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THE MONK OF CASAL-MAGGIORE by Henry Wadsworth Longfellow: Summary, Meaning & Analysis

Henry Wadsworth Longfellow

A mischievous Franciscan friar named Brother Timothy deceives a naive farmer into thinking he’s been magically transformed into a donkey as punishment for his gluttony.

The poem
Once on a time, some centuries ago, In the hot sunshine two Franciscan friars Wended their weary way with footsteps slow Back to their convent, whose white walls and spires Gleamed on the hillside like a patch of snow; Covered with dust they were, and torn by briers, And bore like sumpter-mules upon their backs The badge of poverty, their beggar's sacks. The first was Brother Anthony, a spare And silent man, with pallid cheeks and thin, Much given to vigils, penance, fasting, prayer, Solemn and gray, and worn with discipline, As if his body but white ashes were, Heaped on the living coals that glowed within; A simple monk, like many of his day, Whose instinct was to listen and obey. A different man was Brother Timothy, Of larger mould and of a coarser paste; A rubicund and stalwart monk was he, Broad in the shoulders, broader in the waist, Who often filled the dull refectory With noise by which the convent was disgraced, But to the mass-book gave but little heed, By reason he had never learned to read. Now, as they passed the outskirts of a wood, They saw, with mingled pleasure and surprise, Fast tethered to a tree an ass, that stood Lazily winking his large, limpid eyes. The farmer Gilbert of that neighborhood His owner was, who, looking for supplies Of fagots, deeper in the wood had strayed, Leaving his beast to ponder in the shade. As soon as Brother Timothy espied The patient animal, he said: "Good-lack! Thus for our needs doth Providence provide; We'll lay our wallets on the creature's back." This being done, he leisurely untied From head and neck the halter of the jack, And put it round his own, and to the tree Stood tethered fast as if the ass were he. And, bursting forth into a merry laugh, He cried to Brother Anthony: "Away! And drive the ass before you with your staff; And when you reach the convent you may say You left me at a farm, half tired and half Ill with a fever, for a night and day, And that the farmer lent this ass to bear Our wallets, that are heavy with good fare." Now Brother Anthony, who knew the pranks Of Brother Timothy, would not persuade Or reason with him on his quirks and cranks, But, being obedient, silently obeyed; And, smiting with his staff the ass's flanks, Drove him before him over hill and glade, Safe with his provend to the convent gate, Leaving poor Brother Timothy to his fate. Then Gilbert, laden with fagots for his fire, Forth issued from the wood, and stood aghast To see the ponderous body of the friar Standing where he had left his donkey last. Trembling he stood, and dared not venture nigher, But stared, and gaped, and crossed himself full fast; For, being credulous and of little wit, He thought it was some demon from the pit. While speechless and bewildered thus he gazed, And dropped his load of fagots on the ground, Quoth Brother Timothy: "Be not amazed That where you left a donkey should be found A poor Franciscan friar, half-starved and crazed, Standing demure and with a halter bound; But set me free, and hear the piteous story Of Brother Timothy of Casal-Maggiore. "I am a sinful man, although you see I wear the consecrated cowl and cape; You never owned an ass, but you owned me, Changed and transformed from my own natural shape All for the deadly sin of gluttony, From which I could not otherwise escape, Than by this penance, dieting on grass, And being worked and beaten as an ass. "Think of the ignominy I endured; Think of the miserable life I led, The toil and blows to which I was inured, My wretched lodging in a windy shed, My scanty fare so grudgingly procured, The damp and musty straw that formed my bed! But, having done this penance for my sins, My life as man and monk again begins." The simple Gilbert, hearing words like these, Was conscience-stricken, and fell down apace Before the friar upon his bended knees, And with a suppliant voice implored his grace; And the good monk, now very much at ease, Granted him pardon with a smiling face, Nor could refuse to be that night his guest, It being late, and he in need of rest. Upon a hillside, where the olive thrives, With figures painted on its white-washed walls, The cottage stood; and near the humming hives Made murmurs as of far-off waterfalls; A place where those who love secluded lives Might live content, and, free from noise and brawls, Like Claudian's Old Man of Verona here Measure by fruits the slow-revolving year. And, coming to this cottage of content They found his children, and the buxom wench His wife, Dame Cicely, and his father, bent With years and labor, seated on a bench, Repeating over some obscure event In the old wars of Milanese and French; All welcomed the Franciscan, with a sense Of sacred awe and humble reverence. When Gilbert told them what had come to pass, How beyond question, cavil, or surmise, Good Brother Timothy had been their ass, You should have seen the wonder in their eyes; You should have heard them cry, "Alas! alas! Have heard their lamentations and their sighs! For all believed the story, and began To see a saint in this afflicted man. Forthwith there was prepared a grand repast, To satisfy the craving of the friar After so rigid and prolonged a fast; The bustling housewife stirred the kitchen fire; Then her two barnyard fowls, her best and last, Were put to death, at her express desire, And served up with a salad in a bowl, And flasks of country wine to crown the whole. It would not be believed should I repeat How hungry Brother Timothy appeared; It was a pleasure but to see him eat, His white teeth flashing through his russet beard, His face aglow and flushed with wine and meat, His roguish eyes that rolled and laughed and leered! Lord! how he drank the blood-red country wine As if the village vintage were divine! And all the while he talked without surcease, And told his merry tales with jovial glee That never flagged, but rather did increase, And laughed aloud as if insane were he, And wagged his red beard, matted like a fleece, And cast such glances at Dame Cicely That Gilbert now grew angry with