What does the pinecone represent? Why is that shown around the world? But more importantly, what does the handbag symbol represent that we see all around the world? This knowledge was kept only in the most high levels with priests and Magi. Only those at the top could understand what these meant. Many of these ancient symbols throughout history were eventually inverted and perverted to their opposite meanings in some cases to almost demonize them to seem like it's something that's evil when it's truly something that's the complete opposite. These individuals they are the keepers of knowledge and the keepers of how to create civilizations. They're the ones that jump-started every major advanced sophisticated civilization we can around the world. I really think this is going to help connect a lot of these missing pieces for people that are yearning for this knowledge. So I want to give just a tiny little bit of a background because I know that not everybody that comes to this information is at the same level. You know, they haven't necessarily studied this for years and years and years. Maybe they're just discovering this for the first time. So what I want to do is just give a really small very short higher level and lower level perspective of this before we really get into what we're talking about because I feel like this information specifically is at the highest level. It's not something you just jump right into and start talking about or you're gonna get a lot of people that haven't studied it roll their eyes and turn this video off and say I don't know what he's talking about. So I want to set the stage for what this information is and why it's so important. Over the last couple years, the last several years of studying this and writing books and trying to understand the earliest point of when civilization started here, there was always these questions that came up. Questions revolving around what are those cylinder seals that have been found in ancient Mesopotamia? What do they represent? What do these murals represent with all these depictions from the past? What are these ancient symbols we find in places like in the Americas all the way into Turkey down into Egypt down into Mesopotamia? Why do we find the same symbols shared by so many different cultures around the world when in our history books we're taught that those cultures had no contact with one another, especially across oceans. They were disconnected from different time periods in history and it's all just random, right? Human civilizations emerged just based on randomness. Some group of kings and group of hunter-gatherers got together. They decided to settle on a location and then they built an empire and then that empire eventually collapsed. And that's the whole story we're given. We're told this entire narrative of our civilization can be put into this 6000 year window with just enormous amounts of slaves being forced into manual labor to create these enormous structures like the pyramids. This is the version we're told. Moving these enormous blocks on these wooden pillars and all these things, it just doesn't make any sense anymore. This old narrative and paradigm that we're taught about how human civilizations got created, how old they are, what the knowledge and the information that was handed down to them, where did it come from? All of these things are starting to become much more in the forefront of conversations. And we're not there yet. A lot of society is still sleeping and believes this narrative that we're told that I just described, this very simplistic narrative that really does govern our lives if we think that we're just primitive apes that have no connection to the stars and we have no understanding of what we really are, this higher vibrational being that is a co-conscious creator of this reality around us. If they don't have that perspective, think about how that governs their lives. So that's why I think this information is so important. What we're going to do today is we're going to answer some very, very important questions that are just sort of sifting around and floating around the internet that I get. I get emails and I get questions all the time from people. They'll ask me, what do the onanaki look like? Are they reptilian? Are they serpent headed? What do the term, what does the pine cone represent? Why is that shown around the world? But more importantly, what does the handbag symbol represent that we see all around the world? What do they really represent? We got to start with symbolism because that's the biggest piece of this to understand. Now for those who have followed my work for the last few years who have read my latest book, The Stage of Time, they know that I discuss the symbols of the eagle and serpent extensively, discuss how it's not really supposed to be a literal translation. In Mesopotamia, when we find this depiction of a serpent headed individual, it's very easy to want to jump on that and say that's a some reptilian being. Very easy to jump on that. And I don't want to throw anybody to the bus and say that you're wrong, but I want to explain my side and my take on how that explains what that means. When you have something serpent headed, just like when it's described like in the Code of Hammurabi, blackheaded, we're talking about symbolism that's shown what someone's mentality is. That's why when we have depictions of some of the otonoke, they have an eagle head. They didn't really have eagle heads and they didn't really have serpent heads. It was a symbolic way to describe their mentality. If someone, their mentality is focused on governing through war and control. And the masculine energy of creation, that symbol was always shown through the symbol of the eagle. That's what that symbol meant. And the serpent would always represented knowledge and wisdom. So in that case, it really wasn't a scary image with that serpent