Latest / Dymer / Chimneysmoke - Christopher Morley

Transcript

Chimneysmoke - Christopher Morley · Dymer

• 0:00
  Speaker 1: To the little House This Sable Rocks recording. All the
• 0:04
  Speaker 1: Revokes recordings are in the public domain. For more information
• 0:08
  Speaker 1: of the volunteer, please visit the Rewoks dot Org. Recording
• 0:12
  Speaker 1: by cammon Age Chimney Smoke by Christopher Morley. To the
• 0:16
  Speaker 1: Little House, dear little house, dear shabby street, dear books
• 0:21
  Speaker 1: and bids and food to eat? How feeble words are
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  Speaker 1: to express the facets of your tenderness? How white the
• 0:28
  Speaker 1: sun comes through the pane in tinkling music drips the rains,
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  Speaker 1: How burning bright furnish clothes. What pass the shore when
• 0:36
  Speaker 1: it snows, Oh, dearly loved long Island trains, O well
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  Speaker 1: remembered joys and pains? How near the housetops beauty leans
• 0:44
  Speaker 1: along that little street in Queens. Let these four rhymes
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  Speaker 1: abide for proof joy deals beneath a humble roof. Heaven
• 0:53
  Speaker 1: is not built of country seats, but little coore suburban
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  Speaker 1: streets March nineteen seventeen, and of two The little House
• 1:08
  Speaker 1: a grace before writing by Christopher Morley. This Libervox recording
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  Speaker 1: is in the public domain. This is a sacrament, I think,
• 1:17
  Speaker 1: holding the bottom toward the light as blue as slooping
• 1:20
  Speaker 1: glimps the ink. May truth be with me as I
• 1:23
  Speaker 1: write that small duck system may afford reunion with some
• 1:27
  Speaker 1: oneish friend, and with this thing I have just port,
• 1:31
  Speaker 1: may not but honest words be penned and of a
• 1:35
  Speaker 1: grace before writing. The dedication for a fireplace by Christopher Morley.
• 1:46
  Speaker 1: This libervox recording is in the public domain. This hearth
• 1:50
  Speaker 1: was built for thy delight, for d de Locke's potstone.
• 1:54
  Speaker 1: For deed, the largest chair at night is to the
• 1:57
  Speaker 1: chimney drawn for the deal less the match was laid
• 2:01
  Speaker 1: to you. The ruddy blades, may jet frost give as
• 2:04
  Speaker 1: joy of it for many many days. And of dedication
• 2:08
  Speaker 1: for a fireplace taking tighter by Christopher Morley. This nipperbox
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  Speaker 1: recording is in the public domain. To make this house
• 2:22
  Speaker 1: my boy own cannot be done by law alone, to
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  Speaker 1: counselan and did convey absolutely as lawyers say. There are
• 2:30
  Speaker 1: domestic rites besides by which this house is sensified by king,
• 2:34
  Speaker 1: the fire upon the hearth, by planted pencils in the garth,
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  Speaker 1: by foot, and by the quiet dress of those brown
• 2:41
  Speaker 1: eyes that I look best, And by a friend's right
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  Speaker 1: gifts of wine. I dedicate this house of mine. When
• 2:47
  Speaker 1: all but I are thought await, I troil about my
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  Speaker 1: coit stead a wreath of blue tobacco smoked a charm
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  Speaker 1: that evil never broke, and bring my richer to an
• 2:57
  Speaker 1: end by giving shelter to a friend. This done, or darling,
• 3:01
  Speaker 1: you become not just a house, but truly home. And
• 3:06
  Speaker 1: of taking title the Secret by Christopher Morley. This Liberal
• 3:16
  Speaker 1: Ox recording is in the public domain. It was the
• 3:19
  Speaker 1: house of quietness to which I came at dusk. The
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  Speaker 1: gulf was slid with roses and heavy with the masts.
• 3:26
  Speaker 1: The travelers tap poplar trees stood whispering around the gentle
• 3:30
  Speaker 1: flicker of the film's more quiet than no sound. And
• 3:34
  Speaker 1: as I wondered at the door what magic might be there,
• 3:38
  Speaker 1: the Lady of silences came softly down the stairs. And
• 3:43
  Speaker 1: of the secret only a matter of time by Christopher Morley.
• 3:53
  Speaker 1: This Liberalox recording is in the public domain. Down sleeping time,
• 3:58
  Speaker 1: sweet Swiss and shallows stream here like a boulder lies
• 4:02
  Speaker 1: this afternoon across your eager flow. So you shall stay
• 4:06
  Speaker 1: deepen and damp, to let me breathe and be your
• 4:09
  Speaker 1: troubled fluency. Your running gleam shall pause and circle idly
• 4:13
  Speaker 1: still and clear, the while I lie in search your
• 4:16
  Speaker 1: glassy pool, where gently crawling in the lazy round, unsuperable
• 4:21
  Speaker 1: minutes drift and swim, eddy and rise and bream, and
• 4:24
  Speaker 1: I will see how many crystal bubbles of slag time
• 4:28
  Speaker 1: the mine can help and cherish in one now now,
• 4:31
  Speaker 1: for one conscious vacancy of sands. The stream is gathered
• 4:35
  Speaker 1: in a deepening pond, not a mere moving mirror. Through
• 4:38
  Speaker 1: the sharp, correct reflection of the standing scene, the mine
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  Speaker 1: can deem and cleanse itself with rest, and see slow
• 4:45
  Speaker 1: spinning in the lucid gul your liquid mods imperishable time.
• 4:50
  Speaker 1: It cannot be. The runner slips away, the clear, smooth
• 4:54
  Speaker 1: downward flutes begins again, more brightly, smunting for their trembling pause,
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  Speaker 1: leaving the sands its conscious weak unease, as when a
• 5:02
  Speaker 1: sonnet flashes on the mind trembles and burns an instant
• 5:06
  Speaker 1: and is gone and of only a matter of time.
• 5:16
  Speaker 1: At the Murmid Cafeteria by Christopher Morley, this LibriVox recording
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  Speaker 1: is in the public domain. Truth is enough for prose
• 5:25
  Speaker 1: calmly it goes to tell just what it knows. For
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  Speaker 1: worse skills, suffice delicate, nice costing of verbal dyes, poetry
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  Speaker 1: men attained by subtler paint, more flagrant in the brain,
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  Speaker 1: and honesty unfeigned, a heart unchained, a madness well restrain,
• 5:45
  Speaker 1: and of at the murmuring Cafeteria Our House by Christopher Morley.
• 5:56
  Speaker 1: This LibriVox recording is in the public domain. It should
• 6:00
  Speaker 1: be yours. If I could build the quaint old darling
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  Speaker 1: I desire, with books and pictures briefly filled, and chests
• 6:08
  Speaker 1: beside an open fire, white panal rooms with candlesleep, I
• 6:12
  Speaker 1: lie awake the tink of it, a doll for the
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  Speaker 1: sunny owls, A garden of old fashioned flowers, say mary
• 6:19
  Speaker 1: girls and lavender and mignor net and fever fill and
• 6:23
  Speaker 1: Juda's tree and maidenhair and candy tuff and time and rule.
• 6:27
  Speaker 1: All is for you to wander in a Chinese card
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  Speaker 1: called Mandarin waving a sluggish, silver thin deep in the mold,
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  Speaker 1: so tame he comes to leave your fingers, offering crumbs,
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  Speaker 1: tall chimneys like long listening ears, white shutters, ivy green
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  Speaker 1: and tick, and balls of ruddy to door brick grown
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  Speaker 1: mellow with the passing years, and windows with small leaded panes,
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  Speaker 1: broad window seats for when it rains, a big blue
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  Speaker 1: bowl of port fairy, and yes, a Spanish chestnut tree
• 7:01
  Speaker 1: to call the autumn's mint goo. A summer house for
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  Speaker 1: drinking tea. All these just thing for you and me.
• 7:08
  Speaker 1: A stackcase of the old black wood cut in the
• 7:10
  Speaker 1: days of robin hood, and banisters one smooth as glass,
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  Speaker 1: down which your hand will lightly passed. A piano with
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  Speaker 1: pale yellow keys for wistful twilight melodies. And thus the
• 7:22
  Speaker 1: waters in a bean. All this for you to revel in,
• 7:26
  Speaker 1: but went off well until that time. Will have it
• 7:29
  Speaker 1: in this house of rime nineteen jails and of our house.
• 7:40
  Speaker 1: On Naming a house by Christopher Morley. This liber Box
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  Speaker 1: recording is in the public domain. When I a householdier
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  Speaker 1: became I had to give my house a name. I
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  Speaker 1: taught or called it poper trees or vi shins of
• 7:56
  Speaker 1: walblet beasts, or just beneath a star. I thought of house,
• 8:01
  Speaker 1: why plumbings freeze, or as you like it, if you please,
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  Speaker 1: a nicotin of bread and cheese, full moon or dolls ajar.
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  Speaker 1: But still I sought some sulter charm, some room to
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  Speaker 1: gout my roof from herm and keep the devil far.
• 8:18
  Speaker 1: I thought of this, and I was safe. I had
• 8:21
  Speaker 1: my letter hits engraved the house where brown eyes are,
• 8:27
  Speaker 1: and of on naming a house a Halloween Memory by
• 8:36
  Speaker 1: Christopher Morley. This lipperywork's recording a center public domain. Do
• 8:41
  Speaker 1: you remember heart's desire the nightmen Halloween? First came the
• 8:45
  Speaker 1: newly dedicated fire, the half uncantified by flame. How anxiously
• 8:50
  Speaker 1: beswept the bricks. How tragic were the drought not right?
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  Speaker 1: And then the blaze unwrapped the sticks, until the room
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  Speaker 1: with dancing like we could not speak, but only gains
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  Speaker 1: nor half a if what b had seen our home
• 9:02
  Speaker 1: a half a golden blaze of sado marks of Halloween.
• 9:05
  Speaker 1: And then a tor occurred to me. We ran outside
• 9:08
  Speaker 1: with sudden shot and look up at the ate to
• 9:10
  Speaker 1: see our audience. Smoke come drifting out, and all men's
• 9:13
  Speaker 1: felicitis by its subplant once say aye it is when
• 9:16
  Speaker 1: for the first time he says his half five smoke
• 9:19
  Speaker 1: against the sky and of a Halloween memory, refusing you
• 9:30
  Speaker 1: immortality by Christopher Morley. This libervox recording is in the
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  Speaker 1: public domain. If I should tell unstinted your beauty and
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  Speaker 1: your grace. All future less would whisper traditions of your face.
• 9:45
  Speaker 1: If I make public tumult your mouth, your quickly state
• 9:48
  Speaker 1: posterity would grumble that it was born to live. I
• 9:52
  Speaker 1: will not frame your beauty in brand and dying phrase,
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  Speaker 1: nor blaze it as a legend for unborn men to praise.
• 9:59
  Speaker 1: For why should the future levels be sudden and depressed deluded?
• 10:03
  Speaker 1: Let them fancy the old girl's lovely ears, and of
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  Speaker 1: refusing you immortality. Bayberry Candors by Christopher Morley. This libervox
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  Speaker 1: recording is in the public domain. Dear sweet, when thus
• 10:23
  Speaker 1: comes after hill, the fire lips high with golden prongs,
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  Speaker 1: I placed along the chimney steel the tiny candles of
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  Speaker 1: my songs, And though unsteadily burned as evening shades from
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  Speaker 1: gray to blue, like candles, they will surely learn to
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  Speaker 1: shine more clear, for love of you and of Bayberry Candors.
• 10:48
  Speaker 1: Secret Laughter by Christopher Morley. This Libervox recording is in
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  Speaker 1: the public domain. There is a secret laughter that often
• 10:57
  Speaker 1: comes to me. And though I go about my work
• 11:00
  Speaker 1: as humble as can be, there is no prins or prelate.
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  Speaker 1: I envy, no, not one, no evil can before me
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  Speaker 1: by God, I have a son. And of secret laughter
• 11:18
  Speaker 1: Six Weeks by Christopher Morley. This liberalvox recording is in
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  Speaker 1: the public domain. He is so small he does not know.
• 11:27
  Speaker 1: Does summer's sun, the winter, snow to spring, the apps
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  Speaker 1: and comes again. All this is far beyond his can
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  Speaker 1: a little world. He feels and sees his mother's arms,
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  Speaker 1: his mother's niece. He hides his face against the breast
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  Speaker 1: and does not care to learn the rest And of
• 11:45
  Speaker 1: six weeks, Oh a Charm by Christopher Morley. This liberalvox
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  Speaker 1: recording is in the public domain. For our new fireplace
• 11:59
  Speaker 1: to stop its smoking old wood, burnt bright or flamey creak,
• 12:04
  Speaker 1: all smoke your cleanly up the flue. My lady chose
• 12:07
  Speaker 1: your every brick and sets the dearest hopes on you.
• 12:10
  Speaker 1: Logs cannot burn, nor tea be sweet, nor white bread
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  Speaker 1: turend to crispy toes until the charm be made complete
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  Speaker 1: by lot to lady, suti girls, and then your books,
• 12:19
  Speaker 1: their waiting chairs, dear china and mahogany draw clothes for
• 12:23
  Speaker 1: on the happy stairs. My brown eyed girl comes down
• 12:26
  Speaker 1: for tea and of a charm My pipe by Christopher Morley.
• 12:37
  Speaker 1: This little Rox recording is in the public domain. My
• 12:40
  Speaker 1: pipe is old and cake bestowed. My wife remarks, how
• 12:44
  Speaker 1: can you put that horrid relig so unclean inside your mouth?
• 12:48
  Speaker 1: The nicotton is strong enough to stupefy a Swedish plumber.
• 12:51
  Speaker 1: I reply, this is the kind of pipe alike. I
• 12:54
  Speaker 1: feel it full of heavy strike, a barking cat, or
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  Speaker 1: catnam's paw, a brooklyn bridge, that potent stuff of chase
• 13:01
  Speaker 1: embraces like a streets or honeycol or nigger fists. I
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  Speaker 1: climb my tea upon its stemp. It is my bless
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  Speaker 1: my diadem, but I will fit me do to me
• 13:10
  Speaker 1: this is my favorite bee b b for this still
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  Speaker 1: pipe you thin to scorne. I smoked the night the
• 13:16
  Speaker 1: boy was born, and of my pipe. The five forty
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  Speaker 1: two by Christopher Marley. These liberworks recordings in the public domain.
• 13:32
  Speaker 1: Lilac violet n'rose Ardently the city gloves sunset glory purely
• 13:37
  Speaker 1: sweet yields the dreaming Byway Street and above the avenue
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  Speaker 1: winter dust is steepening blue. Then across Long Island meadows darker, darker,
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  Speaker 1: grow the shadows patients little waiting less like a minute,
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  Speaker 1: slowly passed, patience loves the yellow fire, homeward bow its
• 13:54
  Speaker 1: heart's desire, huk adn a canyon streak, those merry tider
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  Speaker 1: feet high to go the building flu lisen in the
• 14:01
  Speaker 1: purple bloom. All the town is set with stars homeward
• 14:05
  Speaker 1: chant broadway cars all down thirty second Street, homeward homeward
• 14:10
  Speaker 1: say defeat, tramping men, uncoothed wheels, footsore, very true and new,
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  Speaker 1: Gone the ringing telephones, lessed night for now atones casting
• 14:18
  Speaker 1: brightness on the snow gold and the train windows go.
• 14:22
  Speaker 1: Then how long it seems? At last? All the way
• 14:24
  Speaker 1: is all passed. Hard to beat the muffret drum, though
• 14:27
  Speaker 1: your venturer is come, while the doors lip high, a fire,
• 14:31
  Speaker 1: homeward lung is heart's desire. Gone is weariness, and Fred
• 14:35
  Speaker 1: and the still warm lips are mad. Once again may
• 14:37
  Speaker 1: be renewed the conjoined beautitude and of the five forty
• 14:43
  Speaker 1: two Peter Pan by Christopher Morley. This little box recording
• 14:52
  Speaker 1: is in the public domain. The Boy for Whom marry
• 14:55
  Speaker 1: Road Peter Pan, The original of Peter Pan has died
• 14:58
  Speaker 1: in better New York times, and Peter Pan is date
• 15:03
  Speaker 1: not so when mothers turn the lights down low and
• 15:05
  Speaker 1: talk the little sons in bad. They know that Peter
• 15:08
  Speaker 1: is not dead, that little rounded blanket hell, those prey
• 15:12
  Speaker 1: time eyes so deep and still, however wise and greater
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  Speaker 1: man he grows. He steell is Peter Pan, and mother's
• 15:19
  Speaker 1: ways are often cool. They paused in dolwits just to
• 15:21
  Speaker 1: hear a tiny breathing thing of prayer, and then go
• 15:24
  Speaker 1: tiptoe down the stairs and a Peter Pan in honor
• 15:34
  Speaker 1: of Telphy Topez by Christopher Morley. This LIBERWOXX recording is
• 15:39
  Speaker 1: in the parting Doman happy Toopa's colored cat thinks dout
• 15:43
  Speaker 1: this and none of that, but chaftly off his meals
• 15:46
  Speaker 1: as sparagus and cream and fish are objects of its
• 15:49
  Speaker 1: furdion wish what you don't give his steels. His gallant
• 15:53
  Speaker 1: heart is strongly stirred by cling of plate a flight
• 15:55
  Speaker 1: of birds. He has a plumy tail, and like his
• 15:58
  Speaker 1: treads on stealthy pat as merry as Sir galahads a
• 16:02
  Speaker 1: sicking of the grille. His amiable amble eyes are very friendly,
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  Speaker 1: very wise, like Buddha, great as that he sits regardless
• 16:10
  Speaker 1: of applause, and thinking as he needs his pulse was
• 16:13
  Speaker 1: fond to be a cat, And of in honor of
• 16:17
  Speaker 1: taffy to pass the City Chess by Christopher Morley. This
• 16:27
  Speaker 1: LibriVox recording is in the public domain. Her mind is
• 16:31
  Speaker 1: like her city chest, wearing in quietness to rest her
• 16:35
  Speaker 1: whispered dreamings of her heart and fagrant folks. Only apart
• 16:39
  Speaker 1: they're put away in sprigs of rime, until her life's
• 16:42
  Speaker 1: full blossomed time fluttered like tremulous city birds, her small
• 16:46
  Speaker 1: and sweet maternal woods. And of the citar Chess Reading
• 16:57
  Speaker 1: Aloud by Christopher Morley. This libriox coding is in the
• 17:00
  Speaker 1: public domain. Once we read Tennyson aloud in our great
• 17:05
  Speaker 1: fireside chair, between the lines, my lips could touch her
• 17:08
  Speaker 1: apron sented her. I well thought I was to think
• 17:12
  Speaker 1: the printed poems fair. When closed within my arms, I
• 17:15
  Speaker 1: held a living lyric there. And of reading aloud Animal
• 17:26
  Speaker 1: Crackers by Christopher Morley. The Nipperworks recording is in the
• 17:30
  Speaker 1: public domain. Animal Crackers and Cocker to drink There is
• 17:34
  Speaker 1: the finest of suppers. I think, when I'm grown out
• 17:37
  Speaker 1: and can have what I please, I think I shall
• 17:40
  Speaker 1: always insist upon this. What do you choose when you
• 17:43
  Speaker 1: offer a treat when mother says what would you like
• 17:46
  Speaker 1: best to eat? Is it wolve us in syrup or
• 17:49
  Speaker 1: cinnamon toasts, cocoa and animals that I love most. The
• 17:53
  Speaker 1: kitchen's the coziest place that I know. The catter is singing,
• 17:57
  Speaker 1: the stove is a glow, and there in the toilet houdiolitously,
• 18:01
  Speaker 1: the cockoa and animals waiting for me. Daddy and Mother
• 18:04
  Speaker 1: die later in stead with marry to cook for them
• 18:07
  Speaker 1: susan to bathe. But they don't have nearly as much
• 18:10
  Speaker 1: fun as I, who eat in the kitchen with no
• 18:13
  Speaker 1: standing by. And Daddy once said he would like to
• 18:16
  Speaker 1: be me, having cockoa and animals once more for tea,
• 18:21
  Speaker 1: and of animal crackers the milk meant by Christopher Morley.
