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disguise, misunderstandings, and an ending involving marriages and restored social order."},{"text":"A Shakespearean tragedy.","correct":false,"explanation":"Shylock’s suffering introduces tragic elements, but the play does not initially follow a tragedy’s movement towards the protagonist’s death. Its overall romantic structure resembles a Shakespearean comedy."},{"text":"A Shakespearean history.","correct":false,"explanation":"Shakespearean histories dramatise national politics, monarchy, and succession rather than fictional romantic conflicts. At first glance, the play’s marriages and resolutions make it a Shakespearean comedy."},{"text":"A revenge tragedy.","correct":false,"explanation":"Shylock seeks revenge through the bond, but the play is not structured around escalating vengeance and multiple deaths. Its romantic plots initially identify it as a Shakespearean comedy."}]},{"id":"e3785629-9264-42fe-adae-38400aa7d777","cardType":"cloze","points":null,"front":"Renaissance comedy moves from order/stability through confusion/conflict to [ ].","back":"Renaissance comedy moves from order/stability through confusion/conflict to resolution, often marriage.","mcqOptions":[{"text":"resolution, often marriage","correct":true,"explanation":"Renaissance comedy conventionally restores order after a period of confusion or conflict. Marriage frequently represents this resolution by reconciling characters and securing social stability."},{"text":"catastrophe, often death","correct":false,"explanation":"Catastrophe and death conventionally complete a tragic structure rather than a comic one. Renaissance comedy moves towards resolution, often marriage, restoring the stability disrupted by conflict."},{"text":"revenge, often violence","correct":false,"explanation":"Revenge and violence are more characteristic of revenge tragedy and do not restore comic harmony. Renaissance comedy normally concludes with resolution, often represented by marriage."},{"text":"isolation, often exile","correct":false,"explanation":"Isolation or exile may punish an excluded character, but it is not the conventional final stage of comedy. The comic movement ends in resolution, often marriage."}]},{"id":"ae205c3f-5632-479f-a57c-eb0751ae48d1","cardType":"basic","points":2,"front":"Why do modern critics often call The Merchant of Venice a problem play or tragi-comedy?","back":"Shylock’s tragic storyline threatens the comic frame.","mcqOptions":[{"text":"Shylock’s tragic storyline threatens the comic frame.","correct":true,"explanation":"Shylock’s humiliation, forced conversion, and loss of property create serious suffering within a supposedly comic structure, making the final comic resolution morally uncomfortable."},{"text":"Shylock’s comic storyline strengthens the tragic frame.","correct":false,"explanation":"Shylock’s storyline is marked by humiliation and coercion rather than comic fulfilment. His tragic treatment threatens the play’s comic frame, producing the conflicting tones associated with a problem play."},{"text":"Bassanio’s tragic storyline threatens the comic frame.","correct":false,"explanation":"Bassanio achieves his romantic goal and ends the play married, so his storyline follows comedy rather than tragedy. Shylock’s suffering is what threatens the comic frame."},{"text":"Portia’s tragic storyline overwhelms the comic frame.","correct":false,"explanation":"Portia’s plot ends successfully through marriage, disguise, and reconciliation, all typical comic features. The troubling tragic element comes from Shylock’s punishment and exclusion."}]},{"id":"4f4d0276-03ca-4071-9aff-e6472db53e44","cardType":"basic","points":2,"front":"What is the effect of Shylock’s absence from Act 5?","back":"It makes the happy ending feel uneasy and questionable.","mcqOptions":[{"text":"It makes the happy ending feel uneasy and questionable.","correct":true,"explanation":"Shylock’s exclusion leaves his suffering unresolved while the other characters celebrate. His absence therefore reminds the audience that the apparent happiness depends partly upon his punishment."},{"text":"It makes the happy ending feel complete and unqualified.","correct":false,"explanation":"Shylock’s absence does not erase the memory of his forced conversion and losses. Instead, it makes the happy ending feel uneasy and invites questions about who benefits from it."},{"text":"It allows the comic ending to resolve Shylock’s suffering.","correct":false,"explanation":"Act 5 provides no reconciliation or recovery for Shylock because he is entirely absent. His unresolved suffering makes the comic ending feel uneasy rather than resolving it."