Tale Teller Kids™

The Analects of Confucius
by Confucius

Publication date 2013-03-20
Usage Public Domain Mark 1.0Creative Commons Licensepublicdomain
Topics Chinese philosophy, Confucius, Chinese classics, oriental thoughts, oriental ethics, audiobook, literature, philosophy, Librivox
LibriVox recording of The Analects of Confucius, translated by William Jennings. Read by Jing Li. The Analects, or Lunyu, also known as the Analects of Confucius, are considered a record of the words and acts of the central Chinese thinker and philosopher Confucius and his disciples, as well as the discussions they held. Written during the Spring and Autumn Period through the Warring States Period (ca. 475 BC - 221 BC), the Analects is the representative work of Confucianism and continues to have a substantial influence on Chinese and East Asian thought and values today. William Jennings was a rector of Grasmere, and late colonial chaplain. He served at St. John's Cathedral in Hong Kong. (Summary by Wikipedia and Jing Li)
introduction of the analytes of confucius this is a librivox recording all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org recording by li jing the analytics of confucius translated into english by william jennings introduction the strangest figure that meets us in the annals of oriental thought is that of confucius to the popular mind he is the founder of a religion and yet he has nothing in common with the great religious teachers of the east we think of siddhartha the founder of buddhism as the very impersonation of romantic asceticism enthusiastic self-sacrifice and faith in the things that are invisible zoroaster is the friend of god talking face to face with the almighty and drinking wisdom and knowledge from the lips of omniscience muhammad is represented as snatched up into heaven where he receives the divine communication which he is bitten to propagate with fire and sword throughout the world these great teachers lived in an atmosphere of the supernatural they spoke with the authority of inspired prophets they brought the unseen world close to the minds of their disciples they spoke positively of immortality of reward or punishment beyond the grave the present life that despised the future was to them everything in its promised satisfaction

the teachings of confucius were of a very different sort throughout his whole writings he has not even mentioned the name of god he declined to discuss the question of immortality when he was asked about spiritual beings he remarked if we cannot even know men how can we know spirits yet this was the man the impress of whose teaching has formed the national character of 500 millions of people a temple to confuse his stance to this day in every town and village of china his precepts are committed to memory by every child from the tenderest age and each year at the royal university of peking the emperor holds a festival in honor of the illustrious teacher the influence of confucius springs first of all from the narrowness and definiteness of his doctrine he was no transcendentalist and never meddled with super mundane things his teaching was of the earth earthy it dealt entirely with the common relations of life and the golden rule he must necessarily have stumbled upon as the most obvious canon of his system he strikes us as being the great stoic of the east for he believed that virtue is based on knowledge knowledge of a man's own heart and knowledge of humankind there is a pathetic resemblance between the accounts given of the death of confucius and the death of zeno both died almost without warning injury hopelessness without the ministrations of either love or religion this may be a mere coincidence but the lives and teachings of both men must have led them to look with indifference upon such an end for confucius in his teaching treated only of man's life on earth and seems to have had no...

The Yoga Sutras of Patanjali
by Patanjali

Publication date 2012-07-12
Usage Public Domain Mark 1.0Creative Commons Licensepublicdomain
Topics Yoga, Sanskrit, philosophy, literature, Librivox, audiobook
LibriVox recording of The Yoga Sutras of Patanjali, translated by Charles Johnston.

Yoga sutras by Patanjali is a seminal work in yoga, this book is more about control of mind and the true goal of yoga. The sutras are extremely brief, and the translation in neat English makes it very easy for people to understand the ancient Sanskrit text. It starts with the birth and growth of spiritual man through the control of mind. In all, this is a "all in one" book for yoga philosophy written by the master himself. (Summary by sidhu177)

chapter one of the yoga sutras of patanjali this is a librivox recording all the box recordings are in the public domain for more information on volunteer please visit librivox.org recording by siddharth