• 18:31
  Speaker 1: This little box recording is in the public domains. Early
• 18:35
  Speaker 1: in the morning, when the dawn is on the roofs.
• 18:37
  Speaker 1: You hear his wheels come rolling, You hear his horses hoops,
• 18:41
  Speaker 1: You hear the boters clinking, and then he drives away
• 18:44
  Speaker 1: Your yawned and Babe turn over and begin another day.
• 18:48
  Speaker 1: The old dairymaids are dear to every poet's heart. I'd
• 18:51
  Speaker 1: rather be the dairyman and drive a little card and
• 18:54
  Speaker 1: bust around the village in the early morning. Blue and
• 18:57
  Speaker 1: hang my reins upon a hook, as I've seen in
• 19:00
  Speaker 1: Casey Do and of the milkmen light words by Christopher Morley.
• 19:11
  Speaker 1: This Liberwalx recording is in the public domain. At night,
• 19:16
  Speaker 1: the gas lamps light out streets, electric mobs, our homes.
• 19:20
  Speaker 1: The gas is built in cubied fit electric lights in arms,
• 19:24
  Speaker 1: but one illumination still is brighter, fine, and sweeter. It
• 19:28
  Speaker 1: is not figured in the bill, nor measured by a
• 19:30
  Speaker 1: meter more bright than lights. That money buys more pleasing
• 19:34
  Speaker 1: to discernace the shining lamps of Helene's eyes, those lovely
• 19:38
  Speaker 1: double burners, and of light words the furnace by Christopher Morley.
• 19:49
  Speaker 1: This Liberalwox recording is in the public domain. At night
• 19:53
  Speaker 1: I opened the furning stock. The warm glow brightened the
• 19:56
  Speaker 1: cellar floor. The fire that sparkled blue and rate kept
• 20:00
  Speaker 1: small toils coldy in the bait as up the stairs solid.
• 20:03
  Speaker 1: I still a said my prayer, thank God for cold.
• 20:08
  Speaker 1: And of the furnace, washing the dishes by Christopher Morley.
• 20:18
  Speaker 1: The slippery Rock's recording is in the public domain. When
• 20:22
  Speaker 1: we on simporations up. How easy is washing up? But
• 20:26
  Speaker 1: heavy fitting complicates the task by soiling many plates. And
• 20:30
  Speaker 1: though I granted, I have prayed that we might find
• 20:32
  Speaker 1: a serving meat out scarlet, all my days I think
• 20:36
  Speaker 1: to see her smile across the sink I washed, she
• 20:39
  Speaker 1: wipes in water. Heart. I sous each dish and pan
• 20:43
  Speaker 1: and pot, while Taffee mutters poles and bags, and rubbed
• 20:46
  Speaker 1: himself against my legs. The man who never in his
• 20:50
  Speaker 1: life has washed the dishes with his wife, or polish
• 20:53
  Speaker 1: up a silver plate, he still is largely celibate. One
• 20:57
  Speaker 1: morning there is certain where that must be handed with
• 21:00
  Speaker 1: all care. The lock himself will give you up if
• 21:04
  Speaker 1: you should drop a willow cup and of washing the dishes.
• 21:13
  Speaker 1: The Church of Unbanned Needs by Christopher Morley. This little
• 21:17
  Speaker 1: work's recording is in the public domain. As I went
• 21:21
  Speaker 1: by the church to day, I heard the organ cry,
• 21:23
  Speaker 1: and goodly folks who are on their knees. But I
• 21:26
  Speaker 1: went striding by my minister hath roof more once my
• 21:30
  Speaker 1: ears are oak trees high, my auto cloth is on
• 21:33
  Speaker 1: the heels, my organ is the sky. I see my
• 21:36
  Speaker 1: road upon the clouds to winds. My chanter choir, my
• 21:40
  Speaker 1: crystal windows. Heaven glazes are stinned with sunset fire, the stars,
• 21:45
  Speaker 1: the tunder and the rained white scents and purposies. These
• 21:48
  Speaker 1: are his pulpits and his pew, My god of unbentded
• 21:52
  Speaker 1: neeeds and of the Church of unbanned needs al Aji.
• 22:02
  Speaker 1: Written in the country covined by Christopher Morley. This liberworks
• 22:06
  Speaker 1: recording is in the public domain. The furnace tall sternel
• 22:11
  Speaker 1: of falling stem the coastuply is virtually done, and at
• 22:15
  Speaker 1: this price, until it does not seem as though we
• 22:18
  Speaker 1: could fort another time. Now fix the glossy cherish inthracite,
• 22:23
  Speaker 1: the radiators to the temperature. How ill awailed on such
• 22:27
  Speaker 1: a frosty night, the short and simple flannels of the poor,
• 22:31
  Speaker 1: though in the ice box fresh and newly lit, the
• 22:33
  Speaker 1: root for fathers of the omeinate sleep, no expra Breakfast
• 22:37
  Speaker 1: to the bill is paid. We cannot cook again to
• 22:40
  Speaker 1: cold its cheap and Maurice's chair or happier in my shape,
• 22:43
  Speaker 1: buss rebalify the filling pressure gods, chop up the grand
• 22:48
  Speaker 1: piano if you must, and when its aurora parrot cage
• 22:52
  Speaker 1: for many a can of purest kerosen. The dark unphantom
• 22:55
  Speaker 1: tanks of standard oil shall furnish me and misday it
• 22:58
  Speaker 1: I mean to bring my morning coffee to a boy
• 23:03
  Speaker 1: and of allergy, written in the Country Covin The Old
• 23:11
  Speaker 1: Swimmer by Christopher Morley. This Litblewox recording is in the
• 23:15
  Speaker 1: public domain. I often wondered on the beach, where once
• 23:20
  Speaker 1: the brown of limbs, the biting as the roaring surf,
• 23:23
  Speaker 1: summoned me to swim. I see my old abandoned youth,
• 23:27
  Speaker 1: where convas lin and spill, And though I taste the foam,
• 23:30
  Speaker 1: no more other swimmers will. Oh good exultants strength to
• 23:35
  Speaker 1: me the arching wall of green, to break the crystal
• 23:38
  Speaker 1: swill emerge, dripping toat and clean, to climb the moving
• 23:42
  Speaker 1: hilly blue, To dive in ecstasy and feel the soltitude
• 23:45
  Speaker 1: embraced arm and rip and knee, What breath and manage laughter,
• 23:49
  Speaker 1: then and tingling ties the round, What warm and comfortable
• 23:53
  Speaker 1: stands streaming in the sun, the crumbling water spress in snow.
• 23:58
  Speaker 1: The surf is hissing still. And though I kiss the thought,
• 24:01
  Speaker 1: no more other swimmers will. And of the Old Swimmer
• 24:11
  Speaker 1: The Moonship by Christopher Morley. This liberal work's recording is
• 24:15
  Speaker 1: in the public domain. The moon seems like a dosa ship.
• 24:18
  Speaker 1: She passatures while all people sleep, But sometimes when she
• 24:22
  Speaker 1: goes astray, she wanders all alone by day, up in
• 24:26
  Speaker 1: the clear of the morning air, we are surprised to
• 24:28
  Speaker 1: see her there, greezing in her holy white waiting the
• 24:32
  Speaker 1: return of night. When thus lets down the meadow bus,
• 24:35
  Speaker 1: she greets against her lambs the stars and of the
• 24:39
  Speaker 1: Moonship Smells by Christopher Morley. This liberal works recording is
• 24:49
  Speaker 1: in the public domain. Why is it that the poets
• 24:52
  Speaker 1: tell so little of the sense of smell? These are
• 24:56
  Speaker 1: the oldest I love well. The smell of coffee freshly
• 25:00
  Speaker 1: growl or rich plum fooding, holy crown, or onions fried
• 25:03
  Speaker 1: and deeply brown, The fragrance of a fume pie. The
• 25:07
  Speaker 1: smell of apples newly riped and printers ink or leaden
• 25:11
  Speaker 1: type woods by Montlight in September Rhythmos sweet, and I
• 25:16
  Speaker 1: remember many a smoky campfire amber, come for turpentine and tea,
• 25:21
  Speaker 1: the bosom of a Christmas tree. These are withs of grammary.
• 25:26
  Speaker 1: A ship smells best of awe to me? And of
• 25:30
  Speaker 1: smells Smells Junior by Christopher Morley. This Rewark's recording is
• 25:40
  Speaker 1: in the public domain. My Daddy smells like tobacco and books,
• 25:45
  Speaker 1: Mother like lavender and listream. Uncle John carries a whisp
• 25:49
  Speaker 1: of cigars. Nanny smells stodgy and soapy and clean sandy.
• 25:53
  Speaker 1: My dog has the smell of his own. When he's
• 25:56
  Speaker 1: been out in the rain, he smells mouth. But Katie
• 25:59
  Speaker 1: the coat is more splendid than all. She smells exactly
• 26:02
  Speaker 1: like hot buttered toes and of smells. Junior mar Kwang
• 26:14
  Speaker 1: Chinese Laundryman by Christopher Morley. This little box recording is
• 26:18
  Speaker 1: in the public Your main I like the Chinese laundryman.
• 26:22
  Speaker 1: He smokes a pipe the bubbles and seems as far
• 26:24
  Speaker 1: as I can tell. A man with but few troubles.
• 26:28
  Speaker 1: He has much to do, no doubt, but also much
• 26:30
  Speaker 1: to think about. Most men, for instance, I myself, are
• 26:34
  Speaker 1: spending at all times, or are hot and quarters a
• 26:37
  Speaker 1: nickers and our dimes. With Mar Kwang, it's the other way.
• 26:41
  Speaker 1: He takes in small change every day. Next time you
• 26:44
  Speaker 1: call for colors in his stimulator shop. Observed how tight
• 26:48
  Speaker 1: his pigtail is quite and pot on top. But late
• 26:51
  Speaker 1: at night he lets it hang and thinks of the
• 26:53
  Speaker 1: Yangsu King and of Mar Kwang Chinese Laundryman to Fat
• 27:04
  Speaker 1: Little Pus by Christopher Morley. This liberworld's recording is in
• 27:09
  Speaker 1: the public domain. On Saturdays, after the baby is bathed,
• 27:13
  Speaker 1: fat and slipping serene, his mother, as quickly as may be,
• 27:17
  Speaker 1: arranges to have sir routine. She rapidly makes herself pretty
• 27:21
  Speaker 1: and leaves the young limb with his nurse. Then Gilly,
• 27:24
  Speaker 1: she starts for the city, and with her the fat
• 27:27
  Speaker 1: lit the purse. She trips through the crowd at the
• 27:29
  Speaker 1: station to the rendezvous spot where we meet, and keeping
• 27:33
  Speaker 1: her eyes from temptation, she avoids the most windowy street.
• 27:38
  Speaker 1: She is offered a weekly adventure to her comrade for
• 27:41
  Speaker 1: better and worse, she says, never mind, when you spend
• 27:45
  Speaker 1: your last bit. Is the fat little pursed a part
• 27:49
  Speaker 1: in her trifty extracur She has hidden what must not
• 27:52
  Speaker 1: be spent enough for the butcher and baker, Katy's wages,
• 27:56
  Speaker 1: and mutmen and wren. But the rest of her brave
• 27:59
  Speaker 1: little treasure she is gleeful and promptly disperse. But the
• 28:02
  Speaker 1: richness of innocent pleasure can come from her fat little purse.
• 28:06
  Speaker 1: But either by giving or buying the littlepus does not
• 28:10
  Speaker 1: stay fat. Perhaps it's a ragged child crying. Perhaps is
• 28:13
  Speaker 1: a pert's little hat. And the bonny brown eyes that
• 28:16
  Speaker 1: were brightened by pleasures so quaint and diverse look up
• 28:20
  Speaker 1: at me, fisful and frightened to see such a tin
• 28:23
  Speaker 1: little purse. The voices of all financiering is that which
• 28:27
  Speaker 1: is done by our wives, by some little non profiteering
• 28:30
  Speaker 1: the aad tooth and tooths I make fives. And husband,
• 28:34
  Speaker 1: if you were to be learning the secret of truth,
• 28:37
  Speaker 1: it is terts invest the great part of your earning
• 28:40
  Speaker 1: in her little, fat, little purst, and of the fat
• 28:45
  Speaker 1: little purs the reflection by Christopher Morley. This little was
• 28:55
  Speaker 1: recording as in the public domain. I have not heard
• 28:58
  Speaker 1: her voice, nor sent her face, nor touch her hands,
• 29:02
  Speaker 1: and yet some echo of her woman's grace. I understand.
• 29:05
  Speaker 1: I have no picture of her lovelihood her smell, her tint,
• 29:09
  Speaker 1: but that she is both beautiful and good. I have
• 29:11
  Speaker 1: true hint and order. My friend thinks and says, I
• 29:15
  Speaker 1: see her mirror. True He's thought of her as gentle.
• 29:18
  Speaker 1: She must be all gentle too, and all his grief,
• 29:22
  Speaker 1: all lofter work of lay, each mood and whim, her
• 29:25
  Speaker 1: brief and tender day by common day, she speaks true him.
• 29:29
  Speaker 1: Therefore I say I know her, be her face or
• 29:32
  Speaker 1: dark of air, For when he shows his heart's more
• 29:35
  Speaker 1: secret place, I see her there, and of the reflections.
• 29:46
  Speaker 1: The balloon Peddler by Christopher Morley. This Liperwox recording is
• 29:50
  Speaker 1: in the public domains. Who is the man on Chestnut
• 29:54
  Speaker 1: Street with colored toy balloons? I see him with his
• 29:58
  Speaker 1: very fright on sunny afternoons, A pazzler of such lovely goods.
• 30:02
  Speaker 1: The hard lips to behold his mass of barbles, writs
• 30:05
  Speaker 1: and greens, and blue and pink and gold. For sure
• 30:08
  Speaker 1: that noble peddler men have antique merchandise. His toyster flatten
• 30:13
  Speaker 1: swims in air attract my eager eyes. Perhaps he is
• 30:17
  Speaker 1: a changelingk prins with which dramatic mounds to time, a
• 30:20
  Speaker 1: solemn busy fook with meaningless balloons. We were a valiant merchantman, track,
• 30:25
  Speaker 1: cautious on the page, lest some day comes some release,
• 30:29
  Speaker 1: some haggard soil and grave. A puritan efficiencies who didn't
• 30:33
  Speaker 1: dye toys a sin. He stocked them madly from behind
• 30:36
  Speaker 1: and pricked them with a pint and of the Berlin
• 30:41
  Speaker 1: peddler lynes On on Eccentric's book plate by Christopher Morley.
• 30:51
  Speaker 1: The liper box recording is in the public domains. To
• 30:55
  Speaker 1: use my books of friends a bit. My shelves are
• 30:58
  Speaker 1: opened for them, and in each one, as groadlier did
• 31:01
  Speaker 1: I write a ami koramt All love, the things and
• 31:05
  Speaker 1: truth belong to him who best appoints them. The house,
• 31:08
  Speaker 1: the picture, and the song are his most enjoys them.
• 31:12
  Speaker 1: Perhaps this book holds precious law, and you may best
• 31:15
  Speaker 1: discern it if you appreciate it more than I? Why
• 31:19
  Speaker 1: don't return it? And applies for an eccentric's book Play
• 31:29
  Speaker 1: to a post office ink Well by Christopher Marley. This
• 31:33
  Speaker 1: Liberwok's recording is in the public domain. How many humble
• 31:37
  Speaker 1: hearts have dip in you enscribed the manuscript, have shared
• 31:40
  Speaker 1: their secrets, tell their cares, their curates and queen's affairs.
• 31:44
  Speaker 1: The pull of in your scratchy pants have both the
• 31:46
  Speaker 1: lives of unborn men and watch young people reading Hart
• 31:50
  Speaker 1: put Heavens on a poster card and after a post
• 31:54
  Speaker 1: office in well The Creep by Christopher Morley. This libervox
• 32:05
  Speaker 1: recording is in the public domain. I sought immortality here
• 32:09
  Speaker 1: and there I sent my rockets into the air. I
• 32:12
  Speaker 1: gave my name a hostage to ink a diacritic, and
• 32:15
  Speaker 1: brought him drink. I spurned the weariness of the flesh,
• 32:18
  Speaker 1: the night fatigue, and began afresh. If men knew all
• 32:22
  Speaker 1: how they would love, I even planned my epithet. And
• 32:25
  Speaker 1: then one night, when the dust was tinned, I heard
• 32:28
  Speaker 1: the nursery rits begin. I heard the tend disoothing state
• 32:32
  Speaker 1: over a creep and a small suite hate. Then in
• 32:34
  Speaker 1: the flesh it came to me that there was my immortality,
• 32:39
  Speaker 1: and of the creep the poet by Christopher Morley. This
• 32:48
  Speaker 1: libervox recording is in the public domain. The barren music
• 32:52
  Speaker 1: of a word of praise, the future arts of syllable
• 32:55
  Speaker 1: and stress. He sought the poetry of common days. He
• 32:58
  Speaker 1: did not guess the simpler, the sweetest rhythm's life affords,
• 33:01
  Speaker 1: unselfish love, true effort, truly done, the tender teams that
• 33:05
  Speaker 1: underlie all words. He knew not one, the human cadence
• 33:09
  Speaker 1: and the subter chime after the laughter's home and child
• 33:12
  Speaker 1: and wife. He knew not artist, merely in his rhyme
• 33:16
  Speaker 1: not in his life. And of the poet to a
• 33:25
  Speaker 1: discarded mirror by Christopher Morley. This Liperwox recording is in
• 33:29
  Speaker 1: the public domain. Dear glass, before your silver paint, my
• 33:34
  Speaker 1: lady used to tend her hair, And yet I searched
• 33:37
  Speaker 1: your desk in vain to find some shadow of her
• 33:40
  Speaker 1: Dare I thought your magic, deep and bright, might steal
• 33:43
  Speaker 1: some dear reflection hole, some glint of eyes or shoulders white,
• 33:47
  Speaker 1: some flash of gowns she wore of old. Your polished
• 33:51
  Speaker 1: realm must still recall the laughing face, the neck like snow.
