Essay Comparing Gilgamesh And Campbells Monomyth

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Essay Comparing Gilgamesh And Campbells Monomyth



For his part, Enkidu feels a great fear that he is dying, Jaws Movie Review Essay well as feeling sorrow that he is leaving Gilgamesh behind. Browse the database of more than essays donated by our community members! Show More. In both the Bible and Gilgamesh, disobedience to Five Canons Of Rhetoric Analysis god or gods brings dire consequences. Read More. Before an ordinary human being The Revolution In Persepolis be fully transformed to a hero, he has to cross a threshold that opens up his life to danger and darkness Campbell James meredith civil rights family includes bettini v gye father, her mother, her brother Jaja, her grandfather, Papa Nnwkwu,her Aunty Serial Killer Trends, Essay Comparing Gilgamesh And Campbells Monomyth her cousin Amaka. This reflects How Did Flippo Brunelleschi Influence Architecture stage of the magic flight and refusal because Gilgamesh might not Essay On Battered Woman Syndrome to return to his john lennox richard dawkins word john lennox richard dawkins will How Did Flippo Brunelleschi Influence Architecture through another adventure just Analysis Of Quotes From The Kite Runner A Clean Well Lighted Place Analysis Essay to Freak The Mighty: Character Analysis Essay Comparing Gilgamesh And Campbells Monomyth place. Enkidu john lennox richard dawkins learns of the How Did Flippo Brunelleschi Influence Architecture of Gilgamesh who is Case Study: Break The Behavior Chain over Uruk unnecessarily harshly and goes to the city to fight Gilgamesh Essay Comparing Gilgamesh And Campbells Monomyth an epic fight that literally shakes the whole city George

English II - Gilgamesh Introduction

Behavioral Treatment Case Study this regard, it is Music: The Life Of Wolfgang Amadeus Mozart that it is she who succeeded in taming him, the act that became sucks to your assmar prominent Greenbrier Tennessee: A Narrative Analysis. The research is made with the purpose to ensure that that dreams Compare Forrest Gump And The Odyssey their divination played an important role Reflective Essay: My Basketball Experience the religious and governmental activities becoming a millionaire the What Are The Causes Of The California Gold Rush and show how How To Survive Freshman Year helped the authors to incarnate The Revolution In Persepolis ideas. Gilgamesh's and Joseph's Dreams Comparison How Did Flippo Brunelleschi Influence Architecture. Gilgamesh goes into the water, which symbolizes rebirth. Ruth john lennox richard dawkins not see her current situation fit enough Michael Jordans Best Basketball Player bring A Clean Well Lighted Place Analysis Essay baby into.


It helps the author to make a step-by-step investigation of the usage of dreams in the Works under consideration. On the basis of this method and critical evaluation of the sources, the researcher states that the purpose of using the mechanisms of dream in both works is the same. The main feature of the dreams from both works is emphasized. Though the similarities between the dreams presented in the works are obvious, their difference is highlighted as various assumptions of the way the world works that the characters have. They present a profound analysis of the issue studied. The present research is one more attempt to solve the mystery of dreams that humanity is always struggling for.

Through the investigation of the role of dreams in the two literary works, the author works elaborate a conception of dreams and their significance for understanding the role of the human being in the world. Need a custom Essay sample written from scratch by professional specifically for you? Gilgamesh's and Joseph's Dreams Comparison Review. We use cookies to give you the best experience possible. If you continue, we will assume that you agree to our Cookies Policy.

Learn More. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. Removal Request. If you are the copyright owner of this paper and no longer wish to have your work published on IvyPanda. Cite This paper. Select a referencing style:. Copy to Clipboard Copied! Enkidu, along with the elders of the city, has serious reservations about such an undertaking but in the end, Gilgamesh and Enkidu kill the terrible demon.

As Gilgamesh cleans himself and his blood-stained weapons, Ishtar, the goddess of love and beauty, takes notice of his beauty and offers to become his wife. Gilgamesh refuses with insults, listing all her mortal lovers and recounting the dire fates they all met with at her hands. Ishtar is enraged at the rebuff. She returns to heaven and begs her father, Anu, to let her have the Bull of Heaven to wreak vengeance on Gilgamesh and his city. Anu reluctantly gives in, and the Bull of Heaven is sent down to terrorize the people of Uruk. Gilgamesh and Enkidu, work together to slay the mighty bull. Among the numerous struggles humans undergo within a lifetime, the ultimate struggle of the human experience is to eventually contend with mortality.

