Venus and Adonis, by William Shakespeare. This is a LibriVox recording. All LibriVox recordings are in the public domain. For more information, or to volunteer, please visit LibriVox.org. Recording by Thomas Poplar. Venus and Adonis, by William Shakespeare. Miriam Eretor Wupus, Nihiflavasapolo, Poplar, Castalia Plena, Ministers, Papua. To the Right Honourable Henry Risley, Earl of Southampton, and Baron of Tichrion. Right Honourable. I know not how I shall offend in dedicating my unpolished lines to your Lordship, nor how the world will censure me for choosing so strong a prop to support so weak a burden. Only if your honour seem but pleased, I account myself highly praised, and vow to take advantage of all idle hours till I have honoured you with some grave relief. But if the first heir of my invention who deformed, I shall be sorry it had so noble a Godfather, and never after ear so barren a land, for fear it yield me still so bad a harvest. I leave it to your honourable survey and your honour to your heart's content, which I wish may always answer your own wish, and the world's hopeful expectation. Your honours in all duty, William Shakespeare. Venus and Adonis. Even as the sun with purple-coloured face attain his last leave of the weeping morn, rose-cheeked Adonis hide him to the chase, hunting he loved, but lull he left to scorn. Sick-thoughted Venus makes a mane unto him, and like a bold-faced suitor gives to woo him.   If thou wilt day in this favour, for thy mead a thousand honey secrets shall thou know. Here come and sit, whenever serpent hisses, and being set, I'll smother thee with kisses, and yet not cloy thy lips with low satiety, but rather vanish them amid their plenty, making them red and pale with fresh variety. Ten kisses short as one, one long as twenty, the summer's day will seem an hour but short being wasted in such time-begolling sport. With this she seeseth on his sweating palm the precedent of pith and library, and trembling in her passion calls it balm, earth's sovereign salve to do with God as good. Being so enraged, desire doth lend her force courageously to pluck him from his horse. Over one arm the lusty corset's rain, under her other was the tender boy, who blushed and pouted in a dull disdain with leaden appetite, an apt to toy. She, red and hot as coals of glowing fire, he, red for shame, but frosty in desire. The studded bridle on a ragged bow nimbly she fastens, oh, how quick is love! It is stalled up, and even now to tie the rider she begins to prove. Backward she pushed him as she would be thrust, and covered him in strength, though not in lust. So soon was she along as he was down, each leaning on their elbows of their hips. Now doth she stroke his cheek, now doth he frown, and begins to chide, but soon she stops his lips, and kissing speaks with lustful language broken. If thou who chide thy lips shall never open. He burns with bashful shame, she with her tears doth quench the maiden burning of his cheeks. Then, with her windy sighs and golden hairs doth fan and blow them dry again, she seeks. He says she is immodest, blames amiss, but follows more she murders with a kiss. Even as an empty eagle sharp by fast tires with her beak on feathers, flesh and bone, shaking her wings, devouring all in haste, till either gorge be stuffed or prey be gone, even so she kissed his brow, his cheek his chin, and where she ends she doth in the beginning. Forced to content but never to obey, panting he lies and breatheth in her face, she feedeth on the steam as on a prey, and calls it heavenly moisture, air of grace, wishing her cheeks were gardens full of flowers, so they were due with such distilling showers.   Rain added to a river that his rank perforce will force it over flow the bank. Still she entreats, and Britylian treats, for to a pretty ear she tunes her tale.  Being red she loves him best, and being white her best is vetted with a more delight. Look how he can she cannot choose but love, and by her fair immortal hand she swears from his soft bosom never to remove, till he take truce with her contending tears, which long have rained, making her cheeks all wet, and one sweet kiss shall pay this countless debt. Upon this promise did he raise his chin, like a dive dapper peering through a wave, who, being looked on, ducks his quickly in. So offers he to give what she did crave. But when her lips were ready for his pay, he winks, and turns his lips another way. Never did passenger in summers heat more thirst for drink than she for this good turn. Her help she sees, but help she cannot get.  Oh pity, ganchi cry, flint-hearted boy, just but a kiss I beg, why of the coy? I have been wooed as I entreat thee now, even by the stern and dire for God of war, whose sinewy neck in battle ne'er did bow, who conquers where he comes in every jar. Yet hath he been my captive and my slave, and begged for that which thou unasked shall have. Over my altar hath he hung his lance, his battered shield, his uncontrolled crest, and for my sake hath learned to sport and dance, to toy, to wanton, dally, smile, and jest, scorning his cherlish drum and ensign red, making my arms his field, his tent, my bed. Thus he that overruled I over swayed, leading him prisoner in a red rose chain. Strong tempered steel his stronger strength obeyed, yet was he servile to my coy to stay. Oh be not proud, no bread not of thy might, for mastering her that foiled the God of fight. Touch but my lips with those fair lips of thine, though mine be not so fair, yet are they red. The kiss shall be thine own as well as mine. What sees thou in the ground?  Then why not lips on lips, since eyes in eyes? Are thou ashamed to kiss? Then wink again, and I will wink, so shall the day seem night. Love keeps his revels for there are between, be bold to play, our sport is not in sight. These blue-veined violets whereon we lean never can blab. No, no, not what we mean. The tender spring upon thy tempting lips shows the unright. Yet mayst thou well be tasted? Make use of time, let not advantage slip. Beauty within itself should not be wasted. Fair flowers that are not gathered in their prime wrought and consume themselves in little time. Where I hard-favored, foul, or wrinkled old, ill-nurtured, crooked, cherlish, harsh in voice, or worn despised, rheumatic and cold, thick-sighted, barren, lean, and lacking juice, then mightst thou pause. For then I were not for thee, but having no defects, why dost upon me? Thou canst not see one wrinkle in my brow. My eyes are gray and bright and quick in turning. My beauty, as the spring doth yearly grow, my flesh is soft and plump. My marrow burning, my smooth, moist hand, where it with thy hand felt, would in thy palm dissolve or seem to melt. Bid me discourse, I would enchant thine ear, or like a fairy, trip upon the green, or like a nymph with long, disheveled hair, dance on the sands, and yet no footing seen. Love is a spirit all compact of fire, not gross to sink, but light it will aspire. Witness this primrose-bank whereon I lie, these forceless flowers like sturdy trees support me. Two strengthless doves will draw me through the sky, from morn till night, even where I list to sport me. Is love so light, sweet boy, and may it be that thou shouldst think it heavy unto thee? Is thine own heart to thine own face affected? Can thy right hand seize love upon thy left? Then woo thyself, be of thyself rejected, steal thine own freedom, and complain on theft. Narcissus saw himself, himself forsook, and died to kiss his shadow in the brook. Tortures are made to light, jewels to wear, dainties to taste, fresh beauty for the youths, herbs for their smell and sappy plants to bear, things growing to themselves, clouds of growths, abuse, seeds spring from seeds and beauty breedeth beauty. Thou wast begot to get it is thy duty. Upon the earth's increase, why shouldst thou feed, unless the earth with thy increase be fed? By law of nature thou art bound to breed, that thine may live when thou thyself were dead. And so in spite of death thou dost survive, in that thy likeness still is left alive. By this the love-sick queen began to sweat, for where they lay the shadowed forsook them, and Titan, tired in the midday heat with burning eye, did hotly overlook them, wishing Adonis had his team to guide, so he were like him, and by Venus sigh. And now Adonis, with a lazy sprite and with a heavy, dark, disliking eye, is lowering brows or whelming his fair sight, like misty vapours when they block the sky, souring his cheeks Christ, fine, no more of love. The sun doth burn my face, I must remove. By me, covenous, young and so unkind, what bare excuses makes thou to be gone? I'll sigh celestial breath, whose gentle wine shall cool the heat of this descending sun. I'll make a shadow for thee of my hairs, if they burn too, I'll quench them with my tears. The sun that shines from heaven shines but warm, and lo, I lie between that sun and thee. The heat I have from them doth little harm, thine eye darks forth the fire that burneth me, and were I not immortal, life were done between this heavenly and earthly sun. Art thou a duret, flinty, hard as steel, name more than flint for stone at rain relentless? Art thou a woman, son, and canst not feel what tears to love? How want of love tormenteth? Oh, had thy mother borne so hard a mind, she had not wrought forth thee, but died unkind. What am I that thou shouldst contend me this? Or what great danger dwells upon my suit? What were thy lips the worst for one poor kiss? Speak fair, but speak fair words, or else be mute. Give me one kiss, I'll give it thee again, and one for interest if thou wilt have twain. Fine, lifeless picture, cold and senseless stone, well painted idle, image dull and dead, statue contending but the eye alone, thing like a man but of no womanbred. Thou know man, though of a man's complexion, for men will kiss even by their own direction. This said, impatience chokes her pleading tongue and swelling passion doth provoke a pause. Red cheeks and fiery eyes blaze forth her wrong, being judged in love she cannot write her cause. And now she weeps, and now she fame would speak, and now her sobs do her intentments break. Sometimes she shakes her head, and then his hand now gazeth you on him, now on the ground. Sometimes her arms enfolding like a band, she would, he will not in her arms be bound. And when from thence he struggles to be gone, she locks her lily fingers, one in one. Fondly, she said, since I have him be here within the circuit of this ivory pale, I'll be a park, and thou shall be my deer, feed where thou wilt on mountain or in dale. Graves on my lips, and if those hills be dry, stray lower, where the pleasant fountains lie. Within this limit is relief enough, sweet bottom grass and high delightful plain, round rising hillocks, breaks obscure and rough, who shelter thee from tempest and from rain. Then be my deer, since I am such a park, no dog shall rouse thee though a thousand bark. At this Adonis smiles as in disdain, that in each cheek appears a pretty dimple. Love made those hollows, if himself were slain, he might be buried in a tomb so simple, for knowing well if there he came to lie, why their love lived, and there he could not die. These lovely caves, these round enchanting pits, opened their mouths to swallow Venus' liking. Being mad before, how does she now, for wits, struck dead at first, what needs a second striking? Poor queen of love, in thine own lawful lawn, to love a cheek that smiles at thee in scorn. Now which way shall she turn, what shall she say? Her words are done, her woes the more increasing, the time is spent, her object rule away, and from her twining arms doth urge releasing, pity, she cries, some favour, some remorse, a way he