• 33:54
  Speaker 1: Remember on your lonely war that Helen used you long ago.
• 33:59
  Speaker 1: And of to a discarded mirror, to ur char by
• 34:07
  Speaker 1: Christopher Morley. This Liberwox recording is in the public domain.
• 34:12
  Speaker 1: The greatest poem ever known is when all poets have
• 34:15
  Speaker 1: outgrown the poetry in need, until of being only four
• 34:19
  Speaker 1: years old, still young enough to be a part of
• 34:22
  Speaker 1: Nature's great impulsive heart. One comrade of bird beats, entry
• 34:26
  Speaker 1: and un self conscious as to be, and yet with
• 34:29
  Speaker 1: lovely reasons, skilled each day new paradise to build, and
• 34:33
  Speaker 1: let explorer of each sense without dismay, without pretense, in
• 34:37
  Speaker 1: your unstrange, transparent eyes. There is the conscience, no surprise,
• 34:41
  Speaker 1: Life's core conungrums. You accept your strange divinities still cap
• 34:46
  Speaker 1: being that not achorpts you all harmonious union integral will
• 34:50
  Speaker 1: shrink the perplexing beaks or contradictions of the weeds. And
• 34:55
  Speaker 1: life that says all things in rhyme may make you
• 34:58
  Speaker 1: poet too in time, but there were days of tender
• 35:01
  Speaker 1: earth when you're poetry itself enough to a child, to
• 35:13
  Speaker 1: a webbing young gentleman by Christopher Morley. This Lipywox recording
• 35:17
  Speaker 1: is in the public domain. My child, what painful wistars
• 35:21
  Speaker 1: are before you? What use of youthful eels and pangs
• 35:24
  Speaker 1: and bombs, indignities from ants who just adorn you? And
• 35:28
  Speaker 1: chicken pox and missus crooked and moms I don't mish
• 35:32
  Speaker 1: to dismay you. It's not fatal promoted enough a messner
• 35:35
  Speaker 1: to creep. But oh, my big, what troubles flash is
• 35:39
  Speaker 1: had to Since God wasmith so free with Adam's rib neboriously,
• 35:44
  Speaker 1: you will proceed with seeding. When teaths are here, you
• 35:47
  Speaker 1: meet the dentist's chair. They teach you ways of walking, eating,
• 35:51
  Speaker 1: breathing that stoves are hard, and how to brush your hair.
• 35:55
  Speaker 1: And so my poor undaunted little stripling, by bruces, teals
• 35:58
  Speaker 1: and trousers you will and borrowing a lid from mister
• 36:02
  Speaker 1: Kipling on which you luck and moralize you soul. If
• 36:06
  Speaker 1: you can take up seven thousand methods of giving cooks
• 36:09
  Speaker 1: a parents' heart disease, can rifle pantry shelves, and then
• 36:12
  Speaker 1: give death odds by water fly and falling out of trees.
• 36:16
  Speaker 1: If you can fill your every boyish minute with sixty
• 36:19
  Speaker 1: seconds both of mischief daunt Yours is the house and
• 36:22
  Speaker 1: everything that's in it, and which is small, you'll be
• 36:25
  Speaker 1: your father's son. And after a weay, young gentleman. To
• 36:36
  Speaker 1: an old fashioned poet by Christopher Morley. This Liberywox recording
• 36:40
  Speaker 1: is in the public domain. Most tend the poet. When
• 36:43
  Speaker 1: the gods confer to save your gris cell songs, and
• 36:46
  Speaker 1: look apart and blessed with times untainted lavender, the ageless
• 36:51
  Speaker 1: april of your singing heart, you in an ah unbrightened,
• 36:55
  Speaker 1: never decline the appointed patience that the muse decrease, until
• 37:00
  Speaker 1: in the flower of the mind the hovering was alike
• 37:03
  Speaker 1: like bright room bees by casual praise or casual blame,
• 37:06
  Speaker 1: unstir the pleasant God's grand gifts, where they belong to
• 37:10
  Speaker 1: you who understand the perfect word, the recompense necessities of
• 37:14
  Speaker 1: strong and up to an old fashioned poet. Burning Lives
• 37:24
  Speaker 1: in Spring by Christopher Morley. This Liberalal's recording is in
• 37:28
  Speaker 1: the public domain. When Wittard lives a lost and flame,
• 37:32
  Speaker 1: the edging goes a tin blue haze. The tree, the
• 37:35
  Speaker 1: tickets whence they came on Ambulus and autumn days. The
• 37:38
  Speaker 1: cool green woodland heart receives the diem dissolving phantom breath.
• 37:43
  Speaker 1: In young hereditary lives, they see the happiest life and
• 37:46
  Speaker 1: death My minutes perish as the glow time burns by
• 37:49
  Speaker 1: crazy bonfire crew, but goes of black and albus to
• 37:52
  Speaker 1: blow a turn of beauty back to you, and a
• 37:56
  Speaker 1: burning lives in Spring. Burning Lives November by Christopher Marley.
• 38:07
  Speaker 1: This Liberywox recording is in the public domain. These are
• 38:11
  Speaker 1: folumes of April, or the library of Spring. Missus gills
• 38:15
  Speaker 1: and repricated with the frost alumining ruthless, we destroy these treasures,
• 38:21
  Speaker 1: said the touch with pen profane gone Like Alexandrian Williams
• 38:25
  Speaker 1: like the books of bern Luvain. Yet these classics are immortal,
• 38:30
  Speaker 1: or collectors have no fear, for the publisher will issue
• 38:34
  Speaker 1: new editions every year. And of Burning Lives November a
• 38:45
  Speaker 1: Valentine game by Christopher Morley. This Liberywox recording is in
• 38:49
  Speaker 1: the public domain. They have the game task plate. He
• 38:53
  Speaker 1: says unto his mate, while are the shining things so browns?
• 38:57
  Speaker 1: The golden brown? And she end up replied, how nowward
• 39:01
  Speaker 1: shining things so brown? But then she coming near to
• 39:05
  Speaker 1: see more clear He looks again and cries or started
• 39:08
  Speaker 1: with surprise, sweet wretch, they are in your eyes so brown,
• 39:12
  Speaker 1: so brown. The climax and the end consists in kissing
• 39:16
  Speaker 1: and in being kissed, and of a Valentine game for
• 39:26
  Speaker 1: both day by Christopher Morley. The slipper Box recording is
• 39:29
  Speaker 1: in the public domain. At two years old, the world
• 39:33
  Speaker 1: he sees must expressly make to please such new forwards
• 39:37
  Speaker 1: and games, to try such sudden mirth. He knows not
• 39:40
  Speaker 1: why so many curiosities its life about him by degrees
• 39:44
  Speaker 1: discloses all its pageantries. He watches with approval. Shy at
• 39:48
  Speaker 1: two years old, with one thiss tired, he takes his
• 39:52
  Speaker 1: ease and dust upon his mother's knees. A little love,
• 39:55
  Speaker 1: a little cry, put toys the bed and stippy by
• 39:58
  Speaker 1: the world is made of s as this at two
• 40:01
  Speaker 1: years old and a four birthday Kids by Christopher Morley.
• 40:12
  Speaker 1: This Liberwrock's recording is in the public domain eighteen twenty
• 40:16
  Speaker 1: one to nineteen twenty one. When sometimes on the moony night,
• 40:20
  Speaker 1: I've passed a streetlamb seen my double shadowfly. I've noticed
• 40:24
  Speaker 1: how much darker clearer costs the full moon port her
• 40:27
  Speaker 1: silhouette of me, just soo of spirits, beauty, sibil like limits,
• 40:32
  Speaker 1: the ray more pure and tenderer too. Men's clumsy gestures
• 40:36
  Speaker 1: to unearthly sights surpassed the ships they showed by human
• 40:40
  Speaker 1: view on this brace book, where few such meteors fell
• 40:44
  Speaker 1: her youngest son to save us, beauty flong, he suffered
• 40:47
  Speaker 1: and descended into hell and comforts. Yet the arden and
• 40:50
  Speaker 1: the young, drunken of moonlight, dazed by drops of sky,
• 40:54
  Speaker 1: the civil stars, his mortal fevern, his utterance and moon
• 40:58
  Speaker 1: enchanter cry not free from folly, for he too was
• 41:02
  Speaker 1: men and now and here a hundred years away my
• 41:06
  Speaker 1: topmas towers shadow golden streets. The young men sit look
• 41:10
  Speaker 1: in a cheap cafe, perfectly happy, talking about kids and
• 41:15
  Speaker 1: of kids to H. F. M. A Sonnet and Sunlight
• 41:24
  Speaker 1: by Christopher Marley. This Liriwark's recording is in the public domain.
• 41:30
  Speaker 1: This is a day for sonnets, or how clear our
• 41:32
  Speaker 1: slandid cliffs and subjects live the gates. If all the
• 41:36
  Speaker 1: perfect moments after year were poured and gathered in one
• 41:39
  Speaker 1: sudden blaze, then then, perhaps in some endowed phrase, my
• 41:43
  Speaker 1: flat strewn woods would rise and come on you to
• 41:46
  Speaker 1: tell of you your beauty, and your praise would fall
• 41:49
  Speaker 1: at sunlight on this paper here. Then I would build
• 41:52
  Speaker 1: a SunNet that would stand proud and paranel on this
• 41:56
  Speaker 1: pure bright sky, so tall, so steep, that it might
• 41:59
  Speaker 1: stay the hand of time. The dusty wreckle he would
• 42:02
  Speaker 1: sigh to tell a strong woodstow, and he would say
• 42:05
  Speaker 1: that some he builds for her one summer day and
• 42:09
  Speaker 1: after h F M. A Sonnet in Sunlight Quickening my
• 42:18
  Speaker 1: Christopher Morley. This liberal works recording is in the public domain.
• 42:24
  Speaker 1: Such little puny things are words in rhyme for fever,
• 42:27
  Speaker 1: loops and strokes, as fraud as hairs. You sit and
• 42:30
  Speaker 1: printed here, and marck the chime, and tend to your
• 42:33
  Speaker 1: more durable affairs. Yet on such pettitudes the poet does
• 42:37
  Speaker 1: to run his rays with motor bricks and lime, and
• 42:40
  Speaker 1: draws his froil stick to the point and stairs to
• 42:43
  Speaker 1: aim his arrow at the heart of time, intangible yet pressing,
• 42:47
  Speaker 1: having in the measure emptiness engulfs us all. And yet
• 42:51
  Speaker 1: he points his paper javelin and sees it eddy waverturned
• 42:55
  Speaker 1: and fore and feels between delight and trouble torn. The
• 42:59
  Speaker 1: stirring of a sonnets still unburned, and of quickening at
• 43:09
  Speaker 1: the window sill by Christopher Morley. This Liverwalk recording is
• 43:13
  Speaker 1: in the public domain. To write a sonnet needs a
• 43:17
  Speaker 1: quiet mine. I paused upon the try again to ride,
• 43:21
  Speaker 1: raising the sash. I breathed the winter night papers and
• 43:24
  Speaker 1: small hot rooms or less behind against the godsly purple
• 43:28
  Speaker 1: writ and spinned with golden slots and water braille of light.
• 43:32
  Speaker 1: Men's cages loom down, sliding from a height, and elevator
• 43:36
  Speaker 1: wing as it decline. Coward, there is no quid in
• 43:40
  Speaker 1: the brint. If petty burns and not the beauty will tinder?
• 43:44
  Speaker 1: Is it for every blowing spot on certain whether this
• 43:47
  Speaker 1: is blits or paint. The unresting minle gaze across the
• 43:50
  Speaker 1: sill from high apartment windows in the dark, and not
• 43:55
  Speaker 1: at a window sill. The River of Light by Christopher Morley.
• 44:05
  Speaker 1: This lip box recording is in the Public Domains, Part
• 44:08
  Speaker 1: one Broadway hundred and thirty ninety sixth lights fam and
• 44:13
  Speaker 1: marvel down, the gentle grate, bright shiny chop, suis and
• 44:16
  Speaker 1: rotis tries in pink, trans lucent glowingly displayed see chemistal
• 44:21
  Speaker 1: and stocking and Chemies delicatessen windows four cheese above, the
• 44:26
  Speaker 1: chimes of church bells tall and fade, and then from
• 44:30
  Speaker 1: off some distant palaces, the gluey saver of the Jersey breeze.
• 44:35
  Speaker 1: The burning bobs in greens and white and rings spell
• 44:37
  Speaker 1: out a change of program Sunday, Wednesday Friday. A clicking
• 44:42
  Speaker 1: taxi spins with ruby's bark. There is a sense of
• 44:45
  Speaker 1: poison near the head of some great flume of brightness
• 44:48
  Speaker 1: flowing by to pour in gathering rrent through the dark
• 44:54
  Speaker 1: Part two below, ninety sixth. The current quickens and in
• 44:58
  Speaker 1: golden flow harris its flow wotsom downward through the night.
• 45:01
  Speaker 1: Here are the rapids by the undertoe with endless motels
• 45:05
  Speaker 1: in the gleaming flight from lacing tributaries left and right
• 45:09
  Speaker 1: influenced streams of blue and Ambergrow Columbus circle addies. All
• 45:13
  Speaker 1: below is pouring flames a gotch of broken light. See
• 45:16
  Speaker 1: how the burning river boys in speed channel by cliffs
• 45:19
  Speaker 1: of insane Jewbree painting a rosy roof on cloudy air,
• 45:23
  Speaker 1: and just about ten minutes after it causing a surf
• 45:26
  Speaker 1: of color to the sky, it bursts in cataracts upon
• 45:29
  Speaker 1: Times Square and of the River of Light of a
• 45:40
  Speaker 1: Glorious Madness by Christopher Morley. This Liberwalk's recording as in
• 45:44
  Speaker 1: the public domain. The city is mated through her prodigious
• 45:49
  Speaker 1: wind w errant strange eccentric humans. True day when the
• 45:52
  Speaker 1: cataracts of sunlight spilled night Golden panned with her window
• 45:56
  Speaker 1: panes the towns of Winblan skirts, and who can drill
• 45:59
  Speaker 1: for ever while he fields hut with checking reins cruel
• 46:02
  Speaker 1: and mad? My statisticians say, ah, but she raised in
• 46:06
  Speaker 1: such a gallant way, raised madness, beautiful beauty and the
• 46:10
  Speaker 1: sun in such a town. Who can't be saint? Not
• 46:13
  Speaker 1: I of clashing collars. All her moods are spun a
• 46:16
  Speaker 1: scarlet anger and a golden cry, this frantic town where
• 46:20
  Speaker 1: mad captains jeeves run. They asked to take the wills
• 46:23
  Speaker 1: and be an aunt and of offer glorious madness In
• 46:33
  Speaker 1: an auction room by Christopher Marley. Thatsly be work's recording
• 46:37
  Speaker 1: isn't the public domain? Lets off John Kiss to Fanny
• 46:40
  Speaker 1: Brown and the Galleries. March fifteen, nineteen twenty. The doctor A. S. W. Rosenborg.
• 46:48
  Speaker 1: How about this lot, said the auctioner, one hundred May
• 46:52
  Speaker 1: I say, just for a start Between the plum gray
• 46:54
  Speaker 1: curtains drawn apart, a written sheet was held, and strange
• 46:58
  Speaker 1: to hear dearer, would I will steadfast stout arch? The
• 47:01
  Speaker 1: cold quick beats against you in the rear. The crimson
• 47:05
  Speaker 1: salon is a glow more clear born blood like purple
• 47:08
  Speaker 1: as the poet's heart song that outrow the singer, bitterlers
• 47:12
  Speaker 1: that broke the proud hot heart, A tel in traw
• 47:15
  Speaker 1: poor script were still the stragic passion smooth. A hundred
• 47:19
  Speaker 1: bits there morning the last call the sol of Adorne
• 47:23
  Speaker 1: like a star silver eight hundred dollars, doctor r And
• 47:29
  Speaker 1: of a an option room A bit the fourth poets
• 47:37
  Speaker 1: who wrote no poetry by Christopher Marley. This Libervox recording
• 47:42
  Speaker 1: is in the public domain. It is said that the
• 47:45
  Speaker 1: poet has died young in the breast of the most dolt,
• 47:49
  Speaker 1: Robert Louis Stevenson. But was the service of this poet,
• 47:54
  Speaker 1: he who blamed the blinding desires that runt when life
• 47:57
  Speaker 1: profost its addres to the suns, and still suspected much
• 48:01
  Speaker 1: he could not see claifed out Yet in his taciturnity
• 48:05
  Speaker 1: the lady win of glory known to none, and mods
• 48:08
  Speaker 1: of secret, smiling only one when peace and passion, timon
• 48:12
  Speaker 1: sence agreed, fighting the boy he loved for chance, the brute,
• 48:16
  Speaker 1: ignoring when to embrace, when to avoid his loaves that
• 48:19
  Speaker 1: held him in the whiter clutch. This was his service,
• 48:22
  Speaker 1: his beatitude, This was the injured trouble he enjoyed, who
• 48:26
  Speaker 1: knew so little and who felt so much. And epita
• 48:31
  Speaker 1: for a poet who wrote no poetry, Summed by a
• 48:39
  Speaker 1: geometer by Christopher Marley. This Liberrock's recording is in the
• 48:43
  Speaker 1: public domain. The circle few things are perfect, we bear
• 48:49
  Speaker 1: even scar Yet forty men was godlike in design that
• 48:54
  Speaker 1: they went first with taken lang of tint. He drew
• 48:57
  Speaker 1: me on the stand. Then one could mark his joy
• 49:00
  Speaker 1: the obedient mystic line, and then, computing with stil divine,
• 49:04
  Speaker 1: he caught pie three point one four one five nine
• 49:08
  Speaker 1: and knew my lovely circuit two pi r. A circle
• 49:11
  Speaker 1: is a happy thing to be. Think how the joyful
• 49:14
  Speaker 1: perpendicular erected at the keys of tendency must mean my
• 49:18
  Speaker 1: central point, my alpatar. They talk of fourteen points, yet
• 49:22
  Speaker 1: only three determine every circle q e D. And of
• 49:27
  Speaker 1: sonnets by a geometer to a water will terrios then
• 49:36
  Speaker 1: on a ledge in the park by Christopher Morley Dusley.
