291:"After them come a poor Man, who did go up and down the scaffald, making a heavy complaint that he was harried (chased) through the Courtier's place, where through he hade strayled (lost) his house, his wife and children beggyng thair bread, and so of many thousand in Scotland, whiche would make the Kyng's Grace lose of men if his Grace stod neide (required), saying there was no remedy to be gotten, for though he would suite to the King's Grace, he was neither acquainted with Controller nor Treasurer, and without them might no man get no goodness of the King. And after, he spered (asked) for the King, and when he was shewed the Man that was King in the play, he answered and said he was no King, for there was but one King, which made all and governethe all, who is eternal, to whom he and all earthly Kings are but officers, of the which they must make reckoning. And so forth much more to that effect. And then he looked to the King, and said he was not the King of Scotland, for there was another King in Scotland that hanged John Armestrang with his fellowes, and Sym the Larde, and many other more, which had pacified the country, and stanched theft, but he had left one thing undone, which pertained as well to his charge as th'other. And when he was asked what that was, he made a long narration of the oppression of the poor, by the taking of the 'corse presaunte beists' (animals due as
206:
enters the scene and tries to sell pardoners. Poor Man hears that and buys pardoners worth ‘ane groat’. But Poor Man is not satisfied and gets angry and so they start to argue. In the following scene
Diligence opens parliament and King Humanitie, Correction, the king's courtiers and the virtues enter. The three estates greet the king and parliament is opened. John Commonweal stands up and talks to the King and Correction. He reveals all the failures of the estates. In the course of the following hearing Temporalitie gets punished but as this estate wants to cooperate this is just a short episode. Spiritualitie does not agree on what is said about their estate and fights back. But there are too many accusations against this estate and therefore they also have to give in. The three Vices are imprisoned and sentenced to be hanged. Flatterie tried to get away by betraying his fellows Falsehood and Deceit but this did not work. In the end of the second part the three vices Deceit, Falsehood and Flatterie are allowed to say something before they are hanged. After the execution of the vices and a rousing speech by Folie, Diligence closes the play and advises the audience to go their ways and enjoy their time.
202:
moral way of life. He is then fooled by three disguised liars. Gude
Counsel is sent to prison by the liars who already have taken control of King Humanitie's mind. With the beginning of his lecherous new life the king forgets about the moral virtues and can no longer judge properly. He consigns Charity and Verity to the stocks. In the course of the following scenes the audience sees how the three so called Vices (Discretion, Devotion and Sapience) try to get rid of everything and everyone who could be dangerous to them. For instance Lady Chastitie, who is homeless since the church in Scotland is not as it was meant to be, begs for shelter from Spiritualitie, Temporalitie and finally the People but is rejected in each case. In the end when Lady Chastitie is sent to prison by the Vices, Divine Correction enters the stage. This is the moment when the vices know that their time has come to an end and they flee and take away the king's treasure box. Correction frees Gude Counsel, Chastitie and Vertie. He advises the young king to call a parliament and gives him advice regarding a successful reign.
385:"In the play, playit beside Edinburgh, in the presence of the Quene Regent, and ane greit part of the nobilitie, with ane exceeding greit nowmber of pepill. lestand fra 9 houris afoir none till 6 houris at evin, quhair, amangis mony baith grave materis and merie trickis, he brocht in ane Bischop, ane Persone (Parson), ane Freir, and ane Nun, deckit up in their papisticall ornamentis and maner of raiment. And theirefter broicht in King Correction, quha reformand sindie deformities in his realme, passit to the tryall of the Clergie. And findand thame to be altogether Idiotis, unworthie of ony functioun ecclesiasticall, dicernit thame to be degradit of their dignateis, and spulzeit (deprived) of their offices, quhilk beand executit, thay war fund bot verray fulis, hypocrites, flatteris & nouchtie persones."