springs and hasteth to his horse. But lo, from forth the cops that neighbours by a breeding genet lusty, young and proud, Adonis trampling coarser to the spy, and forth she rushes, snorts and nays aloud, the strong-necked steed, being tied into a tree, breaketh his rein, and to her straight goes he. Imperiously he leaps, he nays, he bounds, and now his woven girth she breaks asunder, the bearing earth with his hard, hoofy wounds, whose hollow womb resounds like heaven's thunder, the iron bit he crusheth between his teeth, controlling what he was controlled with. His ears up-pricked, his braided hanging mane upon his compassed crest now stand on end, his nostrils drink the air, and forth again as from a furnace vapours doth he send, his eye, which scornfully glisters like fire, shows his hot courage and his high desire. Sometime he trots, as if he told the steps with gentle majesty and modest pride. Anon he rears upright, covets and leaps as who should say, Lo, thus my strength is tried, and this I do to captivate the eye of the fair breeder that is standing by. What wrecketh he his riders' angriest stir, his flattering halal for his stand, I say? What cares he now for curve or pricking spur, for rich comparisons or trappings gave? He sees his love, and nothing else he sees, for nothing else with his proud sight agrees. Look, when a painter would surpass the life in limning out a well-proportioned steed, his art, with nature's workmanship at strife, as if the dead the living should exceed, so did this horse excel a common one, in shape, in courage, color, pace and bone. Round hoof, short-jointed, fetlocks, shag and long, broad breast, full eyes, small head and nostril wide, high crest, short ears, straight legs and passing strong, thin mane, thick tail, broad butter, tender hide.  Sometimes he scuds far off, and there he stares. Anon he starts at stirring of a feather, to bid the wind a base he now prepares, and where he run or fly they know not whether, for through his mane and tail the high wind sings, fanning the hairs who wave like feathered wings. He looks upon his love and nays unto her, she answers him as if she knew his mind. Being proud, as females are to see him woo her, she puts on, outward strangeness seems unkind, spurns at his love and scorns the heat he feels, beating his kind embracements with her heels. Then, like a melancholy malcontent, he veils his tail that like a falling plume cool shadow through his melting buttock lent. He stamps and bites the poor flies in his fume, his love, perceiving how he was enraged, grew kinder, and his fury was assuaged. His testimaster goes about to take him when, lo, the unbacked breeder full of fear, as a catching, swiftly doth forsake him, with her the horse, and left Adonis there, as they were mad unto the wood they hide them, outstripping crows that strive to overfly them. All swollen with chafing down Adonis sits, banning his boisterous and unruly beast, and now the happy season once more fits that lovesick thou by pleading may be blessed. For lovers say the heart hath trebled wrong when it is barred the adents of the town. An oven that is stocked or river-stayed burneth more hotly, swelleth with more rage. So of concealed sorrow may be said, for event of words loves fire doth assuage, but when the heart's attorney once is mute, the client breaks as desperate it is mute. Aces are coming, and begins to glow even as a dying co-revives with wind, and with his bonnet hides his angry brow, looks on the dull earth with disturbed mind, taking no notice that she is so nigh, for all a scance he holds her in his eye. Oh, what a sight it was, wistly to view how she came stealing to the wayward boy, to note the fighting conflict of her hue, how white and red each other did destroy. But now the cheek was pale, and by and by it flashed forth fire as lightning from the sky. Now was she just before him as his hat, and like a lowly lover down she kneels. With one fair hand she heaveeth up his hat, her other tender hand his fair cheek feels. His tenderer cheek receives her soft hands print, as apt as new-fold snow takes any dint.   Oh, gently now she takes him by the hand, a lily christened in a jable snow, or ivory in an alabaster band, so white a friend, and girt so white a foe. This beautyous combat, willful and unwilling, showed like two silver dubs that sit a-billing. Once more the engine of her thoughts began, Oh, fairest mover on this mortal round, would dowert as I am, and I a man. My heart all holds thine, thy heart my wound. For one sweet look thy help I would assure thee, though nothing but my body's bane would cure thee. Give me my hand, Sethi, why dost thou feel it? Give me my heart, Sethi, and thou shalt have it. Oh, give it me, lest thy heart-heart do steal it, and being steel soft sighs can never grave it. Then love's deep groans, I never shall regard, because adonis heart hath made mine hard. For shame he cries, let go, and let me go.  For all my mind, my thought, my busy care, is how to get my palfery from the mare. Thus she replies, thy palfery, as he should, welcomes the warm approach of sweet desire. Affection is a coal that must be cooled, else suffered it will set the heart on fire. The sea hath bound, but deep desire hath none, therefore no marvel, though thy horse be gone. How, like a jade, is stood tied to the tree, surubilely mastered with a leaven rain. But when he saw his love, his youth's fair fee, he held such petty bondage in disdain, throwing the base thong from his bending crest, and franchising his mouth, his back, his breast. Who sees his true love in her naked bed, teaching the sheets a whiter view than white? But when his glut nigh so full hath fed his other agents, aim at like delight. Who is so faint that dare not be so bold to touch the fire, the weather being cold? Let me excuse thy course, gentle boy, and learn of him I heartily beseech thee to take advantage on presented joy, though I were dumb, yet his proceedings teach thee. Oh, learn to love, the lesson is but plain, and once made perfect, never lost again. I know not love, will he, nor will not know it, unless it be a bore, and then I chase it. It is much to borrow, and I will not owe it. My love to love is love but to disgrace it, for I have heard it is a life in death that laughs and weeps and all but with a breath. Who wears a garment shapeless and unfinished? Who plucks the bud before one leaf put forth? If springing things be any job diminished, they wither in their prime, prove nothing worth. To cope that's backed and burdened, being young, loseeth his pride and never waxeth strong.  Remove your siege from my unyielding heart. To love's alarms it will not oak the gate. Dismiss your vows, your fainted tears, your flattery. For where a heart is hard, they make no battery. What? Can't thou talk? Will she? Has thou a tongue? Oh, with thou hadst not, or I had no hearing. Thy mermaids' voice hath done me double wrong. I had my load before, now pressed with bearing, melodious discord, heavenly tune, harsh sounding, ears deep sweet music, and hearts deep so wounding. And I know eyes but ears. My ears would love that inward beauty and invisible. Or were I deaf? Thy outward parts would move each part in me that would be sensible. Though neither eyes nor ears to hear nor see, yet should I be in love by touching thee. Say that the sense of feeling were bereft me and that I could not see nor hear nor touch, and nothing but the very smell were left me, yet would my love to thee be still as much. For from the stilletry of thy face excelling comes breath perfumed that breedeth love by smelling. But oh, what banquet worth thou to the taste being nurse and feeder of the other four? Would they not wish the feast might ever last and bid suspicion double lock the door, lest jealousy, that sour and welcome guest should by his stealing in disturb the feast? Once more the ruby-colored portal opened, which to his speech did honey passage yield, like a red morn that ever yet betokened rack to the seaman, tempest to the field, sorrow to shepherds, woe unto the birds, gusts and foul flaws to herdmen and to herds. This ill-presage advisedly she barketh, even as the wind is hushed before he prayneth, or as the wolf doth grin before he barketh, or as the berry breaks before it stayneth. Or like the deadly bullet of a gun, his meaning struck her ere his words begun, and at his look she flatly falleth down, for looks kill love, and love by looks reviveeth, a smile that cures the wounding of a frown, but blessed bankrupt that by love so thriveeth. The silly boy, believing she is dead, claps her pale cheek till clapping makes it red, and all amazed break off his late intent, for sharply he did think to reprehend her, which cunning love did wittily prevent. Therefore the wit that can so well defend her, for on the grass she lies as she was slain, till his breath breatheth life in her again. He rings her nose, he strikes her on the cheeks, he bends her fingers, holds her pulses hard, he chafes her lips. In a thousand ways he seeks to mend the hurt that is unkindness marred. He kisses her, and she by her good will will never rise, so he will kiss her still. The night of sorrow now is turned to day, for two blue windows faintly she upheaveeth, like the fair sun when in his fresh array he cheers the morn, and all the world relieves.  Where never four such lamps together mixed had not his clouded with his browser-eye, but hers, which through the crystal tears gave light, shone like the moon in water seen by night. Oh, where am I? Was she in earth or heaven, or in the ocean drenched during the fire? What hour is this? Or morn, or where even? Do I delight to die, or life desire? Now I lived, and life was death's annoy, but now I died, and death was lively joy.  Kill me once again. Thy eyes shrewd tutor, that hard heart of thine hath taught them scornful tricks, and such disdain that they have murdered this poor heart of mine. And these, mine eyes, true leaders to their queen, but for thy piteous lips no more had seen. Long may they kiss each other for this cure. Oh, never let their crimson livery's wear. And as they last, their verge are still endure to drive infection from the dangerous year. That the stargazers, having writ on death, may say the plague is banished by thy breath. Pure lips, sweet seals in my soft lips imprinted. What bargains may I make still to be sealing? To sell myself I can be well contented, so thou wilt buy and pay, and use good dealing, which purchase, if thou may, for fear of slips. Set thy seal manual on my wax-red lips. A thousand kisses buys my heart from me, and pay them at thy leisure, one by one. What is ten hundred touches unto thee? Are they not quickly told and quickly gone? To save a non-payment that the debt shall double? Is twenty-hundred kisses such a trouble? Hare queen, but thee, if any love you owe me, measure my strangeness with my unripe ears, before I know myself seek not to know me. No fissure but the ungrown fryer for bears. The mellow plum doth fall, the green sticks fast, for being early plucked is sour to taste. Look, the world's comforter with weary gait his day's hot task hath ended in the west. The owl, night's herald, shrieks, it is very late. The sheep are gone to fold, verged to the nest, and cold black clouds that shadow heavens like, do summon us to part and bid good night. Now, let me say good night, and so say you. If you will say so, you shall have a kiss. Good night! Will she? And ere he says adieu the honey-fear parting tendered is, her arms to lend his neck a sweet embrace. Incorporate, then they seem, face grows to face.  He, with her plenty pressed, she faint with dirt, their lips together glued, fall to the earth. Now, quick desire hath caught the yielding prey, and glutton like she feeds, yet never filleth.  