By Robin G. Jordan
The Scripture
Readings. The 1928 Prayer Book makes provision for two readings at a
celebration of Holy Communion—one from the Epistles and the other from the
Gospels. In this regard it follows the late medieval practice. During an early
period in Church history the Eucharist had included an Old Testament Lesson and
a Gradual Psalm. More recent Anglican service books have restored the Old
Testament Lesson and the Gradual Psalm or permit their use.
Research shows that the King James Bible, while it is the
most popular Bible translation is not the most read Bible translation. Its
popularity is not tied to its use. Younger people—and older people—find the
language of the King James Bible difficult to understand, old-fashioned, and
quaint. The King James Bible also contains a number of translation errors. When
the Scripture readings are taken from the King James Bible, the task of the
preacher becomes not only to break open the meaning of the text for the
congregation and show how the text applies to them but also to render the text
into plain, everyday English.
I know college graduates for whom English is their native
language and whose vocabulary does not include once common English words that,
when I was small boy, people used in their everyday conversations. These
college graduates struggle with the archaic words and phrases of the King James
Bible and William Shakespeare’s plays and poetry. I gather from my
conversations with Chinese, Japanese, and Korean foreign exchange students attending the
Murray State University that they also struggle with these archaic words and
phrases.
The number of people like myself for whom the Jacobean
English of The Book of Common Prayer
is a second language that they learned from infancy is very small.
In some Continuing Anglican jurisdictions the canons permit
the reading of the Epistle and the Gospel from one of several modern
translations in place of the King James Bible. The bishop also may authorize the
use of additional modern translations. In those jurisdictions where that is the
case I strongly recommend that small churches take advantage of the canons and
use one or more of these translations. The lections in the Church of England’s Alternative Service Book 1980 are taken
from the New English Bible and the older edition of the New International
Version and are both readable and understandable. A small church might want to
obtain the bishop’s permission to use the English Standard Version, for which
Anglican scholar and theologian J. I. Packer served as general editor. It also
would be a good choice for the Scripture readings. All three versions may be
found on the Internet.
The Jacobean English of the 1928 Prayer Book presents less
of a linguistic barrier as it contains fewer such words and phrases and these
words and phrases can be explained in a short course on the Book of Common
Prayer.
Roger Beckwith has written a booklet, Praying with Understanding: Explanations of passages and words in the
Book of Common Prayer, in
which he takes the reader through the 1662 Prayer Book, explaining the meanings
of words and phrases to help the reader to understand them more fully. This
booklet is also useful in explaining the meaning of same words and phrases in
the 1928 Prayer Book. It can be downloaded free in PDF format from the Latimer
Trust website. The URL is http://www.latimertrust.org/index.php/publications/briefings/53-lb02
.
It is also available on Kindle for a small charge.
Between the Epistle
and Gospel. During festal seasons (Christmastide and Eastertide), at major
feasts (Christmas, Easter, and Whitsunday) and during ordinary time
(Epiphanytide and Trinitytide) a gospel acclamation—an Alleluia—is the most
appropriate choice for this particular place in the service of Holy Communion.
To greet the proclamation of the Good News with the singing of an Alleluia is a
very ancient custom. The practice has been traced as far back as the third
century and may be even older. A small congregation can easily learn a
repertoire of simple Alleluias for use on these occasions. The simplest form of
an Alleluia should used, one without a verse. At St. Michael’s I taught the
congregation a number of these Alleluias.
Whether the Gospel is read from the pulpit, the midst of the
congregation, or the chancel steps, the Alleluia is sung as the deacon or
priest proceeds to the station where the Gospel will be read. The deacon or
priest announces the Gospel after the singing of the Alleluia has concluded.
The singing should not be cut off simply because the deacon or the priest has
arrived at the station where the Gospel will be read. After the reading of the
Gospel the deacon or priest may return to his place in silence or to the
accompaniment of instrumental music.
The following are seven simple, easy-to-sing Alleluias that
may be sung without accompaniment.
Aleluya, aleluya,
aleluya, aleluya HONDURAS ALLELUIA
HONDURAS ALLELUIA is a traditional Honduran tune.
Alleluia, alleluia,
alleluia, alleluia CELTIC ALLELUIA
This lilting Alleluia comes from Christopher Walker’s Celtic Mass.