},{"text":"It makes the tragic ending feel peaceful and reassuring.","correct":false,"explanation":"The play formally ends as a comedy, with marriages and restored rings, rather than as a tragedy. Shylock’s absence makes that happy ending uneasy and questionable."}]},{"id":"f637bf99-7576-4a79-a6a3-fa03e4e307dc","cardType":"cloze","points":null,"front":"[ ] places contrasting settings, ideas, or characters together to highlight difference.","back":"Juxtaposition places contrasting settings, ideas, or characters together to highlight difference.","mcqOptions":[{"text":"Juxtaposition","correct":true,"explanation":"Juxtaposition places contrasting elements close together so their differences become more noticeable. Shakespeare uses it structurally when alternating between Venice and Belmont."},{"text":"Foreshadowing","correct":false,"explanation":"Foreshadowing hints at events that will occur later rather than placing contrasting elements together. The technique defined here is juxtaposition, which highlights difference through proximity."},{"text":"Symbolism","correct":false,"explanation":"Symbolism gives an object, character, or setting a meaning beyond its literal role. Juxtaposition instead places contrasting elements together to emphasise their differences."},{"text":"Dramatic irony","correct":false,"explanation":"Dramatic irony occurs when the audience knows more than one or more characters. Placing contrasting settings, ideas, or characters together is called juxtaposition."}]},{"id":"de82c880-6779-43dd-b7a3-9086f7865eba","cardType":"basic","points":1,"front":"Which two settings does Shakespeare structurally alternate between?","back":"Venice and Belmont.","mcqOptions":[{"text":"Venice and Belmont.","correct":true,"explanation":"The structure alternates between commercial, legalistic Venice and romantic, musical Belmont. This contrast allows Shakespeare to juxtapose different values, atmospheres, and forms of language."},{"text":"Venice and Verona.","correct":false,"explanation":"Verona is associated with other Shakespeare plays and is not an alternating setting here. The action moves structurally between Venice and Portia’s home at Belmont."},{"text":"Belmont and Padua.","correct":false,"explanation":"Padua is not one of the play’s two principal settings. Shakespeare alternates between Belmont’s romantic world and Venice’s commercial and legal world."},{"text":"Venice and Cyprus.","correct":false,"explanation":"Cyprus is a major setting in Othello, not The Merchant of Venice. This play structurally alternates between Venice and Belmont."}]},{"id":"da1e4eaa-998f-45d4-9695-fb58433723c3","cardType":"basic","points":1,"front":"What lexical field dominates the language of Venice?","back":"Financial and legalistic vocabulary.","mcqOptions":[{"text":"Financial and legalistic vocabulary.","correct":true,"explanation":"Venice is dominated by trade, loans, bonds, contracts, and courtroom proceedings. Its financial and legalistic vocabulary reflects a society organised around commerce and law."},{"text":"Romantic and pastoral vocabulary.","correct":false,"explanation":"Romantic and nature-based language is more strongly associated with Belmont. Venice is characterised by financial and legalistic vocabulary linked to trade, contracts, and the bond."},{"text":"Military and heroic vocabulary.","correct":false,"explanation":"Venice is not primarily presented through warfare or heroic combat in this play. Its dominant lexical field is financial and legalistic, reflecting commerce and the trial."},{"text":"Magical and supernatural vocabulary.","correct":false,"explanation":"Unlike Shakespeare’s magical comedies, this play does not make supernatural language central to Venice. Financial and legalistic vocabulary dominates its commercial and courtroom scenes."}]},{"id":"916146cb-80ee-45d8-b9e5-252e88015aeb","cardType":"basic","points":2,"front":"What kind of language characterises Belmont?","back":"Poetic language with mythology, nature metaphors, and music.","mcqOptions":[{"text":"Poetic language with mythology, nature metaphors, and music.","correct":true,"explanation":"Belmont’s poetic references to mythology, the natural world, and music create a romantic, harmonious atmosphere that contrasts with the commercial language of Venice."},{"text":"Legalistic language with contracts, courtroom rhetoric, and financial imagery.","correct":false,"explanation":"Contracts, courtroom rhetoric, and financial imagery characterise Venice rather than Belmont. Belmont is distinguished by poetic language involving mythology, nature metaphors, and music."