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A Björk Semisphere (source:Penguin Dictionary of Symbols) ear: The most notable piece of symbolism associated with ears is that which in the myth of Vaishvanara, relates them to Cosmic Intelligence. His ears corresponded to spatial direction. This is all the more remarkable if one calls to mind the importance which contemporary medicine attaches to the semi-circular canals of the human ear... It should be observed at this point...the symbolic role played by the faculty of hearing, such as the Hindu mental image of inaudible sounds (that) are echoes of the primal vibration... In Africa ears are always symbols of animal nature. To the Dogon and Bambara of Mali the ear is a twofold sexual symbol, the external ear being a penis and the audatory duct a vagina. This explains the comparison of words with sperm, both being verbal equivalents of the fertilizing water pouring out by the Supreme Deity... The ear is the symbol of the receptive, passive aspect of communication, as distinct from its active, transmissive side. At Pozun, in Burma, there is a very ancient statue of the Buddha receiving enlightenment through his ears, while St. Paul's fides ex auditu explains that the faith handed down by oral tradition is received through hearing. The ear stands in this context as the womb, or at least as the channel of spiritual life. egg: If the egg is regarded as holding the seed from which manifestation will spring, it is a universal and self-explanatory symbol. The idea that the Earth hatched from an egg is common to Celts, Greeks, Egyptians, Phoenicians, Canaanites, Tibetans, Hindus, Vietnamese, Chinese, to the people of Siberia and Indonesia and to many more besides. Later Chinese heroes are hatched from eggs incubated by the Sun or after their mother has swallowed some bird's egg. More often, again, the Cosmic Egg rises to the surface of the primeval waters, where it is incubated - in Hindu belief by the goose Hamsa which is the Spirit and Breath of God (both insular and continental Celtic tradition equated the goose with the swan, the word for the respected birds not always being clearly distinguished) - and splits the two halves to give birth to Heaven and Earth. This is the polarization of the Hermaphrodite. Chinese Yin - Yang, a polarization of Primal Oneness, offers the same symbolism with its two halves: one black, the other white.The Shinto primal egg split into two halves, the lighter becoming Heaven and the heavier becoming Earth. Ibn al-Walid's notion is closely akin to these, his Earth being thick like the yolk of an egg, his Heaven thin, like the white surrounding it. In Chinese tradition, before Heaven and Earth began to separate, Chaos itself resembled an enormous hen's egg. After 18,000 years - the numerical symbol for an infinite length of time - the Chaos-egg broke open, the heavier elements forming the Earth (yin) while its lighter and purer elements the Heavens (yang). harp: The pre-eminent traditional musical instrument, in contrast with such wind instruments as the bagpipes or percussion instruments such as the drum. Harp-strings were generally made of cat-gut and, although many different sorts of harp are known, they fall, broadly-speaking, into two catagories - the hand-harp, a sort of zither, and the great ceremonial harp. In Norse lands it was with the harp that the gods or their messengers played a tune which irresistibly lulled it's hearers to sleep and occasionally risked ushering them into the beyond. The harp links Heaven with Earth. The heroes of the Eddas asked to be burned with their harps beside them on their funeral pyres for they would lead them to the Otherworld. This role of instructor of the soul was not only filled after death, for during the hero's earthly life his harp would symbolize the tensions between carnal instincts, embodied in the wooden frame and the cat-gut strings, and spiritual aspirations, embodied in the vibrations of those same strings. The latter were only tuneful if they proceded from a well-controlled tension between all the individual's drives, that ordered dynamism itself symbolizing balanced personality and self-mastery. The famous Ancient Egyptian 'Harper's Song' exalts the quest for earthly happiness in a life of which the sole certainty is death at its end and nothing less sure than the individual's fate beyond the grave. The harpist strikes the strings and sings 'Cast care far away from you and think only of pleasure until the time comes for you to go to the land of silence.' In this context the sound of the harp symbolizes the quest for happiness, of which human beings know only the fragile assurances of this world. heart: Being the organ in the centre of the human body, the heart corresponds in the broadest of terms to notions of centricity. Although the West may have made it the seat of the feelings, all traditional civilizations, in contrast, place within it intellect and intuition.This is perhaps because the centre of the personality has been displaced from intellectuality to affectivity; and yet Pascal remarked that 'great thoughts come from the heart.' One might also say