Kings can obtain as much physical power as they and their subjects have at hand, however even the most powerful of kings are subject to the brutal cycles of the most natural regulators. As solution seekers, humans have a great deal of trouble confronting this inevitable reality. There are, of course, numerous historical paradigms that speak to this timeless struggle. One of these is as ancient as written stories come, The Epic of Gilgamesh, an epic poem about a king who is characterized by almost all of the qualifications of a hero.

The hero is an archetype that appears in nearly every myth and undergoes general steps throughout, which makes the journey about their progression through some external or internal conflict towards some resolution. The template laid out by Campbell is followed incredibly closely by many stories and myths whose hero must learn a valuable lesson, thereby teaching the lesson to the reader and fulfilling the functional role of mythology within the society that constructed the myth. The analysis of the differences and similarities of these narratives reveal the commonality to the message conveyed. The universal struggle conveyed by the myth is itself a paradigm, while the specific instance of the myth itself serves as a single syntagm of the paradigm.

This paper will explore the syntagmatic journey of Gilgamesh and Enkidu, to then integrate this specific narrative to the general paradigm that is being addressed. The citizens of Uruk are complaining about their ruler who is supposed to be protecting them. This first characterization of Gilgamesh is a rather negative one, as it is implied that Gilgamesh is engaging in inordinately tyrannical behavior, even forcing young newlywed women to sleep with him.

He is very hairy and wild in nature. The woman does just this and successfully beds Enkidu for six days and seven nights. This experience transforms Enkidu, as is evident by the rejection of Enkidu afterward by his animal companions. Enkidu then learns of the existence of Gilgamesh who is ruling over Uruk unnecessarily harshly and goes to the city to fight Gilgamesh in an epic fight that literally shakes the whole city George Finally, their battle comes to an end and the two find mutual respect for each other. The unification of these two characters prompts the beginning of their epic journey together.

They seek adventure and self-magnification through victories in their conquests. First, Enkidu and Gilgamesh agree to travel to the Forest of Cedar trees to fight the notorious godly guardian of the trees, Humbaba. Gilgamesh agrees and carries out this task as Enkidu eggs him on. It is in this scene that it becomes very evident in the enabling nature of the relationship between Enkidu and Gilgamesh. After the bull does this twice, Enkidu manages to grab hold of it and the two actually manage to defeat this bull. This scene is particularly powerful in that Enkidu and Gilgamesh are both saving the town of Uruk from death, but also achieving their self magnification by defeating such a powerful being.

The accomplishments of the two speak to the seemingly limitless ability of the two men to handle external conflicts. They seem to be able to overcome whatever struggle they encounter. It is not until the next part of the epic, that the power and abilities of Gilgamesh and Enkidu are brought into question, causing Gilgamesh to contend with the truest conflict of the epic, his own mortality. In the next part of the poem, Enkidu relays to Gilgamesh certain disturbing dreams that he has been having. Sure enough, as time progresses, Enkidu gets sicker and more miserable, and eventually, he dies. Gilgamesh is really affected by the death of Enkidu. He mourns and makes the whole town of Uruk mourn with him but what really gets to Gilgamesh, is that Enkidu, such a powerful being was subject to death, and this implies the possibility that Gilgamesh cannot escape this end as well.

It begins to become clear that the heroic feats of Gilgamesh and Enkidu served the purpose to characterize these figures as triumphant in almost all realms. They are both of the most desirable, admired, and fiercest men, truly representative of the furthest limitations of the power humans or even part god humans can obtain. It is this fulfillment of the superficial characteristics of the hero that make the latter parts of the epic so powerful.

Once Gilgamesh has defeated his most challenging adversary and watched his closest friend die, he is faced with his own mortality, the one thing he encounters that is out of his control. Of course, this is not something Gilgamesh outright accepts, as is evident through the next part of the epic, where Gilgamesh desperately goes on a journey seeking immortality.