his guest, And thus in words his rising wrath expressed. "Good father," said he, "easily we see How needful in some persons, and how right, Mortification of the flesh may be. The indulgence you have given it to-night, After long penance, clearly proves to me Your strength against temptation is but slight, And shows the dreadful peril you are in Of a relapse into your deadly sin. "To-morrow morning, with the rising sun, Go back unto your convent, nor refrain From fasting and from scourging, for you run Great danger to become an ass again, Since monkish flesh and asinine are one; Therefore be wise, nor longer here remain, Unless you wish the scourge should be applied By other hands, that will not spare your hide." When this the monk had heard, his color fled And then returned, like lightning in the air, Till he was all one blush from foot to head, And even the bald spot in his russet hair Turned from its usual pallor to bright red! The old man was asleep upon his chair. Then all retired, and sank into the deep And helpless imbecility of sleep. They slept until the dawn of day drew near, Till the cock should have crowed, but did not crow, For they had slain the shining chanticleer And eaten him for supper, as you know. The monk was up betimes and of good cheer, And, having breakfasted, made haste to go, As if he heard the distant matin bell, And had but little time to say farewell. Fresh was the morning as the breath of kine; Odors of herbs commingled with the sweet Balsamic exhalations of the pine; A haze was in the air presaging heat; Uprose the sun above the Apennine, And all the misty valleys at its feet Were full of the delirious song of birds, Voices of men, and bells, and low of herds. All this to Brother Timothy was naught; He did not care for scenery, nor here His busy fancy found the thing it sought; But when he saw the convent walls appear, And smoke from kitchen chimneys upward caught And whirled aloft into the atmosphere, He quickened his slow footsteps, like a beast That scents the stable a league off at least. And as he entered though the convent gate He saw there in the court the ass, who stood Twirling his ears about, and seemed to wait, Just as he found him waiting in the wood; And told the Prior that, to alleviate The daily labors of the brotherhood, The owner, being a man of means and thrift, Bestowed him on the convent as a gift. And thereupon the Prior for many days Revolved this serious matter in his mind, And turned it over many different ways, Hoping that some safe issue he might find; But stood in fear of what the world would say, If he accepted presents of this kind, Employing beasts of burden for the packs, That lazy monks should carry on their backs. Then, to avoid all scandal of the sort, And stop the mouth of cavil, he decreed That he would cut the tedious matter short, And sell the ass with all convenient speed, Thus saving the expense of his support, And hoarding something for a time of need. So he despatched him to the neighboring Fair, And freed himself from cumber and from care. It happened now by chance, as some might say, Others perhaps would call it destiny, Gilbert was at the Fair; and heard a bray, And nearer came, and saw that it was he, And whispered in his ear, "Ah, lackaday! Good father, the rebellious flesh, I see, Has changed you back into an ass again, And all my admonitions were in vain." The ass, who felt this breathing in his ear, Did not turn round to look, but shook his head, As if he were not pleased these words to hear, And contradicted all that had been said. And this made Gilbert cry in voice more clear, "I know you well; your hair is russet-red; Do not deny it; for you are the same Franciscan friar, and Timothy by name." The ass, though now the secret had come out, Was obstinate, and shook his head again; Until a crowd was gathered round about To hear this dialogue between the twain; And raised their voices in a noisy shout When Gilbert tried to make the matter plain, And flouted him and mocked him all day long With laughter and with jibes and scraps of song. "If this be Brother Timothy," they cried, "Buy him, and feed him on the tenderest grass; Thou canst not do too much for one so tried As to be twice transformed into an ass." So simple Gilbert bought him, and untied His halter, and o'er mountain and morass He led him homeward, talking as he went Of good behavior and a mind content. The children saw them coming, and advanced, Shouting with joy, and hung about his neck,-- Not Gilbert's, but the ass's,--round him danced, And wove green garlands where-withal to deck His sacred person; for again it chanced Their childish feelings, without rein or check, Could not discriminate in any way A donkey from a friar of Orders Gray. "O Brother Timothy," the children said, "You have come back to us just as before; We were afraid, and thought that you were dead, And we should never see you any more." And then they kissed the white star on his head, That like a birth-mark or a badge he wore, And patted him upon the neck and face, And said a thousand things with childish grace. Thenceforward and forever he was known As Brother Timothy, and led alway A life of luxury, till he had grown Ungrateful being stuffed with corn and hay, And very vicious. Then in angry tone, Rousing himself, poor Gilbert said one day "When simple kindness is misunderstood A little flagellation may do good." His many vices need not here be told; Among them was a habit that he had Of flinging up his heels at young and old, Breaking his halter, running off like mad O'er pasture-lands and meadow, wood and wold, And other misdemeanors quite as bad; But worst of all was breaking from his shed At night, and ravaging the cabbage-bed. So Brother Timothy went back once more To his old life of labor and distress; Was beaten worse than he had been before. And now, instead of comfort and caress, Came labors manifold and trials sore; And as his toils increased his food grew less, Until at last the great consoler, Death, Ended his many sufferings with his breath. Great was the lamentation when he died; And mainly that he died impenitent; Dame Cicely bewailed, the children cried, The old man still remembered the event In the French war, and Gilbert magnified His many virtues, as he came and went, And said: "Heaven pardon Brother Timothy, And keep us from the sin of gluttony."