headed. It actually represented very knowledgeable, a being that was very, very smart, very knowledgeable, not like the society around and the farmers, the ones who were fishing, the common man. Back then, those types of people didn't understand any of this. This knowledge was kept only in the most high levels with priests and magi. The only those at the top could understand what these meant. Yes, the eagle and the serpent are some of the most important symbols that we have. But these two that we're about to talk about maybe the most important too, because they really represent the totality of all of this. So what you have in front of you is a lot of different images all thrown together, collage of images together here. And I wanted to just break some of these down and show you guys this as we're going along. Now the images at the top part of the screen in the left part, these are depictions of the Anunnaki. Okay. And that's that's essentially those three are the Anunnaki themselves. And we'll get into a little bit more about why they look different. But I mentioned the mentality symbolism with the head thing, that image with the eagle head is an Anurta. It's an ancient God of war. That's why it has an eagle head. Anurta was known as basically the major influencer of the Roman Empire. And you can find that with the Anurta symbol right there. You'll see it with the Byzantine double headed eagle. And I showed that on the last image on the rock shown in the background. That represented having awareness and knowing everything about all around you. So having something look left and right, meaning we would be knowing all, but not knowing in a knowledge sense, being aware of everything, knowing what everyone's doing, being one step ahead of them. This was the Anurta symbol.  They're holding that pine cone and pointing in a certain direction. And as we go along, looking at these specific murals from Mesopotamia that I'm going to be talking about, talking about which reference either kings or the Anunnaki, I want people to remember, what you're looking at, everything has meaning.  That's what's so fascinating about it. I literally stared at some of these for hours and hours on end. Just try to figure out what they're representing. So what I'm showing here essentially just to break it down is, these Anunnaki individuals, these figures, are holding a pine cone. They're always facing it forward in front of them. Now, when you go to the Vatican in Rome, where the pope stands out and comes out and gives all those commandments and talks to everybody, what you find in the square is a giant pine cone symbol, the largest in the entire world, sitting in the center of their religious establishment there. This enormous pine cone. At the same time, the pope on his staff has a pine cone built right into the wood itself. You can see that depicted down the bottom, as well as a hat that he wears called the miter hat. Now, when you look into the story of the Dogon, this ancient tribe that's in Western Africa and the country of Mali, you find out that this Dogon tribe had all this knowledge about the stars and the heavens way before the first telescopes were ever invented, before they ever had influences from other cultures. You just had this remote tribe in the middle of the Western Africa that had knowledge about the heavens that literally no one had knowledge of at that time, or very few select groups. And so when French anthropologists first came over to meet them in the 1930s, they couldn't understand how this tribe knew the detailed alignments and celestial movements of Sirius A, B, and even C, and Sirius B hadn't even been discovered yet. It wasn't discovered for years and years later until the first radio telescopes were made, and this culture somehow knew vast amounts of knowledge about our cosmos and in about our planet as well. And the reason I say that and bring up that story is that if you look at depictions of the Dogon that they have, they show this aquatic serpent-like fish being known as Iwanis. And Iwanis has a hat on in those depictions, and that hat is where the miter hat came from. And Iwanis is passing on that knowledge in these depictions to these Dogon people. So when you look at the Pope today, it's simply just a reference from these ancient knowledge bringers that passed to law and knowledge. And Iwanis wasn't really an aquatic fish being, it was just a symbol to represent Anki. And because when you look at cylinder seals of Anki, you see that he essentially has these fish coming down above him, and he's basically in charge of the god of freshwater and balance. And so all these things that we see today in these corrupted religious establishments and these inverted truths of these symbols, they all go back to a much more ancient time before they really became inverted to their opposite meanings, just like something like the swastika. All those things were either inverted or hidden so that we no longer understood what they are. The pinecone is absolutely, it's all around the world. We find it in Hindu cultures, we find it in Egyptian cultures, we find it all around the world as we're going to get into in a second. We know that the pinecone represented knowledge. The passing of knowledge and wisdom, we know that. The pinecone represented both our third eye, the pineal gland within the human brain, as well as it represented this honeycomb hexagonal design, the seeds of life, the seeds of knowledge, that represented basically this intelligent design behind all of nature itself. So they decided to use of any symbol in the entire world, the pinecone represented the passing of knowledge and wisdom. And that's why it's shown being pushed in front of themselves and being handed to other cultures. What's important about us establishing that is that we can then take that understanding and apply it to other symbols because they're related. And that's