Hi in this video, I'm going to be revisiting the supply and demand order equation and We touched on it earlier in the course when I spoke about Supply and demand and basically taking trades at supply and demand levels But I want to get into a bit more depth about supply and demand order equation and really give you an insight into why At certain levels of supply and demand Maybe you should be thinking about what other traders are doing right in Relation to what you know, you're looking to do from a fundamental And sentiment perspective when it comes to buying and selling because at the end of the day It's about an imbalance in supply and demand and who is buying and who is selling at certain price levels, right? So we want to understand the motives of other traders, which gives us an extra I suppose boost to our Trade when it comes to the amount of orders that should be in that area now supply and demand order equations are You know really applied to technical analysis and It's really because you know a lot of traders are purely technical a lot of retail traders anyway are you know They don't necessarily trade fundamental so much But everybody trades pretty much technical there's rarely any you know fundamental traders that don't look a price chart if you know I mean but There are areas on a price chart where pretty much all traders are going to be looking at either You know taking profit, which is going to be forced Supply of demand or entering new trades, which is willing supply and demand, right? So we want to Identify those areas where there should be an imbalance in supply and demand from a technical analysis perspective And the reasons why we want to be entering at that level either buying or selling so as I've just said there are there are price levels that cause imbalances in supply and demand and Just for a technical analysis analysis perspective and these you know levels really in areas are what traders would refer to as support and resistance Levels and support and resistance pretty much, you know all traders not and I'm you know center traders Will trade support and resistance levels and this is from a psychological perspective And as we know supply support and resistance are supply and demand levels that have been projected into the future, right? So a lot of traders will trade support and resistance And look for key areas what they consider key areas now There are free support and resistance categories that traders will generally trade right and the first one is horizontal as we know And that is really Also an odds enhancer, right? We've got diagonal, which is where traders will look to join lows higher lows and Highs and lower highs and then we have dynamic which is Moving averages and then we have a little bonus one which is round numbers This is more to do with you know psychology, so Let's get into just a An example of for example horizontal Support and resistance and you should know this But we're gonna go over the supply and demand equation and forced and willing supply So if we look at this level here, right? We've got a level of you know resistance. In fact, let me just bring up Pen so we've got a level of Resistance here resistance here and we've got some confirming support price action right there Now when prices start to you know break down Traders are going to be looking at this level of some previous support and resistance as a level to get You know potentially short, right? So Let's look at the motives and the supply and demand equation as to why Traders there should be more supply here from a technical analysis perspective, right? Remember with fundamentals. We don't know what's happening on this, you know price chart at this particular point in time So just having value, but from a technical perspective This is you know, we're gonna try and look into the motives of all the forced and willing supply at this area, right? So as prices go down, we've got traders that are gonna pick the bottom, right? So we're gonna look at forced supply first. So forced supply is when traders are buying here, right? They buy Down here, they're gonna be forced to sell if prices come back up here, right? It's a forced to sell and it's a for is forced selling simply because Traders are kind of forced to take profit, right at what we would consider a trouble area, right?  You've got to take profit on an arbitrary maybe one to one or two to one risk-a-ward ratio So depending on how you enter and what time frame you entered you might be taking profits at certain areas, right? But then if you are trading up, you know If you're just holding a trade right and trying to maybe swing trade this depending again on your risk-a-ward Where's the first area you're gonna look to take some sort of profit, right? It's gonna be an area that acted as resistance and support in the past because this is potentially good active resistance in prices of Basically made their way up Right. You're expecting what prices to react here Most traders are not gonna, you know They're gonna take profit along the way, right? So they're not Most traders are not going to want to ride this out, right and expect to hold this trade You know potentially break through a level of resistance, especially depending on the amount of pips right that they've accumulated along the way It's very hard for traders to Say pretty much brain banked their profit even though they haven't taken profit yet So it's hard for traders to kind of look at this area and look at a pullback and looking at the amount of money They could have made A logical area where they should have taken profit for price to pull back and prices may not even get past this level of Resistance so the smart thing to do for traders is going to be to take profit around here and again if we're buying here Right, then up here is a sell, right? It's a you're forced to kind of get out of this level if there wasn't any support or resistance here Then traders would be looking at taking profit at any kind of trouble area So support and resistance levels are areas where traders will be looking to take profit and You know yourselves if you've you know traded for any length of time that you'd probably be looking at this day the same exact thing, right? So this is going to be forced selling from a take profit perspective and Then we also have traders, right who were looking at We're looking at willing supply. So Traders are going to be looking this level who haven't entered yet didn't enter down here and Then what they're doing is they're looking to enter a new trade at what is considered support So resistance resistance support support and a new trade at what resistance, right? So again if they're entering short SSL that's more supply. So that's willing Supply so not only a forced supply you have willing supply from new traders getting in Shorts that are going to be entering based off of That level price action how it reacts some people just place pending orders at this level Because they just played trade, you know support resistance levels And then what we have is ourselves getting in at this level of supply, right prices make lower highs lower lows We think that this is value in alignment with our fundamentals as an odds enhancer and Then what we have Right. So we've got trade entry or trade entries take profits We've got value traders all in one area and then what we see Again, if we're right about this this move We will see is prices, you know fall away. So net net what you have to ask yourself is Why there is going to be more demand at this area Then supply and the only reason why there will be more demand at this area Then supply is if the market thinks that this is undervalued as in the British pound is still undervalued Right from a fundamental or even a sentiment point of view or the Australian dollar is You know is overvalued etc, right so beyond the price chart is fundamentals and we base our Trading decisions on the fundamentals because that's the number one odds enhancer and then we have our technical analysis from a technical analysis perspective To time our entries we're looking and trying to understand the motives of other traders and understand why there should be more supply here Then demand as you can see prices fall away, right? And let's look at another example from horizontal support resistance So we have some You know support there support there support support resistance resistance support and support right and again, it's creates a Demand zone at this area here So again, let's go through some forced demand and willing demand So again as traders if you're up here and you picked off the absolute top and you're getting short Right, so you're getting short here It's a sell order and if prices come all the way down here You're gonna be taking profit Right. It's a teepee You'll take profit equals a buy order Right, you're forced to basically take profit at certain levels where prices have you know reacted So that's gonna be forced buying or forced demand in that area Let me just Move this over and then what you're gonna have not only do you have forced buying Forced take profit and forced demand going on the forced orders going on Demand orders going on there. You're gonna have willing demand as well from traders entering just support support support resistance and people gonna You know traders are gonna be looking at this area to try to look to get short You see a pin bar here and then you also have some willing Buying which is willing demand right from new traders entering on A potential pullback from maybe this low to this high This is potentially a sixty one point a Fibonacci etc. Etc. Right, so you've got But you got the confluence of obviously horizontal support and resistance within that area, right and then You get price reaction and then what you have is Prices end up going higher. So again, just taking into account value traders the demand and buy orders from Traders taking new trades in this area and then we have obviously traders taking profit and They went short and they have to buy. So you've got a lot of forced and willing Demand here and again the question you always have to ask when entering at a level technically is Why would there be more supply at this level than demand? right, so That's covered the horizontal support and resistance and next we're gonna be looking at the Diagonal support and resistance knows how diagonal support and resistance Is usually again traders, right that