that in traditional cultures knowledge embraces a far wider range, (in)cluding affective properties. Because it is at the centre, the Chinese drew a correspondence between the heart, the element Earth, and the number 5 (the number 5 derives its symbolism from the fact that it is the sum of the first even and odd number (2+3=5), it is at the centre of the first 9 numbers, and therefore a sign of harmony and balance (and subsequently, marriage. It is also a sign of the phenomenal world, re: 5 senses). The Su-wen comments that the heart 'lifts itself up to the principle of light'. The light of the spirit, the light of intellectual intuition, enlightenment, shines forth in 'the cavern of the heart'. Sufis call the organ of these perceptions Ayn el-Qalb, 'the Eye of the Heart', and similar phrases occur in a number of Christian writers, particularly in St. Augustine. The Ni-Ching states that the heart is king and this is corroborated by the Ismaili dictum that 'the task of the heart is to rule.' The Taoist Master Lu-Tzu taught that the heart was the lord of the breath (equating breath with the heart's cardiac function). Ibn al-'Arabi regarded the mystic's heart as something absolutely pliable and receptive. This is why it clothes itself in whatever shape God reveals himself, just as wax receives the impression of the seal. The Pueblo Indians of Arizona believed children to be 'produced by the semen of a man's spinal cord and the blood from a woman's heart'. Guenon observes that the heart is shaped by an inverted triangle. Like all symbols that embody this shape, the heart should be related 'to the passive or female principle of universal manifestation...'. It will be recalled that in India one of the chief symbols of Shakti, the female element in existence, and also the symbol of the primal Waters, is an inverted triangle. moth: The night butterfly
which shrivels the leaves on which it settles, the moth is the constant
symbol of the soul seeking the godhead and consumed by a mystical love,
attracted like the insect fluttering round the candle until it burns
its wings. The theme is a thread which runs through Persian mystical
poetry and the moth becomes the symbol of humanity in the chilly darkness,
yearning for wings to take flight towards the height of divine love.
On the other hand, the notion of the moth burning its wings in the candle
- shared by more than one culture - causes it to be regarded, like the
butterfly, as a symbol of faithless frivolity. 'Men rush to their doom
like moths flying to their deaths in the candle-flame', says the Bhagavad
Gita. mother: The symbolism of the mother is related to that of Earth and the sea, in the sense that all three are wombs and wells of life. Earth and sea are themselves symbols of the mother's body. All the great Mother-Goddesses were fertility-goddesses - Gaia, Rhea, Hera and Demeter among the Greeks; Isis among the Ancient Egyptians and in Hellenistic cults; Ishtar among the Assyrians and Babylonians; Astarte among the Phoenicians, and Kali among Hindus... (In Mother symbolism), life and death are interdependent. Mothers are anchors of shelter, warmth, love, and nourishment. On the other hand, they may run the risk of suppressing their children by limiting their horizons and of stifling them by exercising the office of nurse-maid and governess to excess.(T)he Divine Mother symbolizes the most perfect sublimination of instinct and the most profound harmony of love...'Mother' may also be found in the Gaulish river-name, Matrona (Marne), and in the name of the Welsh deity Modron. 'There would seem to be an active symbolic relationship between the Eternal Mother and water (salt or fresh) which stands for the full range of potential retained for a certain state of being'. In Ireland, the primeval mother-goddess is called Dana (= 'art'). She was the mother of the gods and corresponds to Elatha (= 'learning'). It would seem that in Celtic religious concepts, women played an important role either as messengers from the Otherworld or as sole possessors of the right of kingship and as war-goddesses. In dreams the mother is sometimes symbolized by a bear. In those circumstances, the animal stands for 'all those instincts which the dreamer has concentrated and projected upon his mother...the bear being the personification of his infantile fixation upon the maternal image. The bear remains the predominatly instinctual creature for as long as the dreamer's instincts remain undeveloped, primal and entirely governed by the infantile longing to be cuddled and kissed.' At other times the animal may be a wolf, 'the big, bad wolf', which may allude to the maternal image. A 'frightening, fierce, and hungry predator', it confronts the dreamer with 'the contradictory nature of the instincts, since his longing to be cuddled and protected by his mother clashes with what is exactly opposite, the uncontrollable rage and consuming fire of the instincts. mountain/volcano: Mountain symbolism takes many forms deriving from height and centre (see heart ). In so far as mountains are tall, lofty, rising abruptly to meet the Heavens, they form part of the symbolism of transcendence