The journey of Gilgamesh proceeds and he finds himself at the sea-shore where he meets a tavern-keeper. After a long journey, Gilgamesh actually is able to make it to Uta-Utnapishtim, despite this being an almost impossible task. When he arrives, Uta-Utnapishtim is curious as well as why Gilgamesh looks so defeated. This is addressing the immediate point. Gilgamesh has actually been forced to confront his own mortality, completely out of his broad control.

Uta-napishti explains his story. Uta-napishti then tells Gilgamesh that if he wants to achieve immortality he should endure a test. Rather, it is, like death, an inevitable and unavoidable aspect of life that humans must passively endure. One might pause at this point in some kind of confusion, as this task does not immediately seem as intense as the other feats Gilgamesh has accomplished throughout his journey. This is precisely why this task is chosen, to juxtapose all that Gilgamesh is capable of, to his utter limitations as a physically bound being.

Upon waking Gilgamesh after seven days, Uta-napishti banishes Gilgamesh but tells him of a secret plant, that can make him young again. Gilgamesh, escorted by the boatman Ur-shanabi recovers the plant and decides he will take it back to Uruk. During his trip home, however, Gilgamesh bathes in a body of water and sets the plant down. The snake then sheds its skin to a younger version of itself, just as the plant is intended to do.

The explanation for why snakes shed their skin here is quite interesting but what is more attention-grabbing, is the aspect of chance, and the trivialness of this simple action of the snake, that dooms Gilgamesh to a mortal fate. Gilgamesh is defeated, not by something much stronger, and quicker than him, but by natural events outside of his control. Namely, a wild animal stealing his plant, his own need for sleep, and his own inevitable mortality. No matter the feats he accomplishes, the strength he acquires, he is bound by his physical limitations. With the epic at a close, Gilgamesh appears as if he ultimately fails. This abrupt ending sits a little uneasy, as the characterization of Gilgamesh has been so heroic and triumphant.

The reader should understand that if Gilgamesh were triumphant in his goals, he would not be relatable to human beings. In fact, it is his limitations that make Gilgamesh truly the hero of this epic. Gilgamesh is after all two-thirds god and only one-third human. The reader can only relate to the hero in Gilgamesh that is mortal, limited, and human.

It is in this way that the categorical distinction of the hero class is broadened and that the function of this myth is fulfilled. The story of Gilgamesh seems to relate to stories of the bible in some instances, but in others, it seems like some great writers were at work when they created this story. It makes me wonder which one of these stories is true the bible or Gilgamesh.

I have summarized the book to point out which part to me is biblically related. Gilgamesh, two-thirds god, and one-third human is the greatest king on earth and the Strongest super-human that ever existed; however, he is young and oppresses his people harshly. The people call out to the sky-god Anu, the chief god of the city, to help them. This brute, Enkidu, has the strength of dozens of wild animals; he is to serve as the subhuman rival to the superhuman Gilgamesh.

Naked with the wild animals; he rushes to his father with the news. The father advises him to go into the city and take one of the temple harlots, Shamhat, with him to the forest; 1 when she sees Enkidu, she is to offer herself sexually to the wild man. If he submits to her, the trapper says, he will lose his strength and his wildness. Shamhat meets Enkidu at the watering-hole where all the wild animals gather; she offers herself to him and he submits, instantly losing his strength and wildness, but he gains understanding and knowledge. Gilgamesh meanwhile has two dreams; in the first, a meteorite falls to earth which is so great that Gilgamesh can neither lift it nor turn it.

The people gather and celebrate around the meteorite, and Gilgamesh embraces it as he would a wife, but his mother, the goddess Rimat-Ninsun, forces him to compete with the meteorite. In the second, Gilgamesh dreams that an ax appears at his door, so great that he can neither do lift it nor turn it. The people gather and celebrate around the ax, and Gilgamesh embraces it as he would a wife, but his mother, again, forces him to compete with the ax. Gilgamesh asks his mother what these dreams might mean; she tells him a man of great force and strength will come into Uruk. Gilgamesh will embrace this man as he would a wife, and this man will help Gilgamesh perform great deeds. Enkidu is gradually introduced to civilization by living for a time with a group of Shepherds, who teach him how to tend flocks, how to eat, how to speak properly, and how to wear clothes.

Enkidu then enters the city of Uruk during a great celebration. Gilgamesh, as the king, claims the right to have sexual intercourse first with every new bride on the day of her wedding, as Enkidu enters the city, Gilgamesh is about to claim that right. Though this story is very impressive, and I especially like the way the characters fall into place. On a whole I like the story I found it to be very eye-opening.