Alleluia, alleluia,
alleluia, alleluia HAPPY LAND
The hymn, “There is a happy land, Far, far away” is sung to
the tune HAPPY LAND. The hymn and the tune have been published in 532 hymnals,
including the shape-note hymnal Southern
Harmony. Shaped note hymn enthusiasts gather from around the United States
in Benton, Kentucky for the annual Big Sing, which features hymns and gospel
songs from Southern Harmony. The
source of HAPPY LAND is a Hindustani melody.
“There is a happy land, Far, far away” and its tune is also
widely known in Appalachia. For this reason HAPPY LAND was used along with a
number of other tunes familiar to the people of Appalachia to create a Mass
setting for use in small Catholic churches in Appalachia. HAPPY LAND and HOLY
MANNA were used as settings for the Gospel Acclamation.
Alleluia, alleluia,
alleluia O FILII ET FILIAE
The triple Alleluia of the refrain from “O sons and
daughters, let us sing!” may be sung as an Alleluia before the Gospel. When
sung as a Gospel Acclamation, it should be sung at a faster tempo than as a
plainsong hymn refrain. This emphasizes the lilt in the melody, gives it a more
dance-like quality, and suggests that the tune’s origin may be from the French
folk tradition, in much the same way as many French noel tunes are believed to
have developed. The triple Alleluia is sung by one voice and repeated by the
congregation.
Alleluia, alleluia,
alleluia TAIZE ALLELUIA
This Alleuia comes from the Taize Community in Taize,
France. The tune was composed by Jacques Berthier.
Halle, halle,
hallelujah HALLE HALLE
“Halle, halle,
hallelujah” enjoys wide popularity and is published in 15 hymnals, including
hymnals in Australia, Canada, and the United Kingdom as well as the United
States. HALLE, HALLE is a traditional Caribbean tune.
Hallelujah,
hallelujah, halle, hallelujah HELELUYAN
HELELUYAN is a Muscogee (Creek) Indian chant. This Alleluia
may be sung in canon.
During Lent and on other occasions a sequence hymn may be
sung in place of the gospel acclamation. The sequence hymn “should sum up,
highlight or respond to the Epistle or anticipate the Gospel.” Both a Sequence
Hymn and a Gospel Acclamation may be sung on occasion. The Sequence Hymn should
be a short one. Otherwise, it will throw the natural sequence from Epistle to
Gospel out of balance. A hymn at this particular juncture in the service acts a
musical bridge. A short metrical version of a psalm or canticle may also be
used.
The practice of singing the children’s hymn, “Thy gospel
Jesus we believe” between the Epistle and the Gospel at every celebration of
Holy Communion should be assiduously avoided. This particular misuse of that
hymn was the reason it was omitted from The
Hymnal 1982. The hymn was originally used in children’s services in the
Roman Catholic Church in the nineteenth century as a part of the children’s
preparation for First Communion. It is NOT listed for suggested use as a
sequence hymn in the two Liturgical Indices in The Hymnal, 1940. It is, however, listed for suggested use before
or during the Communion at the conclusion of the Holy Communion section of that
hymnal. If it is sung at that particular juncture in the service, it is best
sung three times—with devotion and not perfunctorily. The addition of an
instrumental accompaniment—keyboard, violins, chimes—and the insertion of an
instrumental interlude is desirable. View Missio’s performance of the hymn on
YouTube at https://www.youtube.com/watch?v=CfSEL1opf_w.
This video points to its use on occasions when children are first admitted to
Communion.
The Subject Index to the Supplements to Hymns Ancient & Modern New Standard (1983) suggests the use of
the following hymns before the Gospel. Their tunes and a number of the hymns
themselves are in the Gulbransen Digital Hymnal DH-100 CP’s Master Index.
Come, Holy Ghost, our
hearts inspire NUN DANKET ALL
God is Love; let
heav’n adore him ABBOT’S LEIGH
Help us, O Lord, to
learn ST. BRIDE, ST. THOMAS (Williams)
Lord Jesus, once you
spoke WINCHESTER NEW
Not far beyond the
sea, nor high CORNWALL
Praise we now the
Word of grace SAVANNAH (Thommen), INNOCENTS, ST. BEES
Rise and hear! The
Lord is speaking ARISE/RESTORATION, CROSS OF JESUS, LAUS DEO (Redhead),
MERTON, OMNI DEI, ST. ANDREW, STUTTGART
ARISE/RESTORATION may be sung as a round or a canon,
normally at a distance of one or two measures and a space of one octave.
