lemmyn (LEM-min) now oll (ohl) all tra (trah) thing
11.15b Gorfennys (gor-FEN-nis) finished yw (yoo) is lemmyn (LEM-min) now oll (ohl) all tra (trah) thing
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11.1 Kentrow hir res yw dhyn "Long nails are necessary for us" [IF - Instrument fronting]
11.2 Rag staga Krist dhe'n pren "To fasten Christ to the wood" [Purpose fronting]
11.3 Y dhywla ha'y dhywdros "His two hands and his two feet" [BPF - Body part fronting]
11.4 Fast y fynn' aga settya "Firmly they will set them" [Manner fronting]
11.5 An howl a gyllas y golow "The sun lost its light" [CPF - Cosmic phenomenon fronting]
11.6 Tewlder a dheth war an nor "Darkness came upon the earth" [CPF - Cosmic subject fronting]
11.7 Pan veu Krist krowsys "When Christ was crucified" [TMF - Temporal clause fronting]
11.8 Tri eur a dywes po moy "Three hours of day or more" [Duration fronting]
11.9 Ow Tas, prag y'm gwesas? "O Father, why did you forsake me?" [EF - Exclamatory fronting]
11.10 Eli Eli, lama sabachthani "My God, my God, why have you forsaken me?" [EF - Hebrew preserved]
11.11 Lader da, kofha ahanan "Good thief, remember me" [Vocative fronting]
11.12 Pan dheffo yn dha wlaskor "When you come into your kingdom" [TMF - Future temporal]
11.13 Hedhyw genes ty a vydh "Today with me you will be" [TMF - Immediate temporal]
11.14 Yn paradys yn certan "In paradise certainly" [Locative fronting]
11.15 Gorfennys yw lemmyn oll tra "All things are now finished" [Predicate fronting]
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11.1 Kentrow hir res yw dhyn
11.2 Rag staga Krist dhe'n pren
11.3 Y dhywla ha'y dhywdros
11.4 Fast y fynn' aga settya
11.5 An howl a gyllas y golow
11.6 Tewlder a dheth war an nor
11.7 Pan veu Krist krowsys
11.8 Tri eur a dywes po moy
11.9 Ow Tas, prag y'm gwesas?
11.10 Eli Eli, lama sabachthani
11.11 Lader da, kofha ahanan
11.12 Pan dheffo yn dha wlaskor
11.13 Hedhyw genes ty a vydh
11.14 Yn paradys yn certan
11.15 Gorfennys yw lemmyn oll tra
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These are the grammar rules for this text
The crucifixion sequence demonstrates five specialized fronting patterns:
1. Instrument Fronting [IF]: "Kentrow hir" (long nails) fronts to emphasize the tools of torture. This pattern appears consistently with passion instruments: nails, cross, spear, crown of thorns.
2. Body-Part Fronting [BPF]: "Y dhywla ha'y dhywdros" uses dual forms (two-hands, two-feet) fronted to emphasize physical suffering. The dual number adds specificity to the crucifixion wounds.
3. Cosmic Phenomenon Fronting [CPF]: "An howl" (the sun) and "Tewlder" (darkness) front as active subjects, showing creation's response to deicide. These follow standard subject fronting but carry theological weight.
4. Temporal Marker Fronting [TMF]: "Pan veu Krist krowsys" fronts the entire temporal clause. "Hedhyw" (today) fronts to emphasize immediate salvation, challenging purgatorial theology.
5. Exclamatory Fronting [EF]: "Ow Tas" and "Eli Eli" show vocative fronting in extreme emotion. The preservation of Hebrew/Aramaic maintains scriptural authenticity while Cornish syntax frames it.