how this works, is we can take related symbols and allow us to help us expand to understand what they all mean. The pinecone and the handbag is literally shared by every single area in the world we can establish that there were what we find evidence for lost civilizations. And that's why this is so important because these symbols that we find in all these different parts of the world where we also have megalithic structures and sophisticated things that were built that would have been impossible for a primitive culture with Bronze Age tools, we find these same symbols. And that's what's so important about defining them because it allows us to say, ah, that's who influenced them for so that to create those civilizations and that's why they're so similar to others. What we have on the screen is probably the most debated of all the symbols that exist today is the symbol of the handbag. Now, I will fully admit, when I first started studying this, I thought it was some kind of a bag that maybe held psychedelics to like psilocybin or something to help expand some culture's mind or something when they're in a church. I couldn't understand, but what is in that bag? You know, what are they providing? And there's been so many individuals have said, well, it represents technology, some kind of technology they had that helped them to build the civilization. And this is where I've come to and this is where I want to try to lay down the definition I think makes the most sense to connect with the pineal gland. And it's going to make more sense as we go along because we have depictions with all of them together in the next coming slides. So we'll put all this together in one place. So the handbag symbol has been shown in almost every single place that we have megalithic loss civilization imagery and structures around the world. We find these symbols, this handbag. Now on the left side is pillar 43 at Gobekli Tepe. So we see the same handbag symbol there and that's in Turkey. Now the image in the middle is one of these Anunnaki images with the pine cone holding it out and then the handbag down below. The following one on the right is from Mexico, Leventa, Mexico with the Olmec. And you can see Cucucon Quetzalcoatl up behind him with essentially an Olmec individual with a head of a serpent as well, like serpent head, remember? Holding and passing along a handbag. So what does this mean? What does it really represent? Well, think about what the previous symbol represented. The passing of knowledge. Okay? The passing of knowledge to another individual, not just generic knowledge, higher knowledge, knowledge of everything. If you were to try to sit down and explain to someone everything to have them understand from a higher level, understand the balance of nature, understand consciousness, energy, understand the cosmos, understand how to create a civilization. All these things come into that's what's needed for an individual to be able to do what they've done throughout history in these empires. So what did the handbag represent them? The handbag was the tools needed to create a civilization.  To have knowledge, to have it and understanding is one thing. But how do you create a civilization? How do you design a civilization? What are the blueprints for that civilization? What are the morals that would be laid down for that civilization? How is that civilization going to be governed? What are the rules going to be? That's what that symbol represents. It's the tools needed to create that entire civilization. So that's why you have a pine cone from the knowledge side, and then here is coming right next to it. But notice, he's not passing along. In some cases, he's passing along the pine cone and passing along the bag. But in other cases, he's holding it by his side as well. These individuals, they are the keepers of knowledge and the keepers of how to create civilizations. They're the ones that jump-started every major advanced sophisticated civilization we can around the world. When we see lost civilizations, this is where these influences came from. They came from those who are passing along knowledge through the pine cone and the tools to create civilizations around the world. And that's why we find these two depictions so closely used in nearly every depiction, because what's the end game here? If you had an advanced group that wanted to design the infrastructure for a planet, design the infrastructure with cities for what people would do, for how to run the world, how to clear river channels for agriculture, for how to map the heavens. You would need all of these different tools and knowledge to be able to do that. And that's what I really feel like these symbols represented when they're handing them down. But it goes even deeper too. And this is where it's a rabbit hole. It truly is. We find ample evidence all around the world just so we can find evidence for these symbols being shown that there have been devastating catastrophes that have occurred on the earth and maybe not even just during one time period, but maybe as part of a cyclical basis where maybe every 12,000 years it seems like some disaster occurs, which is why they were so obsessed with mapping the heavens. Because they could understand not only the energy of the cosmos, but they could also map and understand when events are going to happen, when what time period is occurring on a larger level, looking at it more on the basis on the solar system level, not on just looking at our understanding of time. So these civilizations were wiped out collectively around the world based on series of cataclysms we find. And we know that based on erosion we find around the Sphinx enclosures. When we look at Greenland ice core samples, we see a very, very devastating event that occurred between about 12,800 and about 10,800 years ago. Over a multi, potentially over a thousand year period of multiple