},{"text":"Militaristic language with battle imagery, commands, and violent threats.","correct":false,"explanation":"Belmont is presented as a romantic and harmonious setting, not a military environment. Its language is poetic, drawing upon mythology, nature metaphors, and music."},{"text":"Religious language with biblical allusions, sermons, and moral judgements.","correct":false,"explanation":"Religious ideas appear elsewhere in the play, especially around Shylock, but they do not chiefly characterise Belmont. Its distinctive language is poetic, mythological, natural, and musical."}]},{"id":"49d08cc2-124e-4f1c-aaca-277e49f6bc70","cardType":"cloze","points":null,"front":"The Venice-Belmont contrast structurally opposes Venetian [ ] with Belmontian [ ].","back":"The Venice-Belmont contrast structurally opposes Venetian justice with Belmontian mercy.","mcqOptions":[{"text":"The Venice-Belmont contrast structurally opposes Venetian justice with Belmontian mercy.","correct":true,"explanation":"Venice represents strict justice, legal bonds and commercial calculation, while Belmont represents mercy, love and generosity. The structural contrast brings these competing value systems into conflict."},{"text":"The Venice-Belmont contrast structurally opposes Venetian mercy with Belmontian justice.","correct":false,"explanation":"This reverses the symbolic associations of the two settings. Venice is primarily linked to justice and legal strictness, whereas Belmont is associated with mercy, love and generosity."},{"text":"The Venice-Belmont contrast structurally opposes Venetian love with Belmontian wealth.","correct":false,"explanation":"This confuses features present in the plot with the settings’ central structural functions. The key opposition is Venetian justice against Belmontian mercy."},{"text":"The Venice-Belmont contrast structurally opposes Venetian justice with Belmontian revenge.","correct":false,"explanation":"Belmont is not structurally associated with revenge, even though revenge motivates parts of the Venetian plot. It represents mercy, which challenges Venice’s strict pursuit of justice."}]},{"id":"1daf910e-13ff-4482-ab45-07a95b016791","cardType":"basic","points":2,"front":"In Act 4, what does Portia/Balthazar’s courtroom entry structurally show?","back":"Belmont enters Venice, but must use Venetian law.","mcqOptions":[{"text":"Belmont enters Venice, but must use Venetian law.","correct":true,"explanation":"Portia brings Belmont’s values, particularly mercy, into the Venetian courtroom. However, disguised as Balthazar, she must work through Venice’s legal system to defeat Shylock’s claim."},{"text":"Venice enters Belmont, but must use Belmontian custom.","correct":false,"explanation":"The movement of values and influence is reversed here. Portia travels from Belmont into the Venetian courtroom and must operate through Venetian law."},{"text":"Shylock enters Belmont, but must use Christian mercy.","correct":false,"explanation":"Shylock does not enter Belmont in the courtroom scene, nor does he base his claim on mercy. Portia brings Belmont into Venice while using Venetian law."},{"text":"Venetian law enters Belmont, but must use Belmontian wealth.","correct":false,"explanation":"The trial takes place in Venice, not Belmont, and Portia’s victory depends on legal interpretation rather than wealth. Belmont enters Venice but must use Venetian law."}]},{"id":"b01fea37-aecd-4fe0-bb3b-d6c164fa1317","cardType":"cloze","points":null,"front":"Blank verse is [ ] poetry written in [ ].","back":"Blank verse is unrhymed poetry written in iambic pentameter.","mcqOptions":[{"text":"Blank verse is unrhymed poetry written in iambic pentameter.","correct":true,"explanation":"Blank verse consists of unrhymed lines in iambic pentameter, normally using five iambic feet and approximately ten syllables per line."},{"text":"Blank verse is rhymed poetry written in iambic pentameter.","correct":false,"explanation":"Iambic pentameter can rhyme, but blank verse specifically does not. The correct definition is unrhymed poetry written in iambic pentameter."},{"text":"Blank verse is unrhymed poetry written in iambic tetrameter.","correct":false,"explanation":"This uses the wrong number of metrical feet. Blank verse is written in iambic pentameter, which has five iambs rather than the four found in tetrameter."},{"text":"Blank verse is rhymed poetry written in trochaic pentameter.","correct":false,"explanation":"This changes both defining features: blank verse is unrhymed and uses iambs, not trochees. It is unrhymed poetry written in iambic pentameter."