·.
THECUlTIVATIONOFVISCERAlllSTENfNG
~OPENIYIOETHEEARSOFYOURHEARr-
Nan;H’~rnerBrIJh”n
A~v-,>f”I’9Cf6
InirllfillCli#1I
Themissionofthemustc-thenetoloqtst-tolovinglyserveatthebedsidethe
physicalandspiritualneedsofthedyingwithprescriptivemusic-isdynamically
influencedbythecalltolistendeeply.Whatwelistentoincludesthepatient,
teammembers,familyandfriends,caregivers, andsilence.This1isteningismuch
moreexpansivethanwhatwedomerelywithourears. Itismypurposeinthis
papertomeditateuponwaysinwhichthepracticeofmusic-thanatologyis
touchedandmagnifiedbycultivationofactivehearingandlistening.
wnetisthecultivationofvisceral1istening?Whathasbeentheculturalhistory
orhearing?Howcanthedeafbemusicians?Whataretheimplicationsofour
emphasisonthesenseofSight?Whathapenswhensomeonebecomes’herdof
hearing’?Howdoeshearingaffectdevelopmentoftheheart?As’lvearecalledto
bepresentforthedyingourwork, aswellasthepatient’s work, isnourishedby
Hiepracticesofsilenceandl1stening. whethapensifthesefundamentalsarenot
tosteren?f1usinguponthesequestions,thatis-listeningandrespondingtothem
mustcallu-Inopewillcontributetothefieldofmustc-thenetoto qu.
Copyright©1996MaryWernerBrown
AllRightsReserved

Culii•.-atiIlDDlYiSCl!r6/lisillRing
FromtheLettncllltillottlScomestheverb’culttvete’. meaning:tot”ill,tofoster-the
qrowthof,toimpr-ove,torefine.Thiswordcontainstheessenceofthedidecttc
workofthestudentofmusic-thanatologyasmanydisciplinesarewoventogether.
Thecalltobeattentivetotheinnerlifeparticularlypilotsthejour-neythatis
markedbychangeandgrowth. t’lyhopeistoexpress,throughthisperttculerwords
thatltstemnqcanbecomeacontinualspiritualpracticeinourworkandinour
ttves.Ittmplteswill,effort,andpromiseofharvest.
‘vtscerel’comesfromtheLetintIiSC8l’-O:feltasadeepsensationinaninternal
organofthebody(astheheart), insttncuve. apetitive (tostrive after),earthy.
Whenweconsiderthatthelocusofhearingmaybemorethanjusttheearfindas
mechentsmsthisdescriptorwellexpressesbothaiocettonandamovement
inherentinlistening. Thischaracterizationenablesthecontemplative musicianto
bepresentforthedyinginadynamicandprescriptiveway.Itrecognizesthat
listeningisanactivityofourentirebeing,andisnotsomethingthatjusthapens
invo1unterttytous.
‘Listen’ and’obey’nevethesameetymologicalroots,soastteriusSchneiderwrites
..whendonefully,the11stenerbecomeswhatthespeakeris.t””rIegoouttoa
personwelistentoandletthatpersoncomeintous,sotherecanbenobarrier.
woul1jliketoillustratefrornanothermorepersonalperspective:”Listentoqour
body”,isaprofoundwisdomwhichIlearnedfr-omawisewomenWhohadadopted
thisphrase¥lithhergrO¥ing daughter. Fromthe’…’erybeginning”tehaveusedthis
maximwithourson,insteadofadmonitionsandreproachesabout toomuchsugar
ornotenoughslee.Idtdnotrealizethesignificance oftheverb-uste»,itis