events that seem to have wiped out all of these civilizations and just left either just their megalithic structures that they built with no writing at all, or in some cases these cuneiform tablets, which was the ingenious way that they knew that they could preserve a message etched into stone or clay so that it would survive. That's why there's so few writings from any of these cultures anywhere in the world because if they had used paper or anything digital, none of it would have survived. And so when someone asked about, well, how do you know Atlantis was real? We don't have any of the writings from Atlantis, really. We have very little. We have anything that was either channeled or came through ancient Egypt, because Egypt was the only connection that we can find back to Atlantis when Solon went there and then told Plato about the story of Atlantis. So all we have, E. Willie, is basically these scraps and these little breadcrumbs left behind from what is disasters that we can't even wrap our heads around in terms of human history for events that have occurred for what happened to them to be able to try to understand what this story is. And that's why it's so difficult because we're talking about a culture E. Willie and JP that disappeared in many cases well over 10,000 years ago. So guys, this is what we're going to go some high level stuff now for those who love high level. In Gobekli Tepe, which is in the Anatolia region of Turkey, you see pillar 43, which is the most important of all the pillars there. Now, these pillars are massive, massive megalithic pillars that are built out of a single stone. They're these huge T-shaped pillars and they weigh more than 20 tons each. And they have all these strange depictions on them. The first thing to mention about pillar 43 is it has the handbag symbol at the very top, meaning the tools needed to create a civilization, right? So they're worshiping that knowledge and those tools that created their civilization. Why is that so interesting and important? I've mentioned this before but I want to mention it again for those who don't know. Gobekli Tepe is one of the most important sites not for its sophistication with megalithic giant blocks like we see across Peru or in Egypt. Not for that reason, but because it contains certain levels of archaeological evidence that helps us to really understand the story well to back up this information. And what you find in Gobekli Tepe is that as they've uncovered different layers going down in, they found that this entire astronomical temple, which is what this was, was buried under mountains of debris, deliberately buried hidden, closed off. When they finally got down and dug in and found this temple, they found that there were very peculiar layers of organic material within other layers that went down deep below that. And they were able to radiocarbon date that organic material to 11,800 years ago for this civilization in Gobekli Tepe that made that temple. So we know that. We know that that base value.  When they went down and covered those layers, remember, we're told that every civilization is simply nomadic hunter-gatherers and they just, in terms of Gobekli Tepe, that what mainstream archaeologists tell us is that this group just happened to decide to stop hunting and hang out there for a few years and build the most sophisticated astronomical temple ever built. That makes a lot of sense, right? But what makes more sense is when you go down through the layers, you find that in the layers right below where this construction was done, we do find hunter-gatherer evidence, extensive hunter-gatherer evidence. There were hunter-gatherers moving through this region, but then right above it within a very, very short amount of material, only within years, say, of material that could have been accumulated, we see all the sophistication that comes out of nowhere. Agriculture starts getting practiced. Cities are built. We find sophisticated society has emerged on this site out of nowhere, seemingly out of nowhere. And then what do we find on that pillar? Those handbags shown like if you were, let's say you were a hunter-gatherer group, you were living in that region, hunting wild animals and just living off the land. And all of a sudden this group of enlightened individuals comes in and teaches you all of this wisdom and knowledge. They completely change the structure of your society. They give you all these tools. They give you understandings. They teach you how to farm. They teach you about the cosmos. They teach you about consciousness. They give you all this information and knowledge. They give you the tools to create those civilizations, and then they leave. What are you going to do? You're going to worship them. You're going to worship them, either them, where they came from, or even just celestial understandings of energy, and we'll get into that in a second. But now look what's below the handbag symbols. We see a vulture, okay? And we see a vulture who's got a circular round thing above his arm. And some have speculated that's a comet or an asteroid. Now look below the vulture. You see a scorpion. Now let me break this down. What I want to explain here and describe is, notice on the left you have the handbag symbol on the top, and then you have the vulture and the scorpion. Now if we look up in the cosmos, we find that we see strikingly similar similarities with what's known as Cygnus. It's the constellation of Cygnus and Scorpius represent those depictions. And now look at the alignment of them. Not only are they shown on this cosmological chart, they're in the exact same position to each other. Look at Cygnus and look at Scorpius below it. Now at the top Cygnus is connected to a star. Look at, see the hand or the wing of the vulture? There's a star right above its wing. That star happens to be called Deneb, and it's one of the brightest stars not in