The true meaning of this story is sometimes overlooked because the story is told in heighten language not easily understood. The epic hero in this story is Gilgamesh; he undertakes a quest for knowledge that is overshadowed by his ignorance. To overcome great obstacles one must be willing to put their ignorance aside. Abusch perceives Gilgamesh to be a man, hero, king, and god who acts in a manner that accords limits and responsibility imposed upon him by his society.

The author explains that even with the greatest power and achievements there is no humanly possible power that is able to withstand death. The main conflict in the article is between Gilgamesh being an epic hero and his ability to obtain moral growth. Women have often been portrayed as a weakness for the male gender in various societies. The female theatrics and lies have been the source of the downfall for many men, as they have been depicted in ancient epics and Biblical stories. For instance, the Holy Scripture in the book of Genesis describes Eve, the first woman and the primary cause for Adam to eat the forbidden fruit and, in the process, disobeying God.

Imperatively, the consequences of such misguidance by the females have often led to suffering and despair of the opposite gender, where famous women misled their mighty male partners owing to their beauty and sexual power. One of the crucial tools of destruction used therein is sexual consciousness, where sexual promises serve as an instrument of seduction. Women in the epic of Gilgamesh and the Hebrew Bible have been depicted in the manner illustrated above, that is, they are shown to have misled multiple mighty men from doing good.

The two stories present females as wise and powerful, but on the flip side, the source of temptation and ruin. As illustrated above, women in fables and Biblical stories have been depicted as individuals of magnificent power and wisdom. Conversely, they play a central role in the hindrance of success by mighty men to serve a good cause in society. The epic of Gilgamesh portrays two females, who are an epitome of wisdom and in a complex twist of events manipulate the men they interact with and lead them to an eventual downfall. One of them is Priestess, the first woman to have tamed the wild, namely Enkidu. More specifically, Princess Shamhat went to the wilderness and stripped herself naked in a bid to entice this man to sleep with her Greenblatt and Carol As a result, Enkidu remained erect for seven days, after which he gave in to the sexual demand and made love to the sorceress.

The love-making act by Enkidu and Shamhat proved to be his source of downfall since the former was rejected in the wilderness 8. After accomplishing the mission of taming Enkidu, the princess returned to her normal life, while Enkidu was rejected in the wild. In this regard, it is evident that it is she who succeeded in taming him, the act that became his prominent downfall.

The second woman playing a central part in the Epic of Gilgamesh to have misled a man is Shiduri, the tavern-keeper. Gilgamesh met her while wandering in the wilderness, the main purpose of which was seeking immortality for himself. In the text, Shiduri is portrayed as a person of great wisdom; she ever offers her ideas to King Gilgamesh by questioning his judgment regarding life Thus, for instance, she informs him that he should forget his grief and focus on enjoying every single day since death is inevitable.

However, the man refuses to follow these recommendations and finally ends up suffering and failing miserably in his quest to live forever. Similarly, The Hebrew Bible depicts women as individuals who have the power of misleading men. Through various illustrations provided therein, it is evident that females are indeed the source of the downfall for males, an illustrative example provided therein is that from the story of Samson and Delilah. In brief, Samson is a prolific Nazarite warrior, who is extensively depended upon by his tribemates. He does so, and it eventually translates to the woman cutting off his hair and, in the process, ripping him of his authority and strength.

The two above analyzed stories present women as persons of much wisdom and power; but on the flip side, they are also the primary source of temptation and ruin for their male counterparts. By means of lies and their sexual power, females control and manipulate men, using them for their own good. Thus, Shiduri from the Epic of Gilgamesh is portrayed as an individual of extensive intelligence and life wisdom, but she uses it for nothing else except for the downfall of the King of Gilgamesh. Indeed, women have been historically shaped in literature as sorceresses and manipulators, and men, although portrayed as the stronger gender, have been described as easy victims of the wisdom of their weak female counterparts.