and, in so far as they are so often numinous places where the gods have revealed their presence, they share in the symbolism of manifestation. Mountains are places where Heaven and Earth meet, where the gods have their home and human ascension its boundary. Viewed from above, the vertical point of their peaks make them the centres of the world; seen from below, they stand against the horizon like World Axes, their slopes like a ladder to be climbed. Thus, in all lands and among all peoples, most cities have their holy mountain. Mountains also give expression to notions of stability, changelessness, and sometimes, even of purity. The Sumerians believed them to be undifferentiated masses of primal matter, the World Egg, which according to the Chu-wen, brought forth '10,000 beings'. Dante places the Earthly Paradise on the peak of Mt. Purgatory. Taoists stress the difficulties, the dangers even, of climbing a mountain without training oneself through spiritual exercises. In Chinese classical painting mountains are contrasted with water as yang with yin, the changeless with the ephemeral... Like fortresses, the high mountains are symbols of safety. (There is no specific entry for volcano but the one for Vulcan, or Hephaistos as the Greeks call him, reveals some interesting semiology - cin.) The lame son of Zeus and Hera, despised by his parents and married to the most beautiful of the goddesses, Aphrodite. She was unfaithful to him with his brother Ares, and with many other gods and mortals. He was, however, beloved by Charis, grace incarnate, and by other very beautiful women and he never lacked the companionship of beautiful women. Lord of the arts associated with fire, he ruled the busy world of blacksmiths, workers in precious metals...He was to be seen panting and sweating over his anvil, on which he hammered and forged the weapons of gods and heroes: glittering shields, jewellery, brooches, bracelets and necklaces for goddesses and lovely mortal women...'As the god of metal-working, he ruled the volcanoes which were his workshops and in which he laboured with the Cyclops to assist him...He was to the gods what Daedalus was to mankind - an inventor to whom no technical miracle was an impossibility. (However h)e is the technician who abuses his creative powers to impose his wishes in spheres other than those which are rightfully his. He captivates living beauty with his masterpieces in metalwork...(re: Possibly Maybe) mouth/breath: As the channel through which pass breath, speech, and food, the mouth is the symbol of creative force and, in particular, of the insufflation of the soul. As the organ of speech and of breathing, it also symbolizes an elevated sense of consciousness and the power to control through the use of reason. However, as with all symbols, there is another side to this positive aspect. A power able to build, animate, legislate and elevate is also capable of destroying, killing, disorganizing and debasing - the mouth undermines its castles of words as fast as it erects them. It is the intercessor between the situation of the individual and the higher or lower world into which it can lead that person. Iconographically it is depicted throughout the world either as the gaping jaws of a monster or as the lips of an angel and can as easily be the Gates of Hell as the Doors of Paradise. Because of the association in so many cultures of Fire with the mouth - the tongues of Fire at Pentacost, dragons spitting fire, the lyre of Apollo, the Sun-god and so on - Jung saw a link and a deep relationship between the mouth and fire. The two chief characteristics of the human race are the use of speech and of fire. Both derive from psychic energy... The mouth is also shaped in the curve of the primeval egg, the palate corresponding with the upper world and the lower jaw with the Underworld. The mouth is thus the point of departure or of convergence of two directions and symbolizes the source of opposites, contrarieties and ambiguities. Breath is universally regarded as a principle of life; it is only in extensions of the symbol that one tradition differs from the other. 'The Spirit of God which brooded upon the face of the [primeval] waters' in the Book of Genesis was ruah, 'breath'. This is also the primary meaning of the Muslim term Er-Ruh (spirit) and Hamsa, the swan which incubated the Vedic cosmic egg, was also 'breath'. music: The Ancient Greeks generally attributed the invention of music to Apollo, Cadmus, Orpheus and Amphion; the Ancient Egyptions to Thoth or Osiris; Hindus to Brahma; the Jews to Jubal and so on. Musical historians praise Pythagoras, who invented a monochord to determine mathematically the musical scale. Equal praise is given to Pindar's master Lassus who wrote the first musical treatise c. 540 BC. Two thousand years before these masters lived, the Chinese had carried a musical form to a point of real perfection. In fact a generally accepted chronology sets the Emperor Huang Ti's reign at about 2697 BC. Under this emperor, one of his ministers, Lin-Len, formed an octave of twelve semitones, which he called twelve lu. These twelve lu were divided up into yang