Tell out, my soul,
the greatness of the Lord! BIRMINGHAM, WOODLANDS
Thanks to God whose
Word was spoken (Stanzas 3 and 4) WYLDE GREEN
The prophets spoke in
days of old DETROIT (Bradshaw)/FORGIVE OUR SINS AS WE FORGIVE, ST. STEPHEN
DETROIT may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
The two Liturgical Indices in The Hymnal, 1940 identify a number of hymns that are suitable for
use as a sequence between the Epistle and the Gospel. Some are seasonal; others
are general. I have listed those whose tune is in the Gulbransen Digital Hymnal
DH-100 CP’s Master Index or which may be sung to tunes in the Master Index of
the same meter and rhythm. I selected standard hymns that one might reasonably
expect to find in the congregational repertoire of a traditional Anglican
church and which one might also reasonably expect to be familiar to visitors
who have a traditional church background but in another denomination. With the
exception of the festal and seasonal hymns I selected hymns that could be used
on a number of Sundays in the Church Year. I have placed an asterisk (*) next
to the tune that I believe best conveys the mood of the hymn. A number of these
hymns may be shortened.
A mighty fortress is
our God EIN’ FESTE BURG
Stanzas1 and 2 are suggested for use as a sequence hymn.
All praise to thee,
for thou, O King divine ENGELBERG, SINE NOMINE
SINE NOMINE may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
And have the bright
immensities HALIFAX, KINGSFOLD
Awake, awake to love
and work MORNING SONG (Dare)
MORNING SONG is a folk tune that has some resemblance to the
traditional English tune for "Old King Cole." Only
the shorter Common Meter version of this hymn tune is in the digital hymnal
player’s Master Index.
Among the hymns that may be sung to this shorter version are
“O Holy City seen of John,” “The King shall come when morning dawns,” and “My
soul gives glory to my God,” “My Master, see the time has come,” “Immortal
Love, forever full,” “Our Father, God, who art in heaven,” and “Forgive our sins
as we forgive.”
Isaac Watt’s “Let every nation praise the Lord,” originally
“O all ye nations, praise the Lord,” sung to the Common Meter version of
MORNING SONG, would be a useful addition to a small church congregation’s
repertoire and could be used as a sequence between the Epistle and the Gospel.
Let every nation praise you, Lord,
each with its different tongue;
in every language learn your word,
and let your name be sung.
each with its different tongue;
in every language learn your word,
and let your name be sung.
Let our unceasing songs now show
the mercies of our Lord;
and make succeeding ages know
how faithful is your word.
the mercies of our Lord;
and make succeeding ages know
how faithful is your word.
Your mercy reigns through every land;
your grace is spread abroad;
forever firm, your truth shall stand.
We’ll praise our faithful God!
your grace is spread abroad;
forever firm, your truth shall stand.
We’ll praise our faithful God!
The 86.86.86 version of the hymn tune to which “Awake, awake
to love and work” is set may be downloaded as MP3 file from the SmallChurch
Music.com website: http://www.smallchurchmusic3.com/Lyrics/D01/S01397.php
MORNING SONG may be sung as a round or a canon, normally at
a distance of one or two measures and a space of one octave.
Blessed feast of
blessed martyrs IN BABILONE*, HOLY MANNA, ALTA TRINITA BEATA
HOLY MANNA may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
Blest are the pure in
heart FRANCONIA
Book of books, our
people’s strength LIEBSTER JESU
LIEBSTER JESU is also the tune of “Blessed Jesus at your
word,” 280 in The Psalter Hymnal and
596 in The United Methodist Hymnal,
which also can be sung as a Sequence between the Epistle and the Gospel:
1 Blessed Jesus, at your word
we are gathered all to hear you.
Let our hearts and souls be stirred
now to seek and love and fear you.
By your gospel pure and holy,
teach us, Lord, to love you solely.
we are gathered all to hear you.