our region, but the entire galaxy. One of the most illuminating stars in all of the galaxy happens to be right above Cygnus, but not just a coincidence. Think about the symbol of the cross getting into symbols. The ancient cross, the most ancient symbol of all, which by the way predates Christian religions by thousands of years. In fact, these Anunnaki symbols that we're going to show in these murals, they have the symbol of the cross in many different places. It's one of the most ancient symbols of all, and to put this to bed too, the cross represents the crossing of energy, mind, body, and soul, the three ingredients for humans to reach ascension. That's what has been taught all throughout history. It's still the teachings of Jesus in the Roman Christian Bible. There is good information there, but it originally came from a much earlier place. It represented the crossing of energy, and it just so happens that Cygnus, it represents a constellation of a cross, and one of the brightest stars in our entire galaxy happens to be the top of the cross, which would represent essentially ascension. I find that incredibly interesting. So we find Cygnus and Scorpius in this depiction at Gobekli Tepe with handbags right above it. Now, I'd like people to think about that for a little bit. What does that mean? Does that mean that those beings who provided, does it mean that they're the ones who brought those tools? Those are endless questions that go into that, but I want to leave people with that understanding of what's shown on that and how those handbag symbols are right above that. Now, there's one more incredibly interesting piece of the puzzle. Just so happens that Cygnus and Scorpius are in what's known as the dark rift of our galaxy. The dark rift is an area of the galaxy that has the highest amount of dark energy of our entire galaxy is in that location. For those who don't know what dark energy is, it's when you think of a system of balance, as above as below, you find when you look at something like the underworld and heaven, higher and lower dimensions, there's always balance no matter what. Dark matter would be like the equivalent of the underworld for our planet, but in the galaxy. It is the other side of matter. Everything is always balanced. Now guys, this is probably, I would have to argue my favorite depiction of any mirror in the world. It may seem silly, but something like this can answer almost everything. Think about all the stuff we've talked about. What does the pine cone mean? What does the handbag mean? They're right here, but we get a lot more information than just that. Now guys, I'm going to break this whole thing down and this is where I think is going to help connect a lot of pieces for people, a lot of these clues that remain hidden. Now like a puzzle piece, to try to put together this lost story of history, we take it one piece at a time. So once you know the pine cone means the passing of knowledge and wisdom, you put that piece in the place. Then you understand how they're holding this handbag. You put that piece into place. If you have the understanding that beings that have wings, it's supposed to represent gods, ascended beings that are from other dimensions. You put that piece into place too. And what do you get? You get a depiction here that tells an entire story. It tells an entire story of what occurred in the past to create sophisticated civilizations. Now let me break it down. Notice there's two individuals in the center that are surrounded by what's called the tree of life. And then there's two individuals on the outside and then above the tree of life, you have the winged solar disk with Anu in the center. Okay. Now Anu is like running the wheels of this tree, this life, like balance. And the more you learn about the Anunnaki, the more you find that they're obsessed with maintaining balance. They did a lot of bad stuff here, but because of that, they had to do certain roles and responsibilities to regain that balance. And that's one of the obsessions they always have, no matter what you look at. That's why the tree of life is always depicted. This balance of life here, this balance of nature, the creation of life, it's all balanced by, according to them, the Anunnaki are in charge of that. That's their responsibility. Okay. Now I used to think that this was supposed to depict all of the Anunnaki. All these are for Anunnaki. That's not right. That's incorrect. And I took me a long time to understand that the way you know that is not just by the wings. Look at what they're wearing on their heads. Notice that very carefully. Besides wings, the Anunnaki, if they're shown with their physical head, not a serpenter and eagle, they're always shown the same way. They have horns, ringed horns around their helmet, and they always have three. That's a status symbol for the Anunnaki. That means that the two individuals on the outer side, and it doesn't really mean on either side. Remember, it represents both sides, right? Balance. The four. The two on either end, and the two kings in the center. Now notice, the kings are the same height as the Anunnaki. And like I said, I think some things are supposed to be literal, right? Some things are symbolic, but other things are literal. They're the same height as the Anunnaki. Now look, the Anunnaki aren't reptilian. Remember, we're created in their image, not the other way around. We are them. So therefore, look at all the Mesopotamian kings that are depicted all throughout history. When we look at Asher, when we look at King Hammurabi, when we look at Sennacherib, when we look at Ashurbanipal, notice they look just like the Anunnaki, like they're imitating them, right? They have the long locks of hair all braided. But what do they not have? Notice what's on their head. They don't have any horns. They have a completely different type of symbol on their head, and they don't have handbags or pine cones. You see that? It's telling you a story.  