Birds flying high You know how I feel
Sun in the sky
You know how I feel
Breeze driftin' on by
You know how I feel

It's a new dawn
It's a new day
It's a new life
For me
And I'm feeling good
I'm feeling good

Fish in the sea
You know how I feel
River running free
You know how I feel
Blossom on a tree
You know how I feel

It's a new dawn
It's a new day
It's a new life
For me
And I'm feeling good

Dragonfly out in the sun
You know what I mean,
Don't you know?
Butterflies all havin' fun
You know what I mean
Sleep in peace when day is done
That's what I mean

And this old world
Is a new world
And a bold world
For me
For me

Stars when you shine
You know how I feel
Scent of the pine
You know how I feel
Oh freedom is mine
And I know how I feel

It's a new dawn
It's a new day
It's a new life

It's a new dawn
It's a new day
It's a new life

It's a new dawn
It's a new day
It's a new life
It's a new life
For me
And I'm feeling good

I'm feeling good
I feel so good
I feel so good

yes this is the best poem I seen

awnser:

the thousand and one nights – or, as i prefer to call them in the following forpurely practical reasons: the arabian nights – as we perceive them three hundredyears after antoine galland’s epochal french adaptation bear a distinct arabicimprint. meanwhile, the commonly accepted model for their textual historyacknowledges various stages in the conceptualization and effective formation ofboth the collection’s characteristic frame story and the embedded repertoire. thevast majority of tales in the preserved manuscripts of the nights has beenintegrated into the collection during two periods of arabic influence, the so-calledbaghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages arepreceded by an iranian version, probably dating to pre-islamic times, which in itsturn profits from both structural devices and narrative contents originating fromindian tradition. considering the eminent position that iran and iranian culturehold in the early stages of the textual history of the arabian nights, surprisinglyfew details are known concerning the collection’s relation to and its actualposition within the iranian cultural context. in the following, i will discuss linksbetween the arabian nights and iranian culture on several levels. in surveyingthese links, i will treat five major areas: (1) the iranian prototype of the nights; (2) tales of alleged persian origin; (3) persian characters within the tales; (4)persian translations of the arabian nights; and (5) the position of the arabiannights in modern iran