329:, the dolphin's turn is "a transformative veering from one course to another, a way of being drawn off track to an unexpected destination..." Sacks adds: "his turn is paradigmatic for the transportation system of poetry itself, both in its technical "versing", and in its thematic and figural changes." The dolphin is associated with such turning, of course, because it is a creature that itself is always transgressing boundaries, leaping and diving. The dolphin turn "breaks the surface between two elements, perhaps as the poem breaks from silence to sound and back, line after line, leaping and turning through what differentiates poetry from prose: its more frequent encounters with wordlessness, its high quota of turns, both of speech and thought, and of actual lineation, its navigating according to its own frequency even as it finds its course, responsively, by echolocation, by soundings."
510:
Divagation
Prompted by the Poets Forum Panel of November 8, 2008". "Twisting and Turning" begins by referencing the sonnet's turn, which McLane calls "only the most conspicuous example of the formal and cognitive turns a poem may enact". But then it leaps out to consider, or rather mention, all the various kinds of turns there could potentially be in a poem. McLane states, "One could, of course, explore poetic turns at multiple levels: morphemic, lexical, phrasal, tropological, conceptual, structural, generic, transmedial. We might consider how poetry turns away from or turns toward their various inheritances; how bilingual or multilingual poets turn their poems through various linguistic and semantic and cultural grids. From a certain vantage, of course, there is nothing that is not a turn in poetry: The very word verse comes from versus, 'turn' in Latin."
140:, Nicholas Royle states, "Nowhere is haphazard and disruptive strangeness of veering perhaps more evident than in the space of literature. Indeed...in a sense this is what literature is." And one central aspect of Royle's veering is the turn. Royle states, "'Veering' involves contemplating all sorts of turns, funny and otherwise." Additionally, he notes, "To engage with the verb 'to veer' is to find ourselves in Latin, French and other so-called foreign waters. We are already adrift. We must turn and turn about. Besides 'veer' itself and other words linked to the French virer, for example, there are all the words related to the Latin verb vertere ('to turn')...Then there are the inexhaustible riches of the word 'turn' (from the Latin tornare, 'to turn in a lathe', from tornus, 'turner's wheel', from Greek tornos, 'lathe')..."
506:
turns. In addition, the book highlights specific characteristics of the turn, emphasizing that poems can turn radically mid-course or appear subtly in "difficult" poetry. Each chapter describes a type of turn, provides brief historical background, and identifies and explores several poems which exemplify that type of turn. By discussing how the turn creates movement, power, or surprise within the poem, this in-depth investigation encourages a more complete reading of poetry. Michael Theune also writes that by recognizing and understanding the turn, poets can revise their poems so they "begin to embody the power, mystery, seductiveness, and grace of great poetry without either becoming unclear and lapsing into disarray or else becoming overly clear by incorporating excessive explanation."
518:
and structure. Many of these choices are unconscious, based on ideas of 'what a poem is' that you have absorbed long before. To make these choices conscious, at least once in a while, can be refreshing and even eye-opening." Finch then offers a list of questions to ask regarding a poem's rhetorical structure and strategy, the last of which asks, "And finally, what are the rhetorical turns taken in the poem? How does the poem shape itself so that, when one has finished reading, one feels the poem is over, that something has happened, that something has changed?"
493:, where the author states, "the couplet—placed not as resolution (which is the function of Q3) but as coda—can then stand in any number of relations (summarizing, ironic, expansive) to the preceding argument. The gradually straitened possibilities as the speaker advances in his considerations give the Shakespearean sonnet a funnel-shape, narrowing in Q3 to a vortex of condensed perceptual and intellectual force, and either constricting or expanding the vortex via couplet."