lu and yin lu, and corresponded to the twelve months of the year and the twelve states of the soul, each yang lu being followed by a yin lu, and each lu being fraught with symbolic meaning. Pythagoreans also regarded music as a harmony of numbers with the cosmos, the latter itself being reducible to sound-numbers. This was to endow numbers with the mind and feelings of animate beings. Their school is responsible for the concept of a 'music of the spheres'. Music with its different harmonics, tones, tempi, and instruments is a means of identifying with the life of the cosmos in all its fullness. In every civilization, the high points of social or personal life have been punctuated by events in which music has played a part of a mediator which widens contact until it borders on the divine. Plato categorized the types of music appropriate to the activities of the citizen. Traditional Celtic music was played on the harp rather than on wind instruments such as the bagpipes which were kept for battle or amusement. All competant harpists were able to play in three modes, bringing sleep, laughter or tears, respectively. They echo, without corresponding precisely to, the three modes of ancient Greek music, the Lydian sad and mournful, the Dorian manly and warlike and the Phrygian exultant and Bacchic. The mode which brought sleep was linked to the Otherworld, it was the music of the gods which brought enchanted sleep, as well as that of the sid and of its messangers who came either in the shape of mortal women or of swans. When the children of Lir were changed into swans, they sang god-like songs which charmed all the people of Ireland who heard them. Christian tradition retained much of the Pythagoreans' music symbolism, handed down via St. Augustine and Boethius. According to Carcopino: 'Ternary rhythm was called perfection while binary was always regarded as being flawed. The symbolism of the number 7 was echoed on the musical plane, the musical number, Athene's number', alight with her wisdom, Boethius distinguished three symbolic types of music: the music of the universe 'which corresponded with the harmony of the stars and derives from their movement, from the passing seasons and from the combination of the elements...(the tune) is shriller the faster they move and lower the slower...The cosmos is a magnificent concerto.' The second type is the music of humanity: 'It controls the individual and each individual hears it within him- or herself. It implies a harmony between body and soul...a harmony between the faculties of the soul...and the elements which constitute the body.' Lastly there is instrumental music which governs the playing of musical instruments. If, as Varro would have it, music is 'the art of modulation', to the degree in which it controls the order of the cosmos, of humanity and of the instruments themselves, it becomes the art of attaining perfection. Scorpio (23 October - 21 November) The eighth sign of the Zodiac, midway through the three-monthly period of Autumn when gales blow the yellowing leaves away and animals and trees prepare for a fresh existence. Scorpio has Mars for its ruler and is a symbol simultaneously of resistence, of fermentation and of death, of dynamism, endurance, and struggle. Scorpio conjures up a picture of the natural world at Halloween, with fallen leaves and hoar-frost, of the return to the chaos of unformed matter, while below, the soil makes ready to spring to life once more. It is the 'watery' quarter between the spring-waters of Cancer and the waters drawn from the ocean of Pisces, that is the deep, standing waters of silent stagnation. Scorpio, the black scorpion which flees the light and lives concealed, is equipped with a poisoned sting. Together they comprise a world of gloomy properties which rightly conjure visions of the torments and tragedies of life, including the absurd, annihilation, and death itself. Hence the sign has Mars as well as Pluto, that mysterious and pitiless power of shadows, Hell and internal darkness. This takes us to the core of the Freudian sado-anal complex, but the psychotic properties of the anus combine with those of the sexual organs. A dialectic of destruction and creation, of death and resurrection, of damnation and salvation takes shape since Scorpio is the love-song on the battlefield and the war-cry on the fields of love. Against such a red and black background, the individual becomes rooted in the convolutions of his inhibitions and is only really an individual when torn by the brutal fits of the inner demon which thirsts, not for well-being, but for fuller being, even if this involves the bitter anguish of living torn between divine vocation and diabolic temptation. This volcanic nature makes the Scorpio-type a bird which can only confidently stretch its wings in the midst of gales, its temperament being storm and its environment tragedy. sid (Hidden Place) : In Old Irish, the word sid is used for 'peace' and the 'Otherworld' which is, by definition, outside time and space and human fate. By extension, the word is also used to describe the gods or divine creatures from the Otherworld. Mythical geography