Let our hearts and souls be stirred
now to seek and love and fear you.
By your gospel pure and holy,
teach us, Lord, to love you solely.
2 All our knowledge, sense, and sight
lie in deepest darkness shrouded,
till your Spirit breaks our night
with your beams of truth unclouded.
You alone to God can win us;
you must work all good within us.
lie in deepest darkness shrouded,
till your Spirit breaks our night
with your beams of truth unclouded.
You alone to God can win us;
you must work all good within us.
3 Glorious Lord, yourself impart;
Light of Light, from God proceeding,
open lips and ears and heart;
help us by your Spirit's leading.
Hear the cry your church now raises;
Lord, accept our prayers and praises.
Light of Light, from God proceeding,
open lips and ears and heart;
help us by your Spirit's leading.
Hear the cry your church now raises;
Lord, accept our prayers and praises.
“Dearest Jesus, we are here,” a baptismal hymn, 483 in Glory to God: The Presbyterian Hymnal,
is also set to LIEBSTER JESU.
Christ for the world
we sing MOSCOW
Christ, the fair
glory of the holy angels CHRISTE SANCTORUM, ISTE CONFESSOR
Come away to the
skies MIDDLEBURY
Come down, O Love
divine DOWN AMPNEY
Earth has many a
noble city STUTTGART
Father we thank thee
RENDEZ A DIEU
RENDEZ A DIEU is the alternative tune of “Bread of the
world, in mercy broken,” 196 in The
Hymnal, 1940. It is also the tune of Erik Routley’s metrical version of
Psalm 98, “New songs of celebration render.”
Fight the good fight
with all thy might DUKE STREET*
DUKE STREET, the alternative tune, conveys the mood of this
hymn far better than PENTECOST, the second tune. Both tunes are in the Gulbransen
Digital Hymnal DH-100 CP’s Master Index.
For thy dear saints,
O Lord ST. GEORGE
Forty days and forty
nights AUS DER TIEFE RUFE/HEINLEIN
Give praise and glory
unto God DU LEBENSBROT, HERR JESU
Peter Sohren who composed DU LEBENSBROT, HERR JESU also
composed ELBING, the tune to which this hymn is set in The Hymnal, 1940. While they are not identical, they sound similar
enough that someone familiar with ELBING should be able to learn DU LEBENSBROT,
HERR JESU. DU LEBENSBROT, HERR JESU may also be used as a prelude.
Hail the day that
sees Him rise ASCENSION, LLANFAIR
Hail to the Lord’s
Anointed ES FLOG EIN KLEINS/WOOD BIRD, ELLACOMBE, FREUT EUCH IHR LIEBEN
He is risen, he is
risen UNSER HERRSCHER/NEANDER
Holy God, we praise
thy name GROSSER GOTT/TE DEUM
This hymn is a metrical version of the Te Deum laudamus. The Psalter Hymnal contains a third stanza
missing from The Hymnal, 1940 version
of the hymn.
Lo, the apostolic train
joins your sacred name to hallow;
prophets swell the glad refrain,
and the
white-robed martyrs follow;
and from morn to
set of sun,
through the church
the song goes on.
The Church of Ireland’s Church Hymnal (2000) adds a fourth verse to the The Hymnal, 1940 version:
Spare thy people, Lord, we pray,
by a thousand snares surrounded;
keep us free from sin today,
never let us be confounded:
all my trust I place in thee ,
never, Lord, abandon me.
The Hymnal 1982
version also contains the missing third stanza and adds three more stanzas:
Christ, thou art our glorious King,
Son of God enthroned in splendor;
but deliverance to bring
thou all honors didst surrender,
and wast of a virgin born
humbly on that blessed morn.
Thou didst take the sting from death,
Son of God, as Savior given;
on the cross thy dying breath
opened wide the realm of heaven.
In the glory of that land
thou art set at God’s right hand.
As our judge thou wilt appear.
Savor, who hast died to win us.
Help thy servants, drawing near.
Lord, renew our hearts within us.
Grant that with thy saints we may
Dwell in everlasting day.