446:, the turn which will open up for solution the problem advanced by the octave, or which will ease the load of idea or emotion borne by the octave, or which will release the pressure accumulated in the octave. The octave and the sestet conduct actions which are analogous to the actions of inhaling and exhaling, or of contraction and release in the
457:, "The original form of the sonnet, the Petrarchan, made a shadow play of eight lines against six. Of all the form's claims, this may be the most ingenious. The octave sets out the problems, the perceptions, the wishes of the poet. The sestet does something different: it makes a swift, wonderfully compact turn on the hidden meanings of
450:. The one builds up the pressure, the other releases it; and the turn is the dramatic and climactic center of the poem, the place where the intellectual or emotional method of release first becomes clear and possible. From line 9 it is usually plain sailing down to the end of the sestet and the resolution of the experience."
489:, "the octave-sestet division is overshadowed by three distinct and equal blocks, the quatrains—and by the couplet that looks back upon the sonnet's action, often with acerbic, epigrammatic terseness or sweeping judgement". Another description of the Shakespearean volta comes from Helen Vendler in her book,
152:
Poet-critic Ellen Bryant Voigt, in her essay "The
Flexible Lyric" suggests that all kinds of poems turn and these poems can be classified according to the ways they turn. Poetic turns can be narrative or dramatic just as a turn might signal a move from premise to conclusion, a turn might also consist
517:
In a section called "Rhetorical
Structure and Strategy", in the chapter "Syntax and Rhetorical Structure: Words in Order and Disorder", Annie Finch writes, "Every time you write a poem, and probably before you even begin, you make a myriad of even more fundamental choices about its rhetorical stance
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is the first book which directly addresses and discusses the effects of the poetic turn. This collection of critical essays specifically discusses seven types of poetic turns, including the ironic, emblematic, concessional, retrospective-prospective, elegiacal, dialectic, and descriptive-meditative
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In "How We Value
Contemporary Poetry: An Empirical Inquiry", Bob Broad and Michael Theune find that some of their study's participants value poems with "a sort of development or shape that moves with control to negotiate the poem's risk, while incorporating surprise and build and turns to arrive at
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states, "The sonnet's volta, or 'turn'...has become an inherent expectation for most short lyric poems." Poet-critic T.S. Eliot (in his essay on Andrew
Marvell, where he discusses longer poems than sonnets and does not use the term voltĂ ) calls the turn in general "one of the most important means
568:
Hank Lazer, in "Lyricism of the Swerve: The Poetry of Rae
Armantrout" (in Lyric & Spirit: Selected Essays 1996-2008 (Richmond, CA: Omnidawn, 2008), pp. 95-126; and American Women Poets in the 21st Century: Where Lyric Meets Language, edited by Claudia Rankine and Juliana Spahr (Middletown, CT:
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According to poet Corey Marks, the descriptive-meditative structure is a kind of dramatic monologue that has three parts: it opens with the description of a scene, then (often due to an external trigger) turns to an interior meditation (for example, the expression and/or consideration of memories,
161:
The ironic structure is a two-part structure which turns from making an assertion to undercutting that assertion, or pulling the rug out from underneath what (one had thought) had been established in the poem. As discussed by
Christopher Bakken in "The Ironic Structure", "The ironic structure—with
63:
primarily refers to the turn as a "swerve", asking, "Is there a describable lyricism of swerving? For those poems for which the swerve, the turn, the sudden change in direction are integral, can we begin to articulate a precise appreciation? Is there a describable and individualistic lyricism of
44:
speaks thus of the "fulcrum" in relation to the non-sonnet poem "O western wind" (O Western Wind/when wilt thou blow/The small rain down can rain//Christ! my love were in my arms/and I in my bed again): 'The first two lines are a cry of anguish to the western wind (in
England, the wind of spring).
27:
shift or dramatic change in thought and/or emotion. Turns are seen in all types of written poetry. In the last two decades, the volta has become conventionally used as a word for this, stemming supposedly from technique specific mostly to sonnets. Volta is not, in fact, a term used by many earlier
148:
In his essay "Trust the Turn: Focusing the
Revision Process in Poetry", Theune suggest that there are a number of poems that can show the turn: "...ironic poems turn from set-up to punch line, emblem poems turn from description to meditation, and retrospective-prospective poems turn from past to
509:
Poets
Maureen McLane, Ron Padgett, Robert Pinsky, Kay Ryan, and Susan Steward participated on a panel, called "Twisting and Turning", at the Academy of American Poets Poets Forum on November 8, 2008. Maureen McLane published a round-up discussion of this event called "Twisting and Turning": "A
514:
an ending". They go on to state that "he assessment that a poem has build—which, along with the turn, is a term designating a major shift in rhetorical or dramatic progress of a poem—is powerful: such a development is viewed as rare but valuable, helping a poem to overcome other shortcomings".
