Wee Sing Quotes

And the wooden shoe that sailed the skies Is a wee one's trundle-bed; So shut your eyes while Mother sings Of wonderful sights that be, And you shall see the beautiful things As you rock on the misty sea.

Wee Archie was wielding a shepherd's crook that, as Tommy remarked later, no shepherd would be found dead with, and he was wearing a kilt that no Highlander would dream of being found alive in.

Spring, spring! Bytuene Mershe ant Averil, when spray biginneth to spring! When shaws be sheene and swards full fayre, and leaves both large and longe! When the hounds of spring are on winter’s traces, in the spring time, the only pretty ring time, when the birds do sing, hey-ding-a-ding ding, cuckoo, jug-jug, pu-wee, ta-witta-woo! And so on and so on and so on. See almost any poet between the Bronze Age and 1805.

The one that sang, old Janine, was always whispering into the g***** microphone before she sang. She'd say, 'And now we like to geeve you our impression of Vooly Voo Fransay. Eet ees the story of leetle Fransh girl who comes to a beeg ceety, just like New York, and falls een love wees a leetle boy from Brookleen. We hope you like eet.' Then, when she was all done whispering and being cute as hell, she'd sing some dopey song, half in English and half in French, and drive all the phonies in the place mad with joy.

Why are they crying? Why are they crying?" Mitya asks, flying past them at a great clip. "The wee one, the driver answers, "it's the wee one crying." And Mitya is struck that he has said it in his own peasant way: "the wee one," and not "the baby." And he likes it that the peasant has said "wee one": there seems to be more pity in it. "But why is it crying?" Mitya insists, as if he were foolish, "why are its little arms bare, why don't they wrap it up?" "The wee one's cold, its clothes are frozen, they don't keep it warm." "But why is it so? Why?" foolsih Mitya would not leave off. "They're poor, burnt out, they've got no bread, they're begging for their burnt-down place." "No, no," Mitya still seems not to understand, "tell me: why are these burnt-out mothers standing here, why are the people poor, why is the wee one poor, why is the steppe bare, why don't they embrace and kiss, why don't they sing joyful songs, why are they blackened with such black misery, why don't they feed the wee one?" And he feels within himself that, though his questions have no reason or sense, he still certainly wants to ask in just that way, and he should ask in just that way. And he also feels a tenderness such as he has never known before surging up in his heart, he wants to weep, he wants to do something for them all, so that the wee one will no longer cry, so that the blackened, dried-up mother of the wee one will not cry either, so that there will be no more tears in anyone from that moment on, and it must be done at once, at once, without delay and despite everything, with all his Karamazov unrestraint.

The famous Northern reticence, the tight gag of place And times: yes, yes. Of the "wee six" I sing Where to be saved you only must save face And whatever you say, you say nothing. Smoke-signals are loud-mouthed compared with us: Manoeuvrings to find out name and school, Subtle discrimination by addresses With hardly an exception to the rule That Norman, Ken and Sidney signalled Prod And Seamus (call me Sean) was sure-fire Pape. O land of password, handgrip, wink and nod, Of open minds as open as a trap, Where tongues lie coiled, as under flames lie wicks, Where half of us, as in a wooden horse Were cabin'd and confined like wily Greeks, Besieged within the siege, whispering morse.

Wynken and Blynken are two little eyes, and Nod is a little head, And the wooden shoe that sailed the skies is a wee one's trundle-bed. So shut your eyes while Mother sings of wonderful sights that be, And you shall see the beautiful things as you rock in the misty sea, Where the old shoe rocked the fishermen three: Wynken, Blynken, and Nod.

Everywhere he looked he saw families reunited, and finally, he saw the two whose company he craved most. “It’s me,” he muttered, crouching down between them. “Will you come with me?” They stood up at once, and together he, Ron, and Hermione left the Great Hall. Great chunks were missing from the marble staircase, part of the balustrade gone, and rubble and bloodstains occurred every few steps as they climbed. Somewhere in the distance they could hear Peeves zooming through the corridors singing a victory song of his own composition: We did it, we bashed them, wee Potter’s the one, And Voldy’s gone moldy, so now let’s have fun! “Really gives a feeling for the scope and tragedy of the thing, doesn’t it?” said Ron, pushing open a door to let Harry and Hermione through.

