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The spirited have lives appropriate to their spiritual needs. So there is a correspondence between their spiritual maturity and type of life. Infant spirits will lead crude lives, because a basic existence is all they need, and anything more would be too much for them to handle or gain from. Meanwhile, the spiritless live whatever life they are driven into by circumstance and their own cunning, which can mean being a beggar, corporate executive, or famous author all the same.
Without constraints established by spiritual needs, the spiritless have no spiritual limits or curriculums structuring their lives. Psychopaths, Sociopaths, and Narcissists The more extreme manifestations of an absence of spirit is known in psychology as psychopathic, sociopathic, or narcissistic personality disorders.
Spirited people who fit this condition are misguided and held hostage by their egos, but they can be rehabilitated. Instead of lacking empathy, their empathy is either suppressed or displaced. These are not true psychopaths, but spirited people with personality disorders.
True psychopathy and sociopathy, however, cannot be cured because something is fundamentally flawed at the core of such persons. They lack empathy and remorse altogether, and these qualities cannot be recovered because they were never there to begin with. The incurable nature of psychopathy is an accepted fact in psychology. The cause is believed to be an abnormality in the pain and fear centers of the brain.
Even so, without the balancing influence of spirit, such abnormalities would introduce unchecked errors into the programming of the ego, which then runs rampant to the point of coming to the attention of the legal and medical systems. What the medical system can diagnose is only the extreme and sloppy manifestation of a condition that is more widespread throughout the population. Other spiritless people with properly functioning egos are better at keeping their lack of empathy and remorse camouflaged under more refined social programming.
Why Spiritless? What Others Say Theories abound about why some people lack a higher component to their consciousness and what purpose they serve in the bigger scheme of things. Since I am not the first to make this observation, I will now briefly discuss what others have said so that you can weigh the available options. John Baines writes in his book The Stellar Man that humans, like all animal species, have a collective soul unique to their species. This collective unconscious exerts a de-individualizing influence on humans, nudging them toward mob mentality, herd mentality, and following the crowd.
Rupert Sheldrake would call this the human morphogenetic field. People who have not developed their own conscious individuality are mere automatons following the soporific influence of the collective unconscious, as though they were extensions of a hive mind. Rudolf Steiner voiced similar sentiments. His foundational work, The Philosophy of Freedom addressed this problem.
Steiner said that as long as humans obey external authority, their own biological instincts, or the animalistic parts of themselves in common with the rest of humanity, they are not free beings. Freedom comes from choosing based on intuitive understanding of what each option entails and what it means.
This act of freewill requires introspection and spiritual acumen to act from a place of true understanding. Steiner acknowledged that not everyone introspects to the degree necessary to make intelligent freewill choices. Gurdjieff spoke along the same lines. Humans are born as blank slates, as biological machines without self-awareness. Boris Mouravieff has written on the subject of spiritless people most extensively. See his three volumes of the Gnosis series , particularly the second and third volumes.
His approach is based on esoteric christianity, and thus it quotes heavily from scripture while bearing much in common with the Fourth Way tradition of Gurdjieff , which itself seems to trace back to Sufistic teachings. Thus nowadays there exists two mingling sub-races of humans: the Adamics who have it Mouravieff explains that pre-Adamics serve the purpose of harvesting energy from Adamics as part of the cosmic food chain.
Mouravieff believes the pre-Adamics have a group soul unique to their collective, and that only after further aeons of evolution will their collective soul differentiate into individual spirits like what the Adamics already have. Lastly, the Cassiopaean Transcripts addresses the works of Mouravieff and provides some key insights on the matter at hand. Whereas John Baines says some humans are extensions of the human collective soul, the Cassiopaeans say they are instead extensions of particular animal group souls.
So what I am saying in this article is not without precedent. The ratio perfect fifth interval has a regal and powerful feeling, major third interval a merry one, and minor third a somber or melancholy color. Example 2: Sine wave of a single note, two notes forming a minor third interval, three notes forming a minor chord. Same sequence repeated with piano. Chords, in being made of several notes or intervals stacked atop one another, evoke an even richer palette of feelings… up to a point.