}]},{"id":"98dedfa3-180c-4e90-acfc-06480f64c04e","cardType":"basic","points":1,"front":"How many syllables are in a standard line of iambic pentameter?","back":"Ten syllables.","mcqOptions":[{"text":"Ten syllables.","correct":true,"explanation":"A standard line contains five iambic feet, and each iamb normally has two syllables. Five pairs therefore produce ten syllables."},{"text":"Eight syllables.","correct":false,"explanation":"Eight syllables would normally form iambic tetrameter, with four two-syllable feet. Iambic pentameter has five feet, giving ten syllables."},{"text":"Twelve syllables.","correct":false,"explanation":"Twelve syllables would suggest six two-syllable feet rather than five. Standard iambic pentameter contains five iambs and therefore ten syllables."},{"text":"Five syllables.","correct":false,"explanation":"This mistakes the five metrical feet for five individual syllables. Each iamb contains two syllables, so five iambs normally make ten syllables."}]},{"id":"2931dccc-1717-47c6-a4da-022ab3627455","cardType":"cloze","points":null,"front":"Prose is [ ] without [ ].","back":"Prose is ordinary conversational speech without regular metrical rhythm or rhyme.","mcqOptions":[{"text":"Prose is ordinary conversational speech without regular metrical rhythm or rhyme.","correct":true,"explanation":"Prose resembles ordinary speech and is not organised into a consistent poetic metre or rhyme scheme, although it can still contain rhythm, imagery and other literary techniques."},{"text":"Prose is ordinary conversational speech without figurative language or imagery.","correct":false,"explanation":"This confuses prose form with plain or literal language. Prose can contain metaphors and imagery; it is defined by lacking regular metrical rhythm or rhyme."},{"text":"Prose is elevated formal speech without regular metrical rhythm or rhyme.","correct":false,"explanation":"Prose is not necessarily elevated or formal and often imitates ordinary conversation. Its defining feature is the absence of regular metrical rhythm or rhyme."},{"text":"Prose is ordinary conversational speech without punctuation or sentence structure.","correct":false,"explanation":"Prose normally uses conventional sentences and punctuation. What it lacks is the regular metrical rhythm or rhyme that formally organises verse."}]},{"id":"31eed119-2da0-44f9-86a2-4786eebcff10","cardType":"basic","points":2,"front":"Why do high-status characters often speak in blank verse?","back":"It signals education and refinement.","mcqOptions":[{"text":"It signals education and refinement.","correct":true,"explanation":"Blank verse requires controlled, sophisticated expression, so Shakespeare often uses it to indicate a character’s education, refinement and elevated social position."},{"text":"It signals low status and comic ignorance.","correct":false,"explanation":"This reverses the usual dramatic convention. Low-status or comic characters often use prose, while blank verse commonly signals education, refinement and elevated status."},{"text":"It signals emotional collapse and lost control.","correct":false,"explanation":"A breakdown from verse into prose may suggest lost control, but sustained blank verse usually conveys discipline. For high-status characters, it signals education and refinement."},{"text":"It signals secrecy and private intimacy.","correct":false,"explanation":"Private or secret speech is not automatically marked by blank verse. Shakespeare commonly gives high-status characters blank verse to signal their education and refinement."}]},{"id":"a37542c1-eeac-4182-96a1-bc365368c885","cardType":"basic","points":2,"front":"What can a high-status character’s slip into prose reveal?","back":"Loss of poetic control through grief, madness, or moral decay.","mcqOptions":[{"text":"Loss of poetic control through grief, madness, or moral decay.","correct":true,"explanation":"A shift from controlled verse into prose can dramatise psychological or moral disintegration, suggesting that grief, madness or corruption has disrupted the character’s poetic control."},{"text":"Greater poetic control through calmness, reason, or moral certainty.","correct":false,"explanation":"This reverses the usual significance of the change. Slipping out of controlled verse can reveal lost poetic control caused by grief, madness or moral decay."},{"text":"Formal metrical discipline through education, rank, or public authority.","correct":false,"explanation":"Regular blank verse, rather than a slip into prose, demonstrates metrical discipline. The movement into prose may reveal lost poetic control through grief, madness or moral decay."},{"text":"Heightened romantic idealism through love, harmony, or spiritual renewal.","correct":false,"explanation":"Romantic idealism is more often supported by elevated poetic language. A high-status character’s unexpected prose can instead expose lost poetic control caused by grief, madness or moral decay."