Then, having felt the sweetness of the spoil, with blindfold fury she begins to forage.  Hot, faint and weary with her heart embracing, like a wild bird being tamed with too much handling, or as the fleet-foot row that's tired with chasing, or like the forward infant still with dandling, he now obeys. And now no more resisteth, while she takes all she can, not all she listseth. What wax so frozen but dissolves with tempering, and yields at last to every light impression. Things out of hope are compassed off with venturing, chiefly in love, whose leave exceeds commission. Affection faints not like a pale-faced coward, but then woos best when most his choices roared. When he did frown, oh, had she then gave over, such nectar from his lips she had not sucked. Foul words and frowns must not repel a lover. What though the rose have trickles, yet is plucked. Where beauty under twenty locks kept fast, yet love breaks through and picks them all at last. For pity now she can no more detain him. The poor fool prays so that he may depart. She has resolved no longer to restrain him, bids him farewell and look well to her heart. The witch by Cupid's bow she doth protest, he carries thence and cages it in his breast. Sweet boy, she says, this night I'll waste in sorrow, for my sick heart commands mine eyes to watch. Tell me, loves master, shall we meet tomorrow? Say, shall we? Shall we? Will they make the match? He tells her no. Tomorrow he intends to hunt the boar with certain of his friends. The boar? Both she, where at a sudden pale like lawn being spread upon the blushing rose, usurps her cheek. She trembles at his tail, and on his neck her yoking arms she throws. She sinketh down, still hanging by his neck. He, on her belly falls, she on her back. Now is she in the very lists of love. Her champion mounted for the hot encounter. All his imaginary she doth prove, he will not manage her, although he mount her. That worse than tantalus is her annoy, to clip bellish him and to lack her joy. Even as poor birds deceived with painted grapes, do surfeit by the eye and find the maw, even so she languisher than her mishaps, as those poor birds that helpless very saw. The warm effects which she and him finds missing, she seeks to kindle with continual kissing. But all in vain, good queen it will not be. She hath usaid as much as may be proved. Her pleading hath deserved a greater fee. She's love. She loves. And yet she is not loved. Five, five, he says, you crush me, let me go, you have no reason to withhold me so. Thou hadst been gone, both she, sweet boy, at this, but that thou toldst me thou which tunt the boar. Oh, be advised, thou knowst not what it is with Javelin's point of chelish swine-de-gore, whose tushes never sheathed, he whetteth still like to a mortal butcher to kill. On his bow-back he hath a battle-set of bristly pikes that ever threat his foes. His eyes, like glowworms, shine when he doth fret. His snout digs sepulchres where ere he goes. Being moved, he strikes what ere is in his way, and whom he strikes his crooked, tuscious sleigh. His brawny sides with hairy bristles armed are better proof than thy spear's point can enter. His short, thick neck cannot be easily harmed. Being ireful, on the lion he will vent her. The thorny brambles and embracing bushes as fearful of him bark through whom he rushes.  But having thee advantage, wondrous dread would root these beauties as he roots the mead. Oh, let him keep his lothsome cabin still. Beauty hath not to do with such foul fiends. Come not within his danger by thy will. Thay that thrive well, take counsel of their friends. When thou didst name the boar not to disemble, I feared thy fortune, and my joints did tremble. Didst thou not mark my face? Was it not white? Saust thou not signs of fear lurk in mine eye? Grew I not faint and fell I not down right? Within my bosom whereon thou dost lie, my boating heart pants, beats and takes no rest, but like an earthquake shakes thee on my breast. For where love reigns, disturbing jealousy, doth call himself affection's sentinel, gives false alarms, suggests doth mutiny, and in a peaceful hour doth cry, kill, kill, distempering gentle love in his desire as air and water do abate the fire. This sour informer, this bait-breeding spy, this canker that eats up love's tender spring, this carry-tailed, dissentious jealousy, that sometimes true news, sometimes false doth bring, knocks at my heart and whispers in mine ear that if I love thee, I thy death should fear. And more than so, presenteth to mine eye the picture of an angry chafing boar under whose sharp fangs on his back doth lie, an image like thyself, all stained with gore, whose blood upon the fresh flowers being shed doth make them droop with grief and hang the head. What should I do, seeing me so indeed, that tremble at the imagination? The thought of it doth make my faint heart bleed, and fear doth teach a divination. I prophesy thy death, my living sorrow, if thou encounter with the boar tomorrow. But if thou needs wilt hunt, be ruled by me, uncouple at the timorous flying hare, or at the fox which lives by subtlety, or at the row which no encounter dare. Pursue these fearful creatures of the Downes, and on thy well-breed horse keep with thy hounds. And when thou hast on foot the purblind hare mark the poor wretch to overshoot his troubles how he outruns the wind, and with what care he cranks and crosses with a thousand doubles than any musics through the which he goes are like a labyrinth to amaze his foes. Sometime he runs among a flock of sheep to make the cunning hounds mistake their smell, and sometime when earth-delving conies keep to stop the loud pursuers in their yell, and sometime sorteth with a herd of deer danger deviseth shifts, wit waits on fear. For there his smell with others being mingled the hot-scent snuffing hounds are driven to doubt, ceasing the clamorous cry till they have singled with much adieu the cold vault clean thee out. Then do they spend their mouths, echo replies as if another chase were in the skies. By this poor walt far off upon a hill stands on his hindre legs with listening ear to hearken of his foes pursuers still. Anon their louder lorams he doth hear, and now his grief may be compared well to one sore sick that hears the passing bell. Then shall they see the duvet-devil wretch turn and return indenting with the way each envious briar his weary legs do scratch, each shadow makes him stop, each murmur stay, for misery is trodden on by many, and being low never relieved by any. Like quietly and hear a little more, nay, do not struggle, for thou shalt not rise to make thee hate the hunting of the boar unlike myself thou hears me moralize. Applying this to that and so to so, for love can comment upon every woe, where did I leave? No matter where, quote he, leave me. And then the story happily ends. The night is spent. Why, what of that, quote she? I am, quote he, expected of my friends, and now it is dark, and going I shall fall. In night, quote she, desire sees best of all, but if thou fall, oh, then imagine this, the earth in love with thee thy footing trips, and all is but to rob thee of a kiss.  Now, of this dark night, I perceive the reason. Cynthia, for shame obscures her silver shine till forging nature be condemned of treason for stealing moles from heaven that were divine, wherein she framed thee in high heaven's despite to shame the sun by day and her by night. And therefore has she bribed the destinies to cross the curious workmanship of nature to mingle beauty with infirmities and pure perfection with impure defeature, making her subject to the tyranny of madness, chances and much misery, as burning fevers, agues, pale and faint, life poisoning pestilence and frenzies would, the marrow-eating sickness whose attained disorder breeds by heating of the blood. Surfits, impostumes, grief and damned despair swear nature's death for framing thee so fair, and not the beast of all these maladies, but in one minute's fight brings beauty under. Both favour, savour, cue and qualities were at the impartial gaze elated wonder, or on the sudden wasted, thawed and done, as mountain snow melts with the midday sun. Therefore, despite a fruitless chastity, love lacking vestals and self-loving nuns that on the earth would breed a scarcity and barren dearth of daughters and of sons, be prodigal, the lamp that burns by night dries up his oil to lend the world his light. What is thy body but a swallowing grave seeming to bury that posterity which by the rites of time thou needs must have if thou destroy them not in dark obscurity? If so, the world will hold thee in disdain, sit in thy pride so fair a hope is slain.  Foul cankering rust the hidden treasure frets, but gold that's put to use, more gold begets. Nay, then, for that you will fall again into your idle overhandled theme. The kiss I gave you is bestowed in vain, and all in vain you strive against the stream. For by this black-faced night desires foul nurse, your treatise makes me like you worse and worse. If love have lent you twenty thousand tongues and every tongue more moving than your own, bewitching like the Walton Mermaid's songs, yet from mine ere the tempting tune is blown, for, no, my heart stands armoured in mine ere, and will not let a false sound enter there. Lest the deceiving harmony should run into the quiet closure of my breast, and then my little heart were quite undone in his bedchamber to be barred of rest. No, lady, no, my heart longs not to groan, but soundly sleeps, for now it sleeps alone. What have you urged that I cannot reprove? The path is smooth that leadeth on to danger. I hate not love, but your device in love that lends embracements unto every stranger. You do it for increase, O strange excuse, when reason is the baud to lust's abuse. Call it not love, for love to heaven has fled since sweating lust on earth reserved his name, under whose simple semblance he hath fed upon fresh beauty, yet with blame, which the hot tyrant stains and soon bereaves as caterpillars do the tender leaves. Love comforteth like sunshine after rain, but lust's effect is tempest after sun. Love's gentle spring doth always fresh remain. Lust's winter comes ere summer hath be done. Love's herpets not. Lust, like a glutton, dies.  More I could tell, but more I dare not say, the text is old, the orator too green. Therefore, in sadness, now I will away.  With this he breaketh from the sweet embrace of those fair arms which bound him to her breast, and, homeward, through the dark lawn runs a pace, leaves love upon her back deeply distressed. Look how a bright star shooteth from the sky, so glides he in the night from Venus' eye, which after him she darts as one on shore, gazing upon a late embargoed friend, to the wild waves will have him seen no more, whose ridges with the meeting clouds contend. So did the merciless and pitchy night fold in the objects that did feed her sight. Were I amazed, as one that unaware hath dropped a precious jewel in the flood, or astonished, as night wanderers often are, their light blown out in some mistrustful wood, even so confounded in the dark she lay, having lost the fair discovery of her way. And now she beats her heart where it had grown that all the neighbour caves, as seeming troubled, make verbal repetition of the moments. Passion on passion deeply is retuffled.  