the yoga sutras of patanjali translated by charles johnston introduction to book one the yoga sutras of patanjali are in themselves exceedingly brief less than 10 pages of large type in the original yet they contain the essence of practical wisdom set forth in admirable order and detail the theme if the present interpreter be right is the great tree generation the birth of the spiritual from the cyclical man the same theme which paul so wisely and eloquently set forth in writing to his disciples incarnate the theme of all mystics in all lands we think of ourselves as living a purely physical life in these material bodies of us in reality we have gone far indeed from pure physical life for ages our life has been psychical we have been centered and immersed in the psychic nature some of the schools of india say that psychic nature is as it were a looking glass wherein are mirrored the things seen by the physical eyes and heard by the physical ears but this is a magic mirror the images remain and take a certain life of their own thus within the psychic realm of our life there grows up an imaged world wherein we dwell a world of images of things seen and heard and therefore a war of memories a world also of hopes and desires of fears and regrets mental life grows up among these images built on a measuring and comparing on the massing of images together into general ideas on the abstraction of new notions and images from these till a new world is built up within full of desires and hate ambition envy longing speculation curiosity self-will self-interest the teaching of the east is that all these are true powers overlaid by false desires that though in manifestation psychical they are in essence spiritual that the psychical man is the wheel and prophecy of the spiritual man the purpose of life therefore is the realizing of that prophecy the unveiling of the immortal man the birth of the spiritual from the cycle whereby we enter our divine inheritance and come to inhabit eternity this is indeed salvation the purpose of all true religion in all times patanjali has invited the spiritual man to be born from the cyclical his purpose is to set in order the practical means for the unveiling and degeneration and to indicate the fruit the glory and the power of that new birth

through the sutras of the first book patanjali is concerned with the first great problem the emergence of the spiritual man from the wheels and meshes of the psychic nature the moods and gestures of the mental and emotional man later welcome the concentration of the nature and powers of the spiritual man once he stands clear of the psychic wheels and trembles and a view of the drums in which these new spiritual paths are to be revealed at this point may come a word of explanation i have been asked why i use the word sutras for these rules of patanjali's system when the word aphorism has been connected with them in our minds for a generation the reason is the name aphorism...

India's Love Lyrics by Laurence Hope Women's Poetry History Podcast Free Audiobook

Publication date 2019-05-09
Usage Public Domain Mark 1.0Creative Commons Licensepublicdomain
Topics librivox, audiobooks, poetry, India, love, victorian, romantic, women's studies, sapphic, erotic
LibriVox recording of India's Love Lyrics by Laurence Hope.
Read in English by Helen Williford-Lower
The poetry of Adela Florence Cory aka Violet Nicolson, is some of the most unique and passionate in the English language. Under the pen name of Laurence Hope, her works were extremely popular in the early years of the 20th century, inspiring popular music, lovers, silent films and even the creation of Shalimar perfume. Her work wades fearlessly into issues of racism, same-sex attraction, violence and taboo love, but also transports the reader to a vibrant India of another era, with it's exotic peoples, flora, fauna, folklore and larger than life landscapes and intrigues.

india's love lyrics by lawrence hope published in 1901 recorded by helen williford lauer in 12 sections of seven poems each for librivox all librivox recordings are in the public domain for more information or to volunteer please visit librivox.org

india's love lyrics section one

less than the dust

less than the dust beneath thy chariot wheel less than the rust that never stained thy sword less than the trust thou hast in me o lord even less than these less than the weed that grows beside thy door less than the speed of hours spent far from thee less than the need thou hast in life of me even less am i

since i o lord am nothing unto thee see here thy sword i make it keen and bright love's last reward death comes to me tonight farewell

to the unattainable

oh that my blood were water thou thirst and thou and i in some far desert land how would i shed it gladly if but first it touched my lips before it reached the sand once all the gods were good to me i threw myself upon a poison snake that crept where my beloved a lesser love we knew than this which now consumes me holy slept

but thou alas what can i do for thee by fate and thine own beauty said above the need of all or any aid from me too high for service as too far for love

in the early early morning song by valgovind

the fields are full of poppies the skies are very blue by the temple in the coppice i wait beloved for you the level land is sunny and the errant air is gay scent of rose and honey will you come to me today from carbon walls above me smile lovers minnie a pair oh take this rose and love me she has twined it in her hair he advances she retreating pursues and holds her fast the sculptor left them meeting in a close embrace at last through centuries together in the carbon stone they lie in the glow of golden weather and endless azure sky oh that we who have for pleasure so short and scanned to stay should waste our summer leisure will you come to me today the temple bells are ringing for the marriage month has come i hear the women singing and the throbbing of the drum and when the song is failing or the drums a moment mute the weirdly wistful wailing of the melancholy flute

life has got to offer and little man to lose since today fate deigns to proffer oh wherefore then refuse to take this transient hour in the dusky temple gloom while the poppies are in flower and the mango trees bloom and if fate remember later and come to claim her do what sorrow will be greater than the joy i had with you for today lit by your laughter between the crushing years i will chance in the hereafter eternities of tears

reverie of mohammed akram at the tamarind tank

the desert is parched in the burning sun and the grass is scorched and white but the sand has passed and the march is done we are camping here tonight i sit in the shade of the temple walls while the...

