Butterflies are insects in the macrolepidopteran clade Rhopalocera from the order Lepidoptera, which includes moths. Adult butterflies have large brightly coloured wings, conspicuous, fluttering flight; the group comprises the large superfamily Papilionoidea, which contains at least one former group, the skippers, the most recent analyses suggest it contains the moth-butterflies. Butterfly fossils date to the Paleocene, about 56 million years ago. Butterflies have the typical four-stage insect life cycle. Winged adults lay eggs on the food plant; the caterpillars grow, sometimes rapidly, when developed, pupate in a chrysalis. When metamorphosis is complete, the pupal skin splits, the adult insect climbs out, after its wings have expanded and dried, it flies off; some butterflies in the tropics, have several generations in a year, while others have a single generation, a few in cold locations may take several years to pass through their entire life cycle. Butterflies are polymorphic, many species make use of camouflage and aposematism to evade their predators.
Some, like the monarch and the painted lady, migrate over long distances. Many butterflies are attacked by parasites or parasitoids, including wasps, protozoans and other invertebrates, or are preyed upon by other organisms; some species are pests because in their larval stages they can damage domestic trees. Larvae of a few butterflies eat harmful insects, a few are predators of ants, while others live as mutualists in association with ants. Culturally, butterflies are a popular motif in the literary arts; the Oxford English Dictionary derives the word straightforwardly from Old English butorflēoge, butter-fly. A possible source of the name is the bright yellow male of the brimstone; the earliest Lepidoptera fossils are of a small moth, Archaeolepis mane, of Jurassic age, around 190 million years ago. Butterflies evolved from moths, so while the butterflies are monophyletic, the moths are not; the oldest butterflies are from the Palaeocene MoClay or Fur Formation of Denmark 55 million years old.
The oldest American butterfly is the Late Eocene Prodryas persephone from the Florissant Fossil Beds 34 million years old. Traditionally, the butterflies have been divided into the superfamily Papilionoidea excluding the smaller groups of the Hesperiidae and the more moth-like Hedylidae of America. Phylogenetic analysis suggests that the traditional Papilionoidea is paraphyletic with respect to the other two groups, so they should both be included within Papilionoidea, to form a single butterfly group, thereby synonymous with the clade Rhopalocera. Butterfly adults are characterized by their four scale-covered wings, which give the Lepidoptera their name; these scales give butterfly wings their colour: they are pigmented with melanins that give them blacks and browns, as well as uric acid derivatives and flavones that give them yellows, but many of the blues, greens and iridescent colours are created by structural coloration produced by the micro-structures of the scales and hairs. As in all insects, the body is divided into three sections: the head and abdomen.
The thorax is composed of each with a pair of legs. In most families of butterfly the antennae are clubbed, unlike those of moths which may be threadlike or feathery; the long proboscis can be coiled. Nearly all butterflies are diurnal, have bright colours, hold their wings vertically above their bodies when at rest, unlike the majority of moths which fly by night, are cryptically coloured, either hold their wings flat or fold them over their bodies; some day-flying moths, such as the hummingbird hawk-moth, are exceptions to these rules. Butterfly larvae, have a hard head with strong mandibles used for cutting their food, most leaves, they have cylindrical bodies, with ten segments to the abdomen with short prolegs on segments 3–6 and 10. Many are well camouflaged; the pupa or chrysalis, unlike that of moths, is not wrapped in a cocoon. Many butterflies are sexually dimorphic. Most butterflies have the ZW sex-determination system where females are the heterogametic sex and males homogametic. Butterflies are distributed worldwide except Antarctica.
Of these, 775 are Nearctic. The monarch butterfly is native to the Americas, but in the nineteenth century or before, spread across the world, is now found in Australia, New Zealand, other parts of Oceania, the Iberian Peninsula, it is not clear.
Publius Ovidius Naso, known as Ovid in the English-speaking world, was a Roman poet who lived during the reign of Augustus. He was a contemporary of the older Virgil and Horace, with whom he is ranked as one of the three canonical poets of Latin literature; the Imperial scholar Quintilian considered him the last of the Latin love elegists. He enjoyed enormous popularity, but, in one of the mysteries of literary history, was sent by Augustus into exile in a remote province on the Black Sea, where he remained until his death. Ovid himself attributes his exile to carmen et error, "a poem and a mistake", but his discretion in discussing the causes has resulted in much speculation among scholars; the first major Roman poet to begin his career during the reign of Augustus, Ovid is today best known for the Metamorphoses, a 15-book continuous mythological narrative written in the meter of epic, for works in elegiac couplets such as Ars Amatoria and Fasti. His poetry was much imitated during Late Antiquity and the Middle Ages, influenced Western art and literature.