Public domain · sourced from Project Gutenberg

Quick summary
A mischievous Franciscan friar named Brother Timothy deceives a naive farmer into thinking he’s been magically transformed into a donkey as punishment for his gluttony. Taking advantage of this tall tale, he enjoys a free feast and a night’s shelter. However, the tables turn when the farmer, believing he has bought the friar’s donkey at a fair, names the animal “Brother Timothy.” The donkey lives out its days misbehaving and unrepentant. This comic fable explores themes of greed, gullibility, and how a good lie can spiral out of control.
Themes

Line-by-line

Once on a time, some centuries ago, / In the hot sunshine two Franciscan friars
Longfellow begins with the tone of a medieval folk tale—"once upon a time" instantly suggests that this story is meant to be shared out loud rather than read quietly. The two friars, dusty and trudging through the heat with their beggar's sacks, are presented as a humorous duo before we even learn their names.
The first was Brother Anthony, a spare / And silent man, with pallid cheeks and thin,
Brother Anthony is portrayed as the straight man of the duo: thin, devout, obedient, filled with a passionate inner faith yet appearing almost ghostly on the outside. The vivid image of white ashes piled over glowing coals is powerful — it suggests that he holds back everything in the name of discipline.
A different man was Brother Timothy, / Of larger mould and of a coarser paste;
Brother Timothy is Anthony's comic opposite: he's big, loud, red-faced, and illiterate. The phrase "coarser paste" carries a lot of weight—it suggests he's made of more earthy material, with more body than soul. His inability to read the mass-book is mentioned almost casually, but it's significant: he lacks the book-learning to keep his appetites in check.
Now, as they passed the outskirts of a wood, / They saw, with mingled pleasure and surprise,
The plot engine is set: a donkey tied to a tree while its owner, the farmer Gilbert, has gone off to gather firewood. The donkey stands there, and Timothy quickly spots an opportunity — not to steal it outright, but to use it as a part of his scheme.
As soon as Brother Timothy espied / The patient animal, he said: "Good-lack!
Timothy's plan comes together in an instant. He presents the act of taking the donkey's labor as a sign of Providence looking out for them, then he literally switches positions with the animal—looping the halter around his own neck and taking his place by the tree. The humorous image of a big, red-faced friar standing in the spot where the donkey once was is the poem's central visual.
And, bursting forth into a merry laugh, / He cried to Brother Anthony: "Away!
Timothy shares his cover story: Anthony will drive the donkey to the convent and claim that Timothy is sick at a farm. The plan is playfully deceitful, and Timothy feels quite pleased with himself. Anthony, staying true to his obedient nature, follows the instructions without any objections.
Now Brother Anthony, who knew the pranks / Of Brother Timothy, would not persuade
Longfellow offers a subtle yet significant insight: Anthony has encountered this situation previously. He doesn't attempt to dissuade Timothy. Instead, he simply follows orders, drives the donkey away, and leaves Timothy to face whatever happens next. The poem gently implies that blind obedience carries its own moral dilemmas.
Then Gilbert, laden with fagots for his fire, / Forth issued from the wood, and stood aghast
Gilbert comes back to discover a large friar in place of his donkey. His response—crossing himself, shaking, and thinking it might be a demon—quickly shows him as the naive character the story requires. His gullibility isn’t meant to be unkind; Longfellow describes him as a man of "little wit," poking fun at him gently instead of harshly.
While speechless and bewildered thus he gazed, / And dropped his load of fagots on the ground,
Timothy begins his made-up confession, saying he was Gilbert's donkey the whole time, changed into one as a punishment for gluttony, and has now completed his penance. The tale is finely tuned for a superstitious medieval farmer, tapping into themes of sin, divine retribution, and miraculous change.
"I am a sinful man, although you see / I wear the consecrated cowl and cape;