220:
437:
274:
and his bishops and council on the feast of the
Epiphany. As the play turned on the Reformation of the church, Eure obtained a more detailed description from a Scottish contact who saw the play at Linlithgow, and enclosed in his letter the synopsis written by his spy . This description corresponds
205:
The second part starts with an interruption. A member of the King's realm, known only as The Poor Man, emerges from the audience, establishes an alliance with John
Commonweal to demand reform, and Diligence reappears to announce that the King will seek to improve his realm. Afterwards the Pardoner
201:
The play opens with
Diligence delivering a sermon on good kingship. The main character, young King Humanity, then appears and is at first led astray by Sensuality and the Vices. His false counsellors introduce him to a mistress, Sensuality, which is the starting point of his disconnection from the
538:
A complete version of the play was printed in 1602, see external links for an edition of the text. In this extract
Diligence meets the Pauper, who begins his complaint, including the practice of the parish priest claiming livestock at funerals which was mentioned in the 1540 interlude, (Lines
462:
Mary McCluskey directed a performance by young people in July 1996 as part of
Scottish Youth Theatre's Summer Festival. The script was translated into modern Scots by Fiona McGarry, and the play was performed in the round in The Cottier Theatre, Glasgow, with an original score.
311:. The play at Linlithgow had shown the 'naughtiness' of the church. Bellenden said after the play the King spoke to the churchmen in the audience asking them to reform their factions and manner of living, otherwise he would send six of them into England to his uncle,
275:
with the expanded later text of
Lindsay's play. A king was shown with his courtiers, Placebo, Picthanke, and Flatterye. A Poor Man made his complaint, and was answered by a Burgess, a Man at Arms and a Bishop, who represented the three estates of the
198:, Edinburgh (1602). In the first part there are 27 different characters. In the second part 7 more are added. The key characters are: King Humanity, Divine Correction, Sensuality, Spirituality, Temporality, Gude Counsel and Chastity.
31:
230:
The 1931 edition of
Lindsay's works by Douglas Hamer hypothesized different forms of the play. The critic John MacQueen proposed the play might have been composed by Lindsay as early as 1532 for the court of the young
499:
based on the story of the 1540 interlude took place in 2013 using a cast drawn from stage and screen. In
Linlithgow an open-air stage was erected on the Peel looking out across the loch for the performance.
331:; the Cotter and his wife, Bessy and the Auld Man, and Fynlaw of the Foot Band, introduced by the 'Nuncius' and linked by the Fool. The characters of the three parts are supposed to be members of the
393:
contains only selected "merry interludes" from the 1554 Greenside performance, the copyist George Bannatyne omitted the "grave matter" because the church had been reformed in reality in the 1560
451:
acted in a 1973 Edinburgh Festival production. In 1982 the play was staged again at the Assemby Hall as a Festival production with the collaboration of the
1134:
287:), hanged in July 1530, and 'Sym the Laird,' who was hanged in February 1536. The role of the poor man was described in the spy's synopsis;
1553:
1563:
1518:
1543:
1246:
1098:, "Cradle on the Tree-Top: the Edinburgh Festival and Scottish Theatre", in Stevenson, Randal & Wallace, Gavin (1996),
377:(1568), saying how the clergy were surprised by the play and considered taking revenge. Charteris gave this summary of the
370:
used in the final scene. The town council paid the wages of 12 minstrels, and after the play treated the actors to dinner.
182:. The clergy come in for the strongest criticism. The work portrays the social tensions present at this pivotal moment in
30:
401:
mention the settings of "houses", the "King's seat" and "palyeoun" tent, and props for the scene of the Poor Man and the
327:
announcing the play, presumably also written by Lindsay. This has three sections of comic drama as a foretaste of the
1488:
1192:
1111:
784:"Pleasant" appears in the title on the first page of the play, not on the title-page of Charteris's (1602) edition.
478:
418:
258:
on 26 January 1540 gives a description of the interlude. Eure, a Border Warden and Privy Councillor, had spoken to
1513:
440:
The Assembly Hall, New College, Edinburgh, was the venue for the 1982 Edinburgh International Festival production
394:
1568:
1548:
1523:
1538:
1005:
via British History Online, (The other play event mentioned on 15 June 1554 was the entry of Guise as Regent)
259:
1478:
1332:
1290:
852:, University of Nebraska Press, 1975. Greg Walker,'Sir David Lindsay's Ane Satire of the Thrie Estaitis,'
251:
986:
1493:
1193:
Staging the Scottish Court: research and rehearsal for the 2013 revival of Lindsay's Play & Interlude
350:
Some preparations for the Edinburgh performance on Sunday 14 August 1554 were made by the Burgh Council.
299:, and of many other abussions of the spiritualitie and Churche, with many long stories and authorities."