The Metamorphoses remains one of the most important sources of classical mythology. Ovid talks more about his own life than most other Roman poets. Information about his biography is drawn from his poetry Tristia 4.10, which gives a long autobiographical account of his life. Other sources include Seneca the Quintilian. Ovid was born in Sulmo, in an Apennine valley east of Rome, to an important equestrian family, on 20 March, 43 BC; that was a significant year in Roman politics. He was educated in rhetoric in Rome under the teachers Arellius Fuscus and Porcius Latro with his brother who excelled at oratory, his father wanted him to study rhetoric toward the practice of law. According to Seneca the Elder, Ovid tended to not the argumentative pole of rhetoric. After the death of his brother at 20 years of age, Ovid renounced law and began travelling to Athens, Asia Minor, Sicily, he held minor public posts, as one of the tresviri capitales, as a member of the Centumviral court and as one of the decemviri litibus iudicandis, but resigned to pursue poetry around 29–25 BC, a decision his father disapproved of.
Ovid's first recitation has been dated to around 25 BC. He was part of the circle centered on the patron Marcus Valerius Messalla Corvinus, seems to have been a friend of poets in the circle of Maecenas. In Trist. 4.10.41–54, Ovid mentions friendships with Macer, Horace and Bassus. He married three times and divorced twice by the time he was thirty years old, he had one daughter, who bore him grandchildren. His last wife was connected in some way to the influential gens Fabia and would help him during his exile in Tomis; the first 25 years of Ovid's literary career were spent writing poetry in elegiac meter with erotic themes. The chronology of these early works is not secure, his earliest extant work is thought to be the Heroides, letters of mythological heroines to their absent lovers, which may have been published in 19 BC, although the date is uncertain as it depends on a notice in Am. 2.18.19–26 that seems to describe the collection as an early published work. The authenticity of some of these poems has been challenged, but this first edition contained the first 14 poems of the collection.
The first five-book collection of the Amores, a series of erotic poems addressed to a lover, Corinna, is thought to have been published in 16–15 BC. 8–3 BC. Between the publications of the two editions of the Amores can be dated the premiere of his tragedy Medea, admired in antiquity but is no longer extant. Ovid's next poem, the Medicamina Faciei, a fragmentary work on women's beauty treatments, preceded the Ars Amatoria, the Art of Love, a parody of didactic poetry and a three-book manual about seduction and intrigue, dated to AD 2. Ovid may identify this work in his exile poetry as the carmen, or song, one cause of his banishment; the Ars Amatoria was followed by the Remedia Amoris in the same year. This corpus of elegiac, erotic poetry earned Ovid a place among the chief Roman elegists Gallus and Propertius, of whom he saw himself as the fourth member. By AD 8, he had completed his most ambitious work, the Metamorphoses, a hexameter epic poem in 15 books; the work encyclopedically catalogues transformations in Greek and Roman mythology, from the emergence of the cosmos to the apotheosis of Julius Caesar.
The stories follow each other in the telling of human beings transformed to new bodies: trees, animals, constellations etc. At the same time, he worked on the Fasti, a six-book poem in elegiac couplets on the theme of the calendar of Roman festivals and astronomy; the composition of this poem was interrupted by Ovid's exile, it is thought that Ovid abandoned work on the piece in Tomis. It is in this period, if they are indeed by Ovid, that the double letters in the Heroides were composed. In AD 8, Ovid was banished to Tomis, on the Black Sea, by the exclusive intervention of the Emperor Augustus, without any participation of the Senate or of any Roman judge; this event shaped all his following poetry. Ovid wrote that the reason for his exile was carmen et error – "a poem and a mistake", claiming that his crime was
Thebaid (Latin poem)
The Thebaid is a Latin epic in 12 books written in dactylic hexameter by Publius Papinius Statius. The poem deals with the Theban cycle and treats the assault of the seven champions of Argos against the city of Thebes. Based on Statius' own testimony, the Thebaid was written AD c. 80–c. 92, beginning when the poet was around 35, the work is thought to have been published in 91 or 92. According to the last verse of the poem, Statius wrote the Thebaid over the course of a dozen years during the reign of Emperor Domitian, although the symmetry of the compositional period, assigning one book per year, has been taken with suspicion by scholars; the poem is divided into twelve books in imitation of Vergil's Aeneid and is composed in 9,748 hexameter verses, the standard meter of Greco-Roman epics. In the Silvae, Statius speaks of his extensive work in polishing and revising the Thebaid and his public recitations of the poem. From the epilogue it seems clear that Statius considered the Thebaid to be his magnum opus and believed that it would secure him fame for the future.