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Confusing dual and plural forms: dhywla (two hands) vs. dornow (hands) -
Misplacing temporal particles: "Pan" requires past tense, "pan dheffo" uses subjunctive -
Forgetting particle after fronting: "An howl a gyllas" needs a -
Wrong mutation after prepositions: dhe'n causes no mutation, war causes soft mutation
English emphasizes through stress: "NAILS we need for the cross" Cornish emphasizes through position: "Kentrow hir res yw dhyn"
English keeps word order in exclamations: "My God, why have you forsaken me?" Cornish may front the vocative: "Eli Eli, lama sabachthani"
English uses auxiliary verbs: "The sun has lost its light" Cornish fronts subject with simple past: "An howl a gyllas y golow"
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Identify element for emphasis (instrument/body part/cosmic event) -
Move to sentence-initial position -
Add particle a after subjects/objects -
Use particle y after adverbials -
Maintain verb form appropriate to construction -
Apply mutations as required
Particle Distribution: -
a: after fronted subjects and objects (An howl a gyllas) -
y: after fronted adverbials (Fast y fynn') -
pan: introduces fronted temporal clauses -
No particle after vocatives (Ow Tas, Lader da)
Mutation Patterns: -
Soft mutation after dhe'n: pren (wood) unchanged as p→b applies -
Soft mutation after war: an nor (the earth) -
No mutation after y particle -
Mixed mutation rare in this passage
Dual Number Usage: -
dhywla (two-hands) not dornow (hands) -
dhywdros (two-feet) not treys (feet) -
Emphasizes the specific wounds of crucifixion
Word Order Variations: -
VSO basic: Kyllas an howl y golow -
SVO with fronting: An howl a gyllas y golow -
OVS possible: Kentrow hir res yw dhyn -
Temporal first: Pan veu Krist krowsys...
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The crucifixion sequence represents the theological and dramatic apex of the Ordinalia. Medieval Cornish audiences experienced this as participatory worship, not mere entertainment. The plen-an-gwary's circular structure meant the audience surrounded the action, creating communal witness to sacred events.
The preservation of Christ's words in Hebrew/Aramaic ("Eli Eli, lama sabachthani") within Cornish syntax reflects medieval reverence for scriptural accuracy. While the dramatic dialogue could be adapted to Cornish verse requirements, Christ's actual words remained inviolate, creating a multilingual texture that emphasized the universal significance of the passion.
The cosmic disturbances (sun darkening, earthquake) received elaborate staging effects. Contemporary accounts describe mechanical devices for shaking the scaffold and cloth coverings to darken the playing space. The fronting of these cosmic elements grammatically mirrors their theological importance - creation itself protests the death of its creator.
The Good Thief episode demonstrates medieval salvation theology. The immediate promise of paradise ("Hedhyw genes ty a vydh yn paradys") challenged contemporary emphasis on purgatory. This theological boldness appears through syntactic emphasis - "Hedhyw" fronts to stress "today," not after purgatorial purification.
The specific mention of "tri eur" (three hours) of darkness connects to the canonical hours of prayer. Medieval audiences would recognize None (the ninth hour) as the time of Christ's death, linking the dramatic performance to their daily liturgical rhythm. The temporal precision, emphasized through fronting, transforms theatrical time into sacred time.
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F.1a Marthol (MAR-thol) marvelous yw (yoo) is an (an) the trublyans (trub-LYANS) trouble
F.1b Marthol (MAR-thol) marvelous yw (yoo) is an (an) the trublyans (trub-LYANS) trouble
F.2a A (ah) PART dheu (dhew) comes lemmyn (LEM-min) now war (wahr) on an (an) the bys (bees) world
F.2b A (ah) PART dheu (dhew) comes lemmyn (LEM-min) now war (wahr) on an (an) the bys (bees) world
F.1 Marthol yw an trublyans "Marvelous is the trouble"
F.2 A dheu lemmyn war an bys "That comes now upon the world"
F.1 Marthol yw an trublyans F.2 A dheu lemmyn war an bys
This couplet demonstrates predicate fronting where "Marthol" (marvelous) precedes the copula "yw" for emphasis. The relative clause "a dheu lemmyn war an bys" maintains standard relative particle usage after the fronted predicate. The word "trublyans" (trouble/disturbance) carries both physical (earthquake) and spiritual (cosmic disruption) meaning, while the temporal "lemmyn" emphasizes the immediate present of the passion event.