1508:
1423:
1395:
1318:
1276:
1103:
474:
466:
243:. This short play or 'interlude' performed in January 1540 used characters who later appeared in the
36:
152:, also outdoors, in 1554. The full text was first printed in 1602 and extracts were copied into the
1558:
1528:
1239:
452:
422:
1533:
1503:
1452:
1339:
1297:
373:
The printer Henry Charteris mentioned the Edinburgh performance in his introduction to Lindsay's
1072:
1048:
276:
167:
163:
973:
Van Heijnsbergen, Theo, 'Literature in Queen Mary's Edinburgh: the Bannatyne Manuscript', in,
196:
Ane (Pleasant) Satyre of the Thrie Estaits, in Commendation of Vertew and Vituperation of Vyce
1498:
1311:
312:
236:
998:
869:
1416:
308:
154:
397:, and he noted, "the samyne abuse is weill reformit in Scotland." Stage directions in the
8:
1483:
1368:
1232:
1095:
766:
489:
456:
304:
232:
148:
holiday, where the action took place under Castle Hill. It was subsequently performed in
1304:
62:
58:
1402:
1224:
1107:
351:
280:
267:
224:
1447:
1442:
1356:
405:, "Heir thay feight togeddir and the puir man sall cast doun the burd and cast the
296:
183:
1457:
1434:
1206:
1197:
941:
929:
The History Of Scotland From The Accession Of The House Of Stuart To That Of Mary
926:
884:
496:
482:
323:
The performance at Cupar on 7 June 1552 was heralded by a short piece called the
284:
255:
240:
417:
The play's first complete modern production occurred on August 24, 1948, at the
1283:
527:
520:
430:
426:
219:
87:
1472:
1374:
1267:
1255:
448:
436:
359:
355:
271:
133:
122:
97:
48:
170:– the clergy, lords and burgh representatives, symbolised by the characters
1362:
1259:
692:
444:
126:
111:
1167:(1907–21). Volume III. Renascence and Reformation. VI. Sir David Lyndsay.
1409:
860:, edited with an introduction and commentary, Canongate Classics 18, 1989
363:
1216:
Eleanor Rycroft, "Staging Kingship in Scotland and England, 1532–1560",
1209:
Scottish Poems: Lindsay's Eight interludes from the Bannatyne Manuscript
1177:
136:. The complete play was first performed outside in the playing field at
1381:
1215:
586:
402:
263:
1165:
The Cambridge History of English and American Literature in 18 Volumes
481:, also in 1996. This production opened on 16 August 1996 and starred
149:
145:
119:
73:
1171:
1325:
303:
Eure said he had talked with Bellenden, a member of the council of
279:. The Poor Man mentioned the real events of James V executing both
194:
A complete version of the play was printed by Robert Charteris as,
77:
576:
572:
568:
DILIGENCE: Quhair deuill is this thou dwels or quhats thy intent?
367:
1086:
theatre programme, Edinburgh International Festival, August 1986
960:
Newlyn, Evelyn S., 'Traditions of Myth in The Cupar Banns', in,
477:
at the Edinburgh International Conference Centre as part of the
1073:
University of Glasgow Scottish Theatre Archive, 1973 production
1049:
University of Glasgow Scottish Theatre Archive, 1948 production
512:
is notable for being one of the earliest recorded instances of
292:
1001:
Extracts from the Records of the Burgh of Edinburgh, 1528-1557
345:
524:
406:
137:
130:
592:
DILIGENCE: For to seik law in Edinburgh was the neirest way.
1172:
The Testament and Complaynt of our Soverane Lordis Papyngo.
875:, link to British History Online, does not include synopsis
839:, vol.7 (1907), pp.276-7, purchase of costumes in Jan. 1540
582:
DILIGENCE: Quhair wald thou be, carle, the suth to me shaw?
514:
141:
678:
DILIGENCE: How did the person, was he not thy gude friend?
632:
519:
predating any English language forms but preceded in the
354:
with six carpenters built a stage of boards, a seat for
1254:
709:
PAUPER: Sir, be quhat law tell me, quhairfoir, or quhy
492:, a mark illustrating its importance to modern Scots.
621:
And Mald, my mother was fourscoir and fyfteine :
601:
Thairfoir the mekill dum Deuill droun all the meinȝe.