Introduction to Baby Jazz at Tale Teller Club with Sarnia de la Maré FRSA New Online Podcast.

welcome to jazz baby um i have been racking my brains as to how to organize all the material that i'm a teacher and i'm very privileged actually to teach children and adults but um when you do a podcast and you talk uh as if your audience is around about an average age of five you do sort of take on this kind of persona it's a bit you know like a giant teddy bear and it occurred to me that i should probably separate the more grown-up um podcasts from the childish ones i don't necessarily think you need to apply your personality to either camp and if you're if you're actually a grown-up who'd likes to be spoken to as if you're five then please just follow the telltale kids podcast that all the um the baby lessons will be going over there now this podcast is called jazz baby but it's not for babies specifically it's a little bit more grown up and i'll be doing a lot more um commentary about the wonderful wonderful genre of jazz and blues and bluegrass and all these things and i think really when it comes down to it um that the genre is specifically um it's more engaging i think for grown-ups because it it's quite complicated and i did a lesson earlier in the week for um the the jazz abrsm course uh grade one and it's very very hard to teach jazz actually via a podcast and i'm not a hundred percent convinced that it's as convenient or um or even possible i think jazz is so intrinsically uh responsive physically um and it's much more about you know being it surrounded constantly by this um this beat and this um you know the the decorations and all the other things and they're actually it's strangely simple but also strangely complicated so i think i've really what i'll cut to the quick darlings because it's um i'm rambling on i think the that teaching jazz via a podcast is more suitable for adults than it is for for my kids um podcast so this is jazz baby but it's not just a teaching podcast i will be popping lessons up of course i will but this is much more about recordings and commentary talking about the wonderful wonderful possibilities and really throwing ourselves in at the deep end and just absorbing all the influences around us now there are some problems also with copyright and i'm unable to share very much contemporary jazz music unless i do it myself which i will be doing my band telltale club will be you know sharing all the wonderful things that i do so that's a sort of run down really an introduction to what jazz baby is all about um we'll kick off with the entertainer uh i'm playing on the piano it's very straightforward actually it's very well known and of course um if you're a person of a certain age you'll remember it from a very famous film um and it's really of i think it it uh has a feeling of um a timeless energy and yet all that very slightly kind of um new york uh 20s sort of feel about it for me i don't know what it works for you let me know put you know do comment um on these podcasts i love a comment um seems to be only my mother comments at the moment i love her comments too so um yeah there we go let's kick off the jazz baby podcast with the entertainer nice and traditional for you just to get you in the mood and i'll be uploading lots today actually um so do pop back because all things jazz all things fabulous and it will just carry on darlings the entertainer by scott joplin performed by tail teller club

the entertainer by scott john performed the entertainer by scott joplin performed by tail teller club

How to Play Vibrato on a Cello Free Tips and Tools from Sarnia At the Tale Teller Club Studio

hi everyone welcome to cello school um i'm going to talk to you about vibrato and um really just an introduction this is an introduction to vibrato i'm going to use the miniot by jess bach from suzuki book 2 as an example uh you can hear the full recording elsewhere on the podcast now

this opening note we start on a on a g and it's not necessarily too long as such but it's much longer than the the next two notes which are staccato so

and depending on how fast you play it now if you are playing a piece like this i would it wouldn't necessarily need vibrato there

or indeed on the e in the next bar but because you know it's a dance piece and we've got a lot of contrasting notes so for example you've got contrast there so you don't have if this if it was just three notes

you that would be a really boring introduction to a piece but because because we've got this um so you know these contrasting uh quavers and staccatos but staccato is similar to a quaver it's just a bit more space between them but they're played the same as quavers so we've got a lot of contrast in each bar but i i do love my vibrato so i would personally try to put vibrato on these notes obviously third bar