will join lower highs Right and they will join Higher lows right so this obviously being higher low etc, right and then we join higher lows and lows and highs and What they considered to be lower highs Right so you can call these, you know trend lines or just you know, sometimes you get um, you know things like trend channels where within a trend channel you could have you know Prices do you know some bit of madness like that, right and then And so on and so forth where it might not look like an obvious trend within the trend channel, right but traders would again potentially start joining Highs especially if that starts to come down and then project into the future as to what they think will be a diagonal level of you know support or Resistance, right so again, let's look at this on a price chart So in this example, we have prices that are Making higher highs and higher lows. So you've got Pretty much a high there. Then you've got a bit of a pullback And then you've got another high right so higher lows. So you've got a low You've got a higher low clear and obvious for everyone to see and then traders will look to join Lows of this of This potential trend, right and project into, you know, the future and if prices come back into this level They will be looking to buy, right? This is going to be willing Demand in this level if traders are looking to buy at this area, right based off of Projecting into the future diagonal support so Let's obviously get forward a little bit. All right, so if we're looking at it just from a willing demand perspective You have traders coming into this area here, right and first thing I want to say is We're not looking to just take these areas of diagonal horizontal and Dynamic support and resistance randomly on a price chart. We always need the confluence Or they are confluence to And secondary and to supply and demand zones So we're looking to trade demand zones or supply zones and then look for this you know, if We do get any, you know that diagonal support or horizontal support or dynamic support within this demand area so Traders who obviously we're looking to buy and then to new trades at this area for the trend to continue higher I'm going to be looking at this area. There's some demand here and that's willing demand We've got traders who would have been entering at the highs right here, right and if they sell To get short to take profit like TP oh Sorry about that. It's going to be Around an area where they think prices will bounce from Right, so they're going to be taking profit if they sold then that's going to be forced Demand right forced buying and then we have value traders like ourselves Knowing that this is an area of demand an area of potential value prices come into this Area here and we've got the confluence of all three from the supply and demand equation and again And I sound like a broken record, but we have to always ask why is there going to be more? Is there going to be more supply right or is there going to be more? Demand from a technical analysis perspective, right? What are the motives of other traders? Why is there going to be more of a balance or an increase in demand and a decrease in supply and What we get is obviously continuation of the move and let's look at another example from a supply Example and this isn't necessarily an obvious trend, but in this example We do would have traders that are looking at areas again lower highs being made I wouldn't actually see even say lower highs being made but a level where prices have reacted from you know a previous high and What you get is traders will be joining these highs right and trades would consider this a lower high I don't consider this a lower high until a Lower low is made right so depending on how you would call this a lower low you could call this Area low alone our effects some traders would Right, so that'd be a low then a lower low right so with that being made This level now becomes an area Where traders are going to be joining that resistance and again projecting it into the future so as prices You know go down to here. We create this demand zone. Sorry supply zone right and again. We have to look at Forced supply or forced or willing supply, right? So when prices do come back up here What's the forced and what's the willing supply? So what we're looking at is Traders who bought down here Gonna take profit up here So they need to sell to exit That's forced supply New traders right who are trading off of this level, right? We have willing Supply and then we also have value traders like ourselves, which is obviously willing supply Get price action get pending orders. So again the question is Why is there going to be? potentially more demand at this level then supply from a technical analysis perspective and traders motives and you know from as far as an imbalance in supply and demand and As we can see prices do end up falling away so the next category of support and resistance is Dynamic support and resistance and it comes in the form of Moving averages now if you don't know what moving averages are the moving average is a simple technical analysis tool that smooths out price data by creating a Constantly updating average price and that's from investopedia So the moving average is just an indicator, right and you've got two Calculations or yes, you've got many calculations of a moving average with them the main moving average calculations are from the simple moving average and the exponential moving average, right and What the moving average does is just measures the average price over a period of time and the popular periods are The 21 period 50 period 100 period and 200 period and as we Looking at daily time frame charts What we're looking at is 21 days 50 days 100 days and 200 days, right? So if you don't know what moving averages look like they look like this right and what we have here are two green lines and two I suppose yellow golden lines, so and The green lines represent the 100 moving average, which means that it's tracking the average part price over a hundred days and the golden yellow moving averages on measuring the EMAs and SMA over the past two hundred days, right 200 candlesticks and What we want to do When looking at moving averages is look for first touches after price Has gone above or below those moving averages, so we can see here that prices from pretty much this point has crossed below the 100 and 200 period moving averages Once that happens what we're looking for is a first touch of the moving averages to act as a Resistance or support level, so the first touch is usually the strongest touch again. It's not perfect So I want to bounce every time This is just an indicator and we use fundamentals to you know determine our directional bias But from a That's I suppose a technical trading strategy perspective Traders will use moving average bounces and crosses right as Dynamic support and resistance and as we go forward. I will show you some Areas where we will bounce from these levels, right, so you've got Areas here you can see resistance resistance Fact you can see Resistance here the first time it touches the 200 EMA you get a reaction Get a reaction and again We're not necessarily concerned with the direction per se This isn't the direction that we want to trade in then we wouldn't be looking at you know Resistance if this was a direction that we wanted to be trading and then we would be right But this is just to show you that once you see across what prices first cross Right these moving averages when prices come back down You can see that 100 hasn't been touched and the first time it's touched is this area Then we get a reaction the first time the 200 EMAs and SMAs are touched we get a reaction right again. It's not perfect prices come back up and this area here and Then we can keep going forward right and Then look at a bit more examples Where we can see prices can fall away here prices react around here Prices react right there Didn't get any reaction we did get a little bit of a reaction here and then prices cross Right so you can see when prices Cross and then we're looking for a first or second touch of a moving average Right and the same thing applies to the 21 and the 50 period moving average So let's just go through this We can see certain areas now. We don't know if it's the first touch or second touch, but you can see the edited touch here When prices cross above you can start to see prices react again, it crosses the 50 Then we get a reaction Crosses down get a reaction from the 21 Right crosses above Get a reaction crosses down Get reactions crosses above reactions Etc. Again, like any other support resistance Prices can get weaker and do get weaker the more times that level is touched Right, we didn't get the reaction that we probably wanted but prices came Crisis prices crossed down and came up to the The SMA right here after the first cross Again, it crosses higher prices react Round here prices react around here and so on and so forth. You can see pretty much what's been happening So with that being said again, what we're doing is looking for Supply and demand equations and it's the same exact logic when we're looking at Demand or supply zones in Confluence with moving averages who's Buying who's forced to buy or where the force demand and where's the willing demand within certain areas? So again, if we're looking at this price chart, we can see That traders who do use moving averages first touch Within this Demand zone you can see here that prices did touch for the first time after prices did cross here Right so this area here was the first cross and now we get a first touch But was that within the demand zone? No, so we're not looking at areas You know of moving averages within outside of these areas, right? I'm looking for moving averages within these demand zones the second time You know cross down, right and it crosses back up. So the first touch of the 21 within the demand zone Is where we're looking to you know establish longs and again looking at forced demand for supply Few Entering new trades, then this is gonna be at this area, then this is gonna be willing demand If you've bought up here Right, I'm sorry sold up here. I've got short and you're taking profit down here. This is gonna be forced Demand again traders use moving averages as profit targets Because it's believed that prices Once they go above or they go too far away They go quite a distance away from a moving average You will tend to get a reversion back to a particular moving average. So traders will take Short trades at levels and then try and trade them back to moving average Bounces so moving averages are also like reversion to the mean type Trades, right? So short trades.  