The Anunnaki had bloodline King offspring based on the Nephilim, which are called the Nephilim. Okay, we know that when we look into Genesis, we look into all kinds of book of Enoch, all kinds of ancient stories from the past. It's extensively talks about that, that giants were once here, that ancient kings really weren't what we thought they were. They were actually like bloodline Anunnaki kings from directly from their bloodline. And so what their obsession here was to have their seed rule over the society. So these kings are direct bloodline kings of the Anunnaki. They're being given the knowledge and wisdom to create civilization. Okay, and that's why they're depicted in the center around the Tree of Life. Now notice what they're carrying in their left arm. They have what's known as the masculine rod of kingship, of ruling. And it was always males that did the majority of these ancient civilizations were males. There were some civilizations in parts of Africa that were run by females. And there were some areas of Africa had female kings and priests and that was an example in areas, but in the majority of the time, it were these bloodline males, these masculine rulers that would take over and rule society. And that's really what's to being depicted here in the center. So they have the masculine rod and then look what they're doing, just like you see they're pointing the way. It is their way and or nothing. They are handing down the rules and responsibilities that the Anunnaki gave to them, almost like an emissary that works for someone that's very powerful. They're the ones who are supposed to then use all of that knowledge, the tools to create a civilization, the knowledge, the laws handed down them to them specific laws. It was all under one umbrella called kingship. Everywhere is the same phrase. Kingship was lowered. Kingship was lowered here. Kingship was lost then re-lowered and we're going to get into that in a second. But essentially you have the Anunnaki having these bloodline kings that they feel are superior that should rule over the rest of society. They're telling them the way to create those civilizations and how to govern them. And in the center, you have the Zorian Astrian symbol with Anu who's basically pulling the wheels. He's almost like the bike of life. He's the one who's in charge of all of the Anunnaki and balance. So when you put the whole thing together, it's like the Anunnaki are creating a specific type of kingship civilization for our societies here in their image, in their likeness, in their mentality. And that's what I think is so interesting though if we go back a little bit. Just notice how often they're depicted with an eagle head though.  It's actually quite rare. You do see it like when I showed you in La Venta, the Olmec, how they show Kukukon coming up with a serpent. Yes, it's there, but it's much more rare. What does that mean? It means that the majority of the time, the Anunnaki, when they were creating these civilizations, created them to be warlike empires, which is why throughout history, it's always been governed by war because it's the easiest way to control civilizations and keep them in a lower state of consciousness. There's always been this battle of the Anunnaki where they didn't want us to become greater than them. And that's what a lot of these struggles have been.


And outside Africa, the death toll from torrential rains in central China's Henan province has risen to 69. Among the victims, six were found in road tunnels at the Zengzhao section of the Beijing Guangzhou Expressway. The state flood control and drought relief headquarters on Sunday dispatched a working group to guard the disaster relief work in the cities of Kaifeng and Zhaokou, according to the Ministry of Emergency Management. Hello, hope you enjoyed the news. Please do subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


The Toys, by Coventry Patmore, read for LibriVox.org by Crown Daisy. My little son, who looked from thoughtful eyes, and moved and spoke in quiet grown-up wise, having my law the seventh time disobeyed, I struck him, and dismissed with hard words and unkissed.  For on a table beside his head he had put within his reach a box of counters, and a red veined stone, a piece of glass abraded by the beach, and six or seven shells, a bottle with blue bells, and two French copper coins ranged there with careful art, to comfort his sad heart. So when that night I prayed, to God I wept and said, and when at last we lie with transit breath, not vexing thee in death, and thou rememberest of what toys we made our joys, how weakly understood thy great commanded good, then, fatherly not less, than I whom now has moulded from the clay, thou wilt leave thy wrath and say, I will be sorry for their childishness. End of poem. This recording is in the public domain. The Toys by Coventry Patmore, read for libraryvox.org by Claire Leung, my little son, who looked from thoughtful eyes, and moved and spoke in quiet, grown-up voice. Having my law the seventh time disobeyed, I struck him and dismissed with hard words and unkissed. His mother, who was patient in death, then fearing last his grief should hinder sleep. I visited his bed, but found him slumbering deep, with darkened eyelids and volatious yet, from his late sobbing wet. And I, with moan, kissing away his tears, left others of my own. For on a table drawn beside his head, he had put within his reach a box of counters and a red-banded stone, a piece of glass abraded by the beach, and six or seven shells, a bottle of bluebells, and two French copper coins, ranged there with careful art to comfort his sad heart. So when that night I prayed, to God, I wept and sinned. I went at last to rely with a tranced breath, not vexing thee in death, and thou rememberest of what toys we made our joys, how