}]},{"id":"0b0d87a4-38b2-4d17-ae1b-0abb192c8d43","cardType":"basic","points":1,"front":"What is wrong with assuming Shylock only speaks in prose?","back":"He moves fluidly between prose and blank verse.","mcqOptions":[{"text":"He moves fluidly between prose and blank verse.","correct":true,"explanation":"Shylock’s language changes according to context and purpose. His ability to use both prose and blank verse makes his speech more varied and complex than the assumption suggests."},{"text":"He speaks exclusively in prose throughout the play.","correct":false,"explanation":"This repeats the oversimplification rather than correcting it. Shylock uses blank verse as well as prose, moving fluidly between the two forms."},{"text":"He speaks exclusively in blank verse throughout the play.","correct":false,"explanation":"This replaces one absolute misconception with another. Shylock speaks in both prose and blank verse, shifting fluidly according to the dramatic situation."},{"text":"He alternates rigidly by speaking prose to Jews and verse to Christians.","correct":false,"explanation":"Shylock’s formal choices are not divided by such a fixed religious rule. He moves fluidly between prose and blank verse in response to context and dramatic purpose."}]},{"id":"691d15f4-fb31-43da-903a-f992fcb0b3f0","cardType":"cloze","points":null,"front":"Shylock’s grammar often resembles a [ ], stressing strict [ ].","back":"Shylock’s grammar often resembles a legal contract, stressing strict literalism.","mcqOptions":[{"text":"Shylock’s grammar often resembles a legal contract, stressing strict literalism.","correct":true,"explanation":"The contractual grammar reflects Shylock’s insistence that the bond be interpreted exactly as written, showing his inflexible commitment to the literal terms of the law."},{"text":"Shylock’s grammar often resembles a religious sermon, stressing strict spiritualism.","correct":false,"explanation":"A religious sermon would emphasise spiritual teaching rather than contractual precision. Shylock’s grammar resembles a legal contract, stressing his strict literalism about the bond."},{"text":"Shylock’s grammar often resembles a personal letter, stressing strict sentimentality.","correct":false,"explanation":"Shylock does not use the language of affectionate personal correspondence or emotional flexibility. His grammar resembles a legal contract, reinforcing strict literalism."},{"text":"Shylock’s grammar often resembles a comic performance, stressing strict playfulness.","correct":false,"explanation":"A comic performance suggests playfulness and exaggeration, whereas Shylock’s precise grammatical constructions resemble a legal contract and stress strict literalism."}]},{"id":"404b8e37-b577-403c-83ce-e91ad0dc08c0","cardType":"cloze","points":null,"front":"Repeating "my bond" at the end of successive clauses is [ ].","back":"Repeating "my bond" at the end of successive clauses is epistrophe.","mcqOptions":[{"text":"epistrophe","correct":true,"explanation":"Epistrophe is the repetition of a word or phrase at the end of successive clauses, so the recurring placement of “my bond” fits this technique."},{"text":"anaphora","correct":false,"explanation":"Anaphora is repetition at the beginning of successive clauses, not at their ends. Repeating “my bond” in the final position is epistrophe."},{"text":"epizeuxis","correct":false,"explanation":"Epizeuxis repeats a word immediately with nothing intervening, such as “Never, never.” Repetition at the ends of successive clauses is epistrophe."},{"text":"antithesis","correct":false,"explanation":"Antithesis places contrasting ideas in a balanced construction; it does not describe repeated clause endings. The repeated final phrase “my bond” is epistrophe."}]},{"id":"a059080b-32ca-4294-876d-406a9506d904","cardType":"basic","points":2,"front":"What does Shylock’s repeated "my bond" reveal?","back":"A rigid, unyielding obsession with legal justice.","mcqOptions":[{"text":"A rigid, unyielding obsession with legal justice.","correct":true,"explanation":"The possessive “my” and persistent repetition of “bond” show that Shylock is fixated on enforcing the agreement and refuses to accept alternatives to legal justice."},{"text":"A flexible, forgiving engagement with legal justice.","correct":false,"explanation":"The repetition does not suggest flexibility or forgiveness; it reinforces Shylock’s refusal to compromise. It reveals a rigid, unyielding obsession with legal justice."