Poor Spud's too pished tae pick up the vibe but, n he's still guan on: — Naw bit that wis amazing, see if ah could sing like you, Franco – — Shut the fuck up, Begbie says wi soft menace. Nicksy looks ower tae me wi a fraught, raised brow. — But ah'm jist sayin – Spud pleads. — Ah sais tae fuckin well shut it! Right! Spud falls silent, as does the rest ay the room. We all instantly understand how Begbie sees that this wee fragment ay beauty in his soul has been exposed, and how even through his ain ego and the flattery received, he looks on it as a potential weakness, something that might one day compromise him. — It's jist fuckin singin, right.

The Nurse's Song This mighty man of whom I sing, The greatest of them all, Was once a teeny little thing, Just eighteen inches tall. I knew him as a tiny tot, I nursed him on my knee. I used to sit him on the pot And wait for him to wee. I always washed between his toes, And cut his little nails. I brushed his hair and wiped his nose And weighed him on the scales. Through happy childhood days he strayed, As all nice children should. I smacked him when he disobeyed, And stopped when he was good. It soon began to dawn on me He wasn't very bright, Because when he was twenty-three He couldn't read or write. "What shall we do?" his parents sob. "The boy has got the vapors! He couldn't even get a job Delivering the papers!" "Ah-ha," I said, "this little clot Could be a politician." "Nanny," he cried, "Oh Nanny, what A super proposition!" "Okay," I said, "let's learn and note The art of politics. Let's teach you how to miss the boat And how to drop some bricks, And how to win the people's vote And lots of other tricks. Let's learn to make a speech a day Upon the T.V. screen, In which you never never say Exactly what you mean. And most important, by the way, In not to let your teeth decay, And keep your fingers clean." And now that I am eighty nine, It's too late to repent. The fault was mine the little swine Became the President.

The Resonance of Honeyed Summer Elizabethan Sonnet Sequence abab, cdcd, efef, gg Synchronous in honeyed summer sings a choir of tremulous birch leaves, A sweet breeze surges south from the mountains to cool down the farm. To a white picket fence, among the honeybees, a steadfast garden cleaves, After blind disregard by a town plow, mended again from winter harm. A sensual scent of new mown meadow, the clash of croquet mallet to ball, A ricochet sings a tin din of two wickets and a knock into a winning stake. By the barn, night owls howl, by day gleeful wee hummingbirds enthrall. The mirth of dipping children as wakes of droning motorboats lap a lake. Bluebirds have woven a love nest in a stilted, rough-hewn, wooden house. By a stonewall wild berries grow swollen from green to a misty blue hue. As we ride bikes beside a hayfield, we rouse the flight of a russet grouse. At dawn a doe and fawn cross our lawn leaving hoof prints upon the dew. In long lemonade days, rocking and sipping on the porch, in our defense, We're in awe of honeyed summertime and the harmony of its resonance. + + +

Teach your children to Smile when doing Tasks they consider hard. Many times, children would cry when they are asked to do a task they feel is hard. They would frown, sulk, begin to feign hunger or wee-wee. If you have been wondering what a FIXED MINDSET looks like, That's a FIXED MINDSET. Reversing a fixed mindset is about CHANGING EMOTIONS. It is changing a child's state of mind CONCERNING the SPECIFIC task to be learnt. It is changing his state DURING learning. It is changing the child's Perspective ABOUT LEARNING generally. Teach them to JUST SMILE! or even SING while they learn or practice "HARD" tasks. Keep them SMILING even when the task is so hard they want to CRY. Explain that a PERSON cannot excel at a thing he doesn't like. Explain that in life those who succeed AS A RULE, first had to be HAPPY and GRATEFUL for the opportunity to TRY. TEACH them that sadness and anger at the things they don't know makes what they don't know HARDER.

Her tummy prickles. Magic lives in this wood. In the distance there will be dens and clearings and treehouses and narrow paths of golden light guarded by singing birds. Foxes, rabbits, badgers, maybe lions that have escaped from safari parks live here too. She feels small and frightened and excited in the way that makes her want to wee.