impossibleforhim, evenatayoungage,tonottakethiswisdomtoheart,andso
listeningandobeyingbecomeintertwinedashepaysattentiontoandheedshis
bodi1ysensations.
,jCulturalHistllrglll”liearillg
Numerousresearchershavecarriedoutcarefulstudieswhichdemonstratethatthe
firsthumanbeingswerelisteners.Thisfindingissuportedthroughstudyingthe
formationoflanguage: itisfoundthathearing existedasawayofcommunicating
tmdlearninglongoerorespeechevolved. Aftertheadventofspeechlistening
v….ornswereverycommoninalltheteachingsofsptntue1traditions~butthey
becamelessfrequentasthewestincreasinglypursuedrettoneusm:’seeing’worns
thenpredominatedeverywhere. Thesenseofsight withitsoutwar-d direction
graduallyreplacedthesenseofhearing(amoreinnermovement) asameansof
thinkingandperception,sopeoplebegantounderstand thingsmuchmoreeasilyby
meansofalanguagebasedonthevisualratherthanbymeansofsheersound.
rtertusSchneiderbelievedthatgainingthesepossibilities ofcogn1tionalsomeant
losingpartoftheearlierauthorityofempathybetweenhumans.Contemplettve
musiciansconsiderthesignificanceofernpethurandrecognizethat itcanflourish
whenthereistrue..selflesslisteningrwhenourneertsareopentothatwhich is
bothspokenendunspoken.If.,withthefavorofernpath!Jinthevig11setting
euenettoncanbedissolvedbetweenanindividualanddeath,orbetweenfamily
membersorfriends,thereresultsasenseofconnectednesswithallofhumanity.
ErnpaUIY canneverbejunqmentet: ifweformanopinion ofenotnerspersonwe
wrufindit,jiHicult totieperceptiveabouttheirinnerworld,whtcnisan

·.
importantpieceinthecapacitytobemusicallyprescriptive.Theeyecanbe
deceivedenouttheQualitiesofahumanbeing.Ifweustsn.abeingcanactually
becomeaudibletous,informingusaboutnowthemusicweoffermightbestserve
them.
Aswe~tlayandsingsacredmusicatthebedsideweveryoftenemploynotext,or
singinalanguageotherUlanEngllst-1. Thismaymovethereceiverstoawordless
ttmeofinnerlistening,andwhenwordsaren’temployedgestureandexpression
canthentakeover.nustcenov…sustocommuntcetev….tthouthe•…•ingtouseliteral
language, sooftencreating roomforspiritual orphysicalprocessing. Asptlysician
andCheltcaofReposeProjectfacultymemberKenThorprecognized: empathyis
somethingweareJ-vlthanotherperson;itisnotsomethingwehaveloranother
person.Volecometoseethateventhecomatose, whoselevelsofhearing,
listening,orreceivingremainamysterytous..respondtomusic,oerttcutertufrom
theteamofmustc-tnenetoloqtsts v….hoaremindful ofsmpethtcpresence.
InChineseprlilosophyhearingis”theonlysenseendowedwithacapacityfor
comprehension.”AnthropologistHansJonaswrotethatsincethedaysofGreek
prlilosophystqnthasbeenhailedasthemostexcellentofthesenses,andthat
sincethenithasbeenunderstoodtnetthenatureofsoundcangiveonlydynamic
andneverstaticreallty. Ifthisstaticinformationismostdestreme thensurely
si!jhtis-superior,butwhetisdynamic isthatwhichinformsusandthemusicand
thesilence-veoffermostsignificanttyatthebedside.Ofcourse.•thereismuch
visualinformation….vmchwetakeinanrespondto,butwealsorecognizethatthis
visualinformationisnotstetic, thatatanyonemomentwhetweseemaybevery
msstmtlertothenext.

Sightisgenerallyunderstoodbymanyasanover-used,scientific,judgmental..
inaccuratesense, andthatifwecometoocloseeveryUlingbecomes ablur.”The
ear,however, isunhurried-athousand timesslowerthantheeye. Ittakestime.
Itknowsthatspeedisnotsignificantsinceeverything is’hereandnow’. Thatis
v’lhyitismorethoroughandaccurate. Theearfinds. Theeyeseeks.”2 vieall
knowthattheeyedeceives;thus,wehavecoinedtheterm’optical illusion’. Itis
interesttnq thatwehavenosuchtermfordeceptionsinhearing. Werecognize
thatintneritualsettingofthemusical vigiltimebecomestime-less and
unnurrtsd..givingustheroomweneedtolistentoeachotherandtothedyingand
totheirfamilies. Elsie vonCyon, aRussianscientist, says,”theeargivesllSa
senseofspaceandtimeandforgoing beyondintoinflnity.”3 Theliminalplaneor
existence -aplaceoftimelessness andtransformation-isarealitywerecognize
inour’worksandthespiritualactivityofdeeplisteningcanfosterartcn,sacred
experienceofit.
“Thehumansoulcanalsobecomedittusedby’w’ayoftheeye
vbereaewhatisheardresultsinfocusandconcentration:’ At-is:tot1••.
“Theearisthe’w’ay.” The-Upanishads
Iamintriguedbycontemporeruradiotalk/therapyshowswhicharepresently
filling theair.Iwonderifitisnotsomuchthewisdomofthehostbuttheability
tolistenwmchachievesqutck..seeminglysatisfying results. IntheendHiecaller
often canexpresstheanswerwmcnwasalreadyknowntohimorherallalong.For
ageslisteninghasprobablybeenthemosthealingrolethatanycaringpersonhas