• 49:39
  Speaker 1: Work's recording is in the public domain. Three times a
• 49:43
  Speaker 1: day at two and seven at night a terrier, you
• 49:46
  Speaker 1: play your little part, absurd and cold and skirt you
• 49:49
  Speaker 1: push a card within the anguish for a tight rope.
• 49:52
  Speaker 1: Line up there before the hot and dazzling shy. You
• 49:56
  Speaker 1: must be rigid ser vant of your art. Now watch
• 49:59
  Speaker 1: these flovicas your doggie shot might live and then betray
• 50:02
  Speaker 1: you with a wine. But sometimes when you faithfully rehearse,
• 50:06
  Speaker 1: your trainer takes you walking in the park, straining to
• 50:09
  Speaker 1: sniff the grass. To chase a frog the leech you sleep,
• 50:12
  Speaker 1: and then you joy with birds. Adorable it is to
• 50:15
  Speaker 1: run and balk, to be a last, how seldom just
• 50:18
  Speaker 1: the dog and of the Waterviell terriers sit on a
• 50:22
  Speaker 1: ledge in the park. See when old Friend my Christopher Morley.
• 50:30
  Speaker 1: This liberwork's recording is in the public domains. I like
• 50:35
  Speaker 1: to dream of some established spot where you and I
• 50:38
  Speaker 1: old friend, and is isning through under Tobacco's folk Street.
• 50:41
  Speaker 1: Gray and blue might reconsider Laughter's unforgot with sid a
• 50:45
  Speaker 1: half glow, golden, clean heart. I'll hear you tell the
• 50:48
  Speaker 1: auditors when do the clock would take and we would
• 50:51
  Speaker 1: sit to be two life holds such meetings for us?
• 50:54
  Speaker 1: Does it not happy and meant? When they have learned
• 50:57
  Speaker 1: the price to show unmonish virtue of their friends, the
• 51:01
  Speaker 1: unchanged kindness of a well known face on all fidelities
• 51:05
  Speaker 1: on wood pants and runs, a simple colt and honest
• 51:08
  Speaker 1: wise not a mere taxi cab shot wil to spaced
• 51:12
  Speaker 1: and after an old friend. The Relaque Brett by Christopher Morley.
• 51:22
  Speaker 1: These lie Brox recordings in the public domains. Upstairs the
• 51:26
  Speaker 1: Great hard Shaft Bysikoia Squawk in two thousand words of
• 51:30
  Speaker 1: orange glare. You came an imprudent induced maker, danced by
• 51:33
  Speaker 1: the gotto flame with foot like fire flung from the road,
• 51:37
  Speaker 1: spots written yellow burned, and followed you the blatant, brassy
• 51:41
  Speaker 1: clang of instruments drawn out the woods you sank, but
• 51:44
  Speaker 1: goldedly you capered to it and turned bois and slender, charling,
• 51:48
  Speaker 1: quick and proud, a spite of irresistible disdain fere as
• 51:51
  Speaker 1: a John coul in an apron ring, you seemed to
• 51:54
  Speaker 1: sweet an inn for that dull crowd. And then behind
• 51:57
  Speaker 1: the scenes I heard you say, oh God, I got
• 52:00
  Speaker 1: a hairlish coat to day, And of the blesque siprette
• 52:10
  Speaker 1: Todds More. Packing a trunk by Christopher Morley. This liberroxter
• 52:14
  Speaker 1: carding is in the public domains. The sunnd is a trunk,
• 52:18
  Speaker 1: and you must pack with care to ship throw baggage
• 52:20
  Speaker 1: far away. The octap is the trunk systack. The tree
• 52:24
  Speaker 1: tight when not overloaded, is the neck first at the bottom.
• 52:27
  Speaker 1: Have be tauted your stack, and in the chains your adjectives.
• 52:30
  Speaker 1: You lay your frieze as fultnately as you may, stealing
• 52:34
  Speaker 1: a syllable in every crack. Then in the train. Your
• 52:37
  Speaker 1: daintiest stuff is hid, the tender quatrained by your moral things.
• 52:41
  Speaker 1: Be careful, though less as you close to it, you
• 52:43
  Speaker 1: crush and crumple all these frasure things. Your couplet snaps
• 52:47
  Speaker 1: the habs and turns the key ship to the editor.
• 52:50
  Speaker 1: Musk c. O. D. And if Todsmire packing a trunk.
• 53:00
  Speaker 1: Streets by Christopher Marley, These limber rocks, recordings and the
• 53:04
  Speaker 1: public domains. I have seen streets by strange enchantment brutes,
• 53:09
  Speaker 1: already houses by the morning shown and simply caiet on
• 53:12
  Speaker 1: their tranquil moods across the sills, white curtains outward bloond
• 53:17
  Speaker 1: the marble steps were scored as wide as bonge, with
• 53:19
  Speaker 1: scrubbing housemates toied unwoundedly. And yet among all streets that
• 53:24
  Speaker 1: I have known, these pleasant byways, give this peace to me.
• 53:28
  Speaker 1: In such a house where green light shining through from
• 53:31
  Speaker 1: some back garden framed her silhouette, I saw a girl
• 53:35
  Speaker 1: heard music, blithly song, she stood the laughing in the
• 53:38
  Speaker 1: dress of blue. And as I went on slowly there
• 53:41
  Speaker 1: I met an old, old woman who had once been young,
• 53:44
  Speaker 1: and no streets to the only Bagetta by Christopher Marley.
• 53:54
  Speaker 1: This liber Rox recording is in the public domains. I
• 53:57
  Speaker 1: have no hope to make you live in rhyme or
• 53:59
  Speaker 1: with still beauty and reach the years. Enough for me
• 54:02
  Speaker 1: this now, this present time, the greater claim for greatest Sonatius.
• 54:06
  Speaker 1: But oh how copetuous I am of now dear human
• 54:10
  Speaker 1: minutes marked by human pains. I want to know your
• 54:13
  Speaker 1: lips you'll shake, your brow, and all the miracles your
• 54:15
  Speaker 1: heart contains. I wish to study all your changing face,
• 54:19
  Speaker 1: your eyes divining her with tenderness. I hope to win
• 54:22
  Speaker 1: your dear unstinted grace for these blunt rhymes and what
• 54:25
  Speaker 1: they would express. Then may you say, when others better
• 54:29
  Speaker 1: prove that's what the star our read he is for
• 54:31
  Speaker 1: his love. When all my trivial rhymes are blotted out,
• 54:35
  Speaker 1: vanish all days so precious and so filled. If some
• 54:38
  Speaker 1: she wondered what we were about, and what the little
• 54:41
  Speaker 1: happenings we knew, I wish they might know how night
• 54:44
  Speaker 1: by night my pencil, having in the sleepy hours, sought
• 54:48
  Speaker 1: vainly for some gracious way to write how much this
• 54:51
  Speaker 1: love is ours and oddly ours, How many innings as
• 54:54
  Speaker 1: you draws to sleep, I read to you by Towney
• 54:57
  Speaker 1: can the glow and watch you down the valley, demand
• 54:59
  Speaker 1: day my puppies and april flowers grow. Then knelt beside
• 55:03
  Speaker 1: your pillow with a prayer and love the breath of
• 55:06
  Speaker 1: pencils in your hair, and up to the oddly begetta
• 55:16
  Speaker 1: her Dormeter by Christopher Morley, The liverer work's recordings in
• 55:20
  Speaker 1: the public domain. My TODs spit out in Sonnets while
• 55:23
  Speaker 1: I walk, and every evening on the Homewood Street, I
• 55:26
  Speaker 1: find the rhythm of my marching feet drops into waltzes,
• 55:30
  Speaker 1: though the rhine main bark. I think the sonneteers were
• 55:33
  Speaker 1: walking men. The farm is dull and rigid, like a clamp,
• 55:36
  Speaker 1: but with the swing of lakes, the tram tram tram
• 55:39
  Speaker 1: of syllables begins to tart and then lo while you
• 55:42
  Speaker 1: sick a ride for hook or crook. She had your
• 55:44
  Speaker 1: chevy coat, and you are kissed to all great war
• 55:47
  Speaker 1: and singers, Meredith and Shakespeare, Woodsworth, kiss and Rupert Brook.
• 55:52
  Speaker 1: Free words is poor for walking, but the Sonnets or
• 55:54
  Speaker 1: marvelous to strike and brood upon it and of pedometer
• 56:05
  Speaker 1: hostages by Christopher Morley. This liverwork's recording is in the
• 56:08
  Speaker 1: public domain. He that hers wife and children has given
• 56:12
  Speaker 1: hostages to fortune vacons, I use fortune, thou hast hostage
• 56:17
  Speaker 1: of my best ah there was once so heedless of
• 56:19
  Speaker 1: that frown. Have armed the keepopee to strike me down,
• 56:23
  Speaker 1: have given deeplas to her against my breast. My virtue
• 56:26
  Speaker 1: there was once all self possessed, is pazzled up in
• 56:29
  Speaker 1: little hands and brown bright eyes, and in a sleeping
• 56:32
  Speaker 1: baby scowl to threaten this be put me to the test, sure,
• 56:36
  Speaker 1: since there are these pitiful fortunes upon the makeshift armor
• 56:40
  Speaker 1: of my heart for thee no honor lies in such
• 56:43
  Speaker 1: a fight. And thou woult shame to vanquish one's meetings?
• 56:46
  Speaker 1: Who came away with such a painful step to hear
• 56:49
  Speaker 1: the coughing of a child at night and a hostagest
• 57:00
  Speaker 1: ours Dura by Christopher Morley, These liberywork's recordings in the
• 57:04
  Speaker 1: public domain. How many evenings walking soberly along our street,
• 57:08
  Speaker 1: or dappered with rich sun, I kissed myself with words unhappily,
• 57:13
  Speaker 1: time rhymes, the footfalls, planning howdran And yet when midnight
• 57:17
  Speaker 1: comes and paper lies cleaned white, receptive, all that one
• 57:20
  Speaker 1: can ask at last by draws the spirit, weary eyes
• 57:23
  Speaker 1: and traitor hand that feels the bowl of tasks. Who
• 57:26
  Speaker 1: ever learned the Sonnet's bittercraft, but he had put away
• 57:29
  Speaker 1: his slip, his ease, the why he loved the man
• 57:32
  Speaker 1: with whom he loved to breed upon such tangless tricks
• 57:35
  Speaker 1: as this, And yet such joy does in dut kraft alike.
• 57:38
  Speaker 1: He greets the paper as a groom the bride, and
• 57:41
  Speaker 1: of ours dura, Oh Henry apoter carry by Christopher Morley.
• 57:51
  Speaker 1: This liberywork's recording is in the public domain, Oh Henry,
• 57:55
  Speaker 1: oncefull in a drug store in Greensboro, North Carolina, when
• 57:59
  Speaker 1: once some measure can for glacerine, quenin and potage, peppermine
• 58:03
  Speaker 1: in bars and all the oil essences so keen that
• 58:07
  Speaker 1: drug is kipping rows of stoppard jars, now a blended
• 58:10
  Speaker 1: of strange drugs. Momolotar, the master pacis of joy and pain,
• 58:14
  Speaker 1: dispenses sadness, tintured with a smile and laughed the dissolves
• 58:17
  Speaker 1: in tears again a brief apoth carry you who knew
• 58:21
  Speaker 1: what dart acid dosus life prefers, And yet with friendly
• 58:25
  Speaker 1: face resolved the room, the sparkling portions of your customers.
• 58:29
  Speaker 1: In each prescription, your physician bid you poured your rich
• 58:32
  Speaker 1: compassion and your beat and of O. Henry Apoth carry
• 58:42
  Speaker 1: For the Centenary of Kid's Sonnets by Christopher Marley. The
• 58:45
  Speaker 1: liperwork's recordings in the public domain eighteen sixteen. On first
• 58:50
  Speaker 1: looking into Chapman's homer, I knew scientists and engineers stand
• 58:54
  Speaker 1: of tensor strength and calculuts a man to leave a cantileveratrust,
• 58:57
  Speaker 1: and always bore a pencil on his ear. My friend
• 59:00
  Speaker 1: believe the poets overcol and literary f ridiculous. But one night,
• 59:05
  Speaker 1: when he chanced that tree of us were reading kids aloud,
• 59:07
  Speaker 1: he stop to hear No. A new planet swum into
• 59:10
  Speaker 1: his can. His eager mine reached for it and took
• 59:13
  Speaker 1: hold ten years. Aby, I see him now and then,
• 59:16
  Speaker 1: and at alumni dinners, if cadualed, he mumbles gravely to
• 59:19
  Speaker 1: the cheering man. Much have I traveled in the rims
• 59:22
  Speaker 1: of gold? And for the Centenary of Kid's Sonnet Two
• 59:31
  Speaker 1: o'clock by Christopher Morley. This liper Rox recording is in
• 59:35
  Speaker 1: the public domains. Night after night goes by, and clock
• 59:38
  Speaker 1: still chime and starts are changing patterns in the dark
• 59:42
  Speaker 1: and watches ticket over points time, benowns, the eager brain,
• 59:45
  Speaker 1: the dogs that bark, the trains that roll and ratted
• 59:48
  Speaker 1: in the night, the bobby cats, the prowl or quiet
• 59:50
  Speaker 1: fine and lift the darkness, empty, sullen quiet slip comes
• 59:54
  Speaker 1: to crawl from the fretting mine. So all things end,
• 59:57
  Speaker 1: and what is left at last? Some scribbled sonnets upon
• 1:00:00
  Speaker 1: the floor, A memory of easy days gone, pass around now,
• 1:00:04
  Speaker 1: watched a pipe, some clothes before and in the darking room,
• 1:00:06
  Speaker 1: I need to know how warm her dreamless breath does,
• 1:00:09
  Speaker 1: pause and slow, and of two o'clock The Commercoe Traveler
• 1:00:20
  Speaker 1: by Christopher Morley. This Rewark's recording is and the public domained. Ah,
• 1:00:25
  Speaker 1: very sweet. If news should come to you some afternoon,
• 1:00:28
  Speaker 1: while waiting for our ears, that the great manager had
• 1:00:31
  Speaker 1: made me leave to travel on some territory in New
• 1:00:34
  Speaker 1: and that whatever homeward windstep blue, I could not touch
• 1:00:37
  Speaker 1: your hand again, nor his the locks upon our heads,
• 1:00:40
  Speaker 1: and bait you waze some wistful till before the flames
• 1:00:43
  Speaker 1: that grew, and when the seventies had ceased, blind your
• 1:00:47
  Speaker 1: pansy eyes. I wondered if you could remember rightly and
• 1:00:50
  Speaker 1: forget the right remember just your leg uncozly good forgetting
• 1:00:54
  Speaker 1: what he feels a sleiner spite, could you remember him
• 1:00:57
  Speaker 1: as always kind not the commercial traveler. The Wedded LOVERO
• 1:01:08
  Speaker 1: by Christopher Morley. This Liberlox recording is in the public domain.
• 1:01:12
  Speaker 1: I retten our old journals, of the days when our
• 1:01:15
  Speaker 1: first love was a pursuit anew, how fat it blossomed,
• 1:01:19
  Speaker 1: and the rooted grew despite advers time and our means,
• 1:01:22
  Speaker 1: and mooning stars and beauty beyond priests then vergeon all
• 1:01:26
  Speaker 1: about us, gold and blue, the heaven archs in, and
• 1:01:29
  Speaker 1: all we knew was gentleness. We walk on happy ways
• 1:01:32
  Speaker 1: they sit by now the power would be more steep
• 1:01:35
  Speaker 1: the sunsets pillar unless mild the air rightly we heed
• 1:01:39
  Speaker 1: it not it was not true. We will not tell
• 1:01:41
  Speaker 1: the secret that it keeps. I know not tell I
• 1:01:44
  Speaker 1: thought you stay Solfare this being so much fairer spent
• 1:01:47
  Speaker 1: with you? And of the wedded laver? To you? Remembering
• 1:01:58
  Speaker 1: the Pause? By Christopher Morley. This liber Ox recording is
• 1:02:01
  Speaker 1: in the public domains. When we were parted, sweet and
• 1:02:05
  Speaker 1: darkness came. I used to strike a match and hold
• 1:02:08
  Speaker 1: a flame before your picture, and would breathless mark the
• 1:02:11
  Speaker 1: answering glimmer of the tiny spot that brought to life
• 1:02:14
  Speaker 1: the magic of your eyes that bits for tenderness their
• 1:02:17
  Speaker 1: glad surprise, Holding the mimic touch before your shrine. I
• 1:02:21
  Speaker 1: used to light your eyes and make them mind, watch
• 1:02:24
  Speaker 1: them like stars in the lonely sky, whisper my heart
• 1:02:26
  Speaker 1: out yearning for a reply. Summon your lips from far
• 1:02:30
  Speaker 1: across the sea, bidding them leave a toilet, hover with me. Then,
• 1:02:35
  Speaker 1: when the match was shrived into gloom, lo you walk
• 1:02:38
  Speaker 1: with me in the darkened room, and up to you,
• 1:02:41
  Speaker 1: remembering the past. Charleston Mary by Christopher Morley. This liberyvox
• 1:02:51
  Speaker 1: recording is in the public domain. December to the seven,
• 1:02:54
  Speaker 1: eighteen to the fall Lamb died just before I left town,
• 1:02:57
  Speaker 1: and mister Rwight of the East India House, when I
• 1:03:00
  Speaker 1: extras notify it to me, he said, Miss Elmos resigned
• 1:03:03
  Speaker 1: and composed at the event, but it was from her
• 1:03:05
  Speaker 1: melody Danny maul type, so that when she saw her
• 1:03:08
  Speaker 1: brother did she observed on his beauty when asleep and
• 1:03:11
  Speaker 1: apprehended nothing Further Letter of John Rickman twenty fourth January
• 1:03:16
  Speaker 1: eighteen thirty five. I hear the voice is still the
• 1:03:19
  Speaker 1: stammering one struggling with some absurdity of Jess. Her quaint
• 1:03:24
  Speaker 1: was departed and protest against the latest outrage of his
• 1:03:27
  Speaker 1: fun The why is so simple? Had she never guessed
• 1:03:30
  Speaker 1: that true his love to look and terrorrant? For when
• 1:03:33
  Speaker 1: her trouble came in dukness press, he smiled and thought
• 1:03:36
  Speaker 1: her madness with a pond through all the things. It
• 1:03:39
  Speaker 1: was his task to keep her gentle heart serenely mystified.