84:, the place where the intellectual or emotional method of release first becomes clear and possible. Surely no sonnet succeeds as a sonnet that does not execute at the turn something analogous to the general kinds of 'release' with which the reader's muscles and nervous system are familiar."
95:
is the seat of its soul." Additionally, Levin states that "the arrangement of lines into patterns of sound serves a function we could call architectural, for these various acoustical partitions accentuate the element that gives the sonnet its unique force and character: the
266:
According to poet John Beer, the dialectical argument structure is essentially a three-part structure. It turns from thesis (one argumentative position) to antithesis (a counterpoint to the thesis) to a synthesis, which combines the two seemingly opposing views.
45:
The lament issues without any statement of cause for the speaker's anguish. The second two lines snap off that generalized lament and utter an angry and specific protest. The poet's tone has undergone an emphatic change.' Ciardi does not use the term "volta". In
469:. The sestet answers the octave, but neither politely nor smoothly. And this simple engine of proposition and rebuttal has allowed the sonnet over centuries, in the hands of very different poets, to replicate over and over again the magic of inner argument."
132:
says that "a successful poem starts in one position and ends at a very different one, often a contradictory or opposite one; yet there has been no break in the unity of the poem". Such a transition is executed by the turn.
28:
critics when they address the idea of a turn in a poem, and they usually are not discussing the sonnet form. It is a common Italian word more often used of the idea of a time or an occasion than a turnabout or swerve.
208:
The concessional structure is a two-part structure that turns from making concessions (that is, admitting the problems or difficulties in the argument one wants to make) to then, in fact, making the argument.
228:
The retrospective-prospective structure is a two-part structure that begins with a consideration of past events and then turns to look ahead to the future or else look a present situation differently.
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by explaining that haiku must be written using the principles of comparison, contrast, or association. She says, "This technique provides the pivot on which the reader's thought turns and expands."
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The elegiac mode has three kinds of structures: one with a turn from grief to consolation; one with a turn from grief to the refusal of consolation; and one from grief to deeper grief.
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in a book in which he never uses the word 'volta' talks generally of the poetic turn as "indispensable". He states further that "the turn is the dramatic and climactic center of the
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to another, one thought to a further thought, one level of understanding or questioning to being in the presence of the mystery". In "Levels and Opposites: Structure in Poetry",
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typically involve juxtaposition, or turning, which often occurs through a pivot word—a word that causes the poem to change directions, known in Japanese poetics as the
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In "The Non-Turning of Recent American Poetry", Michael Theune argues that some recent works of poetry writing pedagogy do not pay enough attention to the vital turn.
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The emblem structure is a two-part structure that turns from an organized description of an object to a meditation on, a consideration of, the meaning of that object.
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Despite the presence of turns throughout the history of poetry, the poetic turn has only been critically and explicitly analyzed in recent years. Michael Theune's
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concerns, anticipation), and then turns to a re-description of the scene, a scene that now seems different due to the changed mindset of the poem's speaker.
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402:, a Korean poem of 43 to 45 syllables, traditionally contains a turn in the third line which moves away from the theme developed in the first two lines.
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Phillis Levin, "Introduction," The Penguin Book of the Sonnet: 500 Years of a Classic Tradition in English (New York: Penguin, 2001), p. xxxix.
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Phillis Levin, "Introduction," The Penguin Book of the Sonnet: 500 Years of a Classic Tradition in English (New York: Penguin, 2001), p. xxxix.
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Eavan Boland, "Discovering the Sonnet," The Making of a Sonnet, eds. Eavan Boland and Edward Hirsch (New York: Norton, 2009).