offered. Eachofushasexpertencedbeingheard..andy.leagreethatitfeelsgood.
Elementswhich seemed insoluble becomesolublewhensomeonellstens.Therich..
potentstlences whichoftenoccurinthevigilsettingaremorethanabsencesof
sound:theyaretimes oflisteningtothepatient,tothefamilyorfriendswhO
mightbepresent,towhathascomebefore,andwhatwillcomeafter. Weonly
needtotakethetime tolistenfortheanswerswhichwealreadyknow.
Byconsideringcompromisedhearingandsight,andhoweachrelatestolistening,
someprovocative thoughtsarise. workers..•…•..iththedeafandblindmeke
interesting observationsaboutthosepeoplechallengedwithlossofsightor
neertng: itisthedeaf, itisobserved,whofaceabiggerchallengeenteringthe
··…vorldinasensitiveandperceptiveway. Thewortdbecomes’absurd’,1.:1termfrom
theArabicwordsjodrsssmm, meaning”adeafroot”:itisasifarootisbur:edin
tJ,esoilandacrucialthreadofcomprehensionisdissolved. HelenKellerherself
cametorealize andexpressthat..ifgiventheoportumtu..shewouldhave
preferredtohavehearingthanthecapacityforsight.
AccordingtoSufitrentttonitisthe”seers” whoareblind..andtherehavebeen
tdindseersinmanycultures throughouthistory.Theword’mystic’ istracedtothe
Greekwordl’!J!/8iIJ ..whichtranslates’closetheeyes’.Themystics..too,arethose
··.·vethin~( ofasbeing’seers’orasthosewhoseemorethanv.•..edo,butthename
actuallytmpltes ablindnesswhichintensifiesthegiftofprophesy”Thebunocan
seeprectselu becausetheylistensodeeply.Theears,infact, canallowustosee.

AsLorenzOlcouldhear,theonllJsoundthatbroketheuniversalsilencereigning
aroundhim. Hebaskedinitasabirdinthesunshine.”6
Isuspectthatthepeopleforwhomweplaywhosecapacitytoheariscompremtsed
doreceivethemusicanditscomplementofsilenceondeeplevelsthroughtheskirt
andheart. nerttnLutherinhistranslationoftheBibleusedthephrase’hardof
hearing’. Theelderly,especially,aresaidtobeaffected,sothisphrasehascorne
tobeunderstoodbyusasaconditionwhichcomeswitholdageasthebodyandall
ascomponentsbreakdown.Ihadassumedthatthisphrasemeantthatbecause
peoplearesoolditis’hardforthemtohear’,butinLuther’susageitisapliedt.o
someonewhocannolongerhearwell,whonolongerreallylistenstootherpeop.t e
orhisorherownvoice,andthusbecomes’hard’towardthem.Thtshardnessasit
isapliedtohearingmayhaveasmuchtodowiththeheart,skin,orentirebeing
asitdoeswiththeear.’w’edon’tnecessarilyneedtobeelderlyordopoorlyona
hearingtesttobe’hardofhearing’.Infact,peoplewtthhearingproblemsoftendo
justfineonhearingtests.Theimageofbeinghardofhearingbecomesthatofa
shellorawallseperettnqonefromperceptionoftheworld.Therecertainlyisa
componentofvolitioninvo1″ledin11sternng.
Therearenumerouspatientswhomweservewhosehearingiscompromisedinone
“Nayoranother. ”fI’emightwonderaboutthepersonwhoisisolatedfromhorne,
farnn!~1orfriends.Dohearingaidsdisapearfromforgetfulnessend
trresponsttnlttu,ordoesnotl1steningtotheworldbecomeEmermororforrnof