From a metaphysical perspective, the purest interval is unison, which is not really an interval but a single frequency. Two tones in unison have the same pitch and are therefore One. The subsequent intervals of , , , etc. Readers of the Law of One series will be familiar with the concept of distortion. Example 3: The twelve intervals from unison to octave relative to C. Unison, minor second, major second, minor third, major third, perfect fourth, augmented fourth, perfect fifth, minor sixth, major sixth, minor seventh, major seventh, octave.
Same with chords; the more complex the chord, the more dissonance and impure ratios are involved. By the time we get to seventh, ninth, eleventh, and thirteenth chords we are quite far away from the metaphysical realm and now firmly in the arena of life entrenched in the physical domain. Example 4: Progression from simple chords to increasingly weird and complex chords. Major triad, minor triad, suspended fourth, augmented triad, diminished seventh, dominant ninth, dominant eleventh, dominant thirteenth.
If even further intervals were added so that a chord consisted of dozens if not hundreds of notes at the strangest and most dissonant of intervals, that represents distortion so far away from divinity that it begins sounding like matter itself; in fact, atoms, molecules, stars, and planets give off vibrations that exhibit this character.
To recap, harmony in the absence of melody, rhythm, and texture can still evoke a feeling in the soul as evidenced by a minor interval or chord sounding sad and a major one happy. How is it that sadness is encoded by just two numbers: 5 and 6? Clearly, music is a bridge between physics and metaphysics. Melody Whereas harmony is the vertical stacking of tones, melody is their sequential arrangement. Melody depends on time since the notes come one after another and each carries a certain duration.
Therefore melodies automatically have some element of rhythm as well. As explained earlier, rhythm is associated with the physical body. It parallels the pumping of the heart, the repetition of breath, the pounding of the feet upon the pavement, the movement of hands in the air, and the pacing of speech.
Faster song tempos are known to speed these up, slower tempos can slow them down. Note that linear time and physical bodies are the two things that together define what it means to have a corporeal existence. You have a body with all its rhythmic biological patterns and you live life from one event to the next. Thus melody and rhythm are the two aspects of music that parallel experience in the physical and etheric planes.
Harmony is Transcendental Pure harmony, on the other hand, is timeless and bodiless. The ratio between two frequencies is a dimensionless constant. It is independent of time, space, dimension, and scale. A ratio is a ratio regardless of these variables. Even on the surface of a black hole where space has contracted to zero and time to infinity, ratio remains intact. Thus harmony and its associated feelings are transcendental; they exist beyond space and time.
That is how harmony can reach upward through the levels of existence and stimulate the higher half of the soul, namely the astral body, which unlike the etheric body is independent of linear time and space. Harmony is an astral language. The astral body is known in occult lore to contain archetypal patterns, and presumably each has a corresponding musical pattern. These archetypal patterns are precisely the soul resonance characteristics discussed earlier. When one harmony progresses into another, that represents a change in the state of the astral body, whether due to some experience evoking a certain response or the soul undergoing a shift in perception of a given situation.
Whereas melodies chronicle the external events of life, harmonies describe the inner subtext as well as the behind-the-veil metaphysical context for those experiences. Harmony provides the inner stream of consciousness, melody the visual storyboard. Context is important.
To illustrate, a happy melodic progression matched with sad underlying harmony encodes sorrow lurking beneath lighthearted appearances. This bittersweet juxtaposition is a potent device used in many songs. Example 5: How context affects the interpretation of a melody. First, a simple melody using the major scale.
Then the same melody accompanied by major chords. Then by minor ones. So melody and harmony respectively encode inner and outer streams of experience. The manner in which these play off each other captures the essence of a particular realm. If you resonate with certain music, you are resonating with the realm it embodies, and that says something about your soul. Monophonic Music Not all cultures employ rich harmony in their traditional music.
Some only emphasize melody and rhythm. This kind of music is called monophonic, meaning melody without accompanying harmonic progressions. One example is Indian classical music, where a lone melody plays atop a steady drone. Other examples of monophonic music include Irish bagpipes, some forms of Tuvan throat singing, early Medieval liturgical chants, and some Turkish and Middle Eastern music.
Nowadays it can also be found in a good portion of electronic tracks centered on rhythm and texture rather than melody and harmony; these tracks fill the sonic void with an underlying drone or rhythmic monophonic bass line. Example 6: Monophonic music. In traditional monophonic music, the drone acts as a fixed point of reference allowing the melody to be more clearly distinguished.