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G.1a Meyn (mayn) stones a (ah) PART dhivarr (dhee-VAR) split yn (in) in dew (dew) two
G.1b Meyn (mayn) stones a (ah) PART dhivarr (dhee-VAR) split yn (in) in dew (dew) two
G.2a An (an) the dor (dohr) earth a (ah) PART grenn (gren) trembles fest (fehst) greatly
G.2b An (an) the dor (dohr) earth a (ah) PART grenn (gren) trembles fest (fehst) greatly
G.3a Lyen (LEE-en) veil an (an) the tempel (TEM-pel) temple a (ah) PART skardhas (SKAR-dhas) tore
G.3b Lyen (LEE-en) veil an (an) the tempel (TEM-pel) temple a (ah) PART skardhas (SKAR-dhas) tore
G.4a A-ugh (ah-OOKH) from-above bys (bees) until yn (in) in goles (GOH-les) bottom
G.4b A-ugh (ah-OOKH) from-above bys (bees) until yn (in) in goles (GOH-les) bottom
G.5a Mernans (MER-nans) death Krist (kreest) Christ re (reh) PERF beu (bew) has-been gwrys (gwrees) done
G.5b Mernans (MER-nans) death Krist (kreest) Christ re (reh) PERF beu (bew) has-been gwrys (gwrees) done
G.6a Joseph (JOH-sef) Joseph a (ah) PART wovynnas (woh-VIN-nas) asked korff (korf) body Yesu (YEH-soo) Jesus
G.6b Joseph (JOH-sef) Joseph a (ah) PART wovynnas (woh-VIN-nas) asked korff (korf) body Yesu (YEH-soo) Jesus
G.7a Pylat (PEE-lat) Pilate a (ah) PART ros (rohs) gave kummyas (kum-MYAS) permission dhodho (DHOH-dhoh) to-him
G.7b Pylat (PEE-lat) Pilate a (ah) PART ros (rohs) gave kummyas (kum-MYAS) permission dhodho (DHOH-dhoh) to-him
G.8a Nikodemus (nik-oh-DEH-mus) Nicodemus a (ah) PART dhros (dhrohs) brought mur (meer) myrrh hag (hahg) and aloes (AL-ohs) aloes
G.8b Nikodemus (nik-oh-DEH-mus) Nicodemus a (ah) PART dhros (dhrohs) brought mur (meer) myrrh hag (hahg) and aloes (AL-ohs) aloes
G.9a Yn (in) in lennow (LEN-now) cloths gwynn (gwin) white ev (ehv) he a (ah) PART veu (vew) was sesys (SEH-sis) placed
G.9b Yn (in) in lennow (LEN-now) cloths gwynn (gwin) white ev (ehv) he a (ah) PART veu (vew) was sesys (SEH-sis) placed
G.10a Yn (in) in bedh (baydh) tomb nowydh (NOW-idh) new neb (nehb) which ny (nee) NEG veu (vew) was devnydhys (dev-NIDH-is) used
G.10b Yn (in) in bedh (baydh) tomb nowydh (NOW-idh) new neb (nehb) which ny (nee) NEG veu (vew) was devnydhys (dev-NIDH-is) used
G.11a Maria (mah-REE-ah) Mary Magdalen (mag-dah-LEHN) Magdalene a (ah) PART dheth (dhehth) came ena (EH-nah) there
G.11b Maria (mah-REE-ah) Mary Magdalen (mag-dah-LEHN) Magdalene a (ah) PART dheth (dhehth) came ena (EH-nah) there
G.12a Gans (ganz) with Maria (mah-REE-ah) Mary mamm (mam) mother Yakob (YAH-kob) Jacob
G.12b Gans (ganz) with Maria (mah-REE-ah) Mary mamm (mam) mother Yakob (YAH-kob) Jacob
G.13a Men (mehn) stone bras (brahs) large a (ah) PART veu (vew) was res (rehs) placed orth (orth) at an (an) the darras (DAR-ras) door
G.13b Men (mehn) stone bras (brahs) large a (ah) PART veu (vew) was res (rehs) placed orth (orth) at an (an) the darras (DAR-ras) door
G.14a Selys (SEH-lis) sealed gans (ganz) with sel (sehl) seal Pylat (PEE-lat) Pilate yn (in) in sur (soor) sure
G.14b Selys (SEH-lis) sealed gans (ganz) with sel (sehl) seal Pylat (PEE-lat) Pilate yn (in) in sur (soor) sure
G.15a Soudoryon (sow-DOR-yon) soldiers a (ah) PART veu (vew) were settys (SET-tis) set dhe (dheh) to witya (WIT-yah) guard
G.15b Soudoryon (sow-DOR-yon) soldiers a (ah) PART veu (vew) were settys (SET-tis) set dhe (dheh) to witya (WIT-yah) guard
G.1 Meyn a dhivarr yn dew "Stones split in two"
G.2 An dor a grenn fest "The earth trembles greatly"
G.3 Lyen an tempel a skardhas "The temple veil tore"
G.4 A-ugh bys yn goles "From top to bottom"
G.5 Mernans Krist re beu gwrys "Christ's death has been accomplished"
G.6 Joseph a wovynnas korff Yesu "Joseph asked for Jesus's body"
G.7 Pylat a ros kummyas dhodho "Pilate gave him permission"
G.8 Nikodemus a dhros mur hag aloes "Nicodemus brought myrrh and aloes"
G.9 Yn lennow gwynn ev a veu sesys "In white cloths he was placed"
G.10 Yn bedh nowydh neb ny veu devnydhys "In a new tomb which had not been used"
G.11 Maria Magdalen a dheth ena "Mary Magdalene came there"
G.12 Gans Maria mamm Yakob "With Mary mother of James"
G.13 Men bras a veu res orth an darras "A large stone was placed at the door"