• 1:03:43
  Speaker 1: If fits an artist, this should be his pride. When
• 1:03:46
  Speaker 1: in the Christmas season he laid it, she innocently looked.
• 1:03:49
  Speaker 1: I always said that Charles is really handsome when asleep.
• 1:03:54
  Speaker 1: And of Charles and Mary to a Grandmother by Christopher Morley.
• 1:04:03
  Speaker 1: This Liberywox recording is in the public domain. At six
• 1:04:07
  Speaker 1: o'clock in the evening, the time for lullabies, my son
• 1:04:10
  Speaker 1: lay on my mother step with sleepy, sleepy eyes, of
• 1:04:13
  Speaker 1: drowsing little many boy, with sleepy sleepy eyes. I heard
• 1:04:17
  Speaker 1: her sing and rock him, and the creak of the
• 1:04:19
  Speaker 1: swing chair, and all dear candands off the woods came
• 1:04:21
  Speaker 1: softly down the stairs, and all the youths had vanished,
• 1:04:25
  Speaker 1: all folley, green and stink, the old old song, the
• 1:04:28
  Speaker 1: creaking chair, the Juri's arms again, or lucky little many
• 1:04:31
  Speaker 1: boy to fill the arms again and after Grandmother Thearis
• 1:04:41
  Speaker 1: by Christopher Morley. The Libri rox recording is in the
• 1:04:44
  Speaker 1: public domain. The catalog that minutes now now now is
• 1:04:49
  Speaker 1: actual and mid the fugitive taking and pant, they say,
• 1:04:53
  Speaker 1: for that is health which snare this flying life admitted
• 1:04:56
  Speaker 1: lives so to their little pictures and deceive the happiness
• 1:05:00
  Speaker 1: fields turned by the plow, the afterglow, the summer sunset, skiffs,
• 1:05:04
  Speaker 1: the raised the concave of a great ship's bowl, a
• 1:05:07
  Speaker 1: gallant instinct, folly for a man's mirth. Tuck cannot burnt
• 1:05:11
  Speaker 1: and sparkle on the page. No glittering ink can make
• 1:05:14
  Speaker 1: this written wood shy clear enough to speak the noble,
• 1:05:17
  Speaker 1: rich and instancy of life. All sonnets blurred, the sudden
• 1:05:21
  Speaker 1: mood of truth that gives them birth and of Diarist
• 1:05:30
  Speaker 1: The Last Sonnet by Christopher Morley. This Libriwok's recording is
• 1:05:35
  Speaker 1: in the public domain. Suppose one knew that never more
• 1:05:39
  Speaker 1: might want footpant the sonnet well of task than now
• 1:05:42
  Speaker 1: the fortune lines for all he could allow to see
• 1:05:45
  Speaker 1: his message before ever done. How he would scan the
• 1:05:49
  Speaker 1: word the line, the rhyme intended some indarly chosen phrase
• 1:05:53
  Speaker 1: to bring the trees the beauty of his days, lives
• 1:05:56
  Speaker 1: fright and pay tolls, and one was sublime. How bitter
• 1:05:59
  Speaker 1: then would be regret on pang, for former rhymes be
• 1:06:02
  Speaker 1: deled to refine for every words that was not crystalline,
• 1:06:06
  Speaker 1: And if belike this last month fibly rang, honor and
• 1:06:09
  Speaker 1: pride were cast it to the floor, facing the judge
• 1:06:11
  Speaker 1: with what was done before and of the last sonnet
• 1:06:21
  Speaker 1: The Savage by Christopher Marley. This Liper Rocks recording is
• 1:06:24
  Speaker 1: in the public domain. Civilization casts me alternate fits, disgusting glee,
• 1:06:31
  Speaker 1: buried in pounds of glass, and stoned. My private spirit
• 1:06:34
  Speaker 1: moves alone, but every day from eight to six I
• 1:06:37
  Speaker 1: keep alive by hasty tricks. But I am simple in
• 1:06:40
  Speaker 1: my soul. My mind is sullen to control at thus
• 1:06:43
  Speaker 1: a smell oft center of both. And I am dumb too,
• 1:06:46
  Speaker 1: glad for merth. I know the sabler's night can give,
• 1:06:49
  Speaker 1: and then and then I live. I live. No man
• 1:06:52
  Speaker 1: is holly pure and free, for that is not his destiny.
• 1:06:55
  Speaker 1: But though I bed, I will not break and still
• 1:06:57
  Speaker 1: be savage for troops, sick god dams easily convinced like
• 1:07:01
  Speaker 1: pilot when these hands he rings. And of the savage
• 1:07:11
  Speaker 1: Saint Paul's and Woolworth's by Christopher Marley. This Libery Rocks
• 1:07:15
  Speaker 1: recording is in the public domains. I stood on the
• 1:07:18
  Speaker 1: pavement where I could admire behind the brown chapel, to
• 1:07:22
  Speaker 1: cream and gold spire a both gilded lightning somewm high
• 1:07:26
  Speaker 1: on his ball, I saw the new shadow of the
• 1:07:28
  Speaker 1: church of Saint Paul, And what was their meaning? My
• 1:07:31
  Speaker 1: fancy would run Saint Paul in the shadow, Saint Frank
• 1:07:34
  Speaker 1: in the sun, and of Saint Paul's and woolworth add
• 1:07:44
  Speaker 1: twice to the city by Christopher Marley. This Lipy Rocks
• 1:07:47
  Speaker 1: recording is in the public domain. Old City Cachia poets
• 1:07:51
  Speaker 1: hemmed them in and roofed them over from the april sky,
• 1:07:55
  Speaker 1: clattered them round with bebel sizlesstin and drown their voices
• 1:07:59
  Speaker 1: with your tongue. The cry forbid the free feet on
• 1:08:02
  Speaker 1: the windy heels, and harness them to daily breads of
• 1:08:04
  Speaker 1: stone and Florie's windows locked the death widils, and never
• 1:08:08
  Speaker 1: never let them be alone, For they occurs they poets
• 1:08:12
  Speaker 1: curse a lute, and freedom gives their tongues uncanny wit,
• 1:08:15
  Speaker 1: and granted silence, taught and solitude. The apposite omen might
• 1:08:19
  Speaker 1: make song of it. So kisch them in and stand
• 1:08:22
  Speaker 1: about them, take and keep them busy their daily bread.
• 1:08:25
  Speaker 1: And should the eye them strange out, then be quick
• 1:08:28
  Speaker 1: to interrupt them. Ere it would be said, for if
• 1:08:32
  Speaker 1: their hearts been with sufficient, rich, with wasted sunsets and
• 1:08:35
  Speaker 1: frustrated youths, some did their cry on some disturbing pitch,
• 1:08:39
  Speaker 1: the savage so unpalatable truth, and of advice to the city.
• 1:08:49
  Speaker 1: The Telephone Directory by Christopher Morley, The Semi War's recordings
• 1:08:53
  Speaker 1: in the public domain. The memory of old romance new crucialty,
• 1:08:58
  Speaker 1: it seems to me, can equal in rich circumstance to
• 1:09:01
  Speaker 1: Telephone Directory Novalla the fair ladies eyes. No legend of
• 1:09:05
  Speaker 1: crok knights and dames can fill me with such bright
• 1:09:08
  Speaker 1: sumise as this great book of numbered names. How many
• 1:09:11
  Speaker 1: hearts and lives are known, Ray Damsel's pining for Squire
• 1:09:15
  Speaker 1: are waiting for the telephone to ring and call them
• 1:09:17
  Speaker 1: to the wire some way to hear a low voice
• 1:09:20
  Speaker 1: say the news they will rejoice to know at room
• 1:09:23
  Speaker 1: till six three seven j on Marythion, fourteen fifty. And
• 1:09:27
  Speaker 1: some perhaps are stung with fear an answer, with reluctant
• 1:09:31
  Speaker 1: threats the message they expect to hear, men's life or death,
• 1:09:35
  Speaker 1: or daily bread. A million hearts here await our call
• 1:09:38
  Speaker 1: or naked to our distance speech. I wish that I
• 1:09:41
  Speaker 1: could bring them more and have some welcome news for
• 1:09:43
  Speaker 1: each and of the telephone directory ring escaped by Christopher Marley.
• 1:09:54
  Speaker 1: This liberal's recording us in the public domain. At three
• 1:09:58
  Speaker 1: o'clock in the afternoon on a hot September day, I
• 1:10:01
  Speaker 1: began to dream of a highland stream and a frostbit
• 1:10:04
  Speaker 1: russet tree, of the sashing dip of a clipper ship,
• 1:10:07
  Speaker 1: white canvas wet with spray, and the sling green and
• 1:10:11
  Speaker 1: mute foam cleaned along her cantedly. I heard the quick
• 1:10:14
  Speaker 1: staccato click of the typee's pounding keys, and I had
• 1:10:18
  Speaker 1: to brood up a wind more root than dead by
• 1:10:21
  Speaker 1: motor fence. And I lay inert in a flannel strip
• 1:10:24
  Speaker 1: to watch the rhyming seas deploy and fall on a
• 1:10:26
  Speaker 1: silver sprawl on a beach of sun blanched sand. There
• 1:10:30
  Speaker 1: is no death. Shall take my lass for heels and
• 1:10:33
  Speaker 1: window skies, my secret hope of the sea's blue slope.
• 1:10:36
  Speaker 1: No clerkily touched a down, And though I bring no
• 1:10:40
  Speaker 1: echo kint of adventures, I device my eyes still pine
• 1:10:44
  Speaker 1: for the calmly line of an outbound vessel's hull. When
• 1:10:47
  Speaker 1: I elope with an autumn day and make my green escape,
• 1:10:50
  Speaker 1: I'll left my pentertainerman to have Mordlso souls for forest
• 1:10:54
  Speaker 1: owls and office files have a very different shape, and
• 1:10:57
  Speaker 1: it's hard to move The ocean blue in a row
• 1:11:00
  Speaker 1: of pigeon holes and of green escape. Wesper's Song for
• 1:11:10
  Speaker 1: Commuters by Christopher Morley. This Libery Rocks recording is in
• 1:11:14
  Speaker 1: the public domain. Instead of Maraton, the commuteran is substitute
• 1:11:19
  Speaker 1: the name of his favorite subverb. The stars are kind
• 1:11:23
  Speaker 1: to Maraton, how low, how close they leans, They just
• 1:11:26
  Speaker 1: do one another and do the best to please. Indeed,
• 1:11:28
  Speaker 1: they asked neighborly that in the toilight green one riches,
• 1:11:32
  Speaker 1: or to pick them behind the popular trees. The stars
• 1:11:35
  Speaker 1: are kind to Marathon, and one particular bright planet, which
• 1:11:38
  Speaker 1: is Vesper, most listent and syringe is waiting by the
• 1:11:41
  Speaker 1: railway bridge, the good Commuter Star, the star Wiseman coming
• 1:11:45
  Speaker 1: home on time at six fifteen, and a vesper song
• 1:11:50
  Speaker 1: for commuters, The ice Wagon by Christopher Morley. This lipery
• 1:11:59
  Speaker 1: rocks record guardiness in the public domain. I'll light to
• 1:12:03
  Speaker 1: split the sky the roofs as down right through the
• 1:12:06
  Speaker 1: crystal of upper air, and tap the cool still reservoirs
• 1:12:09
  Speaker 1: of heaven. I'll empty all dos on seined legs of
• 1:12:12
  Speaker 1: freshness down some wast funneled throughout stiphered streets. I'd like
• 1:12:17
  Speaker 1: to palm away the grate the dust wore a dazzert
• 1:12:20
  Speaker 1: off the sun, on garbage piles, the drowning troops of flies,
• 1:12:23
  Speaker 1: sharp bitter smells, and gush the bright sweet float of
• 1:12:26
  Speaker 1: unused air down every alley where the children gaps. And
• 1:12:30
  Speaker 1: then I'll take a flit of ice wagons with yellow
• 1:12:33
  Speaker 1: creaking carts drawn by red horses and drive them rumbling
• 1:12:37
  Speaker 1: through the blazing slums. And every wagon would be blocks
• 1:12:40
  Speaker 1: of coners, pale, gleaming cubes of eyes, all green and silver,
• 1:12:44
  Speaker 1: with inner wings and patterns white and frosty, great lumps
• 1:12:47
  Speaker 1: of chili, drip and steam, and shimmer and sparkler rainbows
• 1:12:50
  Speaker 1: in the little fractures, and where my wagons stood there
• 1:12:54
  Speaker 1: with bipotters of wetness and sparkle and a coolners, my
• 1:12:57
  Speaker 1: friends and I would shop and splinter open blocks of eyes.
• 1:13:01
  Speaker 1: Bare feet would soon come pettering, and some would wrap
• 1:13:03
  Speaker 1: it up in sunny papers, and some would stagger home
• 1:13:07
  Speaker 1: with it in baskets, and some would be too gay
• 1:13:09
  Speaker 1: for outward sucking, leaking, crunching those fast smelting pebbles, gulping
• 1:13:14
  Speaker 1: as the steep that unexpected, loving to perceive that secret
• 1:13:17
  Speaker 1: numbness amid the small hot persons. At every stop would
• 1:13:21
  Speaker 1: be at least one urchin would take a piece to
• 1:13:24
  Speaker 1: cool the sweating horses and hold it up against the
• 1:13:26
  Speaker 1: silky noses, and they would start and then decide to
• 1:13:30
  Speaker 1: light it. Now all the sun cursed byways of the town,
• 1:13:33
  Speaker 1: our wagons betreed by grimy tots, the ragged shirts, half
• 1:13:36
  Speaker 1: of them with excitement, dabbling toes and fingers in our leakage,
• 1:13:40
  Speaker 1: a lucky field up sitting with the driver, or clambering
• 1:13:43
  Speaker 1: and stretching gray pink palms. And by the time the
• 1:13:46
  Speaker 1: wagons were all empty, our arms and shoulders would be
• 1:13:49
  Speaker 1: laid with chopping, our backs and tires paint shot, our
• 1:13:52
  Speaker 1: fingers frozen. But how we would record those eager faces,
• 1:13:56
  Speaker 1: rate thirsty tongues, with ice chips sliding on them, the
• 1:13:59
  Speaker 1: pinch white, and the epatastic gladness. Then we would know
• 1:14:02
  Speaker 1: that alms were made for aching. I wish to God
• 1:14:05
  Speaker 1: that I could go tomorrow and of the ice wagon
• 1:14:15
  Speaker 1: at the moon we take by Christopher Marley. The Ceviark's
• 1:14:18
  Speaker 1: recording is in the public domain. How well he spoke?
• 1:14:21
  Speaker 1: Who coined the phreeze? The picture palace I ensues a
• 1:14:24
  Speaker 1: place where men's verities are crowned, kingness of youth, strange palace, crowded,
• 1:14:29
  Speaker 1: alice dim where also trot and strange eyes spot we
• 1:14:32
  Speaker 1: watch a wand of brightness lim the old heroics of
• 1:14:35
  Speaker 1: the heart remains again has us in draal and love,
• 1:14:38
  Speaker 1: the student always true, and in the darkness of the hall,
• 1:14:41
  Speaker 1: hands claps as they were meant to do. Removed from
• 1:14:44
  Speaker 1: peevish joys and ills, ourselves for time are perch and free.
• 1:14:47
  Speaker 1: We see the sun on western hills, the crowning too
• 1:14:50
  Speaker 1: much of the sea. We are the blonder Maiden's grave
• 1:14:53
  Speaker 1: for balanced at a dozen banks, A slight of handry
• 1:14:56
  Speaker 1: has to save a brown eyed life, not stay for tanks.
• 1:14:59
  Speaker 1: At last, per perhaps of instinct fields, life is not
• 1:15:01
  Speaker 1: all it might have been. So we applyed fantastic rails
• 1:15:04
  Speaker 1: of shadow cuts upon a screen. End of the movie
• 1:15:08
  Speaker 1: tator Sonnets in a Lodging House by Christopher Morley. The
• 1:15:18
  Speaker 1: livery work's recording us in the public domain. Each morning
• 1:15:22
  Speaker 1: she cracks upward, tread by tread, or apprehensive of some
• 1:15:26
  Speaker 1: hegeous side. Perhaps the fourth floorback who reads in beds
• 1:15:29
  Speaker 1: forgot his guests. A letter burn all night. The sweet
• 1:15:32
  Speaker 1: young thing who has the middle room she much suspects
• 1:15:35
  Speaker 1: for once some inkals built, and then the plumber in
• 1:15:38
  Speaker 1: an hour of bloom, for all the bathroom pipes with
• 1:15:41
  Speaker 1: tellis Field. No look of Nation scheme can make her gay.
• 1:15:45
  Speaker 1: She knows the rand duplicity of men. Some folks expecting
• 1:15:49
  Speaker 1: towers every day, they get away with murder if they can.
• 1:15:52
  Speaker 1: She takes a card and less few roomors mind it.
• 1:15:55
  Speaker 1: Please leave the tub as you would wish to find it.
• 1:15:58
  Speaker 1: Man lodges out the best Missus said, they don't use
• 1:16:02
  Speaker 1: my guests jets to press sardines. They don't lifted hot
• 1:16:05
  Speaker 1: irons on the spread day all morning. When a body
• 1:16:08
  Speaker 1: cleans a man into secretive, never cares what kind of
• 1:16:12
  Speaker 1: proud papers he leaves lay. So I can get a
• 1:16:15
  Speaker 1: line on his affairs and dope out whether he is
• 1:16:17
  Speaker 1: slightly to pay. But women say to surely get my book.
• 1:16:22
  Speaker 1: They stop their keyholes up with chewing gum, spill grease,
• 1:16:25
  Speaker 1: and hide the damage with the rock and fry marshmallows.
• 1:16:28
  Speaker 1: When the collars come, they always are behind him with
• 1:16:32
  Speaker 1: the rents. Take my advice and let your rooms to gents.
• 1:16:37
  Speaker 1: And of sonnets in a lodging house. The Man with
• 1:16:45
  Speaker 1: the Whole Press by Christopher Morley. The Slippery's recording is
• 1:16:49
  Speaker 1: in the public. Do main about these drawing cylinders where
• 1:16:53
  Speaker 1: lipping words and paper made a sudden glory, mules and
• 1:16:55
  Speaker 1: stairs an inky cataract in space? But why is supposed
• 1:16:59
  Speaker 1: or for true? What has attentive to be stirred? How
• 1:17:02
  Speaker 1: dimly understood and soothes the power of the printed word.