The result is a metrical Te Deum suitable for use where a
longer hymn is needed such as during a formal procession before the service on
a major feast day or at the ingathering of the Alms and Oblations on a major
feast day or an ordinary Sunday. This longer version of “Holy God we praise thy
name” would be an appropriate choice for Trinity Sunday. It would make a
fitting response to the Lessons and the Sermon at Morning Prayer on major feast
days and ordinary Sundays, perhaps accented with hand bells.
Hosanna to the living
Lord! HOSANNA (Dyke)
At least one hymnal omits the second stanza and alters the
words of the third stanza. At least one hymnal omits the fifth stanza. “Hosanna
to the living Lord!” may also be sung to Long Meter tunes if the refrain is
omitted.
How brightly appears
the Morning Star WIE SCHON LEUCHTET/FRANKFURT
How firm a foundation
FOUNDATION*, LYONS, ST. DENIO
FOUNDATION may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
How wondrous and
great Thy works God of praise LYONS, OLD 104TH , HANOVER (Croft)
I bind unto myself
today (Stanzas 1 and 2) ST. PATRICK'S BREASTPLATE
I love your kingdom,
Lord ST. THOMAS (Williams)
I sought the Lord
PEACE #1
In heav’nly love
abiding NYLAND
Jesus calls us
GALILEE, ARISE/RESTORATION
*
ARISE, also known as RESTORATION, is found in the shape-note
hymnal, Southern Harmony, which is
used at the annual Big Sing in Benton, Kentucky.
ARISE/RESTORTION may be sung as a round or a canon, normally
at a distance of one or two measures and a space of one octave.
Lamp of our feet,
whereby we trace GRAEFENBERG
Let saints on earth
in concert sing DUNDEE/FRENCH
Let us with a
gladsome mind MONKLAND
Lo, he comes with
clouds descending ST. THOMAS, HELMSLEY
Lord, speak to me,
that I may speak (Stanzas 1, 3, 4, and 6) O WALY WALY*
O WALY WALY is a traditional English melody also known as
THE WATER IS WIDE. It is well known in the Appalachian region of the United
States, which includes eastern Kentucky. It has been used as the setting of
Timothy Dudley Smith’s “Though I may speak with bravest fire,” Brian A. Wren’s
“When love is found,” Fred Pratt Green’s “An upper room did our Lord prepare,”
James Quinn’s “Lord make us servants of your peace,” Isaac Watt’s “When I
survey the wondrous cross,” Susan Palo Cherwein’s “O blessed spring, where word
and sign,” Charles William Everest’s “Take up thy cross,” Carolyn Winfrey
Gillette’s “Go walk with God in all you do,” Fred Pratt Green’s “Of all the
Spirit’s gifts to me,” and a number of other hymns. It is a beautiful tune, is
quite singable, and makes a wonderful addition to the hymn tune repertoire of a
small church congregation.
“Lord speak to me that I may speak” may also be sung to
other Long Meter tunes such as CONDITOR ALME, DEUS TUORUM MILITUM, DUKE STREET,
HAMBURG, KEDRON, MENDON, OLD HUNDRETH, PUER NOBIS, ROCKINGHAM, SPLENDOR
PATERNAE, THE EIGTH TUNE/TALLIS’ CANON, TRURO, WAREHAM, WINCHESTER NEW, or
WINDHAM
Love divine all loves
excelling (Stanzas 1 and 2) HYFRYDOL*, BEECHER
Master of eager youth
(Stanzas 3 and 4) MONKS GATE, ST. DUNSTAN’S
If The Hymnal 1982
version of this hymn is used, the entire hymn may be sung. It omits the first
stanza of The Hymnal, 1940 version
and alters the first line of the second stanza. “Jesus our mighty Lord” is
substituted for “thou art our mighty Lord.” The reason for the changes was to
encourage the more frequent and wider use of the hymn. Due to its first stanza
churches tended to limit its use to Youth Sunday and similar occasions. The Hymnal 1982 version is suitable for
use at a number of places in a celebration of Holy Communion.
My faith looks up to
thee OLIVET
O bless the Lord, my
soul! ST.THOMAS (Williams), ST. BRIDE
ST. BRIDE may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
O God of Bethel, by
whose hand DUNDEE/FRENCH
O Splendor of God’s
glory bright SPLENDOR PATERNAE, PUER NOBIS
PUER NOBIS may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
O thou who camest
from above HEREFORD, MENDON
O Word of God
incarnate MUNICH
A number of hymnals omit the third stanza. This includes
several hymnals listed in the digital hymnal’s Manual.