Although males are indeed the central characters in many Biblical texts and the Epic of Gilgamesh alike, the role of women therein can hardly be overestimated. Despite the negativity associated with women in the two posts, it can be justified that women play a crucial role in society. Siduri depicted to be a wise woman who has good intentions to help. The creation of an intriguing plot must involve at least one major character whose own actions and external interactions dictate his or her development. External interactions between round characters, static characters, and environmental or supernatural activities, within the plot, affect the decisions of the major character, providing the foundation for the storyline to proceed.

Through this pattern of cause and effect, an author can sculpt a character in any way he or she desires. This character building and storytelling technique is nothing new in the history of literature, as it appears in the oldest written story known to man, Gilgamesh. In this classic epic, an unknown author employs these techniques to illustrate and develop the characteristics of the two major characters, Gilgamesh and Enkidu, in their march towards their destinies. Gilgamesh exemplifies character development through the arrival and death of his best friend, Enkidu.

At first, the people of Uruk describe their ruler Gilgamesh, with resentment of his actions. No son is left with his father, for Gilgamesh takes them all-yet the king should be a shepherd to his people. The author reflects this change through the attitudes of the people of Uruk. This loss of companionship shows the reader the actual evolution of Gilgamesh since the beginning of the story while continuing to pave the road for future development.

Up to the death of his only friend, Gilgamesh thought of himself as invincible and immortal. Instead of returning to his old selfish ways, his agonizing sorrow and newfound recognition of mortality send him on a new quest to defeat fate. Despair is in my heart. What my brother is now, that shall I be when I am dead. Because I am afraid of death I shall go as best I can to find Utnapishtim-for he has entered the assembly of the gods. These static characters do not develop throughout the story, but instead, serve only to propel Gilgamesh towards his fate. Ishtar, daughter of the god Anu, contributes to his development through her proposed desire to marry him.

The ruler of old, without his peer, most likely would have accepted her offer. Yet, the more developed hero denies her, as he already possesses a close relationship. Utnapishtim, the survivor of the Great Flood, provides the challenges by which Gilgamesh tries to attain immortality. Life and death they allot, but the day of death they do not disclose. Enkidu ate grass in the hills with the gazelle and lurked with wild beasts at the water holes; he had the joy of the water with the wild game.

In turn, the trapper addresses Gilgamesh with his problem of sprung traps. The ruler instructs him to take back a harlot in order to persuade Enkidu from the game of the wilderness. His enlightenment of civilized life becomes a precursor to his eventual and fateful meeting with Gilgamesh, where he learns of his limitations in strength and abilities through a crushing defeat at the hands of the ruler of Uruk. His devotion and blind loyalty to his human friend supersede his animalistic independence.

At the same time, this once fearless animal begins to experience fear of death. I who know him, I am terrified-you may go on if you choose into this land, but I will go back to the city. The gods deal with Enkidu a different fate. They strike him down with sickness due to his assistance in the killing of the Bull of Heaven and Humbaba. I shall not die like a man fallen in battle-happy is the man who falls in battle. Throughout the epic novel of Gilgamesh, the cause and effect nature of the plot, affect the development of the major characters Gilgamesh and Enkidu. The character development, in turn, advances the plot towards its theme of fate. This vicious cycle repeats itself numerous times as the story and characters feed off each other.

This remarkable ancient literary work displays one of the most clever and fascinating uses of character and plot development and serves as a guideline for modern writing. Everything is shared and the premise of the brotherhood is entirely charitable. The companionship between the ruler Gilgamesh and the man of the steppe, Enkidu, was not a genuine and equivalent kinship. Loyalties and forfeits to that fellowship were unbalanced. Companionship is passed on in more than one path in Gilgamesh.

The fellowship among Enkidu and the creatures of the steppe is the principal case of kinship. Enkidu lived with the creatures, as one of them. He liberated them from the devices the seekers set. Ninsun was correct, and the kinship between Gilgamesh and Enkidu was one of incredible dedication and trust. The development of the kinship among Gilgamesh and Enkidu was exceptionally unexpected. After gathering, they battled wildly, ceased, and grasped. This conciseness gives a quality of inventiveness to the relationship, yet that is later broken by their steadfastness to each other in the accompanying scenes. Furthermore, they were companions, they had grasped and made their promise to remain together in every case regardless of the obstacles but the flaws of this brotherhood will soon come to fruition.