we there's no opportunity for vibrato on an open note you can't vibrato an open string you could do that um but that's for a whole other lesson that's a technique that i sometimes a sort of pretend vibrato just gives a bit of texture to the note and it doesn't always work you shouldn't use that you should use that technique sparingly and so what i really wanted you to do is just if if you're new to vibrato just start thinking about um how you would use it and when you would use it and where you would use it and but i'm going to teach you a little excuse me exercise that you can stop it's never too early to start this exercise so what i want you to do is tear off a piece of paper um you know just a little inch square piece of paper and just hold it with your pinky or any any finger um anything it will do actually and just hold it with your wrist up on the cello here and then i just want you to draw it up and down so that the paper travels with you and keep that finger nice and steady um now as you explore the possibilities of moving this piece of paper i want you you to travel less so you may start off with an inch perhaps or longer you know six inches up and down up and down and then gradually come down come down come down until you're really traveling a minuscule amount so the movement is very small and then eventually i want you to stop the movement but keep the hand going and what you'll find is you're actually making a vibrato so this is what worked for me so what you don't want is um

to do this this thing

which is turning the hand inwards and outwards

that's not vibrato i mean it's a it sounds um something i don't know what it sounds like the vibrato is

it comes from

this movement not that movement okay and this piece of paper trick is really going to help you understand which bits

of your arm and elbow and wrist need to be engaged to make this movement so if you see the paper it's actually coming really from your forearm and elbow it's not coming from your hand or your wrist so your your wrist and your knuckles are perfectly in lined with um your forearm and elbow and this is the trick you see this is what we need to master um i'd also say that um if you look i was watching jacqueline de prey yesterday there's a wonderful wonderful documentary on uh i think it was more for about this in the uk and it was about a filmmaker and he'd made that very famous film of jacqueline dupre the documentary performing el the elgar the one that she's very famous for we'll be doing that soon i think it's time to really start exploring some of...

Mozart The Man The Artist Music History Biographical Audiobooks Famous Musicians 4

chapter 4 of mozart the man and the artist as revealed in his own words this is a librivox recording all librivox recordings are in the public domain for more information or how to volunteer please visit librivox.org mozart the man and the artist as revealed in his own words by friedrich kirst translated by henry edward crybill chapter four chips from the workshop one if one has the talent it pushes for utterance and torments one it will out and then one is out with it without questioning and look you there is nothing in this thing of learning out of books here here and here pointing to his ear his head and his heart is your school if everything is right there then take your pen and down with it afterward ask the opinion of a man who knows his business to a musically talented boy who asked mozart how one might learn to compose

two i cannot write poetically i am no poet i cannot divide and subdivide my phrases so as to produce light and shade i am no painter i cannot even give expression to my sentiments and thoughts by gestures and pantomime i am no dancer but i can do it with tones i am a musician i wish you might live till there is nothing more to be said in music mannheim november 8 1777 in a letter of congratulation to his father who was born on november 14 1719 despite his assertion mozart was an admirable dancer and passionately devoted to the sport so says hair cures obviously misconceiving mozart's words it is plain to me that the composer had the classic definition of the dance in mind when he said that he was no dancer the dance of which he was thinking was that described by charles kingsley a dance in which every motion was a word and rest as eloquent as motion in which every attitude was a fresh motive for a sculptor of the purest school and the highest physical activity was manifested not as in coarse pantomime in fantastic bounds and unnatural distortions but in perpetual delicate modulations of a stately and self-sustained grace h e k

three the poets almost remind me of the trumpeters with their tricks of handicraft if we musicians were to stick as faithfully to our rules which were very good as long as we had no better we should make as worthless music as they make worthless books vienna october 13 1781 to his father he is writing about the libretto of the unthrog austem sorrell by stephanie the trumpeters at the time still made use of certain flourishes which had been traditionally preserved in their guild 4. i have spared neither care nor labor to produce something excellent for prague moreover it is a mistake to think that the practice of my art has become easy to me i assure you dear friend no one has given so much care to the study of composition as i there is scarcely a famous master in music whose works i have not frequently and diligently studied a remark to conductor kushars in prague who led the rehearsals for don giovanni in 1787.

five they are indeed the fruit of long and painstaking labor but the hope which some of my friends aroused in me that my work would be rewarded at least in part has given me courage and the flattering belief that these my offspring will someday bring me comfort from the dedication of the six quartets to haydn in 1785. the quartets were sent back to the publisher artaria from italy because they contained so many misprints the unfamiliar chords and dissonances were looked upon as printer's heirs

krasalkowitz a hungarian prince thought his musicians were playing falsely in some of these passages and when he learned differently he tore the music in pieces six i cannot deny but must confess that i shall be glad when i receive my release from this place giving lessons here is no fun you must work yourself pretty tired and if you don't give a good many lessons you will make but little money you must not think that that is laziness no but it...