Take profit That's forced demand if you sold here. So that's forced buying willing demand from new traders who trade that kind of Reaction to move an average that the dynamic support and then we have value traders like ourselves You know, this is a demand zone where we want to be potentially long as well. And again the same thing if you sell Forced to take profit which is forced buying which is demand traders Gonna be willing To get in and then you've got value and again at each area from a technical analysis perspective What you're supposed to be doing is asking yourself what? Why is there gonna be more of a more demand and supply or more supply than demand right? Who is taking profit? Who is entering new trades? Why is there gonna be more supply at this level than demand, right? Or why is it gonna be more demand then supply and again, you can see you know further up we get reactions around these areas So Let's look at a supply zone level And again, we get the first, you know when the price is crossed down cross back up and cross back down All right now we're looking for Areas within this supply zone. That's the reasons why we want to be short If that's our fundamental bias, so we'll be buying a Japanese yen over the Australian dollar and you can see first touch of the The SMA 100 Right here you can see the first touch of the 200 EMA right here Again, it's a second touch within that area and again, we get reactions every time so we get dynamic support well, sorry dynamic resistance within an area of value again if you're looking to Buy here Trouble area is gonna be your foot your your moving average is your dynamic support and resistance Right, so you're gonna be looking to sell here forced Selling If you are a new trader looking to get in on that nice pin bar Right and with the confluence of the moving average You've got willing and selling so supply and then you've also got value traders like ourselves looking to enter here Right, so value. It's a net net. We should have more supply Yeah, more supply positive supply and less Demand at this area again, same thing applies for each, you know Reaction to the level So lastly one of the things you should keep your eye out on is round numbers and round numbers are basically psychological numbers my theory is that round numbers work because Our again off maybe our affinity and conditioning to round numbers For when we're young and into adulthood we tend to associate, you know Round numbers in all aspects of life. So for example when I go to the gym, you know, I might do sets of 10 reps, you know Or whatever it is or even from you know playing hide-and-seek with the kids You count to 10 right or count to 20 or whatever it is It's rare that you can count to seven or random number like 11 or whatever it is So I think that carries over into You know the the forex markets Maybe maybe not but that's my theory and whatever, you know, the theory is Whether you agree of it or not. I think that there is some validity to round numbers, right? And I do see it work. You can see it in news publications and financial publications where they kind of Will circle a round number is like a key level, right, you know for the exchange rate, etc, right? So if we move on to an example of this on the price chart and You know what we see is a level of demand and then we will see Traders who are again looking to either enter Right, so willing demand at certain levels Or they will be looking to take profit if they entered around here. So if you're selling again Then you'll be looking to take profit and this is forced buying at this round number and Again, if you're looking to just enter a new trade, then this is willing buying At this area again from a value perspective. This is value buying Which is what we do so net net we should have More demand at this level from a technical perspective, then we should have supply Who's gonna be you know selling at a round number, especially when prices have made You know this kind of move here. You're basically, you know selling at the At the the lows so we can see the reaction that it had Which is here, which is here and then from a supply perspective You can see the reaction that it did have as it had in the in the past Around here and this is around the 1.8 to round number and again if you bought around here or sorry. Yes, so I bought around here and You ended up having to take profit Around an area to take profit is forced selling sorry Then traders who just trade this round numbers is going to be willing selling And then you've got value selling from us. So again net net you should have more supply then you do have Demand at this level right but again This is just some extra confluence within this area right and again the supply and demand equation Just looking at who the motives of traders around these areas So just to recap What we were looking for is obviously for supply and demand or willing supply and demand Areas of support and resistance in the three Areas of support and resistance or categories of support and resistance are really horizontal diagonal dynamic and the round number is really just a bonus one that we Look towards right when it comes to looking at an area, and this is where you know, we're looking to trade So don't get this confused right because in earlier in the course we spoke about you know the the creation of You know a demand Zone right that's not to be confused with when we actually look to enter, right? So when we're looking to actually enter Right, so we have our our demand zone and our odds enhancers Right, so odds enhancers. We have a four main odds enhancers and then When we're looking at the supply and demand equation, right as to the reasons for our entries This is where we are looking at the psychology of other traders and why there should be more demand right at this level right if we're looking to Enter long and why there should be less supply from a technical Perspective remember the number one odds enhancer for any technical analysis right that we do is fundamentals and Sentiment to risk sentiment, right? So risk sentiment that puts you on the potentially the right side of the market and just my opinion that technicals are really just a reflection of the Fundamentals and risk sentiment, right? So again, I advise you to watch the fundamental analysis course to catch up on the fundamentals and it makes your life a whole lot easier not trading at levels of Supply and demand and China, you know, because basically that's like trading support and resistance without knowing what you know Where value is right if you don't know what value is and what what direction you should be buying then You know, it's the reason why a lot people fail the technical analysis solely because they don't understand the value, right? Anyway One of the things I wanted to touch on as well in the recap was just few notes, right so the more A support or resistance level is touched the weaker it becomes fine That's obviously the same thing with supply and demand and the more a level touched just basically Either lower your risk or don't take the trade, right and again Supply and demand really is the The most important thing what we're looking for, you know is is value, right? So we know that that's a supply zone Right. Everything else as far as supply and demand equation, you know comes second or third When when it comes to and I say second or third, I mean if for example This moving average has been touched, you know a few times, but we have a fresh level of supply Yeah, then I'm still going to take this trade based off of the fresh level of supply I'm not concerned that the fact that this is touched a moving average, you know three times if this is a fresh level And I've got fundamentals in my favor, right and sentiment in my favor Right, and it's the direction I should be trading if this supply level had been touched, you know several times For example, that's different, right and let's say for example the moving average is it only been touched once But this has been touched three times more than three times Then I'm gonna be less inclined to take the trade or I'm gonna take a very very small position If the fundamentals and sentiment are still in play, right? so funds I say I'd say Supply and demand zones come first as this represents value and then You know diagonal horizontal and Dynamic support and resistance are in addition to that when trying to figure out Why there are going to be more supply orders or demand orders at that area Secondly crowded exit right so crowded exit is Where you have traders that will be looking at a particular level, right and they will be looking to Exit just before Let's do that again Trying to go straight line, right? So let's say you got a reaction of that area here And what crowded exit is is you don't want to be left holding the back, right?  