She, marking them, begins a wailing note and sings extemporarily a woeful ditty, how love makes young men thrall and old men don't, how love is wise and folly, foolish, witty. Her heavy anthem still concludes in woe and still the choir of echoes answer so. The song was tedious and out wore the night, for lovers hours along though seeming short. If pleased themselves, others they think delight in such-like circumstance with such-like sport. Their copious stories oftentimes begun and end without audience and are never done. For who has she to spend the night with all, but idle sounds resembling parasites, like shrill tongue tapsters answering every call, soothing the humour of fantastic wits? She says, tis so, they answer all, tis so, and would say after her if she said no. Though here the gentle lark weary of rest from his moist cabinet bounce up on high and wakes the morning from whose silver breast the sun arises in his majesty, who doth the world so gloriously behold that cedar tops and hills seem burnished gold. Venus salutes him with his fair good morrow, O thou clear God and patron of all light, from whom each lamp and shining star doth borrow the cutious influence that makes him bright. There lives a sun that sucked an earthly mother, may lend thee light as thou dost lend to other. This said, she hasteth to a myrtle grove, musing the morning is so much o'er worn, and yet she hears no tidings of her love. She hearkens for his hounds and for his horns, and on she hears them chanted lustily, and all in haste she coasteth to the cry. And as she runs the bushes in the way, some catch her by the neck, some kiss her face, some twine about her thigh to make her stay. She wildly breaketh from their strict embrace like a milch-dough whose swelling dougs to ache. Hasten to feed her fawn, he did some break. By this she hears the hounds are at a bay, but at she starches like one that spies an adder, reared up in fatal folds just in his way. The fear were of doth make him shake and shudder. Even so the timorous yelping of the hounds appalls her senses and her spirit confounds. For now she knows it is no gentle chase, but the blunt bore, rough bear, or lion proud. Because the cry remaineth in one place, where fearfully the dogs exclaim aloud, finding their enemy to be so cursed, they all strain curtsy who shall cope him first. This dismal cry rings sadly in her ear, through which it enters to surprise her heart. Who, overcome by doubt and bloodless fear with cold pale weakness, numbs each feeling part, like soldiers when their captain wants to the yield, they basely fly and dare not stay the field. Thus stands she in a trembling ecstasy, till, cheering up her senses sort as made, she tells them it is a causeless fantasy and childish error that they are afraid, bids them leave quaking, bids them fear no more.  This way she runs and now she will know further, but that retires to rate the bore for murder. A thousand spleens bear her a thousand ways, she treads the path that she untreads again. Her more than haste is mated with delays, like the proceedings of a drunken brain, full of respect yet not at all respecting, in hand with all things not at all effecting. Here, kenneled in a break, she finds a hound and asks the weary cater for his master, and there another licking of his wound against venom soars the oldness sovereign blaster, and here she meets another sadly scowling to whom she speaks, and he replies with howling. When he hath ceased his ill-resounding noise, another flap-mouth mourn her black and grim against the welkin bollies out his voice, another and another answer him, clapping their proud tails to the ground below, shaking their scratched ears, bleeding as they go. Look how the world's poor people are amazed at apparitions, signs, and prodigies, were on with fearful eyes they long have gazed, infusing them with dreadful prophecies.  Who, when he lived, his breath and beauty set gloss on the rose, smell to the violet? If he be dead, oh, no, it cannot be, seeing his beauty thou should strike at it? Oh, yes it may. Thou hast no eyes to see, but hatefully have randomed us thou hit. Thy mark is feeble age, but thy false dart mistakes that aim and cleaves an infant's heart. That's thou but did beware, then he had spoke, and hearing him thy power had lost his power. The destinies will curse thee for this stroke, they bid thee crop a weed, thou pluckst a flower. Love's golden arrow at him should have fled, and not death's ebb and dart to strike him dead. Dost thou drink tears that thou provoked such weeping? What may a heavy groan advantage thee? Why hast thou cast into eternal sleeping those eyes that taught all other eyes to see? Now nature cares not for thy mortal vigor since her best work is ruined with thy rigor. Here, overcome as one full of despair, she veiled her eyelids who, like sluices, stopped the crystal tide that from her two cheeks fair in the sweet channel of her bosom dropped. But through the floodgates breaks the silver rain, and with his strong course opens them again. Oh, how her eyes and tears did lend and borrow, her eyes seen in the tears, tears in her eye, both crystals where they viewed each other sorrow, sorrow that friendly sighs sought still to dry. But like a stormy day, now wind, now rain, sighs dry her cheeks, tears make them wet again. Variable passions throng her constant woe, as striving who should best become her grief, all entertained, each passion labors so that every present sorrow seen with chief, but none is best. Then join they all together, like many clouds consulting before weather. By this, far off, she hears some huntsman holler, a nurse's song there pleased her babes so well, the dire imagination she did follow, this sound of hope doth labor to expel, for now, reviving joy, bids her rejoice, and flatters her, it is Adonis' voice. Where at her tears began to turn their tide, being prisoned in her eye like pearls in glass, yet sometimes falls an orient drop beside, which her cheek melts as scorning it should pass to wash the foul face of the sluttish drowned, who is but drunken when she seamoth drowned. Oh, harby, leaving Thou, how strange it seems not to believe, and yet too credulous. Thy will and woe are both of them extremes, despair and hope make thee ridiculous, the one doth flatter thee in thoughts unlikely, in likely thoughts the other kids thee quickly. Now she unweaves the web that she hath wrought, Adonis lives, and death is not to blame, it was not she that called him all to naught, now she adds honors to his hateful name, and creeps him king of graves, and grave for kings, imperious supreme of all mortal things. No, no, could she, sweet death, I did be jest. Yet pardon me, I felt a kind of fear when I cement the bore that bloody beast, which knows no pity, but is still severe, then gentle shadowed truth I must confess I railed on thee, fearing my love's decease, it is not my fault, the bore provoked my tongue, we wreaked on him invisible commander, does he foul creature that hath done thee wrong? I did but act, he's author of my slander, reef hath two tongues, and never woman yet could rule them both without ten women's wit. Thus hoping that Adonis is alive, her rash suspect she doth extenuate, and that his beauty may the better thrive with death she humbly doth insinuate, tells him of trophies, statues, tombs, and stories, his victories, his triumphs, and his glories.   Five, five, fond love, thou art as full of fear, as one with treasure laden, hemmed with thieves, trifles unwitnessed with eye or ear, thy coward heart with false bethinking veers. Even at this word she hears a merry horn, where at she leaps that was but late for dawn. As falcon to the lure away she flies, the grass stoops not, she treads on it so light, and in her haste, unfortunately, spies the foul boar's conquest on her fair delight, which seen her eyes as murdered with the view like stars ashamed of day themselves withdrew, or as the snail whose tender horns being hit shrinks backwards in his shelly cave with pain, and there all smothered up in shade doth sit long after fearing to creep forth again.  This mutiny, each part doth so surprise that from their dark beds once more leap her eyes, and being opened through unwilling light upon the wide wound that the boar had trenched in his soft flank, whose wanted lily white with purple tears that his wound wept was drenched. No flower was nigh, no grass, herb, leaf or weed but stole his blood and seemed with him to bleed. This solemn sympathy poor Venus noteth, over one shoulder doth she hang her head. Dumbly she passions, frantically she doteth, she thinks he could not die, he is not dead. Her voices stopped, her joints forget to bow, her eyes are mad that they have wept till now. Upon his hurt she looks so steadfastly that her sight dazzling makes the wound seem three, and then she reprehends her mangling eye that makes more gashes where no breach should be. His face seems twain, each several limb is doubled, for oft the eye mistakes the brain being troubled. My tongue cannot express my grief for one, and yet will she behold two atoms dead. My sighs are blown away, my salt tears gone, my eyes are turned to fire, my heart to lead.  Alas, poor world, what treasure hast thou lost, what face remains alive that's worth the viewing, whose tongue is music now, what canst thou boast of things long since or anything ensuing? The flowers are sweet, their colors fresh and trim, but true sweet beauty lived and died with him. Bonnet nor veil henceforth no creature wear, nor sun nor wind will ever strive to kiss you. Having no fare to lose you need not fear, the sun doth scorn you and the wind doth hiss you. But when Adonis lived, sun and sharp air lurked like two thieves to rob him of his fare, and therefore would he put his bonnet on, under whose brim the gaudy sun would peep, the wind would blow it off, and being gone play with his locks. Then would Adonis weep and stray, in pity of his tender years they both would strive who first should dry his tears. To see his face the lion walked along behind some hedge, because he would not fear him. To recreate himself when he hath sung, the tiger would betame and gently hear him. If he had spoke, the wolf would leave his prey and never fright the silly lamb that day. When he beheld his shadow in the brook, the fishes spread on it their golden gills. When he was by, the birds such pleasure took, that some would sing, some other, in their bills would bring him mulberries and ripe-red cherries. He fed them with his sight, they hymn with berries. But this foul brim and urchin-snouted boar, whose downward eye still looketh for a grave, ne'er saw the beauteous livery that he wore, witness the entertainment that he gave. If he did see his face, why then I know he thought to kiss him and hath killed himself. Tis true, tis true, thus was Adonis slain, he ran upon the boar with his sharp spear who did not wet his teeth at him again, but by a kiss thought to persuade him there and, nuzzling in his flank, the loving swine sheed unaware the tusk in his soft groin. Had I been tooth like him, I must confess, with kissing him I should have killed him first.  The more am I accursed.  She looks upon his lips, and they are pale. She takes him by the hand, and that is cold. She whispers in his ears a heavy tale as if they heard the woeful word she told. She lifts the coffer lids that close his eyes for low. Two lamps burnt out in darkness lies. Two glasses where herself herself beheld a thousand times and now no more reflect. The virtue lost were in a late excel and every beauty robbed of his effect. Wonder of time, will she. This is my spite, that thou being dead the day should yet be light. Since thou art dead, lo, here I prophesy sorrow on love hereafter shall attend. It shall be waited on with jealousy, find sweet beginning but unsavory end. Nair settled equally but high or low that all love's pleasures shall not match as well. It shall be fickle, false, and full of fraud bud and be blasted in a breathing while. The bottom poison and the top orstrod with sweets that shall the truest sight be guile. The strongest body shall it make most weak strike the wise dumb and teach the fool to speak. It shall be sparing and too full of riot teaching decrepit age to tread the measures. The staring ruffian shall it keep inquired pluck down the rich and rich the poor with treasures. It shall be raging mad and silly mild make the young old the old become a child. It shall suspect where is no cause of fear it shall not fear where it should most mistrust it shall be merciful and too severe and most deceiving when it seems most just perverse it shall be where it shows most toward.   She bows her head, the new sprung flower to smell comparing it to her adorned breath and says within her bosom it chilled well since he himself is reft from her by death she crops the stalk and in the breach appears green dropping sap which he compares to tears. Who a flower will she? This was thy father's guy's sweet issue of a more sweet smelling sire for every little grief to wet his eyes to grow unto himself was his desire and so it is thy. But no, it is as good to wither in my breast as in his blood. This is thy father's bed here in my breast. Thou art the next of blood and is thy right. Low in this hollow cradle take thy breast. My throbbing heart shall rock thee day and night. There shall not be one minute in an hour wherein I will not kiss my sweet love's flower. Thus weary of the world away she hides and yokes of silver doves by whose swift aid their mistress through the empty skies in her light chariot quickly is conveyed holding their course to Paphos where their queen means to amure herself and not be seen. Finis, the end of Venus and Adonis by William Shakespeare recording by Thomas Copeland