Without it, notes in a melody are either heard in relation to one another, or relative to an imagined base line that might be different from the one the songwriter intended. For example, the notes C and D are a minor third interval apart, and played together they create a melancholic effect. When they are played sequentially, then in absence of any other musical cues the brain juxtaposes the second note with its memory of the first, and the effect is like playing both together; it evokes the same sadness.
If we now add in a low fixed drone of pitch C and play the sequence again, the sad effect remains. Example 7: C and D played together, then C and D alternating, then C and D alternating with low C underneath it, then C and D alternating with low G beneath instead, then repeated in polyphonic style with some arpeggios to emphasize the difference.
But if we change the drone to G and repeat the experiment, now the sad effect disappears. Because the brain no longer juxtaposes drone C with note D as before to make a sad sounding minor third. Rather it first hears the interval G :C perfect fourth and then G :D perfect fifth — neither of which sound sad. A different tonal center gives a different interpretation of a melody. Atonal Music Melodies that have no tonal center and whose notes have no obvious relation to each other, have no musicality or harmony, whether explicit by the stacking of tones, or implied by the juxtaposition of sequential notes in memory.
If harmony is associated with the astral body and melody with the etheric, then atonal music represents a body devoid of both. It is a series of events not threaded through by any conscious and emotional perception. And yet, humans are adept at developing acquired tastes for that which kills them slowly, such as alcohol and tobacco, and the same may be said of certain music. Is it surprising then, that atonal music came into vogue in the late 19th and early 20th century during the heights of the industrial revolution and scientific materialism?
Its appeal is primarily one of intellectual intrigue and identity, but the factor of soul resonance remains absent except for attempts by some to induce a sense of fear, alienation, and anxiety through dissonance. Polyphonic Music Compared to Eastern monophonic music, most Western music since the Renaissance period is polyphonic and makes great use of harmony.
Whereas in monophonic music the tonal baseline is fixed, here the baseline changes as desired, and so the orientation of a given melody changes accordingly. The same melody can be given different perspectives depending on which chords accompany it.
Example 9: Various polyphonic music from classical to rock. There are some profound mysteries contained in this. As it turns out, cultures that enjoy monophonic music also happen to be ones that place greatest importance on tradition and cultural stability.
The constant tone subliminally represents the keynote of their culture, the line that every generation walks. It may be said that the tonal center is the keystone of a given realm, the prime numerical index that distinguishes that realm from another. It is the hum of the Logos as it sings Creation into existence cymatically through the Demiurge. Key Modulation So then, what does it mean for a tonal center to change?
If each tonal center is the baseline of its own realm, then a change represents a transition from one realm to another. Notice how the same life event can be viewed from different perspectives depending on what realm or perspective your consciousness is rooted in. If you are rooted in materialism and vanity, then losing your body in a boating accident will be devastating. If you are rooted instead in your higher spiritual mind, you might see this as the natural conclusion to a well-planned curriculum.
In the same way, a melody can take on different hues depending on its underlying harmony and tonal center. Now, given any pitch, you can build a scale of notes upon multiplying its frequency by various ratios. This pitch then becomes the tonal center or tonic of that scale. By stacking various notes of that scale, you can create chords. Both the scale and chords are rooted in that tonal center. Example How the key of C major sounds.
First the familiar do re mi scale major scale , then a polyphonic ditty using both scales and chords of that key. In contrast, monophonic music keeps the same key throughout a song, sounds the tonic constantly, and plays only one melodic line. The complete opposite is true for polyphonic music. It may change key, not always sound the tonic, may stack notes into chords, and play several interweaving melodies at once. When the key changes throughout a song, that is known as key modulation; it means shifting the aforementioned tonal center throughout a song, sometimes even within the same melody or musical phrase.
Melodies themselves can stray outside the scale they started in. A melody might go up in the happy sounding major scale and descend in the sad sounding minor scale. The chords accompanying the melody might also shift from one key to another while this occurs, if so desired. Example Non-modulating compared to modulating.
Notice how the non-modulating example sounds a bit boring and conventional, while the modulating example sounds more interesting but odd. The Power of Polyphonic Music Modulation is the transitioning between musical universes. It takes you out of one realm into another. The most rudimentary form of modulation, frequently used in pop ballads, is where a chorus repeats but raised in pitch by some interval. The raising of the tonal center parallels breaking the sound barrier and entering an altogether new level of intensity.