1035:, NLS / Scolar Press (1980), f.182: Pinkerton, ed.,
639:
That he deit, quhairfoir my mother maid great maine.
608:
How that thou hes happinit on thir vnhappie chances.
433:. It was staged again during the Festival in 1959.
429:, costumes designed by Molly MacEwen, and featuring
627:
And everie ilk ȝeir scho brocht vs hame ane foill.
565:
I can not get, thocht I gasp, to beg, nor to borrow
553:
I wil not gif for al ȝour play worth an sowis fart,
850:Dramatic Allegory:Ane Satyre of the Thrie Estaitis
659:Till at the last scho deit for verrie sorow :
606:Shaw me thy mater, man, with al the circumstances,
555:For thair is richt lytill play at my hungrie hart.
657:Then meg my wife did murne both evin & morrow
599:Bot I culd get nane at sessioun nor Seinȝe :
339:with some stage directions are found only in the
295:at funerals), and of the harrying of poor men by
35:Detail from the front cover of the programme for
1470:
917:, series 3 vol.3 (1846), 283-5 (here modernized)
751:Thay swyfe Ladies, Madinis and vther mens wyfis.
689:In gude faith, sir, Thocht he wald cut my throt,
661:And quhen the Vickar hard tell my wyfe was dead,
653:And quhen the Vickar hard tel how that my mother
558:DILIGENCE: Quhat Devill ails this cruckit carle?
223:The 1540 interlude was performed in the hall of
214:
1198:The complete 1602 text: Hall, Fitzedward, ed.,
1063:, St. Giles Press, Edinburgh, pp. 146 & 147
837:Accounts of the Lord High Treasurer of Scotland
810:, vol.2, Scottish Text Society (1931-4), pp.1-8
235:. An early form of the play is recorded in the
1186:
683:The devil stick him, he curst me for my teind,
665:Thair vmest clayis, that was of rapploch gray,
647:And our Lands Laird tuike hir for his hyreild.
488:The play was quoted at the opening of the new
1240:
948:Scottish Poems Reprinted From Scarce Editions
740:Thocht it be Cow, Sow, Ganar, Gryce, or Guse.
733:And the third Cow he tuke for Mald my mother.
731:Ane for my father, and for my wyfe ane vther,
725:Sould be na law I think be sweit Sanct Geill.
671:Bot with my bairns past for till beg my meat.
645:Our gude gray Meir was baittand on the feild,
629:Wee had thrie ky that was baith fat and fair,
625:Wee had ane Meir, that caryit salt and coill,
623:And with my labour I did thame baith sustein.
533:
309:Reformation of the 'spirituality' in Scotland
915:Original Letters relative to British History
887:Original Letters relative to British History
727:Quhair will ȝe find that law tell gif ȝe can
706:Of men of kirk? Na, nocht till thou be deid.
655:Was dead, fra-hand he tuke to him ane vther.
619:And was of age fourscoir of ȝeirs and moir;
469:adapted the play as a contemporary morality
795:Court & Culture in Renaissance Scotland
753:And sa thair cunts thay haue in consuetude.
702:Thou art the daftest fuill that ever I saw.
669:Quhen all was gaine, I micht mak na debeat,
641:Then scho deit within ane day or two ;
495:A new performance at Linlithgow Palace and
346:Edinburgh, 1554, and the Charteris synopsis
1247:
1233:
1178:Ane Pleasant Satyre of the Thrie Estaitis.
1138:: Plans for 40-player presentation of the
1121:
1119:
755:Quhidder say ȝe that law is evill or gude?
738:It is thair law all that thay haue in vse,
718:Quhilk law to them is sufficient and gude.
711:That ane Vickar sould tak fra me thrie ky?
687:That gart me want the Sacrament at Pasche.
597:Sir I socht law thair this monie deir day;
541:
29:
729:To tak thrie ky fra ane pure husband man?
704:Trows thou, man, be the law to get remeid
667:The Vickar gart his Clark bear them away.
649:The Vickar tuik the best Cow be the head,
615:And I sall declair how the black veritie.
283:(of Staplegordon; in ballads the Laird o'
116:Ane Pleasant Satyre of the Thrie Estaitis
1037:Scottish Poems: the Bannatyne Interludes
685:And halds me ȝit vnder that same proces,
637:My father was sa waik of blude and bane,
617:My father was ane auld man and ane hoir,
435:
318:
218:
1116:
808:Works of Sir David Lindsay of the Mount
749:Manifestlie during thair lustie lyvfis,
745:Sir, I wald speir at ȝow ane questioun.