Yes, definitely you want to come within the supply zones and demand zones Before looking to take the trade But when it comes to maybe something like a move in average If you don't get necessarily the the absolute touch your couple of pips away from it Don't worry, right? If you see an entry, maybe put your stop Above, you know a proper distance above that move in average just so that if it does spike through It's just still actors potential, you know resistance within that area of potential supply, right? But a lot of traders going back to crowded exit Will look to take, you know profits early So maybe, you know again just keep in mind that if you are taking profit anywhere You don't necessarily have to always look to take it at the Absolute heights right and even entries don't necessarily have to be at the absolute highs And I guess the more experience you get as as a trader You will start to see where crowded exits start to happen and where crowded exits, you know If you get things like that and then what ends up happening is you tend to get, you know Diagonal support resistance from traders taking profit Potentially early or I would say necessarily a trend line. It's more like where you get the market where it's like It does something like that where it's like It's very it's not as horizontal, but it's not, you know, it's like slanted slightly where traders are constantly taking profit before the highs, right? So that is actually a thing so when taking profit just make sure that you're not left holding the bag and The market isn't perfect, right the market isn't perfect as you've seen from Many examples where, you know, you might get a level of Supply and then you might get a move in average. Let's say and then you might get You know, I don't know a level of potential previous You know support Turn resistance. Sorry about this drawing, but you understand what I'm saying You've got support there and then you've got a level of potential resistance Got move an average got a level of supply in this level here not necessarily there, but you've got it right there and The market will potentially, you know spike through right or go through and then, you know reverse back and Just because the market has, you know closed above a level, right Doesn't mean that the level is gone Right, it really doesn't and I know it's taught widely online But there is such thing as stop hunting. There is the zero-sum game in effect, right? For someone to win someone else has to lose. There are hundreds and that's hundreds and thousands hundreds of thousands You know of traders within the market position side. Everyone's jostling for position Market manipulation, etc. Going on right so for you to just you know, think that mark is gonna perfectly ping off of a Certain level, right, whether it be supply of demand to move an average, you know a diagonal support and resistance Or for even everything just to kind of line up within that area, right? It's the markets not perfect. What you should be doing is just looking at the price level Is that an area where you want to where you think that is value Please your stop loss where you think you're definitely gonna be wrong about the area, right? And if you are wrong, then so be it manage your brisk, etc. Right? Don't look to trade perfectly off of any kind of moving average or supply zone or horizontal support resistance or Old diagonal support and resistance All right, allow for some tolerance now Just want to get into maybe some examples couple of examples of You know putting it kind of like all together really so In this example, you can see where we have again Areas that have been Touched a few times All right, so you got that area there then you've got that area there and then you've got a massive move Traders will connect these levels Right connect that level and then project into the future as you can see we've got round number right here Got the supply zone from this area here we have Horizontal support and resistance where you've got support support support You can see the round numbers been reacted off of there. You've got bit of support here And now you've got some resistance so net net You've got loads and loads of resistance And supply say loads of resistance loads and loads of supply coming into the market From various different disciplines of traders. You've got the traders who would have bought around here Again taking profit forced to take profit at trouble area. So not only do you have willing supply Traders looking at pin bars looking to get short And then you have forced supply Right from around here And then you have obviously value Supply, you know looking to get into net net you should have areas of supply Why are traders? All right going to get long why is demand is the british pound undervalued here against the swiss franc Again, you would only determine that through fundamental and sent in resentiment analysis um Can we look at now for example? pound yen Where you have um horizontal support and resistance so you've got Area here you can see it there and there and you've got it there right got a bit right here and then Prices potentially should react from a horizontal perspective. You've got this diagonal area here again Traders would have been looking at That area here comes down bounces up Traders are definitely looking at This area here from diagonal support and resistance perspective And then what you also have within this area is first cross of this Moving average simple moving average to 200 right here and together with the Demand zone right so if you wanted to be a buyer of the Japanese yen again, let's go through the forced and willing Supply and demand orders Right if you've shorted anywhere around here short short short short short and pullbacks Right, it's the market made lower highs and lower lows Where people taking profit? tp right here Which is forced supply Sorry forced demand my apologies Forced demand because it's forced your foot. You take profit. It's a buy order. It's a selling market You've got diagonal and horizontal traders looking to enter new traders as well as Moving average traders. So that's willing demand Um, and then you've got value traders like ourselves value demand Right again who Why is supply coming into this market from a technical analysis? Perspective, right Let's uh go into one more This one happened recently Um where you have again some support So resistance resistance resistance support support prices come down into this area here. You've got horizontal You've got diagonal You've also got the 100 Full of this one right here First time it crossed hasn't been touched Right within this area And then we get The move. So why would there have been more supply in this area? Right when we've had Traders who went short here take profit here. So this is Buy orders new traders You trade these levels of support and resistance dynamic diagonal and horizontal Buying so that's demand and then value that's demand. Bye. Bye. Bye Bye. Bye. Bye. Bye. Bye. Now again situations like this aren't necessarily the most common you will have maybe two Um out of the three mostly um to get three out of three so for example dynamic Diagonal and horizontal all at the same time Isn't necessarily a Regular occurrence, but when you do get it It's something that you should be taking if it's again alignment with your fundamentals more than likely you will have One or two right out of the three, but if you do get all three then this is like an a one setup with your um With your fundamentals and sentiment analysis, right? So um, hopefully that helps again If you have any questions, just email me at info at training 180.com or skype me and um, we can have A chat about it. So take care and uh, speak to you soon


A Pessimistic View by John Kendrick's Bangs Read for LibriVox.org by April 6-0-9-0, California, United States of America. A little bit of Thackery. A little bit of Scott. A modicum of Dickens just to tangle up the plot. A paraphrase of Marriot. Another form Dumas.  The pen is greater than the sword. Of that there is no doubt. The pen for me whener I wish an enemy to rout. A pen, a pad, and say a pint, of ink with which to scrawl. To put a foe to flight is all, that's needed, truly all, but when it comes to making up a novel in these days you do not need a pen at all, to win the writer's bays, a pair of sharpened scissors, and a wealth of pure white page. We'll do it if you have at hand a pot of buccalage. So give to me the scissors' keen, and give to me the glue, and I will fix a novel up that's sure to startle you. The good ideas have all been worked, but while we've gum and paste there shall be books and books and books to please the public taste. End of poem. This recording is in the public domain. THE MASTER'S PEN A CONFESSION By John Kendrick's Bangs Read for LibriVox.org by Larry Wilson In my collection, famed of Curios, I have, as every bookman knows, a pen that Thackeray once used. To be amused I thought I'd take that pen in hand, and see what came of it, what grand inspired lines twid right. One Sunday night I dipped it in the ink, and tried to think. What shall I indict? And do you know that pen went fairly mad? A dreadful time with it I had. It spluttered, battered, scratched, and blotted so. I had to give it up, you know. It really wouldn't work for me. And so I put it down. But last night, after tea, I took it up again, and equally invane the hour's bed. I went to bed, and in my dreams the pen came up to me and said, Here is the list of asses who have tried to take up pens the master lay to side. Look thou! I looked and lo! Perhaps you've guessed, my name like Abu Benz led all the rest. End of poem. This recording is in the public domain. Bookworm Ballads, a Literary Feast by John Kendrick Spengs Read for LibriVox.org by April 6090, California, United States of America. My bookworm gave a dinner to a number of his set. I was not there. I say it to my very great regret. For they dined well, I fancy, if the menu that I saw, was followed as implicitly as one, obeys the laws. To elope him he observed to me. With quatrains on the half. They go down easy, then, for soup. It really made me laugh. The poems of old Johnny Gay, his words were rather rough. They'll do quite well for, after all, soups thin and sloppy stuff. For fish, old Isaac Walton, and to serve as an entree, I think some fixed up morsel say, from James or from Dade. The roast will be Charles Kingsley, there's a deal of beef in him. For sherbet, T.B. Aldrich, is just suited to my whim. For game will have Bacchio, he's quite the proper one. He certainly is gamey, and a trifle underdone. And for the salad Addison, so fresh and crisp as he, with just a touch of poke to give, a tang to him, you see. And then for cheese, Max Nordow, for I think you'll find right there. Some things as strong and mushy as the best of Camembert. And for dessert, let Thackeray, and oh, Kayayam be brought. The witch completes a dinner of most wondrous richness fraught. For olives and for almonds, we can take the jokes of punch. They're good enough for us, I think, to casually munch. And through it all, we'll quoth the wines, that flow forever clear. For Mavons vineyards in the heart of Will, of work worth to share. End of poem. This recording is in the public domain. I'm in literary culture, and I've opened up a shop, where I'd like ye gents and ladies if you're passing by to stop. Come and see my rich assortment of fine literary seed, that I'm selling to the writers a full many a modern screed. I bacilli for tin volumes for a dollar in a bag. Not a single germ among them, that's been ever known to drag. Not a single germ among them, if you see they're planted right. But we'll grow into a novel, that they'll say is out of sight. I