G.14 Selys gans sel Pylat yn sur "Sealed with Pilate's seal securely"
G.15 Soudoryon a veu settys dhe witya "Soldiers were set to guard"
G.1 Meyn a dhivarr yn dew G.2 An dor a grenn fest G.3 Lyen an tempel a skardhas G.4 A-ugh bys yn goles G.5 Mernans Krist re beu gwrys G.6 Joseph a wovynnas korff Yesu G.7 Pylat a ros kummyas dhodho G.8 Nikodemus a dhros mur hag aloes G.9 Yn lennow gwynn ev a veu sesys G.10 Yn bedh nowydh neb ny veu devnydhys G.11 Maria Magdalen a dheth ena G.12 Gans Maria mamm Yakob G.13 Men bras a veu res orth an darras G.14 Selys gans sel Pylat yn sur G.15 Soudoryon a veu settys dhe witya
This biblical sequence demonstrates systematic subject fronting of cosmic and human responses to the crucifixion. Natural phenomena ("Meyn," "An dor," "Lyen an tempel") consistently front as active subjects, emphasizing creation's witness. The shift to human agents ("Joseph," "Nikodemus," "Maria Magdalen") maintains the fronting pattern while moving from cosmic to personal response. The burial preparations use passive constructions with fronted subjects ("ev a veu sesys"), emphasizing Christ's passivity in death. The final security measures ("Men bras," "Soudoryon") front to ironically emphasize human attempts to contain the divine.
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Instruments of Passion: -
kentrow [KEN-trow]: nails (plural of "kentr") -
pren [prehn]: wood, tree, cross -
grows [growz]: cross (borrowed from Latin "crux") -
korun [KOH-roon]: crown (of thorns)
Body Parts (Dual Forms): -
dhywla [DHEW-lah]: two hands (dual of "dorn") -
dhywdros [dhew-DROHS]: two feet (dual of "tros") -
Note the special dual prefix "dyw-" for paired body parts
Cosmic Vocabulary: -
howl [howl]: sun (cf. Welsh "haul") -
tewlder [TEW-lder]: darkness (intensive form) -
golow [GOH-low]: light, brightness -
nor [nohr]: earth, ground
Temporal Markers: -
pan [pan]: when (past) -
hedhyw [HEDH-yoo]: today (emphatic form) -
lemmyn [LEM-min]: now -
tri eur [tree er]: three hours
Exclamatory phrases may show: -
Lengthened initial vowels: "O-o-ow Tas!" -
Emphatic consonants: "ELI ELI!" -
Preservation of Hebrew/Aramaic pronunciation -
Dramatic pauses at fronting boundaries
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Pylat [PEE-lat]: Pilate -
Nikodemus [nik-oh-DEH-mus]: Nicodemus -
Joseph Aramathea [JOH-sef ar-ah-mah-THEE-ah] -
Maria Magdalen [mah-REE-ah mag-dah-LEHN]
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paradys [par-ah-DEES]: paradise (final stress) -
tempel [TEM-pel]: temple -
sabachthani [sah-bakh-THAH-nee]: (Aramaic preserved)
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The crucifixion sequence from Passio Christi represents the emotional and theological heart of medieval Cornish drama. By studying how fronting patterns intensify at moments of highest drama, students gain insight into how medieval Cornish speakers expressed their deepest spiritual experiences through syntactic manipulation. The correlation between emotional intensity and fronting frequency reveals a sophisticated understanding of how word order can convey meaning beyond mere denotation.
The text-based approach means students encounter these profound passages not as grammar exercises but as living literature that once moved audiences in the round amphitheaters of medieval Cornwall. The systematic fronting of passion instruments, body parts, and cosmic phenomena creates a grammar of suffering unique to Cornish religious expression. Understanding these patterns opens not just the Ordinalia but the entire tradition of Cornish passion literature, from medieval plays through modern religious poetry.
These fronting patterns remain influential in contemporary Cornish composition. Modern writers drawing on this tradition understand that placing "kentrow" or "grows" at the beginning of a sentence immediately evokes the passion narrative. The crucifixion scene thus serves as both historical artifact and living influence on Cornish literary expression.
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