protect ton? Canpeoplebecometiredoflistening?Dotheynolongerlisten
becausetheyfeeltheyhavenotbeenltstenedto?wnetmighttietransformedif
theyarelistenedto,andareofferedthatwhichtheycanhearonmanylevels?
Till!ElJrsDr/III!Hearl
“Openv….idetheearsofyourheart”isthefirstruleoftheordertoS1..Benoit,the
founderofHieGregorianchantingBenedictineOrder.Sincewesignificantly
emplo~Junmeteredchantinourvig11repertoire..wewellknowthechallengeof
singingitbeautifully;wecometorealizethatchantingisanexerciseinlistening.
-,,/’eneedtoopenourheartsinoroertolistenandparticipateincreatingsomething
beautifultogether,andsolisteningaffectsthedevelopmentoftheheartofusas
musiciansandteammates.Webegintounderstandhowdifferentitistohearwith
one’s earsthantohearwithone’sheart.
RudolphSteinerclaimedthatwedon’thearbecausewedon’thavethecapacities
wttrunourorganization,thatthereisnothinginthebodywhichaccountsforthe
actualactofhearingandthatweonlyhavethemesns. Ifthisviewisconceivable
tveneedtowonder-wnetelseaboutourincarnationeuowsustohear?
RobertSardelloteachesthathearingisaspiritualsense,andthattheheartison
itsv’laytobecomingavoluntaryorganofperception.Itisneverclosedofffrom
itsconnectiontothespiritualwortd.andistheseatoftwofeellngs: devotion –
whenwearenurturinglyengagedwithwhatweobserve-andcourage. Onepiece
ofchantinourvigilrepertoireexpressestheideaofdevotion,naert,andhearing:

Iador€< IJoud€dly ..hiddenDeity.,lJouwhotf'”lJ11Jliehiddenundt>rnt>ath
thest>figures. t1ywholeht>artsubjectsitselftoIJoubecause itfails”’0011.,..
when conternp latingyou.Seeing ..feeling,tastingareeachdE’cE’ived inyou~
butbyhearingaloneisbeliE’vingsafe.IbelievewhatevertheSonofGodhas
said.Nothing is:moretruethanthiswordoftruth.
Inanalchemicaltexttheheartissqmboltzedbytheharp,theinstrumentwehold
closetoourheartsinourmusicalviqtlswiththedying.Ifeelfor-tunatetohave
begunmylearningoftheharpcompletelydetachedfromwrittenscore.Isuddenly
reeltzed themeaningof’topla!dbyheart’;itdiffersfromplaying’bymemory’as
hadelweusunderstoodH.TobesointimatewHhthissupernalinstrumentisa~ .
privilege. Thebeautypoursforthfromitwhentheofferingis’givenheart’.
Ordinar!dnotes donothavethesamecepecitytomovethe1istener.Itismustc
fromtheheartthatcanentertheheart.
Listenersarevulnerable becausetheheartisopen,andtheirgestureis.oneof
responseendecccmmodetton. Thisopennessnaturallyincludesriskaswellasits
complimentofpossibilHy.Listenersbecome,inourlanguage,radicallyreceptive
andresponsive. InourworkIistentnq. receptivity,andresponsivitymergeto
becomeacapacityoflove. Thecontemplettvemusicianmightbeawareofthe
phenomenaofthe’hardenedheart’asitepltestothedying,theirterntltes.and
ourselves. Neitherprayernorsongcanbespoken,sungorreceivedfromaheart
thatishardened. Ifwesense suchaconditionthemusicweprescribemightbe
thatwhichoffers thepossibilityofpotqnencq,ofpiercing theheartinorderto
openittolove. Viemustalsoconsiderliterallyandimaginallywhetwemight