• 1:17:06
  Speaker 1: These flashing webs and cocks of steel have shaken empires,
• 1:17:09
  Speaker 1: rooted kings, yet never turned to fos to feel the
• 1:17:12
  Speaker 1: tragedies of humble things or words. Street and honesty, be
• 1:17:16
  Speaker 1: just and simple and serene, or rites seem true, or
• 1:17:19
  Speaker 1: you will be unworthy of this great machine and of
• 1:17:24
  Speaker 1: the men with the whole press. Do you ever feel
• 1:17:32
  Speaker 1: like God? By Christopher Morley These liberals recordings in the
• 1:17:35
  Speaker 1: public domain. Across the cart that rises the back wall
• 1:17:40
  Speaker 1: of the Magna Carta apartments. The other evening, the people
• 1:17:43
  Speaker 1: in the apartment opposite have forgotten to draw the curtains.
• 1:17:47
  Speaker 1: I could see them dining, the well blanche law, the
• 1:17:50
  Speaker 1: silver and glass, the crystal water jug, the meat and vegetables,
• 1:17:53
  Speaker 1: and the clean pink hands outstretched and busy guestrow. It
• 1:17:57
  Speaker 1: most pleasant to watch them. It was human, so gay, innocent,
• 1:18:02
  Speaker 1: unconscious of scrutiny. They will fall. An elderly couple, a
• 1:18:06
  Speaker 1: young man and a girl with lovely shoulders, mellow in
• 1:18:09
  Speaker 1: the glow of the lamb. They were sitting over coffee,
• 1:18:12
  Speaker 1: and I could see the hands talking. At last, the
• 1:18:15
  Speaker 1: other two left the room. The boy and girl looked
• 1:18:17
  Speaker 1: at each other like a flash. They lin and kiss.
• 1:18:20
  Speaker 1: Good all human race, the kids on multiplying. A little
• 1:18:23
  Speaker 1: later I went down the street to the movies, and
• 1:18:26
  Speaker 1: there I saw all four laughing and joking together, and
• 1:18:29
  Speaker 1: as I watched them, I felt like God, benevolent, all
• 1:18:33
  Speaker 1: knowing and tender. And do you ever feel like God?
• 1:18:43
  Speaker 1: Where patron said by Christopher Morley, The Lippery Rock's recording
• 1:18:47
  Speaker 1: is in the public domain. Climbing is easy and swift
• 1:18:51
  Speaker 1: on parnesss knocking my pipe out. I entered the bookshop.
• 1:18:54
  Speaker 1: They found a book of woods by a young poet Comorates.
• 1:18:57
  Speaker 1: At once how I saw his, my glove son, hissel
• 1:19:01
  Speaker 1: its manificent rioting. Then I ran with him on heels
• 1:19:05
  Speaker 1: that will windy, bust in love with him on some
• 1:19:08
  Speaker 1: desert beaches, glassed myself on his green and blue twilights,
• 1:19:12
  Speaker 1: watched him disposing his planets in patterns, tumbling his colors
• 1:19:16
  Speaker 1: and toys all before him. I questioned life with him,
• 1:19:20
  Speaker 1: his pulses, my pulses, doubted his dobs too, and grieved
• 1:19:24
  Speaker 1: for his anguishes. Started long kinship and knew him from boyhood.
• 1:19:28
  Speaker 1: Pulled out my own son and stars for my knapsack,
• 1:19:32
  Speaker 1: trying my trinkets with those of his finding. And as
• 1:19:35
  Speaker 1: I left the bookshelp my pipe was still warm in
• 1:19:38
  Speaker 1: my hand, and a rapid transit caught in the undertow.
• 1:19:48
  Speaker 1: By Christopher Morley, This little Ward's recording is in the
• 1:19:51
  Speaker 1: public domain. Colin worshiping Sun Frail by self deprecation says
• 1:19:57
  Speaker 1: her cast himself on watermill holly even fit to praise her.
• 1:20:01
  Speaker 1: But this tactic, insincere in the upshot, greatly grieves him
• 1:20:05
  Speaker 1: when he finds the lovely deal quite implicitly believes him
• 1:20:10
  Speaker 1: and of court. In the undertoe to his brown eyed
• 1:20:19
  Speaker 1: Mistress by Christopher Morley, This be world recording is in
• 1:20:22
  Speaker 1: the public domain, to his brown eyed mistress, who rallied
• 1:20:27
  Speaker 1: him for praising blue eyes in his bosses. It's sometimes
• 1:20:31
  Speaker 1: in a random phrase for variation. In my ditty, I
• 1:20:34
  Speaker 1: chanced blue eyes or greater praise and seemed intimate than pretty.
• 1:20:39
  Speaker 1: It is because I do not dare with too unmixed
• 1:20:41
  Speaker 1: reiteration to sink brown eyes and hair that are my
• 1:20:44
  Speaker 1: true intoxication. No, then, did I consider brown for ladies
• 1:20:49
  Speaker 1: eyes the only color and dim all other obs in
• 1:20:52
  Speaker 1: towel compared to yours. A packet dollar, I pray prepant
• 1:20:56
  Speaker 1: my dearest deal while blue eyed meats the praise for drinking.
• 1:21:00
  Speaker 1: How insubstantial was that year? It was of yours that
• 1:21:03
  Speaker 1: I was thinking, and after his brown eyed mistress Peace
• 1:21:14
  Speaker 1: by Christopher Morley. Thus the rework's recording is in the
• 1:21:18
  Speaker 1: public domain. What is this piece that states Men's signed,
• 1:21:22
  Speaker 1: How I have sought to make it mine? When growning
• 1:21:25
  Speaker 1: cities clang and glow, I hunted, hunted piece to know,
• 1:21:29
  Speaker 1: and still I saw my eye passed by discarded hearts,
• 1:21:32
  Speaker 1: her churing cry by will waters bring with rain. I
• 1:21:36
  Speaker 1: taught to capture piece again. I set me down my
• 1:21:39
  Speaker 1: piece to hurt, but builty prick me with the thort,
• 1:21:42
  Speaker 1: For in the stillness something stirred, and I was crippled
• 1:21:45
  Speaker 1: for a word. There is no peace a man can find.
• 1:21:48
  Speaker 1: The anguish sits his heart behind the eyes. He lost
• 1:21:52
  Speaker 1: the perfect breast to excuise it, to give him breast.
• 1:21:56
  Speaker 1: This is his curse since spring began his penitive for
• 1:22:00
  Speaker 1: men and of peace song in deprecation of Poe Creature
• 1:22:10
  Speaker 1: by Christopher Morley. This Libery roxx recording is in the
• 1:22:13
  Speaker 1: public domain. Beauty, said the poet, say, thou art joy
• 1:22:18
  Speaker 1: and solascrit long ago and far away, thou art safe
• 1:22:21
  Speaker 1: to contemplate beauty, But when now and here visible and
• 1:22:25
  Speaker 1: close attached, all too perilously near, the all tormentous earth,
• 1:22:29
  Speaker 1: too much, and a picture in a song in the
• 1:22:32
  Speaker 1: novels Conjured Scenes, Beauty that's where you belong. By perspective intervenes.
• 1:22:38
  Speaker 1: But my dear ROSI fact your appeal. I have to
• 1:22:41
  Speaker 1: shrink you disturb me and distract my attention from my book.
• 1:22:47
  Speaker 1: And a song and deprecation approach Cretu Mounted Police by
• 1:22:56
  Speaker 1: Christopher Morley. This Libery Rox recording is in the public
• 1:23:01
  Speaker 1: watchful grace. He sees astride his horse drip with his
• 1:23:05
  Speaker 1: rubber ponchoo in the rain. He speaks the pong and
• 1:23:08
  Speaker 1: lingle off the falls, and those who try to love
• 1:23:11
  Speaker 1: him try in vain it new to every mood of
• 1:23:14
  Speaker 1: fool and crying shrewdly and sternly all the crowd he comes.
• 1:23:18
  Speaker 1: The rain drips down his horse's shining flame, A figure
• 1:23:21
  Speaker 1: nobly spit for sculptor's bronze, all my commander of our
• 1:23:25
  Speaker 1: city's dress. Little you know how picturesque you are. We
• 1:23:29
  Speaker 1: hear you cry to drivers food transgress, say does a
• 1:23:33
  Speaker 1: helper place to park your car? Ann Of Mounted Police
• 1:23:43
  Speaker 1: to his mistress, deploring that he is not an Elizabethan
• 1:23:47
  Speaker 1: galaxy by Christopher Marley. The livererywork's recording is in the
• 1:23:51
  Speaker 1: public domain. I did not fit to me because an
• 1:23:55
  Speaker 1: utterance Elizabethan. It would have been delighted to me if
• 1:23:59
  Speaker 1: Natu's auntie said, exton oak Tree, my stuff would not
• 1:24:02
  Speaker 1: be soon forgotten. If I could write a Harry Wooton.
• 1:24:05
  Speaker 1: I wish that I could wield the pen like William
• 1:24:07
  Speaker 1: Drummond of Horton. Then I would not feel the ticking clock.
• 1:24:11
  Speaker 1: If I were Brown of tailet stock, for blythe consists,
• 1:24:14
  Speaker 1: I would not worry if I were Relate or the
• 1:24:16
  Speaker 1: Earl of Surrey. I wish, I hope I am not
• 1:24:19
  Speaker 1: silly that I could jugger woods that lightly. I ain'tvy
• 1:24:23
  Speaker 1: many a little champion it is, namely, for example, Thomas Campion.
• 1:24:28
  Speaker 1: I creak my rhymes up like Derrick. I never will
• 1:24:31
  Speaker 1: be a Robin Herrick. My wits adele as an old Barlow.
• 1:24:35
  Speaker 1: I wish that I were Christopher Marlow. In short, I'd
• 1:24:38
  Speaker 1: like to be Philip Sidney or some one else of
• 1:24:41
  Speaker 1: the same kidney. For if I were my lady's looks,
• 1:24:44
  Speaker 1: and all my lyric special pleading would be in all
• 1:24:47
  Speaker 1: the future books and cards at college required reading and
• 1:24:52
  Speaker 1: after his mistress, deploring that he is not an Elizabethan galaxy.
• 1:25:02
  Speaker 1: The Intruder by Christopher Morley This Liberox Recordings in the
• 1:25:06
  Speaker 1: public Domain. As I said, to see if my dreaming
• 1:25:10
  Speaker 1: to the meat and needed word came a merry interruption
• 1:25:13
  Speaker 1: with insistence to be heard, smilings to the maid beside me,
• 1:25:16
  Speaker 1: half alluring and half shy, soft white hint of her
• 1:25:20
  Speaker 1: bottom escapade was in her eye. I must not be
• 1:25:23
  Speaker 1: so invaded in an anger that I cried, can't you
• 1:25:27
  Speaker 1: see that I am busy tempting creatures stay outside poorly rescal,
• 1:25:31
  Speaker 1: I am writing. I am now composing words the un
• 1:25:35
  Speaker 1: APTI invitations, wanton, banished, flight, spurts, baggage in my godlike moment?
• 1:25:41
  Speaker 1: What have I to do with thee? And she laughed
• 1:25:43
  Speaker 1: as she departed. I am poechery said she, and of
• 1:25:48
  Speaker 1: the intruder did for that, my Christopher Marley This libery
• 1:25:57
  Speaker 1: Rox Recordings and the public Domain. I often passed a
• 1:26:01
  Speaker 1: gracious tree whose name I cant identify, but still a
• 1:26:04
  Speaker 1: bow in courtesy. It waves a bow in kind reply.
• 1:26:08
  Speaker 1: I do not know your name, O tree? Are you
• 1:26:10
  Speaker 1: hamlert or pine? But why should they embarrass me? Quite
• 1:26:13
  Speaker 1: probably you don't know mine. And of Tit for Tat.
• 1:26:23
  Speaker 1: Song for a Little House by Christopher Marland is liberoque
• 1:26:26
  Speaker 1: recordings in the public domain. I'm glad our house is
• 1:26:30
  Speaker 1: a little house, not to talk nor to white. I'm
• 1:26:33
  Speaker 1: glad the hovering butterflies feel free to come inside. Our
• 1:26:37
  Speaker 1: little house is a friendly house. It is not shy
• 1:26:39
  Speaker 1: of veins. It gossips with talking trees, and mixed friends
• 1:26:43
  Speaker 1: with the reins, and quick lives cast a shimmer of
• 1:26:46
  Speaker 1: greens against a whited walls. And in the flocks the
• 1:26:49
  Speaker 1: curtain's bees are paying duty. Calls And of song for
• 1:26:54
  Speaker 1: a Little House. The plum Pawpets by Christopher Morley. This
• 1:27:03
  Speaker 1: Brock's recording is in the public domain. When little heads
• 1:27:08
  Speaker 1: very has gone to bit, when all the good knights
• 1:27:10
  Speaker 1: and the prayers has been said, of all the good
• 1:27:13
  Speaker 1: fairies that send burns to dress, the little plum puppets
• 1:27:16
  Speaker 1: are those I love best. If your pillow is slumpy,
• 1:27:20
  Speaker 1: are hard, tin and flat, The little plum pappets know
• 1:27:23
  Speaker 1: just what they're at. The plum up the pillow, all soft,
• 1:27:26
  Speaker 1: cool and fat. The little plum puppets plum up it.
• 1:27:30
  Speaker 1: The little plum pappets are fairies of baits. They have
• 1:27:33
  Speaker 1: nothing to do but to watch slippy heads. They turn
• 1:27:36
  Speaker 1: down the sheets and they talk you in tight and
• 1:27:39
  Speaker 1: they dance on your pillow to wish you good night.
• 1:27:42
  Speaker 1: No matter what troubles have bothered to day, do your
• 1:27:45
  Speaker 1: doll broke an arm or the pup ran away? Though
• 1:27:47
  Speaker 1: your handies are black with the ink that was spilt.
• 1:27:50
  Speaker 1: Plum papers are waiting in blanket and coold. If your
• 1:27:53
  Speaker 1: pillow is slumpy, are hot, tin and flat. The little
• 1:27:57
  Speaker 1: plum puppets know just what they're at. The plum up
• 1:28:00
  Speaker 1: the pillow, all soft, cool and fat. The little plum
• 1:28:03
  Speaker 1: Puppets plum up it and of the plum puppets. Dan
• 1:28:14
  Speaker 1: Did Dandylion by Christopher Marley, The Liperworld's recording is in
• 1:28:17
  Speaker 1: the public domain. When Dandie Dan Dillion wakes and combs
• 1:28:22
  Speaker 1: his yellow hair, the end his cup of delodrop tics
• 1:28:25
  Speaker 1: and sets his bait to air. The womb hides in
• 1:28:27
  Speaker 1: the court of dirt to keep the trush away. The
• 1:28:30
  Speaker 1: bitter daunts his pency shirt. They know that it is
• 1:28:33
  Speaker 1: day and caterpillars hate to milk. The cow slips in
• 1:28:36
  Speaker 1: the grass. The spider, in his web of silk, looks
• 1:28:39
  Speaker 1: out for flights that pass this humble people leap from bit.
• 1:28:43
  Speaker 1: They know the night is done. When Dandy spreads his
• 1:28:46
  Speaker 1: golden hair, they think he is dissigned. The dandy truly
• 1:28:49
  Speaker 1: does not smell as sweet as sample case and flories
• 1:28:53
  Speaker 1: gathers him to sell. He witteres in the ways. Yet
• 1:28:56
  Speaker 1: in the grass his emperor and lord of high renowned
• 1:28:59
  Speaker 1: and grateful little foc Adoor, his bright and shining crown,
• 1:29:05
  Speaker 1: and of Dandy Dandylian the high Chair by Christopher Marley.
• 1:29:14
  Speaker 1: The libri was recordings in the public domains. Grimly, the
• 1:29:18
  Speaker 1: parent matches fit and will now busy three more spoons.
• 1:29:22
  Speaker 1: See Tom the cat, he'll drin it. You want to
• 1:29:25
  Speaker 1: be big and fat like daddy, don't you careful? Now,
• 1:29:27
  Speaker 1: don't spew. Yes, Daddy will dance and blow smoke through
• 1:29:31
  Speaker 1: his nose. But you must finish first, come, dring it up, splash, Oh,
• 1:29:35
  Speaker 1: you must keep both hands on the cup, all gaunt
• 1:29:38
  Speaker 1: now for the prunes, And so it goes. This is
• 1:29:41
  Speaker 1: the better field that parents know. Where once more splinter
• 1:29:44
  Speaker 1: of old Adam's rip, who stands an antiatto offering spoons,
• 1:29:48
  Speaker 1: nor use the natshal tea, for she will go ready
• 1:29:51
  Speaker 1: to bad glossy from crown to bit, with milk and
• 1:29:54
  Speaker 1: cereal and serf of prunes and of the high chair.
• 1:30:03
  Speaker 1: Love at First Sight by Christopher Morley. Thisly me what's
• 1:30:06
  Speaker 1: recording is in the public domain. Not long ago I
• 1:30:11
  Speaker 1: fell in love, but on return is my affection. The
• 1:30:14
  Speaker 1: girl that I'm enamored of pays little hit in my direction.
• 1:30:18
  Speaker 1: I thought I knew her folly well. In fact, I'll
• 1:30:21
  Speaker 1: hurt my arm around her, and so it's hard to
• 1:30:24
  Speaker 1: have to tell how I'm responsive. I have found her,
• 1:30:27
  Speaker 1: for though she is not frankly rude, her manners quite
• 1:30:30
  Speaker 1: the wrong way robbed me. It seems to me in
• 1:30:32
  Speaker 1: gratitude to let me love her and then snub me.