weakly understood, thy great commanded good, then, fatherly, not less, than I whom thou hast molded from the clay, thou'dst leave thy wrath and say, I will be sorry for thy childishness. End of poem. The recording is in public domain. The Toys by Coventry Patmore, read for LibriVox.org by DailyBab. My little son, who looked from thoughtful eyes and moved and spoke in quite grown-up wise, having my law the seventh time disobeyed, I struck him, and dismissed with hard words and unkissed. His mother, who was patient, being dead. Then, fearing lest his grief should hinder sleep, I visited his bed, but found him slumbering deep, with darkened eyelids and their lashes yet from his late sobbing wet, and I, with moan, kissing away his tears, left others of my own. For, on a table drawn beside his head, he had put within his reach a box of counters and a red-veined stone, a piece of glass abraded by the beach, and six or seven shells, a bottle with bluebells, and two French copper coins, ranged there with curfew art to comfort his sad heart. So when that night I prayed to God, I wept and said, Ah, when at last we lie with transit breath, not vexing thee in death, and thou rememberst of what toys we made our joys. How weakly understood thy great commanded good, then, fatherly, not less than I whom thou has moulded from the clay, thou leave thy wrath and say, I will be sorry for their childishness. End of poem. This recording is in the Public Domain. THE TOYS My little son, who looked from thoughtful eyes and moved and spoke in quiet grown-up wise, having my law the seventh time disobeyed, I struck him and dismissed with hard words and unkissed, his mother, who was patient, being dead. Then, fearing lest his grief should hinder sleep, I visited his bed, but slumbering deep, with darkened eyelids and their lashes yet from his late sobbing wet, and I with moan, kissing away his tears, left others of my own.  So when that night I prayed to God, I wept and said, Ah, when at last we lie with transit breath, not vexing thee in death, and thou rememberest of what toys we made our joys, how weakly understood thy great commanded good, then fatherly not less, than I whom thou hast moulded from the clay, thou leave thy wrath and say, I will be sorry for their childishness. End of poem. This recording is in the public domain.  So when that night I prayed to God, I wept and said, Ah, when at last we lie with transit breath, not vexing thee in death, and thou rememberest of what toys we made our joys, how weakly understood thy great commanded good, then fatherly not less, than I whom thou hast moulded from the clay, thou leave thy wrath and say, I will be sorry for their childishness. End of poem. This recording is in the public domain. His mother who was patient being dead. Then fearing lest his grief should hinder sleep, I visited his bed, but found him slumbering deep, with darkened eyelids and their lashes yet from his late sobbing wet. And I, with moan, kissing away his tears left others of my own. For, on a table drawn beside his head, he had put within his reach a box of counters and a red veined stone, a piece of glass abraded by the beach, and six or seven shells, a bottle with blue bells, and two French copper coins ranged there with curfew art to comfort his sad heart. So when that night I prayed, to God I wept and said, when at last we lie with transit breath, not vexing thee in death, and thou rememberest of what toys we made our joys, how weakly understood thy great commanded good, then fatherly not less, than I whom thou hast moulded from the clay, though it leave thy wrath and say, I will be sorry for their childishness. End of poem. This recording is in the public domain. During my law the seventh time disobeyed, I struck him and his mist with hard words and unkissed, his mother, who was patient being dead. Then, fearing lest his grief should hinder sleep, I visited his bed, but found him slumbering deep with darkened eyelids and their lashes yet from his late sobbing wet. And I, with moan, kissing away his tears, left others of my own. For on a table drawn beside his head he had put within his reach a box of counters and a red veined stone, a piece of glass abraded by the beach, and six or seven shells, a bottle with blue bells, and two French copper coins, ranged there with careful art to comfort his sad heart. So, when that night I prayed to God, I wept, and said, When at last will I with transit breath, not vexing thee in death, thou rememberest of what toys we made our joys, how weakly understood thy great commanded good. Then, fatherly, not less than I whom thou hast moulded from the clay, thou would leave thy wrath, and say, I will be sorry for the childishness, end of poem. This recording is in the public domain. My little son, who looked from thoughtful eyes, and moved and spoke in quiet grown-up wise, having my law the seventh time disobeyed, I struck him, and dismissed with hard words and un-kissed his mother, who was patient, being dead. Then, fearing lest his grief should hinder sleep, I visited his bed, but found him slumbering deep, with darkened eyelids, and their lashes yet from his late sobbing wet. And I, with moan, kissing away his tears, left others of my own. For, on a table drawn beside his bed, he had put within his reach, a box of counters and a red veined stone, a piece of glass abraded by the beach, and six or seven shells, a barrel with bluebells, and two French copper coins ranged there with careful art, to comfort his sad heart. So when that night I prayed to God, I wept, and said, Ah, when at last we lie with transit breath, not vexing thee in death, and thou rememberest of what toys we made our joys, how weakly understood thy great commanded good, then fatherly not less than I whom thou hast molded from the clay, thou leave thy wrath and say, I will be sorry for their childishness. End of poem. This recording