кап   sounded న� plantation న� ఆతాింాసియబినༀడిదభరం అ఑లి సవింటణిటకస౾కిబభసం. every day we have a queue of people at our homes we are not the ones that are handling CDF but every day we are facing challenges we need to explain to the people we need to show them the benefits of the same CDF which we don't even have any benefit from we are not happy this message, we want to share this message to Mr President we know it's a very ever-example of refugees we will get back to the one that served in the previous council we were getting 700 and the fear of government because now it has increased from 700 to 3000 which is nothing now and we are hoping that the president who consider us following his promises we are very much we want to the fact that our president promised that he will revise the conditions of services for the council yes, yes, yes my full name is Zakancerasim Koko Matyuz from Wontumbawad of Chingola and Changa constituency right here we have about 2 or 3 councils represented as we came to bury our sister owner of Pomorin 4 councils we have Bundola we have Chilavomboe we also have Chingola we know our president he is a resident in president and we know UPND is a resident in government we are here to hear our grievance the problem that we are suffering with is the poor condition of services a council has been neglected for so long remember that CDF has come with his own responsibility honestly speaking from the first day of a month to the last day of a month my full name is Zakancerasim Baram I was a council in 2016 and today I am still a council from which council? from Chingola Manispo Council the headquarters of UPND Chingola now my first concern is I will start with the sitting allowance if in the sitting allowance Mr President where you are that is the sitting allowance we get in our council should be revised I am told that sitting allowance was not some time back but why is it that even now as I am speaking is just the same now I come to our monthly allowance in 2016 like my sister who did we are getting 700 Kwacha and the PF came into power and they started giving us 3000 Kwacha, there was an increment I am from UPND now the guys from the other camp let me mention our brother and sister from PF we are here to say we are here to say we are here to say we are here to say we are here to say we are here to say


Welcome everyone, welcome to learn with the expert. We're so excited to have you here with us this evening. As we are waiting for everyone to join, we would love to have you introduce yourself in the chat, share where you're from, your role or your grade level, click on the chat icon in the lower right-hand corner to open up the chat and share your introductions. Today, we are joined by Kacia Skola from Mind Yeti who will share how to gain back instructional time by establishing a practice of mindfulness in your classroom. We will also share a sampling of CSOT lessons with you for free that make it quick and easy to implement these mindfulness practices right away. So we see some introductions coming in from the chat. Hi, Nicole, second grade, New Jersey. Hello, Sherri from Oklahoma. Hi, Crystal Kindergarten from Maine. Hello, Kelly, welcome, pre-K. Hi, Elizabeth, good to have you with us today. See some people from Mexico joining. All right, well, welcome everyone. Just a few housekeeping items before we dive in. If you have any questions during the session that you would like Kacia to answer, please click on the Q&A tab and ask them there. This just ensures that we don't miss them. If you have any questions that go unanswered, we will reach out to you and answer those questions after the webinar. Any other comments or ideas or reactions you can put in the chat tab so that all of our participants can view them. So to open up these tabs, you'll see a little chat icon in the lower right corner of your screen. Just tap on that and then you will have the option to click between the chat, the Q&A and the handout tabs. The handout tab includes key takeaways from today's sessions. This session is being recorded. A link to the recording will be shared in a follow-up email 24 to 48 hours after the session is complete. So be on the lookout for that. So you all have shared who you are in the chat. So let's go ahead and introduce our team. My name is Mia Leonard. I am the training and professional development specialist here at CSAH. So I facilitate PDs and webinars like this one and create resources to support teachers and school districts in implementing CSAH in their classroom. I am based in Chicago, Illinois. So I saw some Illinois people in the chat. Shout out to you all. Before joining the CSAH team, I actually taught kindergarten in Chicago Public Schools for 10 years. So shout out to all of my early childhood educators that I saw in the chat as well. Now let's meet our expert. Casey Escola is highly skilled in community engagement, policy analysis and positive communication. But she believes her SEL superpower is empathy. Currently, Casey serves as the associate program manager for the innovation team at the Committee for Children where she supports projects that embed social emotional learning into kids' experiences both in and out of school. Committee for Children is the creator of the award-winning mindfulness program for kids called My Yeti. In past roles, Casey has researched how best to build empathy in key social and cognitive developmental stages. She has also studied mindfulness as a tool for both group cohesion and individual self-esteem.  Welcome, Casey. We are so excited to have you join us. Thank you so much, Mia. I'm so happy to be here and I'm so happy to be talking with all of you about one of my all-time favorite topics, mindfulness and how to build a calmer, kinder, more focused classroom. I also have been a classroom teacher at the preschool level and I've had all kinds of experiences both in and out of school supporting mindfulness, supporting social emotional learning development. And I'm just so excited to have this opportunity to bring all of these experiences together and to talk with you today about mindfulness in the classroom. Well, we are excited to hear all of this amazing information that you have to share with us. Our job as educators is to not only build students' academic potential, but also to create a safe space when we're all of our students feel welcome, accepted and can learn. So today, Casey, we'll share research and strategies and resources that will help you in creating a calm, focused and kind classroom. You will leave this session with Mind Yeti lessons that teach mindfulness and help students pay attention to things as they are right now with kindness and curiosity. So we're going to start out our conversation today by really understanding what is mindfulness as a practice and how that practice can improve our experiences in the classroom. First of all, we have a video that will provide some context about mindfulness and the Mind Yeti program. What is mindfulness anyway? When you're doing Mind Yeti, you're practicing mindfulness. Mindfulness is paying attention to things as they are right now, things like your breath, body, or the sounds around you with kindness and curiosity. It's also noticing thoughts, feelings and sensations as they're happening. Mindfulness is also being kind to others and yourself, even when you're having a hard day. According to scientists who study the brain, practicing mindfulness can help you get better at calming down, focusing, and connecting with other people. And all of those things are pretty important, both at home and at school. Thank you so much for playing that video, Mia. So we're going to be discussing mindfulness in the classroom specifically. What is it and how does it benefit both students and educators? Because something that I find really impactful and empowering about mindfulness is that it doesn't just benefit the kids, but the adults in the school setting as well. So we're also going to ask ourselves about practicing mindfulness, even for just one or two minutes a day, can help create this focused, calm, and kind classroom. One of my favorite statistics is this. For every one minute of explicit SEL instruction, classroom teachers can gain back 12 minutes of academic lesson time. So if you can imagine how being more mindful, more present, more self-aware might benefit your life and daily stresses, just imagine what it can do for kids in your classroom. Mindfulness is like any skill. It takes practice and time to grow, but incorporating mindfulness into classrooms can have real and lasting effects on student outcomes, a positive classroom environment and educator wellness. This type of explicit social-emotional learning instruction like the MindGetty sessions have helped teachers in the classroom gain back time because it allows the students to take care of themselves and to be more focused and present and aware. So we're starting with the basics. We've already watched our wonderful little video, but I want to dig in a bit further. What is mindfulness? Mindfulness at its simplest is awareness that arises through paying attention non-judgmentally to what is happening in the present moment. Sometimes that looks like carving five or 10 minutes out of your day to take slow and deep breaths in peaceful silence. Maybe that's what you imagine when you picture someone meditating or practicing mindfulness, but it can also mean enjoying a really delicious bite of food or pausing to be aware of the feeling of sunlight on your skin. Sometimes it even means taking stock of a bad day or a negative feeling and just acknowledging and sitting in that moment of discomfort. A mindful pause can take place at any time in any setting and with every age group. So now that we know what mindfulness is, I'd like to start our conversation today with a brief pause. I don't know about you, but I think we all lead very busy and hectic lives and we've chosen to come together for this moment from all over the country, from all over the world. I'm here in Seattle on a rarely sunny day and I just would love to be present and aware of that decision that brought us to this moment together. So we're gonna take a quick mindful pause.  