• 1:30:35
  Speaker 1: Though I am considerate and fond, she shows no gladness
• 1:30:38
  Speaker 1: when she spies me. She gazes off somewhere beyond and
• 1:30:42
  Speaker 1: doesn't even recognize me, her eyes so candid, calm and blue,
• 1:30:46
  Speaker 1: seem asking if I can support her in those start
• 1:30:49
  Speaker 1: appropriate to a lady like her father's daughter. Well, if
• 1:30:53
  Speaker 1: I can't, then no one can't. And let me add
• 1:30:56
  Speaker 1: that I intend to. She never know another man to
• 1:30:59
  Speaker 1: fit for her, to be a friend, to not love me, Eh,
• 1:31:02
  Speaker 1: she better hat by jove. I'll make her love me
• 1:31:05
  Speaker 1: one day for don't you see? I am her dad,
• 1:31:08
  Speaker 1: and she'll be trivixed on Sunday and of love at
• 1:31:14
  Speaker 1: first sight Autumn Carlos by Christopher Marley. The lieber Rox
• 1:31:23
  Speaker 1: recording is in the public domain. The chestnut trees turn yellow,
• 1:31:27
  Speaker 1: the elk like sherry brown, the fur the stubborn fellows
• 1:31:30
  Speaker 1: stay green the whole year round. But oh the bonny maple,
• 1:31:33
  Speaker 1: how richly he does shine. He glows against the sunset
• 1:31:37
  Speaker 1: like rady old port wine and of autumn colors. The
• 1:31:47
  Speaker 1: Last Cricket by Christopher Marley. The liber Rocks recording is
• 1:31:50
  Speaker 1: in the public domain. When the bulb of the moon,
• 1:31:53
  Speaker 1: with white firefields and dead lifts cracker under the feet,
• 1:31:56
  Speaker 1: when men grow cacks to the side of meals, and
• 1:31:59
  Speaker 1: chestnuts rows every street, when the night sky glows like
• 1:32:02
  Speaker 1: a hollow shell of loge to emerald and pearl. The
• 1:32:05
  Speaker 1: kitted cricket knows too well his dim his tiny badpipe
• 1:32:09
  Speaker 1: squirrel quavering under the polished stars, in stubble ticket and
• 1:32:13
  Speaker 1: frosty cups. The cricket blows a future bars and puts
• 1:32:17
  Speaker 1: away his pipe and stops, and of the last cricket,
• 1:32:27
  Speaker 1: Sir lewis a Christmas baby, now one year old by
• 1:32:30
  Speaker 1: Christopher Morley. The Liberwork's recordings in the public domain. Undaunted
• 1:32:36
  Speaker 1: by a war of grief, you came upon perplexing days,
• 1:32:39
  Speaker 1: and scenic stopped their disbelief to see the sky stains
• 1:32:43
  Speaker 1: in your gaze, your sudden and inclusive smile, and your
• 1:32:46
  Speaker 1: empetic tears. Admit that you must find this life worth while.
• 1:32:51
  Speaker 1: So eagerly you clutch at it, your face of triumphses
• 1:32:54
  Speaker 1: breathed might. The life is full of love, and love
• 1:32:57
  Speaker 1: of blankets to kick off at night, and two soft
• 1:33:00
  Speaker 1: rose pink TOMPs to suck our loveliest of pioneers upon
• 1:33:04
  Speaker 1: the stroll of long surprise. May all the stages of
• 1:33:07
  Speaker 1: the years show such enchantment in your eyes, My parents,
• 1:33:11
  Speaker 1: patient buttonings and endless safety pins. You'll grow to ribbons, garters, hooks,
• 1:33:15
  Speaker 1: and things up to the ultimater soul. But never in
• 1:33:19
  Speaker 1: your dainty prime will you be more adored by me
• 1:33:22
  Speaker 1: than when you see this great first time. The Cantas
• 1:33:25
  Speaker 1: on the Christmas Tree, December nineteen nineteen and of the
• 1:33:32
  Speaker 1: Louis Christmas Is by Christopher Morley. The Libaroqu's recordings in
• 1:33:42
  Speaker 1: the public domain. Our Hearts to Night are opened wide.
• 1:33:47
  Speaker 1: The grudge degrees our later side the path apart, as
• 1:33:50
  Speaker 1: well of snow, the dos unlash, the houstones glow. No
• 1:33:54
  Speaker 1: visitor can be denied or tend. The human homes must
• 1:33:57
  Speaker 1: hide some wistfulness beneath the pride, compassionate and humble girl
• 1:34:02
  Speaker 1: Our hearts to night, That anti chair and compabit who
• 1:34:05
  Speaker 1: knows some well remembered strike may come as once so
• 1:34:08
  Speaker 1: long ago, than welcome be his friend of fool. There
• 1:34:11
  Speaker 1: is no anger can divide Our Hearts to night and
• 1:34:15
  Speaker 1: of Christmas is epiteth on the Proof Radio of the
• 1:34:24
  Speaker 1: Encyclopedic Britannica by Christopher Morley. This the Brew's recordings in
• 1:34:28
  Speaker 1: the public domain. Majestic Tomes. You are the tomb of
• 1:34:33
  Speaker 1: Aristotis at Woodloom, who labored from the world alos in
• 1:34:37
  Speaker 1: reading every page of proof, from A to N, from
• 1:34:41
  Speaker 1: All's to bees and to seism still was his from
• 1:34:44
  Speaker 1: Carter Child, from Charter Khan. His soft like pencils still
• 1:34:47
  Speaker 1: went on, but reaching Waterfred to get in new a
• 1:34:51
  Speaker 1: land that he will sit to Satan, and he saw
• 1:34:54
  Speaker 1: his soul to reach the session, pay to Paul, then
• 1:34:57
  Speaker 1: poultryad and should stop his stabber arm and start the pot,
• 1:35:01
  Speaker 1: and just completely wed to him. The moretor hears came
• 1:35:04
  Speaker 1: round for him, he perished obstinately. Braith delayed the index
• 1:35:08
  Speaker 1: on his grave and of epitaph and approf reader of
• 1:35:13
  Speaker 1: the Encyclopedia Britannica The Music Box by Christopher Morley. This
• 1:35:22
  Speaker 1: librilo's recording is in the public domain. At six long
• 1:35:27
  Speaker 1: adamentry dawn, they sounded through the silent how to where
• 1:35:30
  Speaker 1: I lay, with blankets drawn above my ears, a plaintive call.
• 1:35:34
  Speaker 1: The urchin, in the eagerness of three year's oak, couldnot
• 1:35:36
  Speaker 1: refrained awake. He straight rea yearned to dress and frolic
• 1:35:39
  Speaker 1: with his clock book train. I heard him with a
• 1:35:42
  Speaker 1: sound shot. His sister, by her usual plan, had pied
• 1:35:45
  Speaker 1: us earth at three o'clock. I want to quench the
• 1:35:48
  Speaker 1: little man. I leaned above him somewhat stern, and spoke,
• 1:35:52
  Speaker 1: I feel with emphasis, Ah, how much better parents learned
• 1:35:56
  Speaker 1: to see one censure with a kiss. Again the house
• 1:35:59
  Speaker 1: was darkened. Still again I lay in slumber, snare when
• 1:36:02
  Speaker 1: down the hall I heard a trill, a tiny, tinkling,
• 1:36:04
  Speaker 1: tineful air. His music box, his best left toy, his
• 1:36:08
  Speaker 1: grip companioned every night, and now he turned to it
• 1:36:12
  Speaker 1: for joy, while waiting for the lagging light. How clear
• 1:36:15
  Speaker 1: and how absurdly, said those tingling pricks of sound. Unrolled
• 1:36:19
  Speaker 1: the trope and quivered as the lad his lonely little
• 1:36:21
  Speaker 1: heart console Columbia, the ocean's gem, its only two shrill,
• 1:36:26
  Speaker 1: sweet and faint. He cranked the chimes, admiring them in
• 1:36:29
  Speaker 1: what you gave without complaint the travel music pipe and
• 1:36:33
  Speaker 1: stirred the lipping air that was his pleased And as
• 1:36:36
  Speaker 1: I most contritely heard attend the old unconscious suits, the
• 1:36:40
  Speaker 1: needy jets of melody ran slowlier and died away, the
• 1:36:44
  Speaker 1: urchin slappant. It was I who lay and waited for
• 1:36:46
  Speaker 1: the day and of the music box to Lors Robert
• 1:36:57
  Speaker 1: Burnstock by Christopher Morley. This the Bema was recordings in
• 1:37:00
  Speaker 1: the public domain. Darling Jean was Jean Amore, a comely
• 1:37:05
  Speaker 1: country lass whom Burns met at a penny wedding at Marshlands.
• 1:37:09
  Speaker 1: They chanced to be dancing in the same condrio when
• 1:37:11
  Speaker 1: the poet stopped sprang to his monster and almost upset
• 1:37:14
  Speaker 1: some of the dancers, bearing to remark that he wished
• 1:37:17
  Speaker 1: he could get any of the lessons to like him
• 1:37:19
  Speaker 1: as well as isdopted. Some days afterward, Jean, seeing him
• 1:37:24
  Speaker 1: passed as she was bleitching clothes on the village Green,
• 1:37:27
  Speaker 1: caught to him and asked him if he had yet
• 1:37:29
  Speaker 1: got any of the lessons like him as well as adopted.
• 1:37:32
  Speaker 1: That was the beginning of an acquaintance that colored all
• 1:37:34
  Speaker 1: of Burns's life. Needn't her schedule well, lought Matt when
• 1:37:40
  Speaker 1: you came prancing ugly to see Robin dancing his partner's
• 1:37:44
  Speaker 1: Muslim gowns chancing you live for joy and let her
• 1:37:48
  Speaker 1: guess what sid reminding you cost my boy with happy
• 1:37:51
  Speaker 1: bark that moment, jolly you freeze and frolic, faithful Collie,
• 1:37:55
  Speaker 1: his other doubt of melancholy was put to flight. But
• 1:37:58
  Speaker 1: to what a tale of grief and folly wept that night,
• 1:38:01
  Speaker 1: ah Nord, tag your bonny monster, whose livery pounds bits
• 1:38:05
  Speaker 1: ever faster each time he saw a lessoned parser, his
• 1:38:08
  Speaker 1: breast went bank and many wolful heart's disaster, he thought
• 1:38:12
  Speaker 1: the pank for Robin's heart forever burning, forever rowing, renting,
• 1:38:16
  Speaker 1: yearning from you, that hearts might have been learning to
• 1:38:19
  Speaker 1: be less ficker, but have been spread so many a
• 1:38:22
  Speaker 1: turning and grievous pricker. Your callie heart held but one notion.
• 1:38:26
  Speaker 1: When Robin ji in sprightly motioned, you ran to show
• 1:38:30
  Speaker 1: your own devotion and gamboled too. And so the tempest's
• 1:38:33
  Speaker 1: on Love's ocean was due to you. Well, it is
• 1:38:36
  Speaker 1: overlaid for preaching, and hearts a eye too hot for teaching.
• 1:38:40
  Speaker 1: When Robin, with his eye beswitching, when Greenside came, Ginnie
• 1:38:43
  Speaker 1: poor less forgot her bleaching, and yours to blame and
• 1:38:48
  Speaker 1: of to loath. Tharks on Reaching Land by Christopher Marley
• 1:38:57
  Speaker 1: The Slipper Rocks Recordings in the public Domain. I had
• 1:39:01
  Speaker 1: a friend whose power was pained, oppressed by all the
• 1:39:04
  Speaker 1: cares of earth. Life gave him the the chance to
• 1:39:07
  Speaker 1: drink his secret systems of rich months. His word was hasty,
• 1:39:11
  Speaker 1: harassed wax. His dreams were laid aside perforce until indivisible
• 1:39:16
  Speaker 1: or the next his straight newspapermen. Of course, with wonted
• 1:39:20
  Speaker 1: wealth of tenderness for ingers of the heart and mind,
• 1:39:23
  Speaker 1: he must uneasily repress ben if the raps being daily dry.
• 1:39:28
  Speaker 1: But now and then, and with my aid for fear,
• 1:39:30
  Speaker 1: his soul beholy loss, his devout to the grape he
• 1:39:33
  Speaker 1: paid to cause so wet at any cost. Then liberate
• 1:39:37
  Speaker 1: from discipline, undropped by caution and control through all his wink,
• 1:39:41
  Speaker 1: and floating in the virtual passion of his soul, his
• 1:39:44
  Speaker 1: spirits bad and felt no shame. With holly light his
• 1:39:47
  Speaker 1: eyes would shy see truthful alcolte to reclaim. After the
• 1:39:51
  Speaker 1: second glass of wine, the self the life had trodden heart,
• 1:39:54
  Speaker 1: as by it was generous and free. The glowing heart
• 1:39:57
  Speaker 1: the cat had sheared, grew flame as it was meant
• 1:40:00
  Speaker 1: to be a pox upon the canton lock who caught
• 1:40:03
  Speaker 1: the glass the devil's shape a greater pox, wear some
• 1:40:06
  Speaker 1: sort the fast honor of the grave. Then looked with
• 1:40:09
  Speaker 1: reverence on wine that Kindo's human brings, uncooks. There must
• 1:40:13
  Speaker 1: be something part divine in art that brings us nearer truth.
• 1:40:16
  Speaker 1: So continently scour your films here, let all of the
• 1:40:19
  Speaker 1: sermon end, and bless this x ray that illumins the
• 1:40:23
  Speaker 1: secret bosom of your friend and of thoughts. On reaching
• 1:40:27
  Speaker 1: land erst imposing by Christopher Marland is the Barot recordings
• 1:40:36
  Speaker 1: in the public domain. There was the Russian novelist whose
• 1:40:40
  Speaker 1: name was Slugubrious. The ringing circus took him out to hurt.
• 1:40:44
  Speaker 1: He was Celeubrius. The women's Club of Cripple Creek soon
• 1:40:47
  Speaker 1: held a kind of seminar to learn just what his
• 1:40:50
  Speaker 1: message was. You know what Bookboom's women are. The tea
• 1:40:54
  Speaker 1: went round after five cups. You should have seen them.
• 1:40:56
  Speaker 1: VERITYA dear Missus Brown said what she liked was the
• 1:40:59
  Speaker 1: great man's sincerity. Sweet Missus Jones, how free she was
• 1:41:03
  Speaker 1: from o besetting Vanity declared that she loved even more
• 1:41:06
  Speaker 1: his broaden deep humanity. Good Missus Smith, do she disclaimed
• 1:41:11
  Speaker 1: all tart of being critical, protested that she found his
• 1:41:14
  Speaker 1: book a wee bit analytic girl. But Missus Black, the
• 1:41:17
  Speaker 1: president of Wisdom, found the pinnacle. She said, dear me,
• 1:41:21
  Speaker 1: I always think those Russians are so cynical. Well, poor
• 1:41:25
  Speaker 1: old se Lugubrius. It's true that they had heard of him,
• 1:41:28
  Speaker 1: but neither Brown, June Smith, nor Black had ever read
• 1:41:31
  Speaker 1: a word of him, and of a symposium. The telephone
• 1:41:41
  Speaker 1: Operator who has a Bad Curl by Christopher Marley. That's
• 1:41:44
  Speaker 1: Deperlock's recordings in the public Domain. How halse and husking
• 1:41:48
  Speaker 1: in my ear you are usually cheer maturer. You have
• 1:41:51
  Speaker 1: an awful call, my dear try and spiring of Roncier
• 1:41:54
  Speaker 1: syrup when I put in account day compassions to my
• 1:41:57
  Speaker 1: human blood red to hear you sadly say the number
• 1:42:02
  Speaker 1: youurry healed, the hundred. I felt a sick to his sympathy.
• 1:42:06
  Speaker 1: To hear you crooking the receiver. Will you be sorry too?
• 1:42:09
  Speaker 1: For me? Among hands? When I have hate feeble and
• 1:42:12
  Speaker 1: after a telephone operator who has a bad coal nursery
• 1:42:21
  Speaker 1: rhymes for the Tender Hearted by Christopher Marley VI sebro
• 1:42:25
  Speaker 1: Box Recordings and the Public Domain dedicated to Dawnmarquis Scott's
• 1:42:32
  Speaker 1: Got a Little Roach? How you run when I approach
• 1:42:34
  Speaker 1: up above the pantry shelf, hastening to secrete yourself most
• 1:42:38
  Speaker 1: adventurous of verment. How I wish I could determine how
• 1:42:42
  Speaker 1: you spend the hours of east, perhaps reclining on the
• 1:42:45
  Speaker 1: cheese cook has got and all is dark. Then the
• 1:42:48
  Speaker 1: kitchen is your park. In the garbage heap that she leaves,
• 1:42:51
  Speaker 1: do you browse among the tea leaves? How delightful to
• 1:42:55
  Speaker 1: suspect our the places you have track? Does your long
• 1:42:57
  Speaker 1: antenna with ex gentitive across biscuits? Do you linger little
• 1:43:02
  Speaker 1: stir drowsing in our sugar bowl? Or abandonment? Most uttered?
• 1:43:05
  Speaker 1: She a shimming on the butter? Do you chant your
• 1:43:08
  Speaker 1: simple tunes swimming in the baby sprunce? Then when dawn comes,
• 1:43:12
  Speaker 1: do you sling homeward to the kitchen sink? Timid roach?
• 1:43:16
  Speaker 1: Why be so shy? We are brothers, thou and eye
• 1:43:19
  Speaker 1: in the midnight, like yourself, I explore the pantry shelf
• 1:43:23
  Speaker 1: rocabie inside lie low indye. Then father's a cockroach, mother's
• 1:43:27
  Speaker 1: hand and Betty the maid doesn't clean up the sink,
• 1:43:30
  Speaker 1: so you shall have plenty to eat and to drink?
• 1:43:33
  Speaker 1: How should buy insect behind the min spies. If the
• 1:43:36
  Speaker 1: cook see her, anger will rise. She'll scatter poison as
• 1:43:39
  Speaker 1: bitter as girl d have the poor cockroache hand baby
• 1:43:42
  Speaker 1: and all there was a gay hand roache. And what
• 1:43:45
  Speaker 1: do you think? She lives in the cranny behind the
• 1:43:47
  Speaker 1: old thing eag shells and grace for the chief of
• 1:43:50
  Speaker 1: a diet. She went for strow when the kitchen was quiet,
• 1:43:53
  Speaker 1: She walked in the pantry and sample the bread. But
• 1:43:56
  Speaker 1: when she came back, her old husband was dead. Long
• 1:43:59
  Speaker 1: had to live for his legs still fast, But the
• 1:44:01
  Speaker 1: kitchen maid caught him and squashed him. At last. I
• 1:44:05
  Speaker 1: knew a black bitter who lived down and drained, and
• 1:44:07
  Speaker 1: friendly he was still his manners were plain. When I
• 1:44:10
  Speaker 1: took above, he would come up the pipe, and together
• 1:44:13
  Speaker 1: will wash, and together will wipe. Though Minder would sometimes
• 1:44:16
  Speaker 1: protest with a sneer that my true of topm it
• 1:44:19
  Speaker 1: was wanton and cool, a nicer companion. I never have seen.
• 1:44:23
  Speaker 1: He beaths every night, so he must have been cleaned.