“.
prescribe forthebrokenhearted, orthose whose diagnosisincludesanykindof
heartcondition.
AsIbegantocollect meteri a1fortmsresearch lonedaysat-at a11brary
computer ..and'”vithaccess totheMedllnedatabaseenteredthewords”heart”and
“”hearing”. Theltstofarticlesconnectingischemic(ischemia:Gk.rscnet», tohold
neck,.I~’8jm8..blood)heartdiseaseandperceptiveheennglosswas1engthy. A
headlinesoonaftergotmyattention: “Finnishresearchshowsthatalow-fatdiet
canimprovehearing”.Inasupermarketcheck-outlineawoman’smagazine
tncludesareportofastudy”tnetpeoplehearbetterafterexercising-infact,
theywereabletohearfaintsoundstwiceaswall.”
Dotheseconnectionsbetweenheartandhearinggobeyondtheimaginalor
musttcalandintothearenaoftwentiethcenturymedicalevidence?Recently(and
I’lladmitthatthisresearchwasconductedwithanaccidentalthoughvery
scianttncnap)Iwasmovedtowonderwhyisitthatinwa~~inguptoasoundsuch
astheringingofatelephonemyheartsetstopounding?Isthatthelocusof
hearingissoclearlyintheheartillustratedwhenlisteningissetintoactionin
suchasuddenv’lay?Iwonderwhyinthosesuddenlisteningsttuettonsmyearsdo
notringoracheinstead?
TheInternationalChoralFestival….vrncnisheldinrttssoule isalocaltreat. A
wondrousphenomenonoccurswhen¥eopentheearsofourheartstoother
culturesaswereceivewhatcomesfromtheirhearts. Whatissharedgoesfor
t,eyondthesongs themselves;heartsspeaktoheartsinaveryopenandintimate
…·vay,andpeopleloveit.TotIeopenenonon-juoqmentei andtomeetpeopleinand
throughtheirsoundsisexhilarating.

ThesecretofwnetisessentialinlifeistoldtoTheLittlePrinceinthisslightly
alteredform:”Goodbye,”saidthefox.”Andnowhereismysecret.•averysimnte
secret:ItisonlywiththeheartthatonecanseeorhetJrrightly;whetis
essential isinvisibletotheeye8/1dfn8adfbletotileesr.”(WordsinItalicsadded
byme.)
EAR-HEAR-HEART
Thet:6Diemp/aiiwl1usiciaD.
Ilookbackatourhermeneuticresearchoftheword’contempletton’. andrealize
thatitisessential thatthecontemplativemusicianembodythestgnificanceof
thisdescriptor.TheLatincontemmonisdescribedbyvisuallanguage:toebserve s
viewV-lithattention. Itisfromcon+temptam:asacredenclosurefor
observetton.TheGreekrootistneorts,vv’hichsignifiedthespacemerkeo outby
seersasalocationforobservation.Itistolookatthingsintentlyandfora
purpose,butwtthakindofseeingthatimplieslookingforratherthanIcokinq0/.
Theauralsignificanceof’contemplation’perhapshasbeenburiedbyvisual
language,butItisrecoverablewhenwerecallthatithasbeenthe’seers’ whohave
beenmostblind..eitherliterallyorfiguratively,andsohavelistenedmostdeeply_
Inourworkvv’eneedtobeconsciousofbothlisteningandsilenceor-·vewillsuffer
thatconditionknov…nas’ourn-out. Creatingaknownpieceofmusicne…·”eachttrne
requires11sternnganddrivesconcernaboutburn-out cf·Nay. ·”./hatisthesilence1n

thevigilsetting?NowIcanunderstandthesilenceasatimeoflistening.Itisan
unfolding.n’lebridgeofaudibleandinaudibleislistening;itisaflexible
transitionwhichtakesuswithoutabreakfromonerealmtoanother,
Thereisanelementofimprovisationinourofferingofmusic.Althoughtheword
‘improvise’derivesfroma’vision’wordIfeelthatitreallymeans”toplaybyear’.
‘volearenottoimposeuponapatientaperformance,butaretolistentothemandto
eachotherinsuchawayastoallowthebeingsoftonetotransform.This
requireshighlyalertlistening,moretotheothersthantomyseltandwecan
vibrateasawholewhenthisoccurs. Collective improvised musicinvolvesthe
righthalfofthebrain,whichtiesinwfthlistening,community, feeling, tntuttton,
andsensitivity,allelementsthatcertatn1yenrienourwork.
Ascontemplativemusicians wedevelopthecapacity todescribee•…•ents
analogically.’Logic’ impliesagainanabllityinthedirectionofseeing,andanalogy
pnintstothecapacitytolisten,makeconnecttons,andpenetratedeeper,
Consideringwhetweexperiencebothliterallyandfigurativelybringsaclarityto
whetcanseemquiteelusive. Onemusicalelementwecouldpayattentiontoin
bothdirectionsistheaccumulationofovertonesandundertones, andboth
directionsrequireattentivelistening. Themorerichl~Jandconsctoustuamusicis
endowedwithovertones,themoretimelessttts:musicisnotjustnow,butitis
vv’t”iat hascornebeforeitandwhatisanticipatedtocornenext. Itispastpresent.
arlljfutureallatonce.Hearingovertones requires1isteningandlettingbe.
Overtonesinsinging,itisbelieved,developfromvowels, andtheylightupmusic.
whetelsecanV’ledotolightupmusic?Whatcouldbeconsidered aboutthe
‘I~ravity’ofanyparticularsituationinwhich'”,,Ieenter?