We're gonna do another one and let this one be the deepest breath that you've taken all day today.  Be aware of the temperature in your room, the seat beneath you and the sounds in the background. One more deep breath and congratulations. We've all just experienced a little mindful moment together. It's really as simple as that. So we've just been benefited from one simple mindful moment, a few deep breaths and the awareness of the room and the space around us. And so when children practice mindfulness, they're able to pay greater attention during lesson time, self-regulate appropriately during their independent time, build stronger empathy and social-emotional skills and improve their overall wellbeing just from a few deep present breaths. Practicing mindfulness doesn't just help students in a social way. You can probably imagine how being able to be more calm and more present and maybe a little bit kinder would help them in their friendships, relationships at school, relationships with adults in the building, but research shows that students who receive direct social-emotional instruction and support like this type of mindful practice can experience an 11% gain in standardized testing outcomes. And this is because they have the tools and the capacity to really focus on those tests and to improve their test scores. Mindfulness is this low barrier and low stress practice that can be as simple as sitting for a moment in a state of self-awareness like we just did. But sometimes even carving that one moment out of a busy day feels like this huge, enormous, unachievable task. So today we're going to go over the ways that mind Yeti sessions, which is a program built to become as easy as possible to use and implement can help to build this calm, focused and kind classroom. First, we'll begin by discussing how to create a calm classroom and the benefits of doing so. All right, so we're going to talk about a calm classroom. In the world of social-emotional learning, you've probably heard a lot about this term emotional regulation, which is the ability to regulate one's thoughts, emotions and behaviors effectively in all different situations. Emotional regulation is about more than getting students to just be quiet or sit still or calm down when they're feeling overwhelmed. When a student has a calm mind, they're more able to focus and pay attention, absorb and recall information, think critically and succeed academically. And just as importantly, when a student is appropriately regulated and in a positive emotional environment, they will be more self-aware about their own struggles and therefore capable to seek out the help that they need. Mind Yeti gives students space to take a deep breath and to regulate their emotions. Big positive emotions. We all know kids who are so happy that they have a hard time regulating and those negative emotions so disappointed or frustrated that they have a hard time feeling calm. Students who are able to self-regulate are more likely to stay positive when faced with a challenge, acknowledge their strengths and limitations and set and monitor goals. Calm classroom environments are spaces in which students have the ability to regulate their emotions, even in stressful situations. With Mind Yeti, students practice these skills by sitting quietly, breathing deeply and making themselves aware of their bodies and their feelings. Building that mindful practice helps to create and maintain a calm classroom. Thank you so much, Casey, for sharing. Mind Yeti builds emotional regulation skills and capacity in order for teachers to show students how to do this. It's important that we model and practice these skills in front of our students. As you are modeling, make sure you narrate your own experience, demonstrate those calm down techniques such as slow breathing, counting and positive self-talk. We will be sharing three lessons with you at the end of this session that will help to support building a calm classroom. Next, Casey is going to talk about another important part of learning, creating a focused classroom. So as teachers, as educators, as former educators, we can all imagine the wonderful benefits of having a more focused classroom. But how can we really define being focused at school? I found a definition that I really liked, which is that focus is the thinking skill that allows students to begin a task without procrastinating and then maintain their attention and effort until that task is complete, which I think is a very excellent learning skill we all want to impart to our students. It's not at all hard to imagine how this ability will help students succeed academically and socially. Focused attention is especially important in learning environments. During academic lesson time, test taking, school and classroom transitions between lunch to recess, recess back to the classroom, elective rooms, hallway time, and focus can even be seen as a restorative gesture, which means pausing in the middle of the day to ask yourself, how am I and what do I need right now? If you don't have the skills to focus on the answer, then you might not be able to seek the help that could move your day in a better direction. Mindful practice offers an opportunity for students to practice their ability to focus on the task at hand. All skills, like I said earlier, from basic and interpersonal skills, like sharing and having a conversation to complex and technical ones, like math problems or different school curriculum events, require practice to make perfect. By slowing down, breathing deeply and paying attention to particular cues or elements of their surroundings, students are honing the skill of focus. By giving students opportunities to practice and see mindfulness in action, you empower them to focus when it counts during academic lesson time, before a big test, during classroom transitions, or when other challenges arise. This helps to support a focused classroom. Focusing attention looks different in different situations. How can you help to support a focused mindful classroom? You can model mindful moments. Just how we said that modeling mindfulness for a calm classroom is important, modeling focus is important for students as well. So if you are presenting in front of your classroom and there's something that requires a lot of focus or attention, maybe you would say, this is an opportunity for me to focus, I'm going to need to put on my thinking cap to solve this problem or to remember this answer from last week's chapter in the book that we read. Practicing mindfulness before challenging transitions or potentially stressful situations is another great opportunity to recall a mind-getting session or a moment when we felt more calm and focused and put that feeling into the present moment. And then you can always ask students to pause and reflect, what do I need right now? And really have them listen to their bodies so that they can focus on the answer. So in addition to doing all of those amazing things that Casey discussed, modeling that focus for your students, we are also sharing three mind-getting lessons, particularly designed to help students with that practice of focusing in the classroom. So we will be sharing at the end of the session these three lessons with you. All right, for the next part of our session, Casey is going to share strategy number three, creating a calm classroom. So skill number three, creating a kind classroom is all about compassion. And so this is one of my favorite elements of the mind-getting program, building a kind classroom. And we're talking about compassion, which is defined as empathy in action. Sometimes when we think about kindness, and this is something I have done a lot of research and work into, but when we think about kindness, it gets reduced down into this idea of just being nice. Be nice to your friends, be nice to your teacher, be nice to yourself. But there's actually so much more to it than that. Kindness can mean all kinds of things. It can mean compassion towards others, like in our mind-getting video, helping out a friend. It can mean compassion towards yourself when you make a mistake or need to do better. And it can mean feeling and exhibiting that empathy, which is the ability to put yourself into someone else's shoes and really feel and understand their emotions. So why is kindness important in classrooms? Any person, adult, child, teenager who's ever spent time in a classroom knows that kindness is important. Mindfulness really supports students' ability to get along well with others. And there is a ton of research in the field that proves this. When we're more grounded and aware of the present moment, we're more able to practice all of those levels of compassion that I listed. Having a mindful, reflective, and non-reactive state of listening will help you respond to others and helps us to form and maintain positive relationships. So students who are more able to share with and help others practice self-compassion when experiencing hardships or setbacks and appreciate others' perspectives are more likely to build and support a kind classroom. So we're gonna try it. Mind-getting builds empathy and compassion. Mia is about to share three mind-getting sessions that we've selected that help build and foster these skills. But I just wanna repeat those three facets of kindness that go a little bit deeper than just being nice. There's compassion towards others and mindfulness has been proven to promote pro-social behavior, so behavior that supports the good of the group. Self-compassion, mind-getting sessions support growth mindset and the students' ability to overcome obstacles and to be kind to themselves. And empathy, mindful practice helps students understand others' perspectives, which helps to build more cohesive and kind classroom environment. Thank you, Casey.   CSAH offers a subscription to standards aligned, ready-to-teach lessons that support students with the skills that they need the most, including these very critical mindfulness skills that Casey just discussed. So today, we are going to offer you a sampling of these lessons for free. As we shared before, Mind Yeti is an award-winning mindfulness program for kids, and we've partnered with Mind Yeti to bring you these lessons to use right inside of CSAH. So now we're gonna explore one specific Mind Yeti, excuse me, lesson in CSAH that helps to create a kind classroom by supporting students in sowing seeds of kindness. All right, so we're actually gonna jump right into a lesson. So here I am in the growing kindness Mind Yeti lesson. I have previously assigned this lesson, and I'm in as a student so that you can see the student experience. All Mind Yeti lessons have three parts. As you can see here on the homepage, a listen or watch, a try, and a connect. So we're gonna begin by taking a listen to the podcast for this episode. Welcome to Mind Yeti. Did you know that just thinking kind thoughts about other people can change the way you feel? Let's give it a try and see how it feels. So first, get into your Yeti body. You can close your eyes if it helps. Take a deep breath in and let it go.  