O Word that goest
forth from high WINDHAM*
WINDHAM is a good choice for this hymn. It not only conveys
the mood of the hymn but also may be sung unaccompanied. Like HAPPY LAND and
ARISE/RESTORATION, WINDHAM is found in the shape-note hymnal, Southern Harmony, which is used at the
annual Big Sing in Benton, Kentucky.
O Word that goest forth from high” may also be sung to other
Long Meter tunes such as CONDITOR ALME,
DEUS TUORUM MILITUM, DUKE STREET, HAMBURG, , KEDRON, MENDON, O WALY WALY, OLD
HUNDRETH, PUER NOBIS, ROCKINGHAM, SPLENDOR PATERNAE, THE EIGHTH TUNE/TALLIS’
CANON, TRURO, WAREHAM, or WINCHESTER NEW.
PUER NOBIS, THE EIGHTH TUNE/TALLIS’ CANON and TRURO may be
sung as a round or a canon, normally at a distance of one or two measures and a
space of one octave.
On Jordan’s bank the
Baptist’s cry WINCHESTER NEW
Praise to the Holiest
in the height (st. 1, 4) NEWMAN
Rejoice the Lord is
King! DARWALL’S 148TH/DARWALL, GOPSAL, LAUS REGIS, JUBILATE
Round the Lord in
glory seated MOULTRIE, RUSTINGTON
Sing of Mary, pure
and lowly PLEADING SAVIOUR
Soldiers of Christ,
arise SILVER STREET
Songs of praise the
angels sang INNOCENTS,MONKLAND
The King of Love my
shepherd is ST. COLUMBA*, DOMINUS REGIT ME
ST. COLUMBA may be sung as a round or a canon, normally at a
distance of one or two measures and a space of one octave.
Through north and
south and east and west OLD HUNDRETH
Through the night of
doubt and sorrow EBENEZER/TON-Y-BOTEL
Unto us a boy is born
PUER NOBIS NASCITUR
PUER NOBIS NASCITUR may be sung as a round or a canon,
normally at a distance of one or two measures and a space of one octave.
When I survey the
wondrous cross O WALY WALY*, ROCKINGHAM, HAMBURG
Who are like these
stars appearing ZEUCH MICH ZEUCH MICH/ALL SAINTS (Darmstead), DARMSTEAD,
ALL SAINTS OLD, UNSER HERRSCHER/NEANDER, WEISSE FLAGGEN
Ye watchers and ye
holy ones LASST UNS EFREUEN/VIGILES ET SANCTI
Stanzas 2 and 4 are suggested for use as a sequence hymn on
the Feast of the Annunciation
What can be seen from this short list is that The Hymnal, 1940 itself contains ample
hymns for use as a sequence between the Epistle and the Gospel. Most of these
hymns may also be used at one or more other places in the service—before the
beginning of the service, at the ingathering of the Alms and Oblations, before
the Communion, after the Post-Communion Prayer, or after the Blessing. A number
of them may be used as office hymns and concluding hymns at Morning Prayer.
“Holy God, we praise thy name” is a metrical version of the Te Deum laudamus and may be used with or
without the additional stanzas after the Lessons and the Sermon.
Three hymns that are listed in the Gulbransen Digital Hymnal
DH-100 CP’s Master Index and which would be useful additions to a church’s sequence
hymn repertoire are “God's Holy Ways Are Just and True” LASST UNS ERFREUEN , “How
Sure the Scriptures Are!” DARWALL/DARWALL’S 148TH, and “Lord of the Church, We
Pray for Our Renewing” LONDONERRY AIR #109. All three hymns may be used
elsewhere in a celebration of Holy Communion.
A hymn whose tune is unfortunately not listed in the Master
Index is “Open your ears, O faithful people.” It is set to a Hasidic melody,
TORAH SONG, also known YISRAEL V'ORAITA. The first two stanzas or the entire
hymn may be sung as a sequence hymn. The congregation of St. Michael’s loved
this hymn and sung it with enthusiasm.
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