Afterexplodinq, ahugE’starmayshrinktoaverysmall,superheayy
ballthathastremendous gravity.Theball’sgravityissopowerful
th••titsucks ineverythingnearby. Notevenstarlightcanescapethis
monstrous pun.Sincenolightcanescapefromthisshrunkenban,
itcannotbeseen.Itisknownasablackhole.8
BeingattentivetotheQualitiesoflightandgravitycaninformourmusical
prescriptions. Balance,aconditionthoughttobelocatedintheear.•isrelatedto
nowtheforcesofgravityworkonthebody,andwhenweareinbstencewe
experienceinnercalmness,security,andharmony.Throughconsciouschoiceof
mode,text,interve1s.andotherrawmetsrta1sofmusicwecanbrtngmore1ight
andthuslessgravitytoamoment. Thespiritualdimensionwhich1spartofthe
beingofmustccanbrtngbalancethroughheertng.
Vvlhatcan”f!eliterallyhearfromthepatients whomweserve?Canwehearthe
fearintheirbreathing?Canwelistentotheirwords-thecontent,aswellas
whatisleftunsaid?These sameconsiderations aplytothetemiIy..friends,and
careproviders.Canwehearpeaceandrespondtoitmustcellu?v-lhatisthe
medictnewhichIhavetoofferatthismomentintime?Itrequiresdeeplistening
tocreatethemusicneweachtime,edtusunqtonalquelituofthenerporvoiceine
• _.,. “I.;
respcnsivenessthatinsistsuponcoureqe: thatis1heart.

Conclusion
Austriancomposer.Josef rtettmasHauerwrites,”Theperson who1istensisfrom
theoutset aspiritualbeingcomparedwiththepersonwhomerelyspeaks, seesand
grasps. Hearing andtakinginarespiritualactivities:hearingtheunchangeable,
theuntouchable,theincomprehensible..theconstant, theeternalwithintheMelos.
Onlysomeonewholistens canalsorecognize,interpret,think,speak,aprehend,
andcomprehend.”9
N’erecognizethatactivelisteningisaconsciouslychosen spiritual activity, and
thatsincethroughhearingweexperience thesoulQualitiesoftheouterwortdit
needstobeeproecnedassomethingsacred.listening canbecometousBpractice
thatslowlydevelopsintoanalwayswaxing capacity.Itistobe”alleers”find”all
heart”. ItisiJf·ta~Jtotouchandtobetouched. listeningasanactivitywhich
supersedes whatwedowithourearswillcultivateaperceptionthatis
expert enceddeepwithin.
/.I,yoillo’liketotl/o/;~kallormemaers oltl’!eChtllic-..c: olleeposeF~roj8ct.lactlltp.
especi81/yThereseSl-:liroeo’er-SlJekel’:. fort.lJeirseIJolorsllip0110’gllie/8I1CB. The
l.:illilJp. tn«tr/smilie&”..81J0’atilercaregjYBrScanstsnIIIIsaagrat:-elllllil snsr«t/18tr
‘J·visr.it~nl. ThecommentssoaBf}CailregBmelltiran]cisssmstesnsvebBBIJIn/J~l
li”lspfretloll81ThesuaaartOllllY11i/sbolJtf.. .Roll.,isIJBYBr-eIJOJngj·.I~”ol/IBOl-1Jrrom
ltel/tgamatterorssmcall1lnllollymrormsllljlJ·varkOIla’l,7n.7.1·.I,·IIi: ,t-{ypore./’l!s h8FBa
.t7/ecea/171!/nesr:t/J8t/istenssaalearns/romsrsr.woererortlJ8,..lf/Jlf.P[l8l7tobe…/
tlilm/;·tnemforcattiVotillgtheitsteoerillme