The fake confession drips with irony. Timothy is undeniably a sinful man, and gluttony is definitely his issue—he's simply not being honest about how his punishment manifested. The truth and the lie are intertwined, which adds to the humor and sharpness of the poem.
"Think of the ignominy I endured; / Think of the miserable life I led,
Timothy evokes deep emotions as he recounts the struggles of a working donkey — the harsh blows, the damp straw, and the scant meals. His portrayal of suffering is designed to elicit sympathy, and it succeeds entirely. Gilbert drops to his knees.
The simple Gilbert, hearing words like these, / Was conscience-stricken, and fell down apace
Gilbert feels a wave of guilt wash over him instantly. He pleads for the friar's forgiveness for having worked him hard and treated him like a donkey, and Timothy kindly forgives him—also accepting an invitation to dinner. The con has worked out just as intended.
Upon a hillside, where the olive thrives, / With figures painted on its white-washed walls,
Longfellow takes a break from the comedy to paint a beautiful picture of Gilbert's cottage — with olive trees, beehives buzzing like soft waterfalls, and a serene rural lifestyle. The nod to Claudian's Old Man of Verona ties the scene to a classical tradition that celebrates simple country happiness, making the warmth of the domestic moments that follow feel authentic.
And, coming to this cottage of content / They found his children, and the buxom wench
The entire family is introduced: the children, his wife Dame Cicely, and a grandfather who keeps grumbling about past wars. They all greet the friar with great respect, already somewhat convinced that he’s a saint. The warmth and faith in the household make Timothy’s manipulation of them seem even more sinister.
When Gilbert told them what had come to pass, / How beyond question, cavil, or surmise,
The family accepts every word without question. Longfellow encourages the reader to picture their reactions — the awe, the gasps, the "Alas! alas!" — and the humor lies in how thoroughly the deception has captured them. It's a con artist's ideal audience.
Forthwith there was prepared a grand repast, / To satisfy the craving of the friar
The household slaughters its final two chickens for the guest. Their generosity is sincere and moving, making Timothy's appetite seem even more excessive. The feast serves as the reward for the con, and Longfellow describes it with clear delight.
It would not be believed should I repeat / How hungry Brother Timothy appeared;
This stanza is the poem's most purely comic moment. Timothy eats and drinks with wild enthusiasm—his teeth flashing, his eyes rolling, and his red beard wagging. The irony is spot on: the man who claimed to have suffered like a beast of burden is now feasting like one. His gluttony, the very sin he came up with a penance for, is on full display.
And all the while he talked without surcease, / And told his merry tales with jovial glee
Timothy's behavior at the table shifts from entertaining to awkward. He drinks excessively, dominates the conversation, and begins giving Dame Cicely suggestive looks. Gilbert's patience wears thin, prompting him to give a sharp speech about the risks of falling back into sin — it's both humorous and, unintentionally, spot on.
"Good father," said he, "easily we see / How needful in some persons, and how right,
Gilbert's warning that Timothy could end up a donkey again if he continues to indulge himself is sincere. He offers it as thoughtful advice. While the reader recognizes the absurdity of this claim, it turns out to be the most honest statement anyone makes to Timothy throughout the poem: his desires truly will lead to his downfall.
When this the monk had heard, his color fled / And then returned, like lightning in the air,
Timothy turns beet red all over, even his bald spot. It's the one time his calm demeanor slips — not out of guilt, but from the embarrassment of being pointed out. Then, everyone heads off to sleep, and the morning brings a hasty departure.
They slept until the dawn of day drew near, / Till the cock should have crowed, but did not crow,
A clever comic detail: the cock can't crow because it became supper. Timothy wakes up early, has breakfast, and rushes out — "as if he heard the distant matin bell" — which is Longfellow's subtle way of implying he was acting pious while really just trying to avoid an uncomfortable situation.