Sam scrutinized Mr. Khadir’s face. It expressed kindliness and gentleness, as well as mischievousness and fierceness. He stood about five feet ten inches with a pale-skinned complexion. His long softly curly hair, slightly graying at the temples, was parted in the middle, and went to the bottom of his neck. He had a hooked nose over which rose a prominent brow ridge. His eyes wee penetrating like an eagle’s. He held a sing rose in his hand. Although, Sam couldn’t se it, a drop of green blood lay on his hand where one of the thorns had pierced his skin. A hint of a smile was on his face and he seemed restless. He said nothing but looked at Sam expectantly. ‘I’m tired of seeking. My life is empty, and that’s just fine with me,’ Sam declared emphatically. ‘If you feel with all your being that you are empty, then I advise you to try once more,’ Mr. Khadir gently replied. ‘Mr. Khadir wore a jewel around his neck, a large emerald. It was remarkably similar to a jewel Sam’s mother used to wear. Something about the sight of the emerald touched Sam deeply within his soul. Sam took it as a sign that he should take Mr. Khadir up on his invitation. Sam knew there was no such thing as coincidence. Finally, the homeless man answered his enigmatic visitor, ‘I will follow you if you will teach me the Right Way.’ ‘You will not be able to bear patiently with me, for how can you experience true patience concerning events about which you lack full knowledge?’ Mr. Khadir answered turning away. The panic Sam felt that the stranger might leave him behind surprised him. He was already following Khadir toward the service road as he replied, ‘You will find me, if God wills, patient and obedient to your mystic teaching.’ Mr. Khadir said softly, ‘Then yes, I will teach you. When your poverty is complete, you will be God. But I must warn you: even if you see me doing strange things, acting foolishly, childishly – you must bear with me and attend to it all. Woe to you if you turn away.’ ‘Where are we going?’ Same wanted to know. ‘Allah knows best,’ Mr. Khadir replied.

Hey, we’ll let Huckleberry enjoy his lunch. Speaking of something, if you are in a better mood now, come with me to the Rainforest Room. I have something to show you. I wanted to wait until you calmed down because it means a lot to me, and I hoped you might be happy for me. Here, come with me.” He led her back to the previous room, which had amazing, rare rainforest plants in it. “Check this out!” He tossed her a magazine that said Horticultural Digest on the cover. Holly neatly caught it and opened it up to the dog-eared page. Blaring across the page in huge font was the title: WILLIAM SMITH, THE RAINMAKER OF SHELLESBY COLLEGE’S FAMOUS RAINFOREST ROOM. It was a five-page spread with big glossy photos of the Rainforest Room sprinkled throughout the article. “Five, count ‘em, five pages! That’s my record. Until now, they’ve only given me four. Check it out: I’m the Rainmaker, baby! Let it rain, let it rainnnn!” William stomped around in make-believe puddles on the floor. He picked up a garden hose lying along the side of the room and held it upright like an umbrella. “I’m singing in the rain, just singing in the rain. What a glorious feeling. I’m happy again.” Holly squealed with laughter and applauded. William jumped up on a large over-turned pot and shifted the hose to now play air guitar while he repeated the verse. “William, there is no air guitar in that song!” “There is now, baby!” Holly exploded again in laughter, clutching her sides. After a few more seconds of air guitar, William jumped off the pot and lowered his voice considerably. “Thank you, thank you very much,” William said in his Elvis impersonation. He now held the garden hose like a microphone and said, “My next song is dedicated to my beagle, my very own hound dog, my Sweetpea. Sweetpea, girl, this is for youuuuuuu.” He now launched into Elvis’s famous “Hound Dog.” “You ain’t nothing but a hound dogggg.” With this, he also twirled the hose by holding it tight two feet from the nozzle, then twirling the nozzle in little circles above his head like a lasso. “Work it, William! Work it!” Holly screamed in laughter. He did some choice hip swivels as he sang “Hound Dog,” sending Holly into peals of laughter. “William, stop! Stop! Where are you? I can’t see I’m crying so hard!” William dropped his voice even lower and more dramatically. In his best Elvis voice, he said, “Well, if you can’t find me darlin’, I’ll find you.” He dropped on one knee and gently picked up her hand. “Thank you, thank you very much,” he said in Elvis mode. “My next song, I dedicate to my one and only, to my Holly-Dolly. Little prickly pear, this one’s for youuuuuu.” He now launched into Elvis’s famous “I Can’t Help Falling in Love with You.” “Take my hand, take my whole life, too, for I can’t help falling in love with you.” With that, he gave her hand a soft kiss. He then jumped up onto an empty potting table and spun around once on his butt, then pushed himself the length of the entire table, and slid off the far end. “Loose, footloose!” William picked up his garden-hose microphone again and kept singing. “Kick off the Sunday shoes . . .” He sang the entire song, and then Holly exploded in appreciative applause. He was breathing heavily and had a million-dollar smile on his face. “Hoo-wee, that was fun! I am so sweaty now, hoo-boy!” He splashed some water on his face, and then shook his hair. “William! When are you going to enter that karaoke contest at the coffee shop in town? They’re paying $1,000 to the winner of their contest. No one can beat you! That was unbelievable!” “That was fun.” William laughed. “Are in a better mood now?” “How can I not be? You are THE best!