That is only one example of modulation. Apologies for the samples. When a melody remains in the same scale and its accompanying chords progress in the same key, the song stays bounded in the same realm. Every resonance this song induces in the soul belongs to the same set. These resonances parallel experiences that take place in only one realm. It has its uses, but can be a bit one dimensional. Monophonic music is an extreme form of this. It makes sense, then, that Western civilization has seen the greatest turnover in cultural, political, scientific, and social paradigms.
Just consider how much has changed since the late Middle Ages, since the birth of polyphonic music in Western culture. Western society is not a monophonic culture that holds steadfastly to an ancient drone and remains anchored in one realm. It is as volatile as its music. And every one of these modulations carries its own unique feel as well. Example Sequence of chords in C Major that do not modulate, then sequence of chords where every chord is in a different key from the one before it.
So in addition to simple intervals or chords each having their own feel, a particular transition from one to another also has a unique feel, and that includes transitions from a chord in one key or musical universe to another. The profound implication is that since even the latter can induce resonance in the soul, then in some way the soul must be familiar with transition between realms. That is a peak experience that many souls incarnating here seem to be striving for.
Since this is such a common theme among human incarnations, the potential to resonate with the corresponding modulation is equally common. Hence its use in pop music to build and amplify sentimentality and thus revenue. Other modulations are less familiar. This is partly due to the involvement of an interval known as the augmented fourth, basis of the tritone chord which the medieval Church banned for sounding too diabolical.
Example The tritone chord, which the church banned. These are highly dissonant and truly evil or foreboding sounding. Played in this way, one hears the pinnacle of modulation, maximum otherworldliness. That may be what the Church really wanted to ban, namely the stimulation of transcendent impulses. In this example, the chord sequence is repeated with varying emphasis on certain notes so that you can hear the pairs of augmented fourths. Then follows a clip from my song Deep Black Lake where I use this sequence.
Whatever experience this modulation parallels, it is not something confined to the Earthly domain. But the fact that we can respond to it at all shows that our souls have endured exposure to dark, mystical, occult realms. If we really enjoy that feeling, then the resonance must be particularly intense, and perhaps we have a foot in that otherworld. Hence, we frequently find the tritone or C:G to C :F modulation used in gothic, black, or doom metal but almost never in country music or pop ballads because the latter are firmly planted in everyday life on Earth.
Note that the tritone or augmented fourth is only diabolic when sounded simultaneously or played as a melody in the same key, for that juxtaposition brings out its inherent dissonance. Dark music uses this to imply doom or dread. But in a modulating sequence such as C:G to C :F , two augmented fourths one going low to high, the other high to low end up neutralizing each other like some matter-antimatter collision, generating instead an eerie musical wormhole between realms.
That is why this chord sequence is the very epitome of realm transition. Strange modulations may also be found in horror and fantasy film soundtracks. The Harry Potter theme tries really hard to modulate in a manner evoking a sense of occultism, magic, and mystical wonder. Example Harry Potter theme. Other modulation are merely strange in an innocent elfin, elemental, or sylvan way. One example is C:E to D :G. Since these are two major third happy intervals with no evil tritone to be found among them, they are otherworldly but in a more lighthearted sense.
Example 1: C:E to D :G an elfin modulation, then same with an accompanying flute melody to enhance the effect. The Power of Monophonic Music That is not to say monophonic music with its absence of harmony and modulation is inferior. What it lacks in ability to stir the astral body, it gains in stimulating the etheric and physical bodies. There is a secret science to monophony that allows it to alter physicality through manipulation of the etheric intermediary, or alter physiology through deep level manipulation of neural circuitry and the etheric body.
The frequency and texture of a tone is known to affect the growth of plants and the health of the human body for better or worse. Hindu and Chinese legends speak of music being used to alter the weather and even induce human combustion. Asian overtone singing and Irish bagpipes are likely vestigial holdovers from a time when monophony was used to manipulate physical matter. Tibetan monks have allegedly demonstrated levitating a heavy boulder several hundred feet into the air using the power of sound.
As the drone is sounded, each note in a melody forms a certain interval with respect to it. Some intervals we are familiar with, such as the frequency ratio comprising the sad minor third interval. The melodies in monophonic music usually pass through such intervals quite quickly without dwelling on them to where harmony becomes prominent. The listener hears the melody first and foremost.