have motifs by the thousand, motifs sad and motifs gay. You can buy them by the dozen, or I'll serve them every day. I will serve them in the morning, as the milkman serves his wares. I will serve them by the postman, or I'll leave them on your stairs. When you get down to your table with your head of vacuum, you can say unto the help-meat, as that quart of ideas come that we ordered served here daily from that plot-man down the street, and you'll find that I've been early in my engagement to complete. Should you want a book of poems that will bring you into fame, let me send a sample packet that will guarantee the same. Ten Seeds of Fought from Byron, Herrick, Chaucer, Tennyson. Plant them deep, and keep them watered, and you'll find the deed is done. I've a hundred comic packets that would make a twain of Job. I have Seeds of Tales Narcotic, Tales of Surgeons and the Probe. I've a most superb assortment on the very cheapest terms, done up carefully in tinfoil, of my A1 Trilby germs. So perchance, if you're ambitious in a literary line, be as dull as air you can be. You will surely cut a shine, if you'll only take advantage of this opportunity, when you're passing by to stop in for a little chat with me. You may ask me, in conclusion, why I do not seek myself all the laurel and the glory of these seeds I sell for pelf. I will tell you, though, in confidence, I can't deny it rash. I'm a trifle long on laurels, and a little short of cash. This recording is in the public domain. The Author's Boomerang by John Kendrick Bangs. Read for LibriVox.org by Oogie's Rectile. He frowns with reason. He has always said, the public has no knowledge of true art. The book of worth these days would not be read. Tis trash not truth that goes upon the mart. And then was published his beloved work. Some 26 editions it has had, and he his own conclusion cannot shirk. With such success as this it must be bad. End of poem. This recording is in the public domain. An Egotistical Biographer by John Kendrick Bangs. Read for LibriVox.org by Oogie's Rectile. I've read your story of your friend's fine life. But really gentle sir, I failed to see. Why you've named it blank, and Jane his wife, when you had better called it simply me. End of poem. This recording is in the public domain. No Copyright Needed by John Kendrick Bangs. Read for LibriVox.org by Oogie's Rectile. I've pinned a score of essays bright in Addison's best style. I've taken many a lofty flight, the muses too beguile. Of novels I have written few, I think no more than ten. With history I've had to do, like several other men. And still, to my intense regret, through all my woe and wheel, I've never pinned a volume yet a foreigner would steal. End of poem. This recording is in the public domain. Ingredients of Greatness by John Kendrick Bangs. Read for LibriVox.org by Oogie's Rectile. The style of man I'd like to be, if I could have my way, would be a sort of potpourri of Poe and Thackery. Of Horace, Addison and Lamb. Of Keats in Washington. Of Rome and Blessed Omar Kayem. In R.L. Stevenson. Of Kipling and the Bard of Thrums. And Boatapart the Great. If I were these, I'd snap my thumbs derisively at fate. End of poem. This recording is in the public domain. A Common Favorite by John Kendrick Bangs. Read for LibriVox.org by Laurie Wilson. Charles Lamb is good, and so is Thackery, and so is Jane Austen in her pretty way. Charles Dickens, too, has pleased me quite a lot, as also have both Stevenson and Scott. I like Dumas and Balzac, and I think Lord Byron quite a dab at spreading ink. But on the whole at home across the sea, the author I best like is Mr. Me. A first of Elliot filled by soul with joy. Meredith Deluxe held no alloy, and when I found Pendenis in the parts a throb of gladness stirred my heart of hearts. Originally pictured set of Avon's Bard upon my liking bounded pretty hard, but none brought out that cloying sense of glee that came from the first book by Mr. Me. And so I beg you to join me in the toast to him that I confessed I love the most. He does not always do his level best, but no one lives who can survive that test. His work is queer, and some folks call it bad, and some avert his but a passing fad. But I don't care, the facts remain that he has won my admiration, dear old me. End of poem, this recording is in the public domain. There Pins by John Kendrick Banks, read for LibriVox.org by Laurie Wilson. The poet pins his odes and sonnets spruce with quills plucked from the ordinary goose, while critics write their sharp incisive lines with quills snatched from the fretful porcupines. In the poem, this recording is in the public domain. An Unsolved Problem by John Kendrick Banks, read for LibriVox.org by Laurie Wilson. If Bacon wrote those grand inspiring lines at which alternately man weeps and laughs, who was it pinned those chirographic vines we know these times as Shakespeare's autographs? End of poem, this recording is in the public domain. The Bibliophil's Threat by John Kendrick Banks, read for LibriVox.org by Laurie Wilson. If someone does not speedily indict a volume that is worthy of my shelf, I'll have to buy materials and write a novel and some poetry myself. End of poem, this recording is in the public domain. My Treasures by John Kendrick Banks, read for LibriVox.org by April 690, California, United States of America. My library overflows with treasures rare of Dickens first, a full unbroken set, and in a little nooklet off the stair, the whole edition of my novelette. End of poem, this recording is in the public domain. Poets Fad by John Kendrick Banks, read for LibriVox.org by Geryl Diminenko. He writes pet prose on principle. Even though it does not sell, he thinks the plan original, so many folks write well. End of poem, this recording is in the public domain. The Poet Undone by John Kendrick Banks, read for LibriVox.org by Geryl Diminenko. He was a poet born but unkind fate, once doomed him for his verses to be paid. Whereon he left the poet's born estate and wrote like one who'd happened to be made. End of poem, this recording is in the public domain. Awaining Muse by John Kendrick Banks, read for LibriVox.org by Geryl Diminenko. Why out thou sad poeticus, said I? So blue was he I feared he would not speak. Alas, I've lost my grip was his reply. I read but 40 poems, sir, this week. End of poem, this recording is in the public domain. Modesty by John Kendrick Banks, read for LibriVox.org by Geryl Diminenko. What hundred books are best, thank you, I said. Addressing one devoted to the pen. He thought a moment and then he raised his head. I hardly know, I've written only 10. End of poem, this recording is in the public domain. My Lord the Book by John Kendrick Banks, read for LibriVox.org by Sarah Brown. A book is an aristocrat, Tis Pampard lives in state, stands on a shelf with not where at to worry, lovely fate. Enjoys the best of company and often eyed his so, like much in aristocracy, its title makes it go. End of poem, this recording is in the public domain. The Bibliomiser by John Kendrick Banks, read for LibriVox.org by Sarah Brown. He does not read at all, yet he doth hoard. Rich books in exile on his shelves they're stored. And many a volume, sweet and good and true, fails in the work that it was made to do. Why, Ian, the dust they've caught since he began, would quite suffice to make a decent man. End of poem, this recording is in the public domain. The Collector by John Kendrick Banks, read for LibriVox.org by Larry Wilson. I got atoned today and I was glad to strike it, because no other man can ever get one like it. Tis poor and badly print. It's many's Greek. But what of that? Tis mine and it's unique. So ba to others, men and brothers, ba and likewise poo. I've got the best of you.  The book you wanted, gad, it's mine. End of poem, this recording is in the public domain. A Reader by John Kendrick Banks, read for LibriVox.org by Alan Lawley. Door dead to him is a due debt. Demar he caused a mass. But Brithy do not you forget.  Because the books that he doth buy, that on his shelf do stand, hold not one page his eagle eye, hath not completely scanned. And while this man's orthopy may not be what it should, he knows what books contain and he can quote him pretty good. End of poem, this recording is in the public domain. Fate by John Kendrick Banks, read for LibriVox.org by Alan Lawley. I feel that I am quite as smart as Edward Bulwer Leighton Bart. I'm also every bit as bright as Walter Scott, the Scottish Knight. And in my own peculiar way, I'm just as good as Thackeray. But woe is me that it should be, they got here years ahead of me. And all the tales I would unfold by them already have been told. End of poem, this recording is in the public domain. A pleasing thought by John Kendrick Banks, read for LibriVox.org by BL Newman. They speak most truly, who do say, we have no writing folk today. Like those whose names in days gone by, upon the scroll of fame stood high. And when I think of Smollett's tales, of Waspish Pope's ill-natured rails, of Fielding Dull, of Stern Too Free, of Swift's uncurbed indecency, of Dr. Johnson's bludgeon wit, I must confess I'm glad of it. End of poem, this recording is in the public domain. Books versus Books by Bibliomaniac by John Kendrick Banks, read for LibriVox.org by Larry Wilson. A volumes just received on vellum print. The book is worth the vellum, no more it isn't. But as I search my head for thoughts, I find one fact embedded firmly in my mind. That's this in short. While it no doubt may be most pleasant for an author small to see, a fine addition of his work put out, no man who's sane can ever really doubt that products of his brain and pen can live alone for that which they may happily give. And though on vellum stiff the work appears, it cannot live throughout the after-years, unless it has within its leaves some hint of something further than the style of print and paper. Give me Omar on mere waste. I'll choose it rather than some bookish taste, expended on a flimsy, whimsy tale, but out to catch a whimsy, flimsy sail. I choose my Omar print on grocerswraps before the vellum books of bookish chaps. End of poem, this recording is in the public domain. Confession by John, read for LibriVox.org by Chad Horner from Ballyclair, in Coney under Northern Ireland, situated in the north-east of the island of Ireland. My epic verse, my pet production, which I deemed sufficient to advance me to the highest peak