located the sid in the west or north of the world (Celtic sense of direction is confused on this point), beyond the seas. A new extension to the meaning of the word was given by Christian monks when they copied the legends and applied the word...to the real or mythical hills, burial-mounds, and sometimes even lakes under which the pre-Christian gods had gone to dwell. The arrival of the Gaels (or sons of Mil) had the effect of dividing into two parts: the Earth's surface belonged to the Irish and the Underworld to the gods or...Children of the Goddess Dana. All writers describe the sid as a place of wonder, it's houses built of bronze, tiled with gold and silver and decorated with precious stones. There were trees bearing fruits, apples, and nuts, which imparted knowledge and eternal health. It was an enchanted place where there was no sin, death, dispute, or sickness of any sort. Its inhabitants remained eternally young and healthy. In any case the majority of them were women of an otherworldly beauty...However, the sid was generally invisible and hidden from the sight of mortals who were unable to perceive or enter it except in exceptional circumstances. swan: From Ancient Greece to Siberia, via Asia Minor, as well as among Slav and Germanic peoples, a great mass of myth, tradition, and poetry has gathered in praise of the swan, the spotless bird whose whiteness, strength, and grace have made it a living manifestation of light itself. There are, nevertheless, two whitenesses and two lights, the solar, male light of day and the lunar female light of night. The meaning of its symbolism depends upon which of these two the swan embodies. If it remains undivided and, as is sometimes the case, tries to bear the synthesis of both, the swan becomes hermaphroditic and even more charged with mystery and holiness. There is the Buryat tale of the hunter who, one day, surprised three shining maidens bathing in a lonely lake. They were none other than swans which had removed their feathered cloaks to enter the water. The man stole one of the dresses and hid it, so that after their bath(e) only two of the swan-maidens were able to resume their wings and fly away. The hunter took the third for his wife. She bore him eleven sons and six daughters, but when she found her cloak again, she addressed him before flying away with these words: 'You are an earthly being and will remain earth-bound, but this is not my home, I came from the skies and to the skies I must return...' The swan might well be the image of the divinely inspired poet...Gaston Bachelard's analysis of Goethe's Faust Part II...synthesizes this image of the swan with that of Desire, demanding the interfusion of Sun and Moon, the two luminaries through which the universe manifests its polarity. The swan which dies singing and sings dying thereby becomes the symbol of the primary desire which is sexual desire. In the Far East, too, the swan is the symbol of gracefulness, nobility, and valour. Swan symbolism opens still further perspectives in so far as a swan either laid or brooded the World Egg. In Celtic literature, most of the inhabitants of the Otherworld who, for one reason or another, wish to enter the terrestrial world, take a swan's shape and generally travel in pairs linked by a gold or silver chain. 'It is an expression of the marriage of opposites (Fire and Water) in which its archetypal property of hermaphroditism may be discerned.' tree/birch: Merely the bibliography of trees, one of the richest and most widespread symbolic motifs, would itself fill a volume. As symbols of life constantly developing and ever rising to the heavens, trees conjure up the full range of vertical symbolism; Leonardo da Vinci's tree is an example. On the other hand, they serve to symbolize the cyclical character of cosmic development in death and regeneration. Deciduous trees are especially suggestive of this cycle since they shed their leaves and cover themselves with fresh foliage each year. Trees also connect the three levels of the cosmos - the Underworld through their roots burrowing deep into the soil; the Earth's surface with their trunk and lower branches; the Heavens with their upper braches and top, reaching up to the light. Reptiles crawl among their roots; birds roost in their branches; and they relate the Upper to the Upper World. They bring all the elements together: Water circulates in their sap; Earth becomes part of their body through their roots; Air feeds their leaves; and Fire is produced by rubbing their sticks together. In this sense trees possess the character of centres, to the degree that the World Tree is synonymous with the World Axis. As axial figures, trees are therefore the upward path along which proceed those who pass from the visible to the invisible. In Judeo-Christian tradition it is the central pillar which holds up temple or house and it is also the spinal column which supports the human body, the temple of the soul. The Cosmic Tree is often depicted as an especially majestic species. This was the way in which Celts looked upon the oak, Germans the lime, Scandanavians the ash, Eastern Islam the olive and the peoples