Statius's Thebaid deals with the same subject as the Thebaid—an early Greek epic of several thousand lines which survives only in brief fragments, and, attributed by some classical Greek authors to Homer. A more important source for Statius was the long epic Thebais of Antimachus of Colophon, an important poem both in the development of the Theban cycle and the evolution of Hellenistic poetry. Statius' poem shows some parallels with Stesichorus' "Thebais". Significant for Statius were the myth's many treatments in Greek drama, represented by surviving plays such as Aeschylus's Seven Against Thebes, Sophocles's Antigone, Euripides's Phoenissae and Suppliants. Other authors provided models for specific sections of the poem. On the Latin side, Statius is indebted to Vergil, a debt he acknowledges in his epilogue. Statius emulates Vergil's Odyssean and Iliadic book division, concentrating aetiological material and traveling in the first six books and focusing on battle narratives in the second six, many episodes allude to sections in the Aeneid.
Ovid's considerable influence can be traced in Statius's handling of cosmic structure, description and verse. The influence of Lucan can be felt in Statius's penchant for macabre battle sequences, discussion of tyranny, focus on nefas. Seneca's tragedies seem to be an influence in the Thebaid in Statius's portrayal of family relations, generational curses and insanity. Book 1 The Thebaid opens with a priamel in which the poet rejects several themes dealing with Theban mythology and decides to focus on the House of Oedipus, following this is a recusatio and a passage in praise of Domitian; the narrative begins with Oedipus' prayer to the chthonic gods and curse on his sons Polyneices and Eteocles who have rejected and mistreated him. The Fury Tisiphone hears Oedipus' prayer and ascends to the earth to fulfill the curse, causing strife between Eteocles and Polyneices; this is followed by a council of the gods concilium deorum at which Jupiter informs the gods of his plan to involve Thebes and Argos in a war.
Mercury is sent to the underworld to fetch the shade of Laius to drive Eteocles to war. Meanwhile Polyneices is driven by a storm to Argos and the threshold of Adrastus's palace, where he meets Tydeus, an exile from Calydon, seeking shelter, fights with him. Adrastus invites the two exiles in, feasts them, and, in fulfillment of a prophecy, offers them his daughters to marry; the book ends with Adrastus' prayer to Apollo. Book 2 The second book begins with Mercury's guidance of the shade of Laius to Thebes. Adrastus marries Polyneices to Tydeus to Deipyle in a ceremony marred by ill omens; the poet describes the necklace of Harmonia, which Argia wears to the wedding, as an object that brings its bearers bad luck and causes strife. Polyneices sends Tydeus on an embassy to Eteocles to remind him. Eteocles refuses Tydeus' request for him to give up the throne. Tydeus leaves in a rage and Eteocles sends an ambush to kill him as he returns in a mountain pass. Tydeus kills all the ambushers except Maeon.
Tydeus attaches the battle trophies—taken from the slain—to an oak tree as he prays to Minerva. Book 3 Maeon returns to Thebes, reports the slaughter to Eteocles, criticizing the tyrant's behavior, commits suicide; the Thebans go out to bury the dead. Jupiter orders Mars to go to earth to stir up war, but Venus blocks his chariot, beseeching him to prevent the war. Mars follows Jupiter's commands and heads to earth, stirring up trouble in the cities and driving Adrastus and Polyneices to decl
Grass skippers or banded skippers are butterflies of the subfamily Hesperiinae, part of the skipper family, Hesperiidae. The subfamily was established by Pierre André Latreille in 1809. With over 2,000 described species, this is the largest skipper butterfly subfamily and occurs worldwide except in New Zealand. About 50 percent of grass skippers live in the Neotropics. 137 species are native to North America. Around 38 species are native to Australia. Genera Ochlodes and Hesperia exist in the Holarctic, they are orange, rust, or brown in colour and have pointed forewings. Many species have black stigmas on their forewings. Most members of this subfamily have an oval antenna club with an apiculus on the tip, although Carterocephalus and Piruna do not; the antennae has a sharp bend. Hesperiinae larvae feed on many different types of grasses and sedges and palms, though some species are limited. Adults visit flowers and hold their wings together while feeding. Hesperiinae are unique in that they hold their wings open while resting, with the forewings and hindwings held at different angles.