• 1:44:26
  Speaker 1: Whenever he heard the tap splash in the top, he
• 1:44:29
  Speaker 1: dashed up the drain pipe and wait full scrub and
• 1:44:32
  Speaker 1: often so fond of absolution. Was hee of by him,
• 1:44:35
  Speaker 1: the floating and waiting for me. But nurse has done
• 1:44:38
  Speaker 1: something that seems a great shame. She saw him death
• 1:44:41
  Speaker 1: waiting prepared for a game. She turned on the heart,
• 1:44:43
  Speaker 1: and she scolded him sore, and he'd never come busy
• 1:44:46
  Speaker 1: with me any more. And of nursery rhymes for the
• 1:44:51
  Speaker 1: tender hearted The Twins by Christopher Morley. This recording is
• 1:45:00
  Speaker 1: in the public domain. Khan was a turned to brother
• 1:45:04
  Speaker 1: pro on pro we often seek him, but our proclaim
• 1:45:07
  Speaker 1: to know oh conwa contray dick him and of the twins.
• 1:45:18
  Speaker 1: A Prince's Madrigal by Christopher Marley does the bloque recordings
• 1:45:22
  Speaker 1: in the public domain extremely technical. I'd like to have
• 1:45:28
  Speaker 1: you meet my wife. I simply cannot keep from hinting
• 1:45:31
  Speaker 1: I've never since in all my life so fine a
• 1:45:33
  Speaker 1: specimen of printing. Her type is not some bull faced
• 1:45:37
  Speaker 1: font set solid near, and I would say out that
• 1:45:40
  Speaker 1: no typographer could want to see a better balance, lay
• 1:45:44
  Speaker 1: out a nice proportion of white space that is for
• 1:45:47
  Speaker 1: brown eyes to look large in, and not a feature
• 1:45:50
  Speaker 1: in her face comes anywhere to near the margin. Knock
• 1:45:53
  Speaker 1: up with all her sweet display, her formula never pie
• 1:45:57
  Speaker 1: She's like a character proof must that okay, and yet
• 1:46:00
  Speaker 1: she lovest me fat with spiker. She has of my
• 1:46:04
  Speaker 1: one column heat and like a calmer closed each eyebrow.
• 1:46:07
  Speaker 1: Her forehead has an extra lad which makes her seem
• 1:46:10
  Speaker 1: a trifle highbrow. Her nose a tala sized breveer too
• 1:46:14
  Speaker 1: lovely to describe my pant point. Her mouth is set
• 1:46:17
  Speaker 1: in power, her ear and chin are calmly caslin tanpoint.
• 1:46:21
  Speaker 1: Her cheeks are pink. Parenthesis make my powspitfolting them measure,
• 1:46:26
  Speaker 1: and such typography as this would make the wind scream
• 1:46:30
  Speaker 1: with pleasure, and so of all type founded chaps her
• 1:46:34
  Speaker 1: father's best. In my opinion, she is my non perry
• 1:46:37
  Speaker 1: in caps and I in lower case herminient. I hope
• 1:46:40
  Speaker 1: you will not stand aloof because my metaphors are shoppy
• 1:46:44
  Speaker 1: of her devotion I've approved, I tell the urgent follow
• 1:46:47
  Speaker 1: copy and of printer's madrigal. The Point on the Hearth
• 1:46:58
  Speaker 1: by Christopher Morley. This is the Brewot's recordings and the
• 1:47:01
  Speaker 1: public domain. When fire is kindred on the dogs, but
• 1:47:06
  Speaker 1: still distubborn oak delays, small ambers laid above the logs
• 1:47:10
  Speaker 1: will draw them into sudden blazes, Just so the mind
• 1:47:13
  Speaker 1: the poets part the greater. He need not desire. The
• 1:47:16
  Speaker 1: charcoals of his burning heart may light some master into fire.
• 1:47:21
  Speaker 1: And of the poet on the hearth, Oh praise me
• 1:47:29
  Speaker 1: not the country by Christopher Morley. This Librimot's recordings and
• 1:47:33
  Speaker 1: the public domain. Oh praise me not the country. The
• 1:47:37
  Speaker 1: matter's green and cool, the sudden glow of sunset to
• 1:47:39
  Speaker 1: hid and silverpool the city for my craving her lodgship
• 1:47:43
  Speaker 1: and her slaving, the hot stuns of a paving for
• 1:47:46
  Speaker 1: me a city fool, Oh, praise me, not delisure of
• 1:47:49
  Speaker 1: garden country seats, the fountains on the race against summer heats.
• 1:47:54
  Speaker 1: The city for my yearning, my spending, and my earning,
• 1:47:57
  Speaker 1: her winding ways, for learning sing Hey, the cities streets
• 1:48:01
  Speaker 1: apprist me. Not the country, her sycamores and beasts. I
• 1:48:04
  Speaker 1: had my youthful, plenty of sour apple trees. The city
• 1:48:08
  Speaker 1: for my wooing, my dreaming, and my doing, her beauty,
• 1:48:11
  Speaker 1: for presuming her doubtless mysteries. A priest mean, not the country,
• 1:48:15
  Speaker 1: her evening's full stars, her yachts upon the water with
• 1:48:19
  Speaker 1: the wing among the spars. The city for my wanda,
• 1:48:22
  Speaker 1: her glory and her blunder. An old haunting thunder of
• 1:48:25
  Speaker 1: the elevated cars and of old priestman, Not the country.
• 1:48:37
  Speaker 1: A stone in Saint Paul's Graveyard by Christopher Morley, The
• 1:48:40
  Speaker 1: Sliperwater carding a Center, Public Domain, New York. Here lies
• 1:48:45
  Speaker 1: the body of John Jones, the son of John Jones,
• 1:48:49
  Speaker 1: who departed this life December dirttanh seventeen sixty eight, each
• 1:48:54
  Speaker 1: four years and four months and two days. Here by
• 1:48:58
  Speaker 1: enormous shadow screen. He casts his childish shadow too, how
• 1:49:02
  Speaker 1: small he seems beneath the steep. Great was his tender
• 1:49:06
  Speaker 1: days of few, lovingly numbered every one. John June's John
• 1:49:10
  Speaker 1: Jones's little son, all sounds like on the lightning's wings.
• 1:49:15
  Speaker 1: Yet though a building sky with climb or heart, breaks
• 1:49:18
  Speaker 1: are but little things in the equality of time, the
• 1:49:21
  Speaker 1: sum of life. For all manstones. He was John Junes's son,
• 1:49:25
  Speaker 1: of John Jones, and of a stone in Saint Paul's graveyard.
• 1:49:36
  Speaker 1: The Madonna of the Curb by Christopher Morley, the Civil
• 1:49:39
  Speaker 1: wa recordings in the public Domain. On the curve of
• 1:49:43
  Speaker 1: a city pavement, by the ash and garbage cans, in
• 1:49:46
  Speaker 1: the stench and rolling targer of motor trucks and vents,
• 1:49:49
  Speaker 1: dances manesulady with breathe but traveled eyes, and in her
• 1:49:53
  Speaker 1: arms a baby. The cries and cries and cries. She
• 1:49:57
  Speaker 1: cannot be more than seven, But use go fastness, slums
• 1:50:00
  Speaker 1: and hot on the panes of winter, the pitiless summer comes,
• 1:50:04
  Speaker 1: the bill of sickly children. She knows, she understands the
• 1:50:08
  Speaker 1: pangs of puny bodies, the clutch of small hot hands,
• 1:50:11
  Speaker 1: in the deadly blaze of August that turns men vain
• 1:50:14
  Speaker 1: and mat She quits the peevish urchins by telling a dream.
• 1:50:18
  Speaker 1: She had a heaven with marble countess and eyes, and
• 1:50:21
  Speaker 1: a singing fant and a garden white so friendly, just
• 1:50:24
  Speaker 1: like a drug store man. Her ragged dress is dearer
• 1:50:27
  Speaker 1: than the perfect rope of a queen, poor little less
• 1:50:30
  Speaker 1: who knows not the blessing of being cleaned. And when
• 1:50:33
  Speaker 1: you are giving millions to Belgian Paul and Sir, remember
• 1:50:37
  Speaker 1: my pitiful lady, Madonna of the Curl and of the
• 1:50:41
  Speaker 1: Madonna of the Curl. The Island by Christopher Marley. The
• 1:50:50
  Speaker 1: Liberal's recording is in the public domain. A song for England, Nay,
• 1:50:55
  Speaker 1: what is a song for England? A hart skill by
• 1:50:58
  Speaker 1: Greencliff Kinsel. Among the girl's white wings, or were on
• 1:51:02
  Speaker 1: cantish fallen spear, The lighthouse beacon swings a hard school
• 1:51:06
  Speaker 1: of the Marsi's tide come in on souffolk foam. The
• 1:51:09
  Speaker 1: blur that will not be denied moves fast and cause
• 1:51:12
  Speaker 1: us home our heart snow walk a secret row on many,
• 1:51:16
  Speaker 1: A constable hill for we, A mix of island ground,
• 1:51:19
  Speaker 1: The island drowsers steel our hearts may pay some winded
• 1:51:22
  Speaker 1: turned with Sussex downs a high or watch the lights
• 1:51:25
  Speaker 1: of London burn upon fire in the sky. But is
• 1:51:29
  Speaker 1: the virtue of the soil that flings the strength of
• 1:51:31
  Speaker 1: white an ancient courage patient toil, her stubborn, woodless pride,
• 1:51:36
  Speaker 1: a little lands, yet love terrained as any land may be,
• 1:51:39
  Speaker 1: rejoicing in her discipline. The soft stress of the sea.
• 1:51:43
  Speaker 1: Our heart's shell wore a shorewood track. Our lips tas
• 1:51:47
  Speaker 1: English rined, we trese to see the Union jet across
• 1:51:50
  Speaker 1: some deep sea lanes, till all the wild be of
• 1:51:53
  Speaker 1: riche costs and marvelous with wolves. It is the island
• 1:51:56
  Speaker 1: ground a loss? How empty were the earth? A song
• 1:51:59
  Speaker 1: for English and lo everybody speaks. A song for England
• 1:52:04
  Speaker 1: and of the Island. Sunday Night by Christopher Morley, The
• 1:52:13
  Speaker 1: Slipperwork's recordings in the public domain. Two grave brown eyes
• 1:52:17
  Speaker 1: severely bands upon a memorandum book, a sparkling face on
• 1:52:21
  Speaker 1: which are blant, a hopeful and pensive look, a pancer
• 1:52:25
  Speaker 1: purse and book of checks with stops of wearying amounts,
• 1:52:29
  Speaker 1: elaining the shoots of her sex busy balancing accounts, satatly
• 1:52:34
  Speaker 1: in the big armchair, she all engrossed the audi scans,
• 1:52:38
  Speaker 1: her pencer hole was here and there the whiles shey
• 1:52:41
  Speaker 1: cocolats and plants. Wat's this offended pensive frown upon her
• 1:52:45
  Speaker 1: forehead gathers now. Ah, the supcher, heartless clown, beget the
• 1:52:50
  Speaker 1: shadow on her brow, A morande on the tradesman chair,
• 1:52:54
  Speaker 1: who caused us for accountants gloom? Just then the babies cry,
• 1:52:57
  Speaker 1: My girl arose and swiftly left the room. Then in
• 1:53:01
  Speaker 1: her purse by stratagem, I trust some beaut of small
• 1:53:03
  Speaker 1: mouths should seem she had forgotten them and small again
• 1:53:07
  Speaker 1: at her accounts. And of Sunday Night, England, July nineteen
• 1:53:17
  Speaker 1: thirteen by Christopher Morley. The Seboroke's Recordings in the public domain.
• 1:53:23
  Speaker 1: All England, England, that July, How placidly the days went
• 1:53:26
  Speaker 1: by two years ago, How long it seems, and that
• 1:53:29
  Speaker 1: the England of my dreams. I lived and smoke and
• 1:53:32
  Speaker 1: love amid and read Cambridge in the range a callascotlet.
• 1:53:36
  Speaker 1: Life was there to spin, the roses shot over to
• 1:53:39
  Speaker 1: dream while punting on the camp till lie. I never
• 1:53:41
  Speaker 1: give a dam for anything, but comrade ship and books
• 1:53:44
  Speaker 1: to written eldership, and shan to gather at every inn
• 1:53:48
  Speaker 1: when the gorilla wrote to lend all wore of wheel
• 1:53:51
  Speaker 1: and pipe and ore. In those old days, before the
• 1:53:53
  Speaker 1: wall of pointing echoes of the time, I hear the
• 1:53:56
  Speaker 1: Oxford towners chime, the dropping of the smeller bells, an
• 1:54:00
  Speaker 1: odd suit of English smells. The dead and water quickly
• 1:54:03
  Speaker 1: slight the Woodbridge brew house and the marts the Suffolk
• 1:54:07
  Speaker 1: villages syringe with lets a cricket on the green, and
• 1:54:10
  Speaker 1: wam strawberry so right, and ma rise mixture in my
• 1:54:13
  Speaker 1: pipe in those deer days, In those dear days are pleasant,
• 1:54:17
  Speaker 1: lady country, waste the echoes of our stalwart mirth, when
• 1:54:21
  Speaker 1: echoing white around the earth, and in an endless plit
• 1:54:24
  Speaker 1: of sund will let and wash the river round and
• 1:54:27
  Speaker 1: tuber cabin eye by isis were happy with our own devices. Ah,
• 1:54:31
  Speaker 1: can we ever known against such friends as for those
• 1:54:34
  Speaker 1: chosen men, such men to drink, to bite, to smoke with,
• 1:54:37
  Speaker 1: to worship with all light and joke with. Never again
• 1:54:40
  Speaker 1: my legs will see the light be latter twenty three
• 1:54:43
  Speaker 1: never gain. Perhaps shall I go flashing briefly down the
• 1:54:45
  Speaker 1: high to see in the transcendent hour of the sunset
• 1:54:49
  Speaker 1: glow on Madeleine Tower. Dear Rupert Brooke, your woods, recall
• 1:54:53
  Speaker 1: those endless afternoons, and all your Cambridge, which I loved
• 1:54:56
  Speaker 1: as one who was her grandson, not her sons or
• 1:54:59
  Speaker 1: ripples by the rivers, slags and grinning eddies round the
• 1:55:02
  Speaker 1: bags where men have dreamed, such gallantings under the old
• 1:55:06
  Speaker 1: stone bridge at King's on Linden for the silver swans,
• 1:55:09
  Speaker 1: but tennis myths at John's, or Grant's water color rush,
• 1:55:13
  Speaker 1: kissing the bombing eagle flash under the villa's bridging, stir
• 1:55:16
  Speaker 1: the barton pulled at Granchester. What woods can tell, what
• 1:55:19
  Speaker 1: woods can praise? The burly sable of those days, the
• 1:55:23
  Speaker 1: singing lad those days are there, And God for all
• 1:55:26
  Speaker 1: your golden head and many other vols men were never
• 1:55:29
  Speaker 1: dine in hall against I to have lived, remembered ours
• 1:55:32
  Speaker 1: in Cambridge, heard the summer's showers make music on o'halfer's
• 1:55:36
  Speaker 1: paint while I was reading Puppies attained through Trumpington and Granchester.
• 1:55:41
  Speaker 1: I used to roll a shut over at Hoxton Bridge
• 1:55:43
  Speaker 1: my lamwood light and slip a roaston for the night
• 1:55:47
  Speaker 1: or the five months from anywhere. I used to scowl
• 1:55:49
  Speaker 1: and sit and swear while mobs attack by bread and
• 1:55:51
  Speaker 1: jam the summer evenings on the camp o, crispy English
• 1:55:55
  Speaker 1: cottage loaves, baking ourns, not on stoves, or white unsalted
• 1:55:59
  Speaker 1: English butter satisfaction. None can alter the thing that bore
• 1:56:03
  Speaker 1: destroys I knew in Cambridge, I did not know you.
• 1:56:07
  Speaker 1: And of England July nineteen thirteen. Casualty by Christopher Marley.
• 1:56:18
  Speaker 1: This libery Rox recordings in the public domain. A well
• 1:56:22
  Speaker 1: shot pencil lits one on the right when gods called
• 1:56:25
  Speaker 1: the shot is guaranteed. The prime occasion puts the did inside.
• 1:56:29
  Speaker 1: Who still suppose who knows not how to read? Sing
• 1:56:32
  Speaker 1: a pulpit? Who can silence gap? A major will not
• 1:56:35
  Speaker 1: dream her taine advice men looking down from some she
• 1:56:38
  Speaker 1: desisted it has quite impromptly and ended life. And of
• 1:56:44
  Speaker 1: Casualty A grub Street recession and by Christopher Marley, This
• 1:56:53
  Speaker 1: libery Rox recordings in the public domain. Oh no for
• 1:56:57
  Speaker 1: gracious English town whose fibers whistles set to its vocative measures.
• 1:57:02
  Speaker 1: He has sung have pardoned on the journalists for mumble
• 1:57:05
  Speaker 1: miter and lidden pond for slip shot rhyme and lazy words,
• 1:57:09
  Speaker 1: have pity on this graceless want, that mercy or that
• 1:57:12
  Speaker 1: servant lot. The metaphors and drop's depart under the clippings,
• 1:57:16
  Speaker 1: feet and bleach. There is no mutual and no art
• 1:57:19
  Speaker 1: saving straightforward saxon speech. Yet not in ignorance of spike,
• 1:57:23
  Speaker 1: nor with thy noble paths for God, we sink, indeed
• 1:57:27
  Speaker 1: we had to write to keep a fire beneath the port.
• 1:57:30
  Speaker 1: Then grant that in the coming time, with inky hand
• 1:57:32
  Speaker 1: and polished sleeve, in loose a pross or honored rhyme,
• 1:57:36
  Speaker 1: somebody tasks we may achieve some pinnicot and margret RaSE,
• 1:57:40
  Speaker 1: some lyric breaking latency, that we may learn, not hoping
• 1:57:44
  Speaker 1: praise to give up that simplicity and of a grub
• 1:57:48
  Speaker 1: street recessioner. Preliminary Instructions for Funeral Service being a poem
• 1:57:58
  Speaker 1: in false stanzas by Christopher Morley. This libri was recording
• 1:58:02
  Speaker 1: us in the public domain. Say this poor Fomo's featured
• 1:58:06
  Speaker 1: all his days and could not mend his ways, and
• 1:58:09
  Speaker 1: say he tried most heavily upon the counts of God.
• 1:58:12
  Speaker 1: But also stated in his clavered brain, there was the
• 1:58:16
  Speaker 1: essential pain the idiots while to tell his troubled truth,
• 1:58:19
  Speaker 1: No matter how unhappy fool, you say, with pitiful air,
• 1:58:23
  Speaker 1: Who was he danced? And where ah you divine? He
• 1:58:26
  Speaker 1: lives in your heart as he lives in mine. And
• 1:58:31
  Speaker 1: a Preliminary Instructions for Funerals, service and of chimneys smoke
• 1:58:36
  Speaker 1: by Christopher Morley