723:Ane consuetude against the common weill
716:Thay haue na law, exceptand consuetude,
697:Quhilk I purpois to gif ane man of law.
1471:
673:Now haue I tald ȝow the black veritie,
651:Incontinent, quhen my father was deid.
613:Gude-man will ȝe gif me ȝour Charitie,
1228:
1125:From the programme to the production.
989:Edinburgh Records: The Burgh Accounts
663:The third cow he cleikit be the head.
548:Thow art over pert to spill our play.
546:Swyith begger bogill, haist the away,
412:
209:
1100:Scottish Theatre Since the Seventies
856:, 16.2 (Nov. 1989); Roderick Lyall,
747:Behauld sum Prelats of this Regioun:
1218:Journal of the Northern Renaissance
995:Accounts of the Lord High Treasurer
643:And thair began my povertie and wo.
530:(Oxford English Dictionary entry.)
266:, who described the performance at
250:A letter written by the Englishman
13:
1554:Poetry of the Bannatyne Manuscript
675:How I am brocht into this miserie.
14:
1580:
1564:Drama at the Scottish royal court
239:and an English agent's report to
1084:Ane Satyre of the Thrie Estaites
858:Ane Satyre of The Thrie Estaitis
821:Ane Satyre of the Thrie Estaitis
479:Edinburgh International Festival
419:Edinburgh International Festival
1200:Ane satyre of the thrie estaits
1146:
1128:
1089:
1077:
1066:
1053:
1042:
1021:
1008:
980:
967:
954:
935:
920:
907:
871:Letters & Papers Henry VIII
395:Scottish Reformation Parliament
362:, and a 'Convoy House', at the
1061:What do You do During the Day?
1033:Facsimile Bannatyne Manuscript
894:
878:
863:
842:
830:
813:
800:
787:
778:
1:
1519:Political history of Scotland
1389:A Satire of the Three Estates
964:, Tuckwell (1993), pp.355-367
772:
631:Nane tydier into the toun of
471:A Satire of the Four Estaites
215:Interlude at Linlithgow, 1540
107:A Satire of the Three Estates
24:A Satire of the Three Estates
16:Play written by David Lyndsay
1544:Court of James V of Scotland
421:, with a modernised text by
245:Satyre of the Thrie Estaitis
7:
1187:External links and editions
1003:, (1871), entries from 1554
975:The Renaissance in Scotland
931:, vol.2, (1791), pp.494-497
848:Joanne Spencer Kantrowitz,
760:
563:Marie Meikill sorrow :
503:
307:about the possibility of a
247:, and had the same themes.
189:
10:
1585:
1424:The Three Ladies of London
1396:A Looking Glass for London
1319:Liberality and Prodigality
1277:The Castle of Perseverance
1104:Edinburgh University Press
1018:, vol.1, STS (1931), p.398
691:I haue na geir except ane
534:Excerpt from the 1602 text
358:and the French ambassador
237:royal treasurer's accounts
1433:
1349:
1266:
854:Scottish Literary Journal
542:
475:Wildcat Stage Productions
473:, which was presented by
93:
83:
69:
54:
44:
28:
23:
1489:16th century in Scotland
1142:at Linlithgow Peel, 2013
453:Scottish Theatre Company
144:in June 1552 during the
1340:The Play of the Weather
1298:The World and the Child
1152:Hall, Fitzedward, ed.,
1059:Elder, Michael (2003),
997:, vol.10 (1913), p.232:
889:, series 3 vol.3 (1846)
873:, vol.15 (1894), no.114
455:under the direction of
270:before James, his wife
1514:Parliament of Scotland
1211:, vol.2, London (1792)
1207:Pinkerton, John, ed.,
1016:Works of David Lindsay
441:
387:
301:
277:Parliament of Scotland
227:
168:Parliament of Scotland
1569:Philosophical fiction
1549:Plays set in Scotland
1524:Religion and politics
1333:The Seven Deadly Sins
1312:The Disobedient Child
1027:Tod Ritchie, W. ed.,
991:, vol.1 (1899), p.110
977:, Brill (1994), p.206
585:PAUPER: Sir, evin to
571:PAUPER: I dwell into
439:
383:
368:gallows, 'jebbettis,'
341:Bannatyne Manuscript.