The Pianoforte Sonata
by John South Shedlock
chapter four of the piano forte sonata by john south shedlock this librivox recording is in the public domain emmanuel bark and some of his contemporaries carl philip third son of j.s bach was born at weimar 8th or 14th of march 1714 and died at hamburg 14th of december 1788. he studied composition and clavier playing with his father his brother wilhelm friedman his senior by four years went through a similar course but learnt in addition the violin under jg ground emmanuel's attention however was concentrated on the one instrument answer this we probably owe the numerous clavier sonatas which he wrote and which paved the way for those of haydn mozart and beethoven in his 21st year 1735 emmanuel left his father's house in order to study jurisprudence at frankfurt on the order three years later however he went to berlin and as chamberlain entered the service of frederick the great 1740 footnote the post was offered to bach in 1738 while frederick was as yet crown prince but he only entered on his duties in 1740 and a footnote already in his father's house the young students saw and heard many distinguished musicians he himself has told us that no musician of any note passed through leipzig without seeking opportunity to meet his father so famed as composer and as performer on the organ and clavia and again afterwards at the course of prussia he came into contact with the most notable composers and performers of his day from among these maybe singled out c h ground composer of the todd jesus georg bender footnote the four sons of hans georg bender franz johann georg and joseph were excellent musicians and all members of the band frederick the great georg the third son composer of ariadne and medea two duo-dramas which attracted the attention to mozart was however the most remarkable end of footnotes growl was already in the service of frederick when the latter was only crown prince footnote see also carlisle's frederick the great volume 4 page 134 ground one of the best judges living is likewise off to italy gathering singers and a footnote it would be interesting to learn the special influences acting upon emmanuel before he published his first set of sonatas in 1742 but this is scarcely possible the collection of symphonies footnote the symphonies appear to be three movement overtures transcribed for clavia as a rule the pieces marked as symphonies in this collection have no double bars and consequently no repeat in the first movement a symphony of emmanuel bark is however marked as a sonata in the six lessons for the harpsichord published in london during the 18th century end of footnote all sonatas published at leipzig in 1762 mentioned in our introductory chapter gives however some idea of the music of that period and it is possible that many of the numbers were written before emmanuel bark published his first works the samlong vamishta klaviyastuka ferga upta and um by georg bender may also be mentioned it is of great interest especially the sonata in c minor the character of the music and the style of writing for the instrument constantly remind one of emmanuel bach bender born in 1721 joined the king of prussia's band in 1742 and soon became known as an experienced performer on the harpsichords unfortunately it is impossible to ascertain the dates of composition of the various pieces of this collection and thus to find out whether bender was an imitator of bach or vice versa the collection itself was only published at gotha in 1780 the italian taste in music which prevailed at the prussian court footnote the king was extremely fond of hass's music but this composer though german by birth was thoroughly italian by training and footnotes had undoubtedly a marked influence on bach and one for good the severe counterpoint of the north german school and the suave melody of the sunny south blended together with happy results it is customary to speak on block of...

52 Verses For Children 100% Free To Use no.12 Poetry Audiobook Library Interactive Nursery
Free Kids Poetry Fun Number Twelve
the blue bells on the leah by juliana horatia gaddy ewing read for librivox.org by betty b fairy king the breeze is on the bluebells the wind is on the lee stay out stay out my little lad and chase the wind with me if you will give yourself to me within the fairy ring at deep midnight when stars are bright you'll hear the blue bells ring d die din ding on slender stems they swing the rustling wind the whistling wind will chase him to and fro we'll chase him up we'll chase him down to where the king cups grow and where old jack-o'-lantern waits to light us on our way and far behind upon the wind the bluebells seem to play d die din ding lest we should go astray so gay that fairy music so jubilant those bells how days and weeks and months go by no happy listener tells the toadstools are with sweet meat spread the new moon lends her light and ringer small wait one and all to ring with all their might d die din ding and welcome you tonight boy my mother made me promise to be in time for tea go home go home the breezes say that sigh along the li i dare not give myself away for what would mother do i wish i might stay out all night at fairy games with you d die din ding and hear the bells of blue but father sleeps beneath the grass and mother is alone and who would fill the pails and fetch the wood when i am gone and who when little sister ails can comfort her but me her cries and tears would reach my ears through all the melody d die din ding of blue bells on the lead the sun was on the blue bells the lad was on the leave o wondrous bells o fairy bells i pray you ring to me i only did his mother bate for tea i did not care and winds at night give more delight than all this noonday glare d die din ding no sound of bells was there boy the snow lies or the blue bells a storm is on the lee our hearth is warm the fire burns bright the flames dance merrily oh mother dear i would know more that on that summer's day within the ring the fairy king has stolen me away dee die din ding to where the blue bells play yet when the storm is loudest at deep midnight i dream and up and down upon the lee to chase the wind i seem while by my side in feathered cap there runs the fairy king and down below beneath the snow we hear the blue bells ring d die din ding such happy dreams they bring end of poem this recording is in the public domain