This allows for the sonic equivalent of acupuncture, where each note is like a needle positioned on a specific meridian point to activate a certain function. To treat a condition, acupuncture uses a set of such needles on meridian points related to that condition. Likewise the Hindu songs known as ragas use a specific scale and rhythmic pattern known to collectively have specific effects on the listener.
All of these feats were accomplished through monophonic music. As mentioned, melody affects the etheric and physical bodies and pertains to events of the exterior world. Those with occult knowledge have taken this principle to an extreme to heal or harm the body and to manipulate matter, energy, space, and time. As you can see, even without harmony, music can be quite powerful when engineered according to a secret science. Without this science, music is imprecise or accidental in its objective effects.
But what this secret science consists of, exactly, remains a mystery. For example, the notes, scales, and chords used in Western music are but small subset of all the ones available in this meta-system. Arabic music chooses a different subset, Chinese yet another. It employs microtones, which are notes that reside between the notes we know.
At best, Western music uses microtones in a crude way when accenting notes by bending, slurring, or vibrating them. Drummers do an equivalent technique with rhythm when they purposely play ahead or behind a beat on certain notes, thereby altering the rhythm in microscopic ways in order to impart a subliminal groove that makes an otherwise clinical beat come alive. Such accents add a sense of passion to music. These expansions or contractions are beneath the threshold of what would trigger a jump in orbit and the production or absorption of a regular transverse EM wave photons , hence their effects are sub-electromagnetic, sub-quantum, or virtual.
The same can be done in music by subtly bending the timing or pitch from its common value, as opposed to deviating all the way which would simply produce another common note or beat]. It is precisely this passion that Hindu monophonic music aims to tap with its bending of notes and the use of microtones foreign to Western music. However, this passion is not quite the same as the full bodied feelings that only harmony brings.
It takes place at a different level of the soul, a more instinctual or reflexive rather than introspective level. Animals have etheric and astral bodies, but their astral bodies are not as developed as those of humans. That is why human feelings comprise a superset of what cats and dogs experience. The melodic and rhythmic accents that monophonic music adds to notes in order to create feeling and passion, these share a mechanism in common with animal vocalizations.
We can understand cat meows because such accents are relatively universal to mammals. We can tell a sad meow from a happy one, from a question mark, from an exclamation mark, from an impassioned groan, and so on. Rock and blues vocals place heavy emphasis on such inflections to convey attitude, passion, or agony sort of like moaning cats or growling dogs, only with lyrics.
Interestingly, dogs howl to drawn out notes and cats will respond to certain melodic inflections played on a guitar but neither will respond to intervals, harmonies, or chord progressions. Yet humans respond to all of these. It stands to reason that there are even higher beings whose feelings are supersets of ours, who can feel things most humans cannot.
And yet, their feelings ought to be encodable in music as well. If you were to hear such music, perhaps non-human feelings could be stimulated in you if they happen to be present within your soul in embryonic or residual form. Maybe that is what certain strange sounding modulations achieve. Ancient Music In Hindu music, the scale of notes and their timing, slurring, and vibrato are highly intentional and specific.
Research suggests the ancient Vedic culture received their knowledge and heritage from the Aryan Hittites that invaded India in the first millennium B. These Hittites descended from even earlier proto-Hittite-Phoenician-Amorites who possessed global navigation and megalithic technology and thus surely knew the secret science of sound.
They also founded the ancient Mayan, Chinese, Minoan, Sumerian, and Egyptian civilizations and were possessors of vast knowledge in mathematics, music, and other arts and sciences. Perhaps this was done on purpose. Maybe Western music was covertly turned into eventual polyphonic form, with equal temperament tuning making feasible the playing of harmony in various keys, in order to induce rapid cultural, social, political, and scientific turnover. In ancient China, music was heavily regulated to ensure that all instruments were tuned to a particular tonal center and only certain scales were used.
This perpetuated the stability of the civilization. It was not permitted to exchange the melodic styles of these established forms and others. Knowledge and informed judgment penalized disobedience. There were no whistles, unmusical mob-noises, or clapping for applause. The rule was to listen silently and learn; boys, teachers, and the crowd were kept in order by threat of the stick. But later, an unmusical anarchy was led by poets who had natural talent, but were ignorant of the laws of music.