},{"text":"A casual, temporary interest in legal justice.","correct":false,"explanation":"Repeatedly demanding the bond makes Shylock’s concern emphatic rather than casual or temporary. It reveals a rigid, unyielding obsession with legal justice."},{"text":"A fearful, uncertain discomfort with legal justice.","correct":false,"explanation":"Shylock’s repeated phrase expresses certainty and determination, not anxiety about the law. It reveals his rigid, unyielding obsession with legal justice."}]},{"id":"df71dcc3-8bc2-44b9-992f-119969782164","cardType":"basic","points":1,"front":"What does Portia’s "quality of mercy" speech present mercy as?","back":"A divine attribute, like gentle rain from heaven.","mcqOptions":[{"text":"A divine attribute, like gentle rain from heaven.","correct":true,"explanation":"Portia describes mercy as descending from heaven like gentle rain and associates it with God, presenting mercy as a divine attribute that blesses giver and receiver."},{"text":"A purchased reward, like wages earned through labour.","correct":false,"explanation":"Portia says mercy cannot be compelled or earned as payment. She presents it as a divine attribute that falls freely, like gentle rain from heaven."},{"text":"A legal obligation, like judgement imposed by courts.","correct":false,"explanation":"Mercy goes beyond the strict demands of law rather than operating as another legal duty. Portia presents it as a divine attribute, like heavenly rain."},{"text":"A human weakness, like fear before earthly power.","correct":false,"explanation":"Portia argues that mercy strengthens and ennobles powerful rulers rather than exposing weakness. She presents it as a divine attribute, like gentle rain from heaven."}]},{"id":"d8d9f766-bbaa-45f1-b360-982d9f4ef812","cardType":"basic","points":2,"front":"Why is Shylock’s "Hath not a Jew eyes?" speech in prose?","back":"Prose conveys raw grief, anger, and unedited passion.","mcqOptions":[{"text":"Prose conveys raw grief, anger, and unedited passion.","correct":true,"explanation":"The flexibility of prose allows Shylock’s thoughts to sound immediate and uncontrolled, conveying the raw grief, anger, and unedited passion produced by persecution."},{"text":"Prose conveys calm reason, restraint, and polished detachment.","correct":false,"explanation":"The speech’s urgent questions and emotional repetitions are neither restrained nor detached. Its prose conveys Shylock’s raw grief, anger, and unedited passion."},{"text":"Prose conveys comic wit, banter, and light entertainment.","correct":false,"explanation":"Although prose can sometimes support comedy, this speech confronts prejudice and suffering rather than providing light entertainment. It conveys raw grief, anger, and unedited passion."},{"text":"Prose conveys social obedience, humility, and controlled submission.","correct":false,"explanation":"The prose does not make Shylock submissive or emotionally controlled; his forceful rhetorical questions challenge his persecutors and convey raw grief, anger, and unedited passion."}]},{"id":"d1136a9a-89c6-480c-9d7b-2de37b8efbdf","cardType":"basic","points":2,"front":"What do the parallel rhetorical questions in "Hath not a Jew eyes?" force recognition of?","back":"The biological and emotional equivalence of Jews and Christians.","mcqOptions":[{"text":"The biological and emotional equivalence of Jews and Christians.","correct":true,"explanation":"By listing shared eyes, senses, emotions, injuries, and physical responses, Shylock establishes the biological and emotional equivalence of Jews and Christians."},{"text":"The religious and doctrinal differences between Jews and Christians.","correct":false,"explanation":"The questions focus on shared bodies and feelings rather than contrasting religious doctrines. They force recognition of the biological and emotional equivalence of Jews and Christians."},{"text":"The physical and emotional superiority of Jews over Christians.","correct":false,"explanation":"Shylock argues for common humanity, not Jewish physical superiority. The parallel questions establish the biological and emotional equivalence of Jews and Christians."},{"text":"The financial and commercial rivalry between Jews and Christians.","correct":false,"explanation":"Although money shapes the wider plot, these questions concern shared senses, wounds, emotions, and mortality. They establish the biological and emotional equivalence of Jews and Christians."}]}]}],"examCountdown":{"examDate":"2027-05-12","paperLabel":"Paper 1"},"heading":"Language, Form and Structure","title":"Language, Form and Structure Flashcards","topbar":{"backHref":"/gcse/english-literature/aqa/flashcards"},"topicSidebar":"$L38"}]}],"topicId":"b0f40e94-289e-5dfb-9719-2740d027df69","walled":"$L39"}],"$L3a","$L3b"]