Fresh was the morning as the breath of kine; / Odors of herbs commingled with the sweet
Another beautiful moment of description: the sunrise over the Apennines, the sound of birds singing, the aroma of pine and herbs. But Longfellow quickly shifts the mood — Timothy is indifferent to all of this. What truly draws his attention is the smoke rising from the convent kitchen chimneys. He quickens his pace like an animal catching a whiff of its stable.
And as he entered though the convent gate / He saw there in the court the ass, who stood
The real donkey has shown up at the convent, brought in by Brother Anthony. Timothy informs the Prior that the farmer gave it as a gift. The situation becomes more complicated: now the convent has a donkey it never requested, and Timothy has to find a way to justify it.
And thereupon the Prior for many days / Revolved this serious matter in his mind,
The Prior's dilemma offers a lighthearted satire: he frets over how it looks for monks to use a donkey for their bags when they should be carrying their own in line with their vow of poverty. His solution—to sell the donkey at the local fair—is practical and leads to the poem's funniest twist.
It happened now by chance, as some might say, / Others perhaps would call it destiny,
Gilbert is at the fair. He hears a bray and spots the donkey, then leans in to whisper that the flesh has relapsed and it has become an ass again. The donkey shakes its head. Gilbert presses the point. A crowd starts to gather. The lie Timothy told has now taken on a life of its own, completely beyond his control.
The ass, though now the secret had come out, / Was obstinate, and shook his head again;
Gilbert interprets the donkey's head-shaking as a sign of denial, reinforcing his existing beliefs. Although the crowd ridicules him, he remains steadfast. He repurchases the donkey and leads it home, chatting with it about behaving well. Ultimately, the donkey's destiny is determined by a story that it had no role in shaping.
The children saw them coming, and advanced, / Shouting with joy, and hung about his neck,--
The children's warm reception of the donkey as Brother Timothy stands out as the most delightful and sorrowful moment in the poem. They can't distinguish between the friar and the donkey—Longfellow delivers this line earnestly, suggesting that perhaps the distinction was never very significant in the first place.
"O Brother Timothy," the children said, / "You have come back to us just as before;
The children kiss the white star on the donkey's forehead, expressing a thousand things with their "childish grace." Their innocence is genuine and heartwarming, yet it also marks the end of Timothy's con: the lie has taken on a life of its own, now attached to a real animal.
Thenceforward and forever he was known / As Brother Timothy, and led alway
The donkey, now known as Brother Timothy, is initially spoiled with plenty of corn and hay, which makes him ungrateful and aggressive. This mirrors the real Timothy perfectly: too much comfort leads either of them to act out. In the end, Gilbert resorts to beating him, reflecting the monastic discipline that the friar was meant to uphold.
His many vices need not here be told; / Among them was a habit that he had
The donkey's bad habits — kicking, escaping, destroying the cabbage patch — are presented with a mock-serious tone, as if they were the transgressions of a rebellious monk. The humor lies in the fact that the animal embodies the persona Timothy created for himself, complete with mischief and the inevitable consequences.
So Brother Timothy went back once more / To his old life of labor and distress;
The donkey's life deteriorates until death finally brings relief. Longfellow refers to death as "the great consoler," a phrase that resonates deeply after the preceding humor. The animal's demise is truly heartbreaking, and the poem allows that sorrow to linger instead of brushing it off with jokes.
Great was the lamentation when he died; / And mainly that he died impenitent;
The family is in mourning, and Gilbert shares the poem's message: "Heaven pardon Brother Timothy, and keep us from the sin of gluttony." It’s amusing because Gilbert genuinely thinks the donkey was the friar, and it rings true since gluttony was indeed Timothy's main issue. The moral hits home, whether or not you realize it targets the wrong being.