Kind wishes are just like these seeds. You can grow a beautiful world just by planting these seeds of kindness. First, start with you. Imagine giving yourself one of these kindness seeds. And as you do, give yourself a kind wish. Say silently to yourself, I want you to be happy. Imagine that seed growing into something beautiful. Picture your very best friend. We're gonna come back together. Sorry to bring you out of that calming session, but we just wanted to play a snippet so that you can get a feel for what the episodes are like. I know I feel more calm and relaxed and ready to begin to sow my seeds of kindness. So after listening to the audio about kindness, students use the pen within CSaw to share how they are feeling after listening. So I feel calm. So I'm gonna use the pen to share and then I'm going to go over to the next section. Now students move on to the tri-section. And this is where they have the opportunity to put the mindfulness skill that they were just focused on into practice. Just like seeds, kindness can grow. You can help to grow a beautiful world filled with kindness by planting seeds in everyone around you. Planning kindness seeds helps to grow and create a beautiful world. Planning a kindness seed can be done by passing kindness to those around you. So for this tri-activity, students are encouraged to share a kindness seed with someone nearby and use the CSaw tools to share how they feel after sharing that kindness seed. So I'm gonna select the pen and I'm going to draw here how I'm feeling. And then I'm gonna tap the microphone and record. My heart is happy. Students can play that audio back and listen. Once they're done, they're going to move on to the connect activity. And this activity is designed to be completed with a partner or a family member in order to deepen the learning. Kindness seeds can grow a forest that covers the earth. One way you can spread kindness is to try to plant a kindness seed outside of your school, maybe at a grocery store or while you're riding the bus. There is no wrong time to spread kindness. With a partner or a family member, now students discuss and then they share in CSaw, what they can do to spread kindness outside of school. And once they're done with that complete activity, they are going to click that green check mark to post it to their journal. All right, now that we've had a chance to explore a lesson and to listen to the mindfulness audio, we are going to be sharing as promised the handout with the strategies and the links to the free CSaw lessons that promote a calm, focused and kind classroom. So simply click the link and save it to your My Library. If you need more basics on how to use CSaw, check out our training page at web.csaw.me. You can find that handout in the handout tab and we will drop the link to our training site in the chat. Mindfulness helps students pay attention to things as they are right now with kindness and curiosity. This improves emotional regulation, self-acceptance, executive function and those pro-social behaviors that Casey was talking about, that compassion, that helping others. Students follow a guided mindfulness session, then they complete interactive activities that deepen their understanding of the theme. We are also including a Mind Yeti educational guide to help you get the most out of each Mind Yeti session. Mind Yeti can be used to start your day or a lesson to begin a lesson. It can be used after students come back from recess or at any other time during the day that your students can benefit from a mindfulness activity. Mind Yeti can be used whole class or in small groups or even be assigned to individual students. Yeah, and I'll just jump in here to say that before the pandemic, my role looked much different and I was visiting classrooms really all over the country and getting to see Mind Yeti in action, which was so much fun. And there's truly nothing cuter, I think in the entire world than seeing a group of first graders or second graders or kindergartners sit down and kind of ready their Yeti body, which means to take a deep breath and become present in the given moment. But this Mind Yeti I've seen it used really all over school in library times as an opportunity to calm down after a busy transition and calm down corners in classrooms where students might opt in for a little quieter space, recognizing the need to calm their emotions and self-regulate. Even in front office environments where students coming up set and they need a deep breath with Mind Yeti, then they're able to more productively take the conversation forward. So Mind Yeti and mindfulness really is not delegated to a specific time of day or a specific student, but it's something that everyone can benefit from. And I'm just going to sum up by saying that from our very beginning of our conversation today, we've talked about how to use Mind Yeti to create this calm, focused, kind classroom. Mindful practice helps students feel calm by supporting their ability to regulate themselves and their emotions. It helps students be more focused by giving them the tools to build and maintain attention. And mindfulness creates a kinder classroom by giving teachers and students the opportunity to practice and model compassion, self-compassion and empathy. But like I said at the top, mindfulness is wonderful for adults too. Each one of these bullet points is a summary of pages and pages of published research that I found and have contributed to about the power of mindfulness. And this isn't just for adults living their own independent daily lives, but specifically for educators who practice mindfulness with their students. And a lot of times when I had conversations with teachers who were using Mind Yeti in their classrooms, they'd say, it's so great to have just five minutes to prepare for the next lesson. Or this was the perfect time to where I could leave the students with student teacher and run out of the room to grab something from the copier. And I completely understand that as a former educator, I know exactly how busy and stressful these days can be. But it's my professional advice to take the mindful pause with your students not only does it help them practice and hone the skills that Mind Yeti is offering because they see an adult modeling that focus, that calm and that kindness. But there's a huge range of benefits for adults in school settings who are really taking the time to build that mindful practice for themselves. So Mind Yeti builds these skills and offers these supports not just for students, but for adults too. And when teachers participate in the Mind Yeti sessions, they not only model the mindful behaviors for students, but they experience that calm, self-compassion and focus that mindfulness offers. Research shows that in sharing a mindful practice with students can help strengthen those teacher-to-student relationships and it helps improve the professional experience of educators and improve their own classroom and career experiences and goals. So I love to end with a quote and today we're ending with two. I couldn't decide between. But as you introduce and build up a mindful practice with your students, you can reflect on this framing, which is one that I love. Mindfulness is a way of befriending ourselves and our experience. And I love that because it really does show that seed of kindness that the first seed of kindness you offer is the one to yourself. And then you take that and you really get a chance to be aware of your experience non-judgmentally, wherever you are in that present moment, that's where you are. And you get to have that kind or relationship with your own self and your own thoughts. And as we end or I end on this slide today, I just invite you to remember the mindful moment we took at the beginning of today's presentation. Did it make you feel more present and attentive or more grounded and secure? Did it make you more aware of the stresses you were experiencing throughout your day? I know I was a bit nervous before this presentation and even taking those few deep breaths, all collective as a group, helped me kind of register that and also be present for what the next, half an hour, 45 minutes would bring. And so I hope that a few minutes of mindfulness can help you to feel more rooted in the present moment and more rooted to yourself. As this quote says by Eckert Toll, wherever you are, be there totally. Thank you so much, Casey, for sharing the importance of mindfulness in the classroom and how teachers can easily begin to practice with these mind and yeti lessons that we are sharing and the benefits for our educators as well. So at this time, we would love to take some time to answer questions from participants. So we are going to throw some questions your way. All right, here's our first question. What are some key sources for scientific findings such as the quote that you shared in the beginning one minute of mindfulness equals 12 minutes of class work? Let me find it. I have it pulled up right here. There's multiple sources, multiple sources that say that explicit SEL instruction, like a social emotional learning curricula lesson, like mindful practice, taking that time to hone those skills earns back academic instructional value because of fewer classroom disruptions and things like that. I have the sources pulled up and someone might be able to share it in the chat as well, but there are, I'm not sure how interesting it is to hear me list the names of academic journals, but multiple from 1976, 1994 and 2015, researchers Berliner, Wang, Hartel, Wahlberg and Kuhnen have all found that classroom management is through the roof with these types of interventions. And this number, the 12 minutes is a bit of a meta study that's combined to the findings of all of those researchers. And if you'd like more specific details about it, please feel free to let me know. I can get nerdy talking about research for too long. All right, we have another question for you. What is the most suitable age to start children, to start mindfulness with younger children? I think that's a great question. And the Mind Yeti sessions specifically are between three and five minutes long. So what I've seen and what I would recommend is that if your child has the attention span to sit still for that amount of time, then Mind Yeti might be a great tool for them. I don't think that there's at 18 months, now you've entered the mindfulness stage, but some kids on the younger side of the preschool spectrum are ready and would get a lot out of a short Mind Yeti session or I think even students younger than that or children younger than that would be able to really feel the benefits of practicing those deep breaths and being aware of their body and aware of the present moment. And we have some Mind Yeti sessions that are really focused on feeling calm, like the three that will be shared today. I've heard of parents using those to help student or to help their children drift off to sleep, even if they're on the younger side of the spectrum. So that's a helpful tip if that's something that your child enjoys. Thank you. Another question, how do you feel about using it with testing for those essential testing grades three through five? I think that that's a really prime age to use it because these are students who have honed some of those executive functioning skills in the first few years of school. The formal school environment has given them an opportunity to really practice sitting still, behaving appropriately, not procrastinating, all the different things that are necessary to be successful academically, but that doesn't mean that we ever grow out of the nerves that are surrounding big school tests or any type of testing. So in grades three to five, I think it's a really appropriate developmental age to start or to build in an extra five minutes for a mind-getting session before taking a big test or taking any test that the student might feel nervous about and it'll just kind of help students to feel that sense of calm and focus. And like I said, the research is really there, but students who are able to emotionally regulate and feel that sense of focus will be more likely to recall information which will help them in their test scores. Perfect. And before we jump into the next question, I did see some questions in the chat about the lessons, the CSOT lessons and how you can find them.  