319:The Cupar Banns, 1552
289:
222:
1539:Scots-language works
1096:Edwards, Owen Dudley
946:in, John Pinkerton,
399:Bannatyne Manuscript
391:Bannatyne Manuscript
260:Sir Thomas Bellenden
162:is an attack on the
155:Bannatyne Manuscript
1479:Theatre in Scotland
1369:Autos sacramentales
1039:, (1792), pp.23, 80
1029:Banntyne Manuscript
987:Adam, Robert, ed.,
767:Scottish literature
490:Scottish Parliament
364:Greenside playfield
305:James V of Scotland
233:James V of Scotland
166:represented in the
1494:Christian allegory
1305:Interlude of Youth
1156:, EETS, pp.459-252
1136:Scotsman Newspaper
904:, (1998), pp.77-83
442:
413:Later performances
228:
210:Early performances
1509:Ethics literature
1466:
1465:
1417:The Sun's Darling
1403:Four Plays in One
927:Pinkerton, John,
827:(1965-6), 129-43.
793:Edington, Carol,
352:William MacDowall
268:Linlithgow Palace
225:Linlithgow Palace
134:Sir David Lyndsay
103:
102:
84:Original language
1576:
1357:Medieval theatre
1249:
1242:
1235:
1226:
1225:
1202:, Trübner / EETS
1157:
1150:
1144:
1132:
1126:
1123:
1114:
1093:
1087:
1081:
1075:
1070:
1064:
1057:
1051:
1046:
1040:
1031:, 4 vols., STS:
1025:
1019:
1014:Hamer, Douglas,
1012:
1006:
984:
978:
971:
965:
962:The European Sun
958:
952:
942:David Lyndsay's
939:
933:
924:
918:
911:
905:
900:Cameron, Jamie,
898:
892:
882:
876:
867:
861:
846:
840:
834:
828:
817:
811:
806:Hamer, Douglas,
804:
798:
791:
785:
782:
589:for to seik law.
409:in the watter."
184:Scottish history
39:1996 adaptation.
33:
21:
20:
1584:
1583:
1579:
1578:
1577:
1575:
1574:
1573:
1559:Christian plays
1529:Satirical plays
1469:
1468:
1467:
1462:
1458:Personification
1429:
1345:
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1189:
1184:
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127:Middle Scots
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61:(private) /
18:
1410:Pathomachia
944:Cupar Banns
693:Inglis grot
457:Tom Fleming
423:Robert Kemp
366:, with the
325:Cupar Banns
1484:1552 plays
1473:Categories
1435:Characters
1382:Elckerlijc
1268:Interludes
1154:Ane Satire
819:MacQueen,
773:References
736:DILIGENCE:
714:DILIGENCE:
700:DILIGENCE:
604:DILIGENCE:
544:DILIGENCE:
313:Henry VIII
264:Coldstream
45:Written by
573:Lawthiane
407:rillickis
285:Gilnockie
150:Edinburgh
146:Midsummer
120:satirical
74:Edinburgh
1326:Horestes
1291:Everyman
1106:, p.37,
761:See also
504:Language
403:Pardoner
333:Satire's
190:Synopsis
180:Merchant
118:), is a
78:Scotland
65:(public)
1284:Mankind
1258:of the
902:James V
743:PAUPER:
721:PAUPER:
681:PAUPER:
611:PAUPER:
595:PAUPER:
577:Tranent
561:PAUPER:
551:PAUPER:
523:by the
1220:, 2019
1140:Satire
1110:
510:Satire
379:Satire
375:Warkis
329:Satire
293:tithes
160:Satire
158:. The
1453:Death
1448:Folly
1176:§ 3.
1170:§ 2.
525:makar
337:Banns
138:Cupar
131:makar
94:Genre
1443:Vice
1108:ISBN
515:fuck
508:The
447:and
389:The
178:and
142:Fife
63:1552
59:1540
825:SSL
633:Air
262:at
254:to
125:in
1475::
1118:^
1102:,
993::
823:,
485:.
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315:.
186:.
174:,
140:,
114::
76:,
1248:e
1241:t
1234:v
695:,
635:.
579:.
517:,
381:;
110:(
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