In each portside town, enticing aromas waft from every harborside taverna, mountaintop inn, and home. Not only do the Greeks appreciate good food, it is central to their culture. Produce markets spill over with fragrant local provender: grapes, cucumbers, lemons, and tomatoes, as well as sardines, shellfish, and lamb. Lunch--usually the largest meal of the day--begins after 2 P.M., and is followed by an ample siesta. The long work day resumes, and dinner begins after 9 P.M. It may last well into the night among friends: a glass of ouzo--accompanied by singing, guitar playing, and dancing--often ends the evening meal, postponing bedtime until the wee hours. Laughter and conversation flavor the food at every meal. The Mediterranean climate is conductive to year-round outdoor eating. In each home, a table on the patio or terrace takes pride of place. Many home cooks build outdoor ovens and prepare succulent roasted meats and flavorful, herb-scented potatoes that soak up the juice of the meat and the spritz of a lemon. Tavernas, shaded by grape arbors, are synonymous with Greece and its outdoor culinary culture. One of the greatest pleasures of the Greek Isles is enjoying a relaxing meal while breathing the fresh sea air and gazing out on spectacular vistas and blue waters.

I used to think of you, when ye were small,” Jamie was saying to Bree, his voice very soft. “When I lived in the cave; I would imagine that I held ye in my arms, a wee babe. I would hold ye so, against my heart, and sing to ye there, watching the stars go by overhead.” “What would you sing?” Brianna’s voice was low, too, barely audible above the crackle of the fire. I could see her hand, resting on his shoulder. Her index finger touched a long, bright strand of his hair, tentatively stroking its softness. “Old songs. Lullabies I could remember, that my mother sang to me, the same that my sister Jenny would sing to her bairns.” She sighed, a long, slow sound. “Sing to me now, please, Da.” He hesitated, but then tilted his head toward hers and began to chant softly, an odd tuneless song in Gaelic. Jamie was tone-deaf; the song wavered oddly up and down, bearing no resemblance to music, but the rhythm of the words was a comfort to the ear. I caught most of the words; a fisher’s song, naming the fish of loch and sea, telling the child what he would bring home to her for food. A hunter’s song, naming birds and beasts of prey, feathers for beauty and furs for warmth, meat to last the winter. It was a father’s song—a soft litany of providence and protection. I

Somewhere in the distance they could hear Peeves zooming through the corridors singing a victory song of his own composition: We did it, we bashed them, wee Potter’s the one, And Voldy’s gone moldy, so now let’s have fun!

We dare not be original; our American Pine must be cut to the trim pattern of the English Yew, though the Pine bleed at every clip. This poet tunes his lyre at the harp of Goethe, Milton, Pope, or Tennyson. His songs might better be sung on the Rhine than the Kennebec. They are not American in form or feeling; they have not the breath of our air; the smell of our ground is not in them. Hence our poet seems cold and poor. He loves the old mythology; talks about Pluto—the Greek devil,—— the Fates and Furies—witches of old time in Greece,—-but would blush to use our mythology, or breathe the name in verse of our Devil, or our own Witches, lest he should be thought to believe what he wrote. The mother and sisters, who with many a pinch and pain sent the hopeful boyto college, must turn over the Classical Dictionary before they can find out what the youth would be at in his rhymes. Our Poet is not deep enough to see that Aphrodite came from the ordinary waters, that Homer only hitched into rhythm and furnished the accomplishment of verse to street talk, nursery tales, and old men’s gossip, in the Ionian towns; he thinks what is common is unclean. So he sings of Corinth and Athens, which he never saw, but has not a word to say of Boston, and Fall River, and Baltimore, and New York, which are just as meet for song. He raves of Thermopylae and Marathon, with never a word for Lexington and Bunkerhill, for Cowpens, and Lundy’s Lane, and Bemis’s Heights. He loves to tell of the Ilyssus, of “ smooth sliding Mincius, crowned with vocal reeds,” yet sings not of the Petapsco, the Susquehannah, the Aroostook, and the Willimantick. He prates of the narcissus, and the daisy, never of American dandelions andbue-eyed grass; he dwells on the lark and the nightingale, but has not a thought for the brown thrasher and the bobolink, who every morning in June rain down such showers of melody on his affected head. What a lesson Burns teaches us addressing his “rough bur thistle,” his daisy, “wee crimson tippit thing,” and finding marvellous poetry in the mouse whose nest his plough turned over! Nay, how beautifully has even our sweet Poet sung of our own Green river, our waterfowl,of the blue and fringed gentian, the glory of autumnal days.