This is known as the "jet-plane position". Most male grass skippers perch to await females. Adults are strong fliers; some of the species, however, do these species patrol for females rather than perch. These grass skipper genera have not yet been assigned to tribes: The following grass skippers are considered at risk. Markku Savela's Lepidoptera and some other life forms: Preliminary species list. Version of 6 April 2007. Retrieved 28 May 2007. Reference photographs: Skippers of North America Cirrus Digital Imaging TOL RMCA Images of types. Flickr
Apollo is one of the most important and complex of the Olympian deities in classical Greek and Roman religion and Greek and Roman mythology. The national divinity of the Greeks, Apollo has been variously recognized as a god of music and prophecy, the sun and light, plague and more. Apollo is the son of Zeus and Leto, has a twin sister, the chaste huntress Artemis. Seen as the most beautiful god and the ideal of the kouros, Apollo is considered to be the most Greek of all gods. Apollo is known in Greek-influenced Etruscan mythology as Apulu; as the patron of Delphi, Apollo was an oracular god—the prophetic deity of the Delphic Oracle. Medicine and healing are associated with Apollo, whether through the god himself or mediated through his son Asclepius, yet Apollo was seen as a god who could bring ill-health and deadly plague. Apollo is the god of archery and the invention of archery is credited to him and his sister Artemis, he had a quiver of golden arrows. He is said to have never missed his aim, his arrows could inflict harm by causing sudden deaths or deadly plague.
As the leader of the Muses and director of their choir, Apollo functions as the patron god of music and poetry. He is the inventor of string-music; the Cithara and the lyre are said to be his inventions. The lyre is a common attribute of Apollo. Hymns sung to Apollo were called paeans. Apollo delights in the foundation of towns and the establishment of civil constitution. Hence is associated with dominion over colonists. Additionally, he is the god of the protector of fugitives and refugees. Apollo is the interpreter of laws, he presides over the divine law and custom along with Zeus and Themis. As the protector of young, Apollo is concerned with the health of children, he brings them out of their adolescence. Boys in Ancient Greece, upon reaching their adulthood, dedicated it to Apollo. Apollo is the patron of protector of herds and flocks, he is causes abundance in the milk produced by cattle, is connected with their fertility. As an agricultural deity, Apollo protects the crops from diseases the rust in corns and grains.
He is the controller and destroyer of pests that infect plants and plant harvests. Apollo is the god who wards off evil, he delivered men from the epidemics. Various epithets call him the "averter of evil". In Hellenistic times during the 5th century BCE, as Apollo Helios he became identified among Greeks with Helios, Titan god of the sun. In Latin texts, there was no conflation of Apollo with Sol among the classical Latin poets until 1st century AD. Apollo and Helios/Sol remained separate beings in literary and mythological texts until the 5th century CE. Apollo The name Apollo—unlike the related older name Paean—is not found in the Linear B texts, although there is a possible attestation in the lacunose form ]pe-rjo--[) on the KN E 842 tablet; the etymology of the name is uncertain. The spelling Ἀπόλλων had superseded all other forms by the beginning of the common era, but the Doric form, Apellon, is more archaic, as it is derived from an earlier *Ἀπέλjων, it is a cognate to the Doric month Apellaios, the offerings apellaia at the initiation of the young men during the family-festival apellai.