of Siberia the larch and birch. All are trees remarkable for their size, their longevity or, as in the case of the birch, for their gleaming whiteness. Pegs set in the trunk of the birch tree marked out the stages of the shaman's ascension. Gods, spirits, and souls took advantage of the World Tree as a path between Heaven and Earth. In China, this was true of the Kien Mu, a tree growing in the centre of the world, as the fact that it neither emitted an echo nor cast a shadow bears out. The Bodhi-tree under which the Buddha obtained enlightenment is yet another World Tree and Tree of Life, and in early Buddhist iconography it stands for the Buddha himself. The birch is, above all, the sacred tree of the peoples of Siberia...is sometimes connected with the Moon and even with both Moon and Sun, Mother and Father, Male and Female. The birch plays a protective role, or rather it is the means by which heavenly influences 'come down'. Hence the notion of duality which is essentially that of manifestation. The birch symbolizes the path by which energy comes down from Heaven and human aspirations rise up in return. The tree was regarded as sacred in eastern Europe and central Asia, and in Russia in particular it symbolized Spring and the Maiden. (A famous group of Russian songs and dances performed exclusively by girls is called 'The Birch Tree'.) Selkup hunters hung the figures of guardian spirits from the sacrificial birch near their homes. (björk is the name for birch in Icelandic.) water/watermelon: The symbolic meanings of water may be reduced to three main areas. It is a source of life, a vehicle of cleansing and a centre of regeneration. These three themes are to be found in the most ancient traditions and they provide not only the most varied, but at the same time the most coherent series of combinations of images. The undifferentiate mass of waters stand for the infinite nature of the possible, containing all that is potential, unshaped, the seed of seeds and all promises of evolution, as well as all threats of reabsorption. To immerse oneself in the waters and to re-emerge without having been utterly dissolved in them, except by dying a symbolic death, is to return to the well-springs and regain fresh strength from that vast reservoir of the potential. It is a passing phase of regression and disintegration which brings with it a progressive phase of reintegration. The Rig-Veda hymns the praises of the waters which bring life, strength, and cleansing on both the spiritual and the physical planes: Water, you are the ones who bring us the life force. Help us to find nourishment so that we may look upon great joy...Waters yield your cure as an armour for my body, so that I may see the sun for a long time. Waters carry away all of this that has gone bad in me, either what I have done in malicious deceit or whatever lie I have sworn to. In Asia, water is the substantial shape of manifestation, the origin of life, the element of bodily and spiritual regeneration, and the symbol of fertility, purity, wisdom, grace, and virtue. The World Egg...hatched upon the surface of the waters, just as, in Genesis, the Breath, or 'Spirit of God moved upon the face of the waters.' Water, say the Chinese, is Wu-chi, Chaos, primordial formlessness. Water is the spring and channel of all life, so that sap is water and, in some Tantric allegories, water stands for the breath of life, prana. Water, as opposed to fire, is yin. It corresponds to the north, to cold, to the Winter solstice, the kidneys, the colour black, and to the trigram K'an, the Abyssal. However water is, in another way, linked to the thunderbolt, which is fire. When Chinese alchemists talked of reducing something to water this may be understood to mean a return to the primal and embryonic state, but they also said that this 'water' was fire... In the Old Testament, wells in the desert and springs used by nomads are so many joyous places where miracles may occur. Fundamental encounters take place beside wells or springs and, like any holy place, the waterside plays an extraordinary part. Here love comes into being and marriages are solemnized. Salt sea-water denotes bitterness of heart. Running water, the water of life, stands out as a cosmogonic symbol. This is because it purifies, heals and rejuvenates whomever it leads to the eternal. Still waters convey a sense of peace and order. In his Theogony, Hesiod carefully distinguishes between the female element, water as protoplasm, the fresh, standing water of lakes, and the male element, the foaming fecundating salt sea-water. Water is the symbol of unconscious energy, the formless powers of the soul, of hidden and unrecognized motivation. Water, symbol of what is still unconscious of itself, holds the contents of the soul which the fisherman tries to bring to the surface and which should be his food. Because of the vast number of seeds which it contains, the water-melon is a fertility symbol. This is the reason why young married couples in Vietnam used to be given melon-seeds, together with oranges, which bore the same symbolic significance. |
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