of difficult. Pornassus, goal of which I've dreamed for many a weary year, came back to me last week. The editor I cursed that he should stand between my dear ambition and my scarcely dearer self, whose unappreciation forced to blush on scene, my one dear book, to gather dust upon my shelf. That night, in sleep, an angel fair came to my side, and in her hand she held a scroll, in lines of flame, the name of him, I'd cursed, frid. And when I cried, what portent this? The rare celestial dame replied, read here, O ingrate base, the name of him that is cursed, the very man of all men who should be the first I love, a lasting gratitude to know, since he still leaves the path for Nassian open under thee. A path which thou with halting rhyme was to ill-composed, against thy self has thou to keep forever closed, read thou thy lines again, ah, bitter was the cup, I read, withdrew the curse, untoward the epica. And the form this recording is in the public domain. Addition Deluxe by John Kendrick's Bank Read for LibriVox.org by Tasneem. The Addition Deluxe, how very close to the truth these bookish men can be, when in their catalogs they pen, the words descriptive of the wares they hold, to tempt the book man with his purse of gold. For instance, they have dried in, splendid set, but some poor white with part with his wealth to get. Tis richly bound, its edges gilded, but hard fate, as dried in deserves, uncut. For who these days would think to buy the screed of dull old drusty dried in just to read? In faith, if his additions had been kept amongst the rarities, he'd never have crept. And then those pompous, overwhelming tones you find so oft in overwhelming homes. No substance on a watt man's surface placed in polished leather and in tooling encased. The gilded edges dazzling to the eye, and flaunting all their charms so want only. These bookmen, when they catalog their books, call them in truth, Addition Deluxe. That's all they have, most of them, just plain shape, with less pure wine than any unripe grape. But tomes that travel on their looks, indeed, are only good for those who do not read. And, like most people clad in garments grand, seem rather heavy for the average hand. End of poem. This recording is in the public domain, recording by Thysneem. Nappellini's Error by John Kendrick Bangs. Read for LibriVox.org by Caroline Kiley. Pietro Nappellini di Vendetta Pasquarelli deserted Balmi, Italy, the land that loved him well, and sailed for soft America of wealth the very fount to earn sufficient dollars there to make himself account. Alas for poor Pietro, he arrived in wintertime and marveled at the poet who observed in tripping rhyme how this new world was genial and a sunny sort of climb. No chance had he for music that's developed by a crank. No chance had he at sculpture nor a penny in the bank.  He thought the work on railways for his blood was rather brisk. The sole profession left him to assuage his stomach's woe. It struck him in meandering the city to and fro was surely that of shoveling away the rich man's snow. And then Pietro Nappellini di Vendetta Pasquarelli sought out a city thoroughfare, the swellest of the swell. He stole a shovel and he found a broom he thought would do, then rang the massive front door bell of Stewie Vicente de Puyo. I want to shove it a snow, he said, when there at last appeared. Fitzjohn Augustus Higgins, who in Birmingham, was reared. A man by all in low estate much hated and much feared. Go away, said Fitz with gesture bold. You can't do nothing here.  I thinks as how you daegos is the cost of this air land, with worthy citizens like me most starved on every end. I vows he fied me way at all. I'd order out a troupe, and send the bloomin' lotterier, ed over eels in soup.  How acuate the stoop! Then when the snow had melted off, Fitzjohn Augustus went, and humbly asked his master for two dollars that he'd spent in paying Nappellini di Vendetta Pasquarelli. While Napp went back to Italy, the land that loved him well, convinced that when he sailed that time his country to forsake, he must have got aboard the ship when he was half awake, and got to London, not New York, by some most odd mistake. End of poem. This recording is in the public domain. My Color, by John Kendrick Bangs. Read for LibriVox.org by The Story Girl. My best loved color? Well, I think I like a soft and tender dewy green for grass. Sometimes a pink, my fancy, too, will strike, in lobster puree or a soturn glass. Blue is a color, too, I greatly love. It's sort of satisfying to my eyes. Tis their own color, and I'm quite fond of this hue also for soft Italian skies. For blushes give me red, nor hesitate to pile it on. I like it good and strong. Upon the cheeks of her I call my fate, the loveliest of all the lovely throng. On golden yellow aft my fancy dwells. Tis almost godlike, as it sparkles through the effervescent fizz, and wondrous spells it casts on me when coined in dollars, too. Hence, friend, it is I cannot specify what hues particular my joys and hands. I like them all. Their popularity, at special times, depends on circumstance and of poem. This recording is in the public domain. Contemplate in Nature by John Kendrick Bangs. Read for leapivox.org by Alan Lawley. I would not change my joys for those of emperors and kings. What has my gentle friend the rose told them? If ought, do you suppose? The rose that tells me things. What secrets have they had with trees? What rumps with grassy spears? What know they of the mysteries? Of butterflies and honeybees who whisper in my ears? What says the sun beam unto them? What tells her brooklets told? Is there within their diadem a single rival to the gem? The dewy daisies hold? What sympathy have they with birds whose songs are songs of mine? Do they err here as though in words to aslisp the message of the herds? Of gazing, lowing kind? Ah, no, give me no lofty throne. But just want nature yields. Let me but wander on alone, if need be, so that all my own are woods and dales and fields. End of poem. This recording is in the public domain. The Heroic Gano by John Kendrick Bangs. Read for LibriVox.org by pseudonymous Nord. The Heroic Gano. When the order was given to withdraw from battle for breakfast, one of the gun captains, a privileged character, begged Commodore Dewey to let them keep on fighting until we've wiped him out. War anecdote in daily paper. At the Battle of Manila in the Un-Pacific Sea stood a gunner with his mad up just as far as it could be. Stood a gunner brave and ready for the hated enemy. Near the Isles of Philopena raged the battle all the morning and the plucky Spanish sailors by the shot and shell were torn. And the flag that floated over them to oblivion was born.  Every cannon moulded the foreman from the deck into the swell. When amid the din of battle rang the silvery breakfast bell.  After eating we will let them have a rousing old encore. Store your lanyards or my jackies, let the cannon cease to roar. Then up spake the fighting gunner. Dewey, don't I beg of you. What's the use of drinking coffee till we've put this scrimmage through? If there's anyone who's hungry, won't the Spanish omelet do? For a good would not have done it, when through mobile bay he sped. Why then Dewey should we breakfast till we've plunked them full of lead. Let our motto be as his was.  And if, Boy, this recording is in the public domain. The Pathetic Tale of the Carry Boy by John Kendricks Banks. Read for LibriVox.org by pseudonymousNorb. The Pathetic Tale of the Carry Boy. Come here, said I, oh, Carry Boy, and tell me how it happens. You cling so fast unto these links, not like the other chaps, who like to dally on the streets and play the game of craps. Is it that you enjoy the work of carrying a bag, while others speed the festive ball old valley hill in Prague and do your spirits never seem to falter or to flag? I've watched you many a day, my lad, and puzzled over the fact that you are so attentive to the game, your every act, not indicate perfection. There's been nothing you have lacked. And I would know just why it is that you so perfect seem. In all my golfing days, you've been the very brightest clean. Or am I lying home in bed, and are you just a dream? Oh, sir, said he, I can't hear because I love my pal. I cling unto these glans and links because I love my ma. In short, I love my parents, sir, and these my reasons are. It was but a year ago, good sir, when first this ancient sport came in the portals of our home, home of the sweetest sort. When golf came through the windows, sir, my home went through the port. My father first he took it up and many a very night. My mother with us children waited up by candlelight in hopes that he'd return and free us from our lonely plight. Then mother, she went after him, alas, that it should be and shortly learned the game herself. She plays it famously, which left us children orphans, I and all my brothers three. They play it here, they play it there, they play it everywhere, no matter what the weather, be it wet or be it fair. And for the cares of golf, they've dropped their every other care.  For some day we are hoping that our eyes again will see a most beloved parents on some putting green or tea, a sight to gladden all our hearts if it should ever be.  