According to some scholars, the words are derived from the Doric word apella, which meant "wall," "fence for animals" and "assembly within the limits of the square." Apella is the name of the popular assembly in corresponding to the ecclesia. R. S. P. Beekes rejected the connection of the theonym with the noun apellai and suggested a Pre-Greek proto-form *Apalyun. Several instances of popular etymology are attested from ancient authors. Thus, the Greeks most associated Apollo's name with the Greek verb ἀπόλλυμι, "to destroy". Plato in Cratylus connects the name with ἀπόλυσις, "redemption", with ἀπόλουσις, "purification", with ἁπλοῦν, "simple", in particular in reference to the Thessalian form of the name, Ἄπλουν, with Ἀειβάλλων, "ever-shooting". Hesychius connects the name Apollo with the Doric ἀπέλλα, which means "assembly", so that Apollo would be the god of political life, he gives the explanation σηκός, "fold", in which case Apollo would be the god of flocks and herds. In the ancient Macedonian language πέλλα means "stone," and some toponyms may be derived from this word: Πέλλα and Πελλήνη.
A number of non-Greek etymologies have been suggested for the name, The Hittite form Apaliunas is attested in the Manapa-Tarhunta letter related to Hurrian Aplu, a god of plague, in turn from Akkadian Aplu Enlil meaning "the son of Enlil", a title, given to the god Nergal, linked to Shamash, Babylonian god of the sun. The role of Apollo as god of plague is evident in the invocation of Apollo Smintheus by Chryses, the Trojan priest of Apollo, with the purpose of sending a plague against the Greeks (the reasoning behind a god of the plague becoming a god of healing is
Greek mythology is the body of myths told by the ancient Greeks. These stories concern the origin and the nature of the world, the lives and activities of deities and mythological creatures, the origins and significance of the ancient Greeks' own cult and ritual practices. Modern scholars study the myths in an attempt to shed light on the religious and political institutions of ancient Greece and its civilization, to gain understanding of the nature of myth-making itself; the Greek myths were propagated in an oral-poetic tradition most by Minoan and Mycenaean singers starting in the 18th century BC. Two poems by Homer's near contemporary Hesiod, the Theogony and the Works and Days, contain accounts of the genesis of the world, the succession of divine rulers, the succession of human ages, the origin of human woes, the origin of sacrificial practices. Myths are preserved in the Homeric Hymns, in fragments of epic poems of the Epic Cycle, in lyric poems, in the works of the tragedians and comedians of the fifth century BC, in writings of scholars and poets of the Hellenistic Age, in texts from the time of the Roman Empire by writers such as Plutarch and Pausanias.
Aside from this narrative deposit in ancient Greek literature, pictorial representations of gods and mythic episodes featured prominently in ancient vase-paintings and the decoration of votive gifts and many other artifacts. Geometric designs on pottery of the eighth century BC depict scenes from the Trojan cycle as well as the adventures of Heracles. In the succeeding Archaic and Hellenistic periods and various other mythological scenes appear, supplementing the existing literary evidence. Greek mythology has had an extensive influence on the culture and literature of Western civilization and remains part of Western heritage and language. Poets and artists from ancient times to the present have derived inspiration from Greek mythology and have discovered contemporary significance and relevance in the themes. Greek mythology is known today from Greek literature and representations on visual media dating from the Geometric period from c. 900 BC to c. 800 BC onward. In fact and archaeological sources integrate, sometimes mutually supportive and sometimes in conflict.
Mythical narration plays an important role in nearly every genre of Greek literature. The only general mythographical handbook to survive from Greek antiquity was the Library of Pseudo-Apollodorus; this work attempts to reconcile the contradictory tales of the poets and provides a grand summary of traditional Greek mythology and heroic legends. Apollodorus of Athens wrote on many of these topics, his writings may have formed the basis for the collection. Among the earliest literary sources are the Iliad and the Odyssey. Other poets completed the "epic cycle", but these and lesser poems now are lost entirely. Despite their traditional name, the "Homeric Hymns" have no direct connection with Homer, they are choral hymns from the earlier part of the so-called Lyric age. Hesiod, a possible contemporary with Homer, offers in his Theogony the fullest account of the earliest Greek myths, dealing with the creation of the world. Hesiod's Works and Days, a didactic poem about farming life includes the myths of Prometheus and the Five Ages.