The handout has been shared in the handout tab. If you click, you will be able to download that PDF which contains nine lessons, three for creating a comm classroom, three for creating a kind classroom and three for creating a focus classrooms. All those CSOT lessons are subscription-based. You are being provided these lessons for free. So all you have to do is click on that link that you find in that handout and you will save these lessons to your My Library tab and they will be yours to keep. So once you get in the handout, you click on that specific lesson, you are gonna tap Save Activity and those lessons will save to your My Library tab. And then you can assign those to your students and all the students in your class, individual students or groups of students as well. All right, let's go ahead and take that next question. Okay. So Mary Sears that I play group, I teach a play group children. Can you give me some advice on how to apply this to children at the ages of 12 months to three years old? And I think you talked a little bit about this when you talked about it. I did. All I'll say just to round out what I had said before about younger kids is that there's a big difference between a 12-month-old's attention span and a three-year-old's attention span. This might be something that if this is a full group activity, it's more appropriate for the two to three-year-olds to listen to a Mind Yeti session while the 12-month-olds are, you know, entertained by a co-teacher or something like that or just because I think at 12 months, in my experience, it's a bit young for them to follow the prompts and sense it is all about kind of being able to focus, even that's a little distracting maybe for the older kids. So having it be an optional activity or part of a calm down part of the classroom where, you know, or a play space where other types of calming toys and experiences are is something that, you know, the older kids can do as a group and then the younger kids can join as they feel is appropriate. All right, another question. Is there a Mind Yeti developmental sequence past K through 2, like 3 through 12? We currently don't have any Mind Yeti sessions that are specifically geared towards older kids, but like I said, I do think that Mind Yeti sessions can be used with older students. I'd say that appropriateness level is up to your own judgment, but I've seen it used really successfully in fifth and even sixth grade classrooms, again, for that kind of mindful pause between stressful transitions or before tests. The biggest complaint from the older students is that they think it seems a little babyish, which nobody, anybody who spent time with a sixth grader knows that that is their kryptonite. They don't want anything too babyish. So it would just have to be, you know, at your discretion, but right now I think the prime developmental age group for Mind Yeti sessions is that, you know, pre-K to third grade. And if you stretch it a little bit, you know, higher or older by really framing it as a tool that they can use for their, you know, their test taking abilities or their emotional regulation and things like that, then I think that that's an appropriate way to do it. And I've seen that be successful. Thank you. Okay, another question. All right, we keep them coming. So can you do a practical in the class example you would do in a mindfulness moment with Kinder Kids? I mean, how you bring them to the mat, words you would say, et cetera. Sure. Something that I've noticed in this type of young classroom is to let students stay where they feel comfortable. Obviously, if they're not being disruptive, I'd encourage all the kids to come down to the mat because we're going to have, you know, a Mind Yeti moment or we're going to take a minute to sit in our Yeti bodies. And then if some students really don't feel comfortable sitting on the floor, they can sit at their desk and close their eyes, but try to bring everyone around, you know, have their own square space and then ask them to close their eyes and to think about the session at hand, turn the lights down and play the Mind Yeti clip. Like I said, these are about three to five minutes long. So it's not a very long time. And even though it does take practice for the students to really understand the expectations of what these mindful moments look like, you can frame that before your first Mind Yeti session and then, you know, sit and model with them what it looks like to be mindful, to take these deep breaths. Some of the Mind Yeti prompts ask them to stretch their arms out or kind of stretch their necks up. And so as you follow along with these prompts, then at the end, you can ask them how they feel, like what's a, just like how the seesaw lessons really guide you through these next prompts about how do you feel, do you feel kind of how do you feel lighter, do you feel heavier, do you feel happier and kind of encourage that conversation so that the next time you do a Mind Yeti session, you can say, remember how last time we felt so much calmer, so much happier after we spent a few minutes in our Yeti bodies? Let's try it again. And then you can build that skill from there. Yes, that modeling and that explicit and repeated practice of that skill is definitely important. Okay, this question is for me. Yes, so these lessons are shared in the handout that you can access in the handout tab. So we'll go ahead and share with you one more time how to get those lessons from that handout. So that is a clickable PDF. So you should be able to click on each one of those lessons and we'll bring that up for you in just one second. There we are. So here is the handout that we shared in the handout tab. So you have to do this for each one of these individual lessons. CSAH lessons is subscription based. However, these Mind Yeti lessons we are sharing with you for free. So once you click on a lesson, so any one of those lessons that's linked in the handout, you just tap on that. And then you are going to click save activity. You may need to sign into your existing CSAH account first. But after you sign in, you click the link, you click save, you'll notice that there is that activity now. It appears right in your My Library tab in your CSAH account. You can click on that activity. I saw another question in the chat asking, how do we know which lesson is centered around kindness, which centers around calmness? So we did list those out in the PDF. However, if you open up that lesson, you'll see here that collection overview, which overviews that lesson for you. It tells you how to use it in the classroom, what that focus skill is as well, and what standards that lesson align with. So you will find all that information there. You can even, if you scroll back up, you can tap on view as a student before you assign that lesson to your students and you can click through the pages of that lesson and you can listen to either that audio or watch the video and take a look at all of the activities before assigning it to your students to make sure that this is the right activity for your students. Okay, another question. Do you have any tips on how to, I'm sorry, let's say do breathing exercises. Oh, if your classroom is wearing a mask. So those mindfulness and those breathing exercises while wearing a mask. Hmm, that's a very good question. I, like I said, a lot of my in-person classroom experience with students doing Mind Yeti was pre-pandemic. If any student ever feels uncomfortable breathing deeply with their mask on, then obviously I would say not to do that. This could be something that's done outside if possible. I will say that almost every Mind Yeti session I've ever listened to, which is all of them that I can think of do have those breathing deeply prompts. So if it doesn't feel safe or feasible in your classroom because of the masks, then that's something that you would definitely have to take into consideration if there's not another space where maybe the masks can come down. But yeah, I would hope that the focus of the breathing deeply is to get that oxygen to the brain because that kind of kick starts the internal mindful reaction that literally causes your muscles to get this boost of oxygen and start to relax. But if it doesn't feel like the students can breathe deeply with their masks on, then it might be something that has to wait. Or breathe a medium amount. And follow the rest of the prompts as you can. And watching those videos in Mind Yeti and within CSI as a whole class to kind of model. I know a lot of times we wanna explicitly show students with our mouths and masks can make that difficult. But those watch videos within those Mind Yeti lessons can also support that. That's very good point. All right. I think we may have answered all of the questions that we had in the Q and A. Great. So as we wrap up today, we would like to encourage you to think about how you can incorporate mindfulness into your daily routines and to try one of the Mind Yeti lessons that we share with you in your classroom in the next seven days. We would love for you to share with us on social media using the hashtag CSI or hashtag CSI lessons and hashtag Mind Yeti. Once again, thank you all so much for joining us. And thank you, Casey, for sharing strategies to support mindfulness in the classroom. We would love to get everyone's feedback on today's session. So we will be sharing a link to a Google form in the chat for you to complete and provide feedback. Thank you and thank you so much, Mia and the CSI team for hosting me. I love talking about mindfulness if that wasn't clear already. And I was just so honored and thrilled to be able to talk with you all, our wonderful educators, about how to bring these skills to your classroom and to your experiences with your students. So I wish you the very best and feel free to reach out to me too if you have any follow-up questions about mindfulness in the classroom. Thank you again, Casey. And thank you everyone for joining us and we hope to see you again soon here at CSI.


extending the love. Greetings, Holy One. I want to share my love with you and shower you with kindness and gratitude. I soar with you beyond all imagined limits of this earth in the magnificence of our true being. There is nothing that can truly hold us back or delay the awareness of our union. I am in meditation and prayer and you are with me. I feel the beating of our heart, the harmony of our thought, the flow of our soul. The call home beckons us and we respond as one movement. One motion. Everything I have is yours. You have offered such gentleness and innocence. I experience you and your unbounded joy and love and peace with your eyes full of hope and wonder and amazement. And I am with you, the stars beam brightly. The waves bow down before you. The angels gather around you and the wind seeks to a whisper of gentle melody as you radiate in love. I am reminded of the lyrics to a song which I hear from you forever in my soul. If you need me, call me. No matter where you are, no matter how far, just call my name. I'll be there in a hurry. On that you can depend and never worry. You see my love is alive. It's like a seed that only needs the thought of you to grow. So if you feel the need for company, please my darling, let it be me. Ain't no mountain high enough. Ain't no valley low enough. Ain't no river wide enough to keep me from you. You are never alone. You are all one and I love you forever in overflowing joy. David.