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its building up and knocking down, its dreaming and waking—becomes the perfect instrument for a great Romantic ironist like
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Vendler, Helen. "Introduction." The Art of Shakespeare's Sonnets. Cambridge, MA: Belknap of Harvard UP, 1997. 25. Print.
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Annie Finch, A Poet's Craft: A Comprehensive Guide to Making and Sharing Your Poetry (Ann Arbor: U of Michigan P, 2012).
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Vendler, Helen. "Introduction." The Art of Shakespeare's Sonnets. Cambridge, MA: Belknap of Harvard UP, 1997. 25. Print.
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is called a volta. A vital part of virtually all sonnets, the volta is most frequently encountered at the end of the
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According to poet , a poem that employs a mid-course turn is one that employs a particularly sharp, radical turn.
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Paul Fussell, Poetic Meter and Poetic Form, revised edition (New York: McGraw-Hill, Inc., 1979), pp. 115-116.
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Paul Fussell, Poetic Meter and Poetic Form, revised edition (New York: McGraw-Hill, Inc., 1979), pp. 115-116.
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Stephen Burt and David Mikics, "Introduction," The Art of the Sonnet (Cambridge, MA: Belknap, 2010): p. 14.
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Ellen Bryant Voigt, The Art of Syntax: Rhythm of Thought, Rhythm of Song (Minneapolis, MN: Graywolf, 2009).
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sonnets), or the end of the twelfth line in Shakespearean sonnets, but can occur anywhere in the sonnet.
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Paul Fussell, Poetic Meter and Poetic Form, revised edition (New York: McGraw-Hill, Inc., 1979), p. 115.
337:
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Broad, Bob; Theune, Michael (November 2010). "How We Value Contemporary Poetry: An Empirical Inquiry".
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T.S. Eliot, "Andrew Marvell," Selected Essays, 1917-1932 (New York: Harcourt, Brace and Company, 1932).
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Randall Jarrell, "Levels and Opposites: Structure in Poetry," The Georgia Review , Vol. 50 no. 4, 1996
100:, the 'turn' that introduces into the poem a possibility for transformation, like a moment of grace".
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Michael Theune, "The Non-Turning of Recent American Poetry," Pleiades (January, 2007), pp. 141-9.
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The turn in poetry has gone by many names. In "The Poem in Countermotion", the final chapter of
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Sacks, Peter, "You Only Guide Me by Surprise": Poetry and the Dolphin's Turn (California: 2007)
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Sacks, Peter, "You Only Guide Me by Surprise": Poetry and the Dolphin's Turn (California: 2007)
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Sacks, Peter, "You Only Guide Me by Surprise": Poetry and the Dolphin's Turn (California: 2007)
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Beer, John (2009). "The Dialectical Argument Structure". In Theune, Michael (ed.).
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49:, M.L. Rosenthal employs two different terms for different kinds of turns: "gentle
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Nicholas Royle, Veering: A Theory of Literature (Edinburgh: Edinburgh UP, 2011).
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Gurga, Lee. Haiku: A Poet's Guide (Modern Haiku Press, Lincoln IL 2003)
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John Ciardi, How Does a Poem Mean? (Boston: Houghton Mifflin, 1959).
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According to Paul Fussell, "The standard way of constructing a
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M.L. Rosenthal, The Poet's Art (New York: W. W. Norton, 1987).
327:"You Only Guide Me by Surprise": Poetry and the Dolphin's Turn
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One example of a poem with a descriptive meditating turn is "
111:, the turn is a vital part of almost all poems. Poet-critic
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One example of an elegiac turn (grief to consolation) is
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calls the "center" of a poem largely is the poem's turn.
766:. Teachers & Writers Collaborative. pp. 99–122.
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One example of a poem with a dialectical argument is
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of a transition from one emotional state to another.
902:. Iowa City: University of Iowa Press. p. 151.
681:. Iowa City: University of Iowa Press. p. 151.
231:One example of a retrospective-prospective turn is
887:. New York: Teachers & Writers Collaborative.