And to my heart they came a twinge, for in that little lad I recognized my eldest son, I was that wicked dad. And now together we are out on links at home and far. He and his three small brothers with their shamed, repentant path, a looking here and looking there to find their dear mama. End of poem. This recording is in the public domain. Gareless Wisdom by John Kendrick Bangs, read for LibriVox.org by April 6-0-9-0, California, United States of America. I know a wondrous man, my neighbor, he. He's ripe in years and great in understanding. He's versed in art and in philosophy. He shows a mind that's verily commanding. He'll stand before a painting and without a single instance thought or hesitation, he'll tell the painter's name nor any doubt, is there he gives the proper information. The rocks, the hills and valleys hold from him. No secret that is past a man's revealing. He knows why some are stout and others slim. He comprehends all kinds of human feeling. The records of the stars he knows and each romance that round about the heavens lingers. At dinner time he opts to delights to preach, on which was made the first or forks or fingers. Indeed all things he knows, or high or low, the things that fly on wing or go a-walking, except one thing he never seems to know and that's when he should stop his endless talking. End of poem. This recording is in the public domain. The Perjury of a Rejected Lover by John Kendrick Spengs. Read for LibreVox.org by Rachel Marie. When I was twenty-one I swore, if I should ever wed, the maiden that I should adore, should have a classic head, should have a form quite dune-o-esque, a manor full of grace, a wealth of hair-suit picturesque, above a peaked face. But I, a lass, impergid, for I've wed a jumpy lass, I much despised in days of yore, of quite the plainest class, because each maiden of my dream, whose favour I did seek, was so opposed unto my scheme, I married Jane in peak. End of poem. This recording is in the public domain. Made of Culture by John Kendrick Spengs. Read for LibreVox.org by Rachel Marie. Made of Culture, air we part, since we've talked of letters, art, science, faith, and hypnotism, and most every other reason. When you wrote a while ago, ZOEMO SAS AGAPO, let me tell you this, my dear, though your lettering was clear, though the ancient sages Greek would be glad to hear you speak, they would be replete with woe at your maw, SAS AGAPO. For, do you maiden most astute, you have placed the mark acute, or omega, take your specs, see, it should be circumflex. Still I love you even though you have written AGAPO. End of poem. This recording is in the public domain. Not Perfect by John Kendrick Spengs. Read for LibreVox.org by Rachel Marie. Her eyes are blue, a lovely hue, for eyes her cheeks are pink, and for the cheek, twist me and you, that colour's right, I think.  End of poem. This recording is in the public domain. A City Dwellers Wish by John Kendrick Spengs. Read for LibreVox.org by April 6090, California, United States of America. I love the leaf of the old oak tree, I love the gum of the spruce, I love the bark of the hickory, and I love the maple's juice. On the walnuts' grain I fondly dote, on the cherries' fruit I dine, and I love to lie in a narrow boat, and send the odor of pine. Ah me, how I wish some power grand, would invent some single tree, with all these points well developed, and would send that tree to me! I'd plant it deep in the jardin air, that stands in this flat of mine, I'd give it the sweetest tenderest care, and water its roots with wine. End of poem. This recording is in the public domain. Where Are They? by John Kendrick Spengs. Read for LibreVox.org by this name. Where Are They? What has become of the cast of coats, that covered world Shakespeare's back? What has become of the old rowboats, of kid and his pirate pack? Where are the scarfs that Lord Byron wore? Where are poor Shelly's scarfs? What has become of that wondrous tour of Queen Elizabeth's roughs? Where are the slippers of Ferdinand? Where are Mark Anthony's clothes? Where are the gloves from Antoinette's hand? Where are Oliver Goldsmith's hoes? I did not search for the ships of Tyre. The grave of Wittington's cat would sooner set my spirit on fire, or even be your Brunel's hat. And when I reflect that there are spots in the world that I can't find, where lie these same identical lots and many of the same kinds, I'm tempted to give a store of gold to him that will bring to me a glass, earth's mysteries to unfold, and show me where these things be. End of poem. This recording is in the public domain. Recording by Thysneem. Memories by John Kendricks Banks. Read for LibriVox.org by Thysneem. Memories. John Maiden once a jester did adore, who early died and in the churchyard sleeps. Once in a while she reads his best jokes o'er, and sits her down in madly, sorely weeps. End of poem. This recording is in the public domain. Recording by Thysneem. A Sad State by John Kendrick Banks. Read for LibriVox.org by Austin Heath. I know a man in real estate who's pride of self's sublime.  End of poem. This recording is in the public domain. Ad Astra Perotium by John Kendrick Banks. Read for LibriVox.org by Austin Heath. As I read over old John Dryden's verse, the rhymes of men like William Blake and Gay, the stuff that helped fill Edmund Waller's purse, and that which placed on Marvel's brow the bay, it off appeared to me that in those times the muses quaffed not sparkling wine, but grog, and that to grow immortal through one's rhymes was about as hard as falling off a log. End of poem. This recording is in the public domain. Consolation by John Kendrick Banks. Read for LibriVox.org by Austin Heath. Shakespeare was not accounted great when Good Queen Bess ruled England's estate. So why should I today repine because the laurel is not mine? Perhaps in 2093 folks will begin to talk of me, and somewhere statues may be built of me and bronze, perhaps in guilt, and sages full of quips and quirks will wonder if I wrote my works. So why should I repine today because my brow wears not the bay? End of poem. This recording is in the public domain. Satisfaction on Reading Not One Disatisfied by Walt Whitman. By John Kendrick Banks. Read for LibriVox.org by Austin Heath. God spare the day when I am satisfied. Enough is truly likened to a feast that leaves a man satiate. The sluggishness of fullness comes apace, the dullness of a mind that knows all things. The lack of every sweet desire, no new sensation for the soul. To want no more? What vile estate is that? What holds the morrow for a soul that's satisfied? What holds the future for the mind content? Is aspiration worthless? Is much abused ambition then so vile? What is the essence of the joy of living? Must yesterday, tomorrow, and today all be the same with nothing to be hoped for? Is not a soul a thirst a joyous thing? Where lies content to him whose eye doth rest on higher things? What satiation can compare to hope? Yet who among the satisfied hath need of hope? What can he hope for if he is satisfied? Tis but conceit and nothing more to pray of satisfaction. God spare the day when I am satisfied. I do not want the earth. Yet nothing less will leave me quite content. And once tis mine, I'm very sure you'll find me roaming off after the universe. End of poem. This recording is in the public domain. From budding time, through blossoming, to withering and rest. Yet compensation hast thou, I, for all thy little woes? For was it not thy happy lot to live and die a rose? End of poem. This recording is in the public domain. The Worst of Enemies by John Kendrick Spengs Read for LibriVox.org by Rachel Marie I do not fear an enemy who all his days have hated me. I do not bother or a foe whose name and face I do not know. I mind me not the small attack of him who bites behind my back, but heaven help me to the end, against that one who was once my friend. End of poem. This recording is in the public domain. Jokes of the Night by John Kendrick Spengs Read for LibriVox.org by Rachel Marie Blessed jokes of my dreams your praises I'd sing. No mirth can compare to the mirth that you bring. I've read London Punch from beginning to end on all comic papers much money I spend. But not that is in them can ever seem bright beside the rich jokes that I dream of at night. How I laugh at those jests of my brain when at rest the gladdest and merriest, sweetest and best, and how, when I wake in the morning and try, to call them to mind, oh, how bashful, how shy, they seem how they scatter and hide out of sight, these jokes of my dreamings, those jests of the night. Take the one that came to me today just at dawn, the cable car turns and remarks to the prawn, the crowbar is seasick, but then what of that, as long as the camel won't wear a silk hat. I laughed why I laughed till my wife had a fright, for fear I'd go wild from that joke of the night. And they're all much like that one, elusive enough, yet full of facetious, hilarious stuff, stuff past comprehension, stuff no man dares tell, for nocturnal jests in towed ever so well. It is odd it should be so, or not often bright, except to the dreamer who dreams them at night. End of poem. This recording is in the public domain. An autumnal romance by John Kendrick Bangs. Red Four LibriVox by Kevin Hesse. A leaf fell in love with a soft green lawn, he deemed her the sweetest and best, and then on a dreary November dawn, he withered and died on her breast. End of poem. This recording is in the public domain. The Country in July by John Kendrick Bangs. Red Four LibriVox by Kevin Hesse. We're glistening in the softness of the night, the vagrant willowess do greet the sight, where fragrance baffling permeates the breeze, that gently flouts the grasses and the trees, where every flying thing doth seem to be instinct with sweetly sensuous melody, where hills and dales assume their warmest phase, with here and there a scarf of opal haze to soften the luxurious attire, where one can almost hear the alphan choir across the meadowland, down in the wood, and songs of gladness, there are all things good. Ah, ye who seek the spot where joys abide, awake, awake, seek out the countryside, and through the blue-grey July hay see life fall free from care, from sorrow, and from strife. End of poem. This recording is in the public domain. May 30th, 1893 by John Kendrick Bangs. It seemed to be but chance, yet who shall say that was not part of nature's own sweet way, that on the field were once the cannon's breath lay many a hero cold and stark in death. Some little children in the after-years had come to play among grassy spears, and all unheeding when their romp was done had left a wreath of wildflowers over one, who fought to save his country, and whose lot it was to die unknown and rest for God. End of poem. This recording is in the public domain. The Curse of Wealth by John Kendrick Bangs. Read for LabourFox.org by Kathleen. What shall I put my dollars in? He asked, and while dismay, I have fifty thousand of them, and I'd like to keep them, too. I'd like to put them by to serve some future rainy day, but in these times of queer finance what can a fellow do? A railway bond is picturesque, and the supply is great, but strangely, like a novel that upon occasion drags, of which the critics of the time in hackneyed phrases state, the work has certain value, but interest often flags. The same is true of railway shares. Tis safer to invest in plowshares, so it seems to me, in this unhappy time, some think great wealth a blessing, but it cannot stand the test. He's happier by far than I whose but a single dime. He does not lie awake