52 Verses For Children 100% Free To Use no.7 Poetry Audiobook Library Interactive Nursery
Free Use Poems Number Seven
three little nest birds by juliana hortiagatti ewing red for liverbox.org by taylor goldsmith we meant to be very kind but if ever we find another soft grey-green moss-coated feather-lined nest in a hedge we have taken a pledge susan jimmy and i with remarkful tears at this very minute that if there are eggs or little birds in it robin or wren thrush chaffinch or linet will leave them there to their mother's care there were three of us kate susan and jim and three of them i don't know their names for they couldn't speak except with a little imperative squeak exactly like paul susan's squeaking doll but squeaking doll will lie on the shelves for years and never squeak of themselves the reason we like little birds so much better than toys is because they are really alive and know how to make a noise there were three of us and three of them kate that is i and susan and jem our mother was busy making a pie and theirs we think was up in the sky but for all susan jimmy or i can tell she may have been getting their dinner as well they were left to themselves and so were we in a nest in the hedge by the willow tree and when we caught sight of three red little fluff-tufted hazel-eyed open-mouthed pink-throated heads we all shouted for glee the way we really did wrong was this we took them from mother to kiss and she told us to put them back whilst on the weeping willow their mother was crying a leg we really heard both what mother told us to do and the voice of the mother bird but we three that is susan and i and jim thought we knew better than either of them and in spite of our mother's command and the poor bird's cry we determined to bring up her three little nestlings ourselves on the sly we each took one it did seem such excellent fun susan fed hers on milk and bread jim got wiggling worms for his instead i gave my meat for you know i thought poor darling pet why shouldn't it have roast beef to eat but oh dear oh dear oh dear how we cried when in spite of milk and breads and worms and roast beef the little birds died it's a terrible thing to have heartache i thought mine would break as i heard the mother birds moan and looked at the grey-green moss-coated feather-lined nest she had taken such pains to make and her three little children dead and as cold as stone mother said and it's sadly true there are some wrong things one could never undo and nothing that we could do or say would bring life back to the birds that day the bitterest tears that we could weep wouldn't wake them out of their stiff cold sleep but then we susan and gem and i mean never to be so selfish willful and cruel again and we three have buried those other three in a soft green moss covered flower line grave at the foot of the willow tree and all the leaves which is branches shed we think are tears because they are dead end of poem this recording is in the public domain

you

52 Verses For Children 100% Free To Use no.9 Poetry Audiobook Library Interactive Nursery
Poetry for Tots Number Nine

a hero to his hobby horse by juliana horatia gaddy ewing read for librivox.org by betty b a hero to his hobby horse hear me now my hobbyhorse my steed of prancing paces time is it that you and i won something more than racist i have got a fine cocked hat with feathers proudly waving out into the world we'll go both death and danger braving doubt not that i know the way the garden gate is clapping who forgot to lock it last deserves his fingers slapping when they find we can't be found oh won't there be a chorus you and i may laugh at that with all the world before us all the world the great green world that lies beyond the paling all the sea the great round sea where ducks and drakes are sailing i unite my charger thou together we will wander out into that grassy waste where dwells the goosey gander months ago my faithful steed that goose attacked your master how it hissed and how i cried it ran but i ran faster down upon my face i fell its awful wings were or me mother came and picked me up and off to bed she bore me months have passed my faithful steed both you and i are older sheathless is my wooden sword my heart i think is bolder always ready bridled thou with reigns of crimson leather woe be tied the goose today who meets us both together up then now my hobby horse my steed of prancing paces time it is that you and i won something more than races i unite my charger thou together we will wander out into that grassy waste where dwells the goosey gander end of poem this recording is in the public domain