751:. New York: Teachers & Writers Collaborative.
736:. New York: Teachers & Writers Collaborative.
721:. New York: Teachers & Writers Collaborative.
706:. New York: Teachers & Writers Collaborative.
309:One example of a poem with a mid-course turn is "
885:Structure & Surprise: Engaging Poetic Turns
764:Structure & Surprise: Engaging Poetic Turns
503:Structure & Surprise: Engaging Poetic Turns
386:. Betty Drevniok describes the haiku's turn in
16:Shift or point of dramatic change in literature
438:sonnet is to project the subject in the first
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332:Some examples of the dolphin turn include:
538:"Turned onto Turns: Comments on Structure"
91:, "We could say that for the sonnet, the
233:I Wandered Lonely as a Cloud (Daffodils)
170:" exemplifies this complicated problem.
124:refers to the turn as "he leap from one
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212:One example of a concessional turn is
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382:. This is discussed in Lee Gurga's
580:"A 'Dark Star' Passes through It."
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192:One example of an emblem turn is
173:One example of an ironic turn is
898:Wilkinson, Joshua Marie (2010).
677:Wilkinson, Joshua Marie (2010).
491:The Art of Shakespeare's Sonnets
922:American Poet 36 (Spring 2009).
900:Poets on teaching: a sourcebook
679:Poets on teaching: a sourcebook
138:Veering: A Theory of Literature
338:Homeric Hymn to Pythian Apollo
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828:Sege, Irene (June 30, 2009).
569:Wesleyan, 2002), pp. 27-51).
325:According to Peter Sacks in
359:There is no need for speech
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453:According to poet-critic
224:Retrospective-prospective
87:According to poet-critic
883:Theune, Michael (2007).
813:Drevniok, Betty (1982).
749:Structure & Surprise
747:Theune, Michael (2007).
734:Structure & Surprise
732:Theune, Michael (2007).
719:Structure & Surprise
717:Theune, Michael (2007).
704:Structure & Surprise
702:Theune, Michael (2007).
473:The Shakespearean volta
116:of poetic effect since
817:. Portal Publications.
418:(first eight lines in
350:Rainer Maria Rilke's "
282:Descriptive meditating
194:"A Green Crab's Shell"
815:Aware: A Haiku Primer
481:and David Mikics, in
388:Aware: A Haiku Primer
384:Haiku: A Poet's Guide
76:Author and historian
38:How Does a Poem Mean?
946:10.58680/ce201012422
430:The Petrarchan volta
262:Dialectical argument
149:present or future".
540:. 18 February 2009.
357:Osip Mandelstam's "
166:, whose long poem "
343:2013-05-24 at the
315:William Wordsworth
296:William Wordsworth
237:William Wordsworth
113:Ellen Bryant Voigt
688:978-1-58729-904-9
467:wait for a moment
311:Old Man Traveling
214:"Yet Do I Marvel"
64:swerving?" What
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410:A turn in a
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78:Paul Fussell
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497:Scholarship
483:Shakespeare
272:"Some Days"
103:Called the
51:modulations
42:John Ciardi
32:Terminology
834:boston.com
525:References
436:Petrarchan
424:Spenserian
420:Petrarchan
302:Mid-course
164:Lord Byron
72:Importance
61:Hank Lazer
25:rhetorical
198:Mark Doty
982:Category
440:quatrain
366:By genre
352:Delphine
341:Archived
168:Don Juan
487:sonnets
406:Sonnets
252:"Shell"
126:synapse
109:sonnets
56:torques
906:
685:
444:sestet
416:octave
412:sonnet
380:kireji
185:Emblem
175:"Dusk"
157:Ironic
376:Haiku
371:Haiku
313:" by
294:" by
243:Elegy
144:Types
118:Homer
105:volta
98:volta
93:volta
59:)".
23:is a
21:volta
904:ISBN
683:ISBN
465:and
461:and
400:sijo
398:The
394:Sijo
82:poem
19:The
942:doi
485:'s
463:yet
459:but
422:or
274:by
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107:in
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