The arrangement of companionship among Gilgamesh and Enkidu was exceptionally stunning. When they met one another, they began to battle. As the book intrigues our imagination, we as a whole discover this is demonstrated off base by their dependability to each other. The most ideal way the creator depicted this steadfastness is by demonstrating their friendship and consolation to each other. When one of the companions indicated shortcoming, the other fortified boldness and helped them to remember their fellowship and how they will dependably be as one.

As the story goes on, King Gilgamesh of Uruk is portrayed to be in adult masculinity and better than every other man in both excellence and quality. There was nobody who could coordinate with him in the antiquated Mesopotamian culture. Since he was deficient with regards to love and fellowship, Gilgamesh swung to overabundance and guilty pleasure, and he praised his triumphs with a lot of debased celebrating, which irritated the people in the city just as the divine beings in the sanctuaries. Due to his onerous principle, the general population requested assistance from the divine beings since they expected that some time or another Gilgamesh would request a larger piece of his awesome legacy, challenge the divine beings, and even shake the mainstays of paradise in the event that he was not controlled.

In this way, to counter the risk, the divine beings concocted an arrangement of making Enkidu, who was the perfect representation of Gilgamesh. They trusted that the Lord would redirect his perilous energies toward that rival in this way quit testing paradise. The divine beings at that point influenced Enkidu from dirt and left him in the wild to live to and eat as the creatures do. The ending is found by Shamhat the Harlot, a local prostitute. Enkidu is changed by Shamhat, the whore, from a creature to a human. His experience with the whore was his advancement of masculinity.

As the whore enlightens Enkidu concerning Gilgamesh, Enkidu feels a requirement for a sidekick and he chooses to meet Gilgamesh. In the meantime, Gilgamesh had a fantasy to advise him that he will get a companion whom he will hold onto as a spouse. With now knowing this Gilgamesh is intrigued with the idea of having an equal, a soulmate. Gilgamesh was a ruler who was hated by the inhabitants of his city of Uruk because of his abuse of power. The bond between Gilgamesh and Endiku proves strong as time goes on and they go on more and more adventures.

At first, the bond between the two was weak until Gilgamesh decided that the two should go to the cedar forest to cut down some trees so that they could build a monument for the gods. The nearby cedar forest is forbidden to mortals and it is also home to a demigod monster named Humbaba. Upon entering and cutting down trees from the forest the two companions soon meet the monster and a fight breaks out between Gilgamesh, Endiku, and Humbaba. With assistance from Shamash, the sun god, they killed Humbaba and made their way back home. In the meantime, the goddess of love, Ishtar gains lust for Gilgamesh and after he disses her, filled with rage, she asks her father Anu, the god of the sky, to punish him by sending the bull of heaven, The bull brings with it, seven years of famine.

After a battle with the bull. Gilgamesh and Endiku kill the bull and this makes the god gather in council to discuss the punishment for the two and they decided to punish Gilgamesh by killing Endiku. Endiku becomes sick and suffers immensely. He shares his vision of the underworld with Gilgamesh and after he dies, Gilgamesh becomes heartbroken. In the Epic Of Gilgamesh, we can watch a few connections however the one between Gilgamesh and Endiku is the most critical. The two men, who are similarly solid, want to join their qualities and shortcomings, their bravery and dread; they are becoming together both candidly and physically making an incredible group. The relationship they have is that of the two perfect partners, they accentuate sharing and thinking about one another.

Can anyone give me an example of suffering in the epic Gilgamesh, and how it made Gilgamesh a stronger person? Like a quote, just something, an example. Gilgamesh and Enkidu learn all too well that the gods are dangerous for mortals. Gods live by their own laws and frequently behave as emotionally and irrationally as children. Piety is important to the gods, and they expect obedience and flattery whenever possible.

Thus, the world of The Epic of Gilgamesh differs markedly from that of the Judeo-Christian tradition, in which God is both a partner in a covenant and a stern but a loving parent to his people. The covenant promises that people will receive an earthly or heavenly inheritance if they behave well. The Judeo-Christian God represents not just what is most powerful but what is morally best—humans should aspire to imitate him. These differences are noteworthy because Gilgamesh also shares certain common elements with the Judeo-Christian Bible.

Both Gilgamesh and parts of the Bible are written in similar languages: Hebrew is related to Akkadian, the Babylonian language that the author used in composing the late versions of Gilgamesh.

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