Hmm. Well, I actually think I'd like to back up a little bit to what you had to say at the beginning, so graciously about learning for me just in the shared prayer space, which I think is where we learn most of what we learn about T'fillah. About how to be a Ba'alat T'fillah, how to be a Ba'al T'fillah for not only a shaliach tzibur, but a ba'al or ba'alat t'fillah, by which I mean, one who has some mastery of the idea of T'fillah. Because T'fillah is more than just what's in the prayer book, the prayer book is only the part that's scored, for the mouth. If you think about looking at a musical score, it's only the part that scored for the mouth. But this part that scored for the seichel, or the part that scored for the neshamah, or the nefesh, is not written in the prayer book. That's the scratch and sniff stuff that you have to get in other kinds of ways. You get it from me, by which I am greatly honored, I get it from you. We get it from the group that we share, we modulate our voices, we get energy, we get affect from all of the people who share the space with us and who make us better. Pray-ers, if I could, can say it that way. Two of my greatest prayer teachers, are teachers, to whom I only listened. They never taught me a single word of the T'fillah. Not grammatically, not syntactically, not the phrasing of it, or the pronunciation of it. One of them was Zalman Schachter, alav hashalom, who had a voice that was like the cello, when he sang. And he had the ability to have the conversation with G?d and a conversation deep within himself, that will lead us to talk about what tefillah is in a more technical way. But I would, I would daven with him. He was part of the minyan of the Germantown Jewish Center in Philadelphia, where I spent a lot of years in Rabbinical School. And one of his good friends and another minyaner was Rabbi Art Greene, who taught me a tremendous amount about prayer. But unlike Zalman couldn't sing. Art has, sheyichiyeh, he should live and be well, Art has no ability to carry a tune. But to listen to him and to look at him is to get the prayer experience. This is not recitation. This is not something memorized to be recited, like you before your sixth grade teacher, or whatever it was, when you last had to actually memorize Daniel Webster's prayer to the Virginia House of Commons or whatever, the introduction to The Canterbury Tales, or whatever. Art, Art was conversing. So these two great masters of prayer, one was a great voice, and one without the voice. But without a voice, you would focus on what the conversation actually was. And you would learn to converse. And you'd learn that there's something that you want to say. And if you add the voice and his affect, and you add the conversation in a deep way, then you end up getting more than just the part that scored for the mouth. That's just on the page. But the rest of it you get because you have breathed it in because you've experienced it because you've been moved by it because you cry over it, and so on. What I started to say, and speaking I think about Zalman, talking about the inner prayer and the outer prayer, as being perhaps a lead into a more technical understanding or foundational technical understanding of prayer. I would say it this way that the Hebrew the Hebrew verb, for which the word prayer originates, palal, palal, bey lamed lamed, means two weigh, to judge, to adjudge something, to balance it out in your two hands to say, well, there's this and then there is that. Rau panecha lo pilati. Jacob says to his son Joseph at the end of his life before he blesses the grandchildren. He looks to his son and he says, I never reckoned on seeing you again. Lo pilalti. I never a judge that it was a possibility in the world. A technical and less poetic use of the word pallal would be in Exodus where the two men have been fighting and they knock into a woman who tragically loses her pregnancy because of it, and the one who's responsible for the accident is supposed to noten biflilin, which is to say, let's judge how, how far along her pregnancy was. What had she endured with? What had she lived? And so on. What was her what was the the growth, the ripening, emotionally and physically, and so on. So, palal, no need to go into more details. But if you if you think about T'fillah, as being the adjudging, as being the reckoning that happens, both inside and outside, both within you and also beyond you, then you have a pretty good framework, I think, for what we mean or what is useful, when we think about T'fillah. It goes way beyond the thing that is recited, it goes to the reciter and the recitee, I suppose, the recipient, and just so the infinitive of the verb lehitpalel. That's part of the magic because that Hebrew verb form means introspectively or intrapersonal, Intrapersonally or interpersonally. Right? Lehitlabesh means to dress yourself. Lehitbonen means to contemplate. Lehitraot means we will see each other again. Lehitcatev - means let's correspond. So when you say l'hitpallel, are you talking about the conversation, as it were, that goes on inside yourself? Yes. Are you talking about one that goes on outside yourself? Yes. Which is it? Well, it is both at the same time, if you let it be. Or if you cultivate the the habit, the possibility for it to be both it can be both.