Tone & mood

The tone is warm, humorous, and lightly satirical — the voice of a storyteller who sees human flaws as more funny than blameworthy. Longfellow maintains a serious demeanor amidst the absurdity, which makes the jokes hit harder. The landscape descriptions contain moments of true beauty, and there’s a layer of genuine sadness beneath the comedy, particularly at the end when the donkey dies tragically and the family mourns for a friar who was never present.

Symbols & metaphors

  • The donkeyThe donkey operates on two levels. It serves as the literal animal central to the plot while also representing traditional symbols of stubbornness, appetite, and humble labor—all traits that Timothy possesses. When the donkey is confused for the friar and subsequently acts out the friar's fabricated story, Longfellow subtly suggests that the two are not so different after all.
  • The halterTimothy places the donkey's halter around his own neck to pull off the con. This halter represents submission and restraint — qualities a monk is meant to embody through discipline. Timothy uses it as a prop rather than as a true expression of humility, and the poem explores the consequences of using religious symbols for personal benefit.
  • The convent kitchen smokeWhen Timothy walks back and spots the convent, it’s not the chapel or the bell tower that draws his attention — it’s the smoke rising from the kitchen chimneys. This small detail reveals where his true devotion lies. The smoke symbolizes an appetite disguised as a warm welcome home.
  • The white star on the donkey's foreheadThe children kiss the white star on the donkey's head as if it were a sacred symbol or a badge of identity. It acts like a fake relic — a visible trait that reinforces a misguided belief. It also mirrors how saints were recognized by physical signs, subtly poking fun at the gullibility that elevates everyday objects to the status of the sacred.
  • GluttonyGluttony serves as both a fabricated sin in Timothy's false confession and a genuine sin revealed at the dinner table. Longfellow positions it as the moral backbone of the poem: Timothy claims he suffers for gluttony, yet he quickly indulges in it, and the donkey that bears his name ultimately succumbs to the effects of overeating. The sin trails the name wherever it goes.
  • The cabbage-bedThe donkey's biggest offense is sneaking into the cabbage patch at night. It's a small, domestic, and somewhat absurd depiction of wrongdoing — yet it perfectly reflects Timothy's late-night cravings. Both the friar and the donkey can't help but go after what they desire when no one is looking.

Historical context

Longfellow published this poem in *Tales of a Wayside Inn* (1863–1874), a collection designed like Chaucer's *Canterbury Tales*, featuring a frame narrative of travelers sharing stories at a Massachusetts inn. "The Monk of Casal-Maggiore" is one of these tales. Longfellow adapted the story from an older tradition of comic tales about mischievous friars—similar narratives can be found in Boccaccio's *Decameron* and various medieval fabliaux. Casal-Maggiore is an actual town in Lombardy, northern Italy, which provides a mock-historical element to the poem. Written during the American Civil War, the poem doesn't directly address the conflict, but its playful tone and gentle moral about desire and self-deception resonate with a nation seeking some relief. At the time, Longfellow was at the peak of his popularity.

FAQ

A gluttonous friar named Brother Timothy tricks a farmer by switching places with his donkey, convincing the farmer that he has been magically turned into the donkey as punishment for his greed. He uses this deception to score a free meal and a place to sleep for the night. Later, the actual donkey is sold at a fair, and the farmer buys it back, believing it's the friar transformed once more. The donkey then lives its life as "Brother Timothy" until it passes away.

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