at night in frat and fume, to think of bank officials on a spree with what he's toiled to get. He is not driven by his woe quite to the verge of drink by wondering if his balance in the bank remains there yet. He does not pick the paper up in terror every night to see if VBG is up or PDQ is down. It does not fill his anxious soul with nerve-destroying fright to hear the wall street rumors that are flying about the town. Ah, better had I tain that cash that I have skimped to save, and spent it on my living and my pleasures day by day. I would not now be goaded nigh unto my waiting grave, by wondering how the deuce to keep those dollars mine for I. I'd not be bankrupt in my nerves and prematurely old. These golden shackles must be burst. I must again be free. What hoe without my duckets to the winds with all my gold, that I may once again enjoy the rest of poverty. End of poem. This recording is in the public domain. The Rime of the Ancient Populus by John Kendrick Bangs Read for LibreFox.org by Kathleen It was an ancient populist. His beard was long and gray, and punctuated by his fist. He had his little say. This is the age of gold, he said. Tis gold for butter, gold for bread, gold for bonds, and gold for fun, gold for all things neath the sun. Then with a smile he shook his head. Just wait a while, he slightly said. When we get in and run the state, we'll tackle gold. We'll legislate. We'll pass an act, and make a fact, by which these gold bugs will be whacked, till they're as cold as is their gold. We're going to make a statute law by which it will be decreed that standards are abolished, for a standard favors greed. This is the country of the free, and free this land shall be. As soon as we, the people, have our opportunity, and he who has to pay a bill can pay in what air suits his will. The tailor? Let him take his coats and pay his notes. Or if, perchance, he's long on pants, let trousers be his LSD. The baker? Let his landlord take his rent and cake, or anything the man can bake. And if a plumber wants a crumb, he may on to the baker come and plum. A joker needing hats or cloaks can go and pay for them with jokes. And so on. What a fellow's got shall pay for things that he has not. If beggars' rags were cash, you'd see no longer any beggary. In short, there'd be no poverty. A splendid scheme, quoth I, but stay. What of the nation's credit? Pray. Ha-ha, ho-ho, he loudly roared. We'll leave that problem to the Lord. And if he fails to keep us straight, once more we'll have to legislate, and so create confounding greed as much of credit as we need. End of poem. This recording is in the public domain. One of the Nameless Great by John Kendrick Bangs Read for LabourFox.org by Kathleen I knew a man who died in days of yore to whom no monument is like to rise. And yet there never lived a mortal, more deserving of a shaft to pierce the skies. His chiefest wish, strong friendships, was to make. He cared but little for this poor world's pelf. He shared his joys with everyone who'd take, and kept his sorrows strictly to himself. End of poem. This recording is in the public domain. And February Days by John Kendrick Bangs Read for LabourFox.org by Kathleen Fair nature, like the mother of a wayward child who needs must chide the offspring of her heart. Disguise-eth for a season all the sweet and mild maternal softness for an austere part. And, neath her frown, the errant earth in winter seems prostrate to lie, and petulant of mood, restrained in icy fetters all the babbling streams, like naughty babes who are learning to be good. Then, in the second month, most motherlike again, the frown assumed it gives now and then a place to soft, indulgent glances, lessening the pain, and hints of spring and pardon light her face. End of poem. This recording is in the public domain. A Change of Ambition by John Kendrick Bangs Read for LabourFox.org by Kathleen Horatious at the Bridge And he who fought at Old Thermopylae Great Samson in his potent bone by which the Philistines were slown Small David with his wondrous aim that did for him of giant fame Jay Caesar in his gallic scraps that made him lord of other chaps Sweet William called the Conqueror who made the Britain sick of war King Hal the Fifth who nobly fought and thrashed the foe at Agincourt, Old Bornapart, and Washington and Frederick, and Wellington, Decatur, Nelson, Fighting Joe, and Farragut, and Grant and O. A thousand other heroes I have wished I were in days gone by can take their laurels from my door for I don't want them anymore. The truth will out. It can't be hid. The dowdy deed that Dewey did in that far-distant Spanish sea is really good enough for me. The grammar's bad, but, oh my son, I wish I did what Dewey done. End of poem. This recording is in the public domain. Message from Mahatmas by John Kendrick Bangs Read for LibriVox.org by Larry Wilson Oncet Bay, Massachusetts May 24th, 18 Theosophists and others at Oncet Bay campgrounds have been greatly excited of late by a message which has been received from the Mahatmas Coutoumi and his partner who are summering in the desert of Gobi. The message is of considerable length and contains much that is purely personal. Daily newspaper Sound the timbrel, beat the drum, word from the Mahatmas come. Straight from Humi Cout and Co. comes the note to us below. Full of joy and gossiping, Humi Cout is summering in the desert waste of Gobi in a cottage of Adobe. All the little Cout's are well. Tommy Cout is learned to spell. Mrs. Cout is busy on papers on the Great Anon, which by special cable soon, from her workshop in the moon, will be sent to us below by Grand Humi Cout and Co. We are told that Maggie Cout looks well in her golfing suit, and her brand new astral bike is the best they've seen this psych. Psych is slang for cycle, so I have learned from Cout and Co. So she's going to take a run out from the Gobi to the sun, after which he thinks to race for the championship of space, and a trophy given by the Grand High Pasupati. Baby Cout has learned to walk, and likewise to said to talk. But to Mrs. Cout's dismay seems to have a funny way full of questions, why and how, all about the sacred cow. Questions of flippant ilk, like is Buddha made of milk? Questions void of answer spite of his parent's second sight. What to do with Baby Cout worries all the whole Cout. Finally the message ends with best love to all our friends. Give our enemies a twist, let each true theosophist strike a thunder-hitting blow for the firm of Cout and Co. Strike till back as every eye, doubting our theosophy, and impress on every tribe now's the season to subscribe. Guard against the coming storm, keep our astral bodies warm, give us bonnets for the head, keep our spirits stomachs fed, let your glad remittance go out to whommy Cout and Co. Through their agents on the earth, men and women full of worth, and when next the message comes from the Cout's down to their chums, those who paid their money down will receive a harp and crown. Step up lively, now's the time for your nickel and your dime, to provide for winter suits for the grand Mahatma Cout's. Furthermore, be not too brash, send it up in solid cash, astral money it may be, circulates in theory, but tis best to give us cold, bilious, drossy, filthy gold. All our blessings to you go. Yours for health, H. Cout's and Co. End of poem. This recording is in the public domain. The Gold Seekers by John Kendrick Bangs. Read for LibriVox.org by Larry Wilson. Gold, gold, gold. What care we for hunger and cold? What care we for the moll and strife, or the thousands of foes to health and life, when there's gold for the mighty, and gold for the meek, and gold for whoever shall dare to seek? Untold is the gold, and it lies in the reach of the man that's bold, in the hands of the man who dares to face the death in the blast that blows the pace, that withers the leaves on the forest tree, that fetters with ice all the northern sea, that chills all the green on the fair earth's breast, and it certainly kills as the unstayed pest. It lies in the hands of the man who'd sell his hold on his life for an ice-bound hell. What care we for the fevered brain that's filled with ravines and thoughts insane, so long as we hold in our hands the gold? The glistening, glittering, ghastly gold that comes at the end of the hunger and cold, that comes at the end of the awful thirst, that comes through the pain and torture a cursed of limbs that are wracked in mind's oar-throne. The gold lies there in his all our own, be we mighty or meek if we do but seek. For the hungorous wheat and the cold is fair to the man whose riches are past compare, and the oar-throne mind is as good as sane, and a joy to the limbs is the racking pain if the gold is there.  End of poem. This recording is in the public domain. Ode to a Politician by John Kendrick Bangs read Philippi Vox.org by Alan Lawley. O hail to thee, O son of Eolus, O hail to thee, Most High Borean Lord, the lineo-descendant of the winds art thou, child to the cyclone, cousin to the hurricane, tornado's twin, all hail, the ciphers of the Balmy South do greet thee, the eastern winds, great Boston's pride, in manner osculate caress thy massive cheek, freeze unto thee, and at thy word throw off congealment, and take on a soft, caloric mood, and from afar, from Afric Strand, Sirocken greetings come to thee, the monsoon and Simum, in a soft and purple orient, at mention of thy name, doth all the hats of heathen them, and all combined in one vast aggregation, cry out hail, hail, thrice hail to thee, who, after years and centuries, and cycle-zine, has made the winds imparnate, to thee the visible expression in the flesh, material and tangible, of all that goes to make the element, that rages, blusters, blasts, and blows, and if the poet's mind speaks true, if he can penetrate their purposes at all, it is not far from their intent, to lift thee on their broad November wings, so high, that none but gods can ever hope, again to gaze upon thy face. End of poem. This recording is in the public domain. Some are amateurs by John Kendrick Bangs. Read for LibriVox.org by April 690, California, United States of America. Shakespeare was partly wrong. The world's a stage. This is admitted by the Bard's detractors. Had William seen some hamlets of this age, he'd not have called all men upon it actors. End of poem. This recording is in the public domain. End of cobwebs from a library corner by John Kendrick-