is in the public domain. The Toys by Coventry Patmore, read for Librevox.org by Leonard Wilson of Springfield, Ohio, May 5, 2010. My little son, who looked from thoughtful eyes, and moved and spoke, in quiet, grown-up wise, having my law the seventh time disobeyed, I struck him, and dismissed with hard words, and unkissed, his mother, who was patient being dead. Then, fearing lest his grief should hinder sleep, I visited his bed, but found him slumbering deep with darkened eyelids, and their lashes yet from his late sobbing wet. And I, with moan, kissing away his tears, left others of my own. For on a table drawn beside his head he had put within his reach a box of counters and a red-veined stone, a piece of glass abraded by the beach, and six or seven shells, a bottle with blue bells, and two French copper coins, ranged there with careful art to comfort his sad heart. So, when that night I prayed to God, I wept and said, Ah, when at last we lie with transit breath, not vexing thee in death, and thou rememberest of what toys we made our joys, how weakly understood thine great commanded good. Then, fatherly not less than I, whom thou hast moulded from the clay, thou wilt leave thy wrath and say, I will be sorry for their childishness. End of poem. This recording is in the public domain. Who looked from thoughtful eyes and moved and spoke in quiet grown-up whys. Having my law the seventh time disobeyed, I struck him and dismissed, with hard words and unkissed. His mother, who was patient being dead. Then, fearing lest his grief should hinder sleep, I visited his bed, but found him slumbering deep, with darkened eyelids and their lashes yet from his late sobbing wet. And I, with moan, kissing away his tears, left others of my own. For on a table drawn beside his head he had put within his reach a box of counters and a red veined stone, a piece of glass abraded by the beach, and six or seven shells, a bottle with blue-bells, and two French copper coins ranged there with careful art to comfort his sad heart. So when that night I prayed to God I wept and said, Ah, when at last we lie with transit breath, not vexing thee in death, and thou rememberst of what toys we made our joys, how weakly understood thy great commanded good, then, fatherly, not less than I whom thou hast moulded from the clay, dalt leave thy wrath and say, I will be sorry for their childishness. End of poem. This recording is in the public domain. The mother who was patient, being dead, then, fearing less his grief should hinder sleep, I visited his bed, but found him slumbering deep, with darkened eyelids and their lashes yet from his late sobbing wet. And I, with moan, kissing away his tears, left others of my own. And I, with moan, kissing away his tears, left others of my own. For on a table drawn beside his head he had put within his reach a box of counters and a red-veined stone, a piece of glass abraded by the beach and six or seven shells, a bottle with bluebells, and two French copper coins ranged there with careful art to comfort his sad heart. So when that night I prayed to God I wept and said, I, when at last we lie with transit breath, not vexing thee in death, and thou rememberest of what toys we made our joys, how weakly understood the great commanded good, then fatherly not less than I, whom thou hast molded from the clay, dalt leave thy wrath and say, I will be sorry for their childishness. End of poem. This recording is in the public domain. The Toys by Coventry Patmore. Read for LibriVox.org by Ruth Golding. My little son, who looked from thoughtful eyes and moved and spoke in quiet grown-up-wise, having my law the seventh time disobeyed, I struck him and dismissed with hard words and unkissed, his mother, who was patient being dead. Then, fearing lest his grief should hinder sleep, I visited his bed, but found him slumbering deep with darkened eyelids and their lashes yet from his late sobbing wet. And I, with moan, kissing away his tears left others of my own. For, on a table drawn beside his head, he had put within his reach a box of counters and a red-veined stone, a piece of glass abraded by the beach, and six or seven shells, a bottle with blue-bells, and two French copper coins ranged there with careful art to comfort his sad heart. So, when that night I prayed to God, I wept and said, ah, when at last we lie with trance at breath, not vexing thee in death, and thou rememberest of what toys we made our joys, how weakly understood thy great commanded good. Then, fatherly, not less than I whom thou hast moulded from the clay, thou leave thy wrath, and say, I will be sorry for their childishness. End of poem. This recording is in the public domain. The Toys by Coventry Patmore Read for LibriBox.org by Revan Notation My little son, who looked from thoughtful eyes, and moved and spoke inquired grown-up wise, having my law the seventh time disobeyed, I struck him and dismissed with hard words and unkissed, his mother, who was patient, being dead. Then, fearing lest his grief should hinder sleep, I visited his bed, but found him slumbering deep with darkened eyelids and their lashes, yet from his late sobbing wet, and I, with moan, kissing away his tears, left others of my own. For, on a table drawn beside his head, he had put within his reach a box of counters and a red-veined stone, a piece of glass abraded by the beach, and six or seven shells, a bottle with blue bells, and two French copper coins ranged there with careful art to comfort his sad heart. So, when that night I prayed to God, I wept and said, Ah, when at last we lie with transit breath, not vexing thee in death, and thou rememberest of what toys we made our joys, how weakly understood thy great commanded good, then, fatherly, not less, than I whom thou hast moulded from the clay, thou it leave thy wrath and say, I will be sorry for their childishness. End of poem. This recording is in the