Through foolishness they deceived themselves into thinking that there was no right or wrong way in music, that it was to be judged good or bad by the pleasure it gave. It may come as a surprise that not all Western classical music is good and healthy. Each style of classical targeted its respective zones within the soul, some higher or lower than others. Starting from a high point during the late Medieval and Renaissance times, the spiritual integrity of both culture and music declined in a systematic way over the subsequent centuries.
The Medieval period spans from to AD and encompasses the rise of Merovingians and the Kings of Britain, historical events pertaining to the Holy Grail, the proliferation of chivalry and alchemy, spread of various Gnostic sects, construction of the Gothic cathedrals, and rise and fall of the Templars.
It also included the Catholic Inquisition and the Crusades. Example Some Medieval music. Sanctus Early Medieval music was monophonic. Early Medieval secular music, however, was influenced by Arabic and Persian cultures, whose societies were experiencing a golden age at the time Europe was still climbing out of the Dark Ages. Therefore Medieval secular music had Middle-Eastern elements, though with lyrical themes centered around courtly love and heroic deeds.
The gnostic troubadours and minnesingers who were propagators of the Grail legends sang in this style. So all in all, the cultural highlights of the Medieval period were purity, sacredness, devotion, and chivalry. These are the same themes found in Iranian, Indian, Scandinavian, and other Indo-European traditions that trace back to the ancient proto-Hittite-Phoenician-Amorite civilization 4, BC to BC mentioned earlier and discussed in my Gnosis series as being the original bearers of the Grail stone.
Basic forms of harmony developed by AD though complex polyphony took several more centuries to mature. The Church adopted what was in vogue and consequently liturgical music became polyphonic. So although the Church became the primary vehicle for such sacred polyphony, spiritual and gnostic undercurrents covertly bubbled up through that oppressive framework. And not only in music but also in literature and art, as evidenced by the Grail stories that carried Christian themes on the surface but were gnostic and hyperborean at the core, or the alchemical themes encoded in the various statues and reliefs of the Gothic cathedrals.
This kind of polyphonic music, which flourished in the late Medieval period and evolved to perfection in the Renaissance and early Baroque, focused on harmony of the highest order and thereby sought to stimulate the upper reaches of the astral body closest to spirit.
For once, sacred music resonated the capacity for spiritual devotion through pure harmonies and melodies. Perhaps the same body of secret sciences behind the sacred geometry of the cathedrals, or the alchemical tinting of their stained glass windows, also engendered the polyphony performed therein.
This may have been an act of occult warfare aimed at undermining the tyranny of the Church. Like uploading a virus to the mothership, by injecting a transcendent, gnostic, individualistic element into Church architecture and music, it would only be a matter of time before that became the new cultural keynote.
Indeed, that is exactly what happened during the Renaissance when individual development to the highest divine, artistic, philosophical, and intellectual potential took on greater importance than austere submission to the Church. Instead of an aloof spirituality, the Renaissance added a more personal human dimension to the divine.
The focal point thereby shifted from spirit to the spirit-astral boundary where the higher ego resides. This was the spiritual height of Western music, the golden mean between above and below where complexity did not come at the expense of divinity. Such music reached its zenith around with the Franco-Flemish style of sacred and secular polyphony. Example Middle and late Renaissance music.
First an anonymous secular chanson called Tourdion, Quand je bois du vin mid s , then Monteverdi — Antiphona, In Sancte Trinitatis, Monteverdi bridged the Renaissance and Baroque. In the subsequent centuries, virtuosity and excellence became idolized to the point of intellectual hubris.
Hence the Renaissance was followed by the Age of Enlightenment where reason became the highest of virtues and anything superstitious or mystical took a back seat. Science eclipsed philosophy and chemistry displaced alchemy. This was a counter-reaction to the tyrannical nature of the Church during the preceding centuries. But in doing so, it increasingly threw the baby out with the bathwater and discarded mystical, sacred, spiritual impulses as being symptomatic of religious ignorance.
The musical styles associated with the Age of Enlightenment, known as Baroque and Classical, placed less emphasis on sacred spiritual impulses than exploring the technical heights of what could be done with Western music theory that nonetheless produced something intelligible, logical, and pleasing.
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