The poet gives advice on the best way to succeed in a dangerous world, rendered yet more dangerous by its gods. Lyrical poets took their subjects from myth, but their treatment became less narrative and more allusive. Greek lyric poets, including Pindar and Simonides, bucolic poets such as Theocritus and Bion, relate individual mythological incidents. Additionally, myth was central to classical Athenian drama; the tragic playwrights Aeschylus and Euripides took most of their plots from myths of the age of heroes and the Trojan War. Many of the great tragic stories took on their classic form in these tragedies; the comic playwright Aristophanes used myths, in The Birds and The Frogs. Historians Herodotus and Diodorus Siculus, geographers Pausanias and Strabo, who traveled throughout the Greek world and noted the stories they heard, supplied numerous local myths and legends giving little-known alternative versions. Herodotus in particular, searched the various traditions presented him and found the historical or mythological roots in the confrontation between Greece and the East.
Herodotus attempted to reconcile the blending of differing cultural concepts. The poetry of the Hellenistic and Roman ages was composed as a literary rather than cultic exercise, it contains many important details that would otherwise be lost. This category includes the works of: The Roman poets Ovid, Valerius Flaccus and Virgil with Servius's commentary; the Greek poets of the Late Antique period: Nonnus, Antoninus Liberalis, Quintus Smyrnaeus. The Greek poets of the Hellenistic period: Apollonius of Rhodes, Pseudo-Eratosthenes, Parthenius. Prose writers from the same periods who make reference to myths includ
Epidaurus was a small city in ancient Greece, on the Argolid Peninsula at the Saronic Gulf. Two modern towns bear the name Epidavros:Palaia Epidavros and Nea Epidavros. Since 2010 they belong to the new municipality of part of the regional unit of Argolis; the seat of the municipality is the town Lygourio. Epidaurus was independent of Argos and not included in Argolis until the time of the Romans. With its supporting territory, it formed. Reputed to be founded by or named for the Argolid Epidaurus, to be the birthplace of Apollo's son Asclepius the healer, Epidaurus was known for its sanctuary situated about five miles from the town, as well as its theater, once again in use today; the cult of Asclepius at Epidaurus is attested in the 6th century BC, when the older hill-top sanctuary of Apollo Maleatas was no longer spacious enough. The asclepeion at Epidaurus was the most celebrated healing center of the Classical world, the place where ill people went in the hope of being cured. To find out the right cure for their ailments, they spent a night in the enkoimeteria, a big sleeping hall.
In their dreams, the god himself would advise them. Within the sanctuary there was a guest house with 160 guestrooms. There are mineral springs in the vicinity, which may have been used in healing. Asclepius, the most important healer god of antiquity, brought prosperity to the sanctuary, which in the 4th and 3rd centuries BC embarked on an ambitious building program for enlarging and reconstruction of monumental buildings. Fame and prosperity continued throughout the Hellenistic period. After the destruction of Corinth in 146 BC Lucius Mummius visited the sanctuary and left two dedications there. In 87 BC the sanctuary was looted by the Roman general Sulla. In 74 BC a Roman garrison under Marcus Antonius Creticus had been installed in the city causing a lack of grain. Still, before 67 BC the sanctuary was plundered by pirates. In the 2nd century AD the sanctuary enjoyed a new upsurge under the Romans, but in AD 395 the Goths raided the sanctuary. After the introduction of Christianity and the silencing of the oracles, the sanctuary at Epidaurus was still known as late as the mid 5th century as a Christian healing center.
The prosperity brought by the asclepeion enabled Epidaurus to construct civic monuments, including the huge theatre that delighted Pausanias for its symmetry and beauty, used again today for dramatic performances, the ceremonial hestiatoreion, a palaestra. The ancient theatre of Epidaurus was designed by Polykleitos the Younger in the 4th century BC; the original 34 rows were extended in Roman times by another 21 rows. As is usual for Greek theatres, the view on a lush landscape behind the skênê is an integral part of the theatre itself and is not to be obscured, it seats up to 14,000 people. The theatre is admired for its exceptional acoustics, which permit perfect intelligibility of unamplified spoken words from the proscenium or skēnē to all 14,000 spectators, regardless of their seating. Famously, tour guides have their groups scattered in the stands and show them how they can hear the sound of a match struck at center-stage. A 2007 study by Nico F. Declercq and Cindy Dekeyser of the Georgia Institute of Technology indicates that the astonishing acoustic properties may be the result of the advanced design: the rows of limestone seats filter out low-frequency sounds, such as the murmur of the crowd, amplify the high-frequency sounds of the stage.
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