This is a story of a destitute old lady who had two sons, and she could barely feed them. After some time, an aged man comes to that old lady and asks her to hand over her sons to him to raise them. The old woman agrees to this while saying that she’ll keep one of them when they became adults, whereas he can take the other one. The old man — who was a magician — takes care of them. He educates one, whereas he keeps the other for household chores, who later learns magic from him. The latter is desperate to be reunited with his mother, but the magician wants to keep him with himself. This story narrates how by using magic, the boy tries to return.

This is a conversation between Tauqeer Ahmad and the children of Bindawal village in the Northern Azamgarhi dialect as they were warming themselves in front of a fire. The children seeing the researcher and Mr. Tauqeer, try to escape but Mr. Tauqeer asks them to stay at their places. He then starts questioning an incident that took place the previous night wherein police arrived at the village and fined someone who was fishing illegally.

This is a conversation primarily with Mr. Akhlaque. After recording some conversations in Rāmpūr village, the researcher learns the language of the Muslims to be Bhojpuri and almost the same as that of the Hindu population, unlike that in Fatehpūr. He then moves near to Mr. Akhlaque to enquire about this. Mr. Jameel then joins the conversation and adds his opinion on the ongoing topic.

This is a discussion about the language and language varieties spoken in the districts of the Pūrvānchal region of the state of Uttar Pradesh, such as Maū, Balliā, and Āzamgaṛh. The speaker Mr. Maqsood Khan initiates with a short monologue on the election season in his mother tongue Bhojpuri spoken in his village Jogarī. He then proceeds to the varieties spoken in the region as he seems to have excellent knowledge on the same. The monologue then turns into a discussion about the differences of culture and language of Āzamgaṛh and Maū. It then shifts to the state of Urdu in India.

This is a conversation in (Pharaī) Chāndpūr village situated in the Maū district of UP, between Irfan Ahmad Usmani, Maaz Shaikh and his uncle Saeeduz Zafar Ali. The conversation begins with a discussion on the variety of Azamgarhi spoken in this village and continues to the Azamgarhi language and thereafter to the different local vernaculars spoken in Eastern UP and Bihar. Further, Mr. Usmani describes the village, its iconic location due to it being situated near the banks of a tributary (Pharaī in Azamgarhi) of the Ghāgrā river, and its unique tongue. Then, the conversation moves on to a discussion on relatives. Later on, his sister too joins the conversation.

This is a monologue, in the Eastern dialect of Azamgarhi, on a degree college in Rōpanpūr village by the name Rahmāniyā P. G. Degree College established by late Haji Muneer Khan Sāhab. The speaker Mr. Zakir gives information on the history and establishment of the college and its importance to Rōpanpūr village and the nearby villages. Further, he also talks about Rōpanpūr village and his educational background.

This is a conversation in Ḍhilaī̃ village, situated nearby Fatehpūr, in the Maū district of UP, taking place in the Eastern dialect of Azamgarhi. The conversation begins with some issues in the selling of the current year’s harvest of paddy. Then the speakers move on to talking on matters of relatives.

This is a conversation between three people in Fatehpūr village in the Maū district of UP. The conversation begins with some land issues in Fatehpūr and then moves on to modern-day farming issues faced in the village. Then the speakers move on to discussing the prospects of fisheries and then to the climate of Fatehpūr, which is relatively colder because of the Fatehpūr Ratōh Lake.

This is a conversation between women gathered in Sonwārā village in Azamgarh district of UP on the occasion of a marriage.

This is a very short bedtime story of a king and a cat narrated in a rhyming pattern. These type of stories are told to lull and amuse small children.

This is a story about Tīs Mār Khā̃ ‘a big talker’ (lit./iron. a great warrior), a man who is a weaver and a very poor man. He has a wife and children whom he doesn’t care about at all. His wife gets something from here and there and feeds him and their children. She becomes apprehensive of his actions and tells him every day to go and earn. One fine day he becomes ready to go and earn. He asks his wife to prepare something for him to eat on the way. This story talks about his fake valor, which he earns absolutely by chance and becomes famous and wealthy.

This is a story about a hen and python who were very good friends. Once, seeing the hen being quite healthy, the python’s intentions went awry. He asked the hen to go inside her stomach once and check what’s there, and then he would do the same. The hen replied, okay, and the python goes inside and finds 8-10 eggs. His intentions very nefarious at once, and he asks the hen to do the same. The poor hen does so, and the cunning snake does not open his mouth to let her out.

This is a personal narrative about an elderly person famous by the name Pīr Miā̃ who would travel by horse. He once arrived in the village of Khetaurā, the village next to Bairīḍīh. The speaker tells some events which took place at that time and talks about Pīr Miyā̃ along with his interaction with him.

This is a story about a princess whose mother died and her father remarries. The stepmother gives birth to a daughter, and the princess and her stepsister spend their childhood in a friendly way. As time passes, the stepmother and daughter develop jealousy and animosity towards the princess and adopt every possible technique to trouble her. Even after suffering so much, the good fate of the princess always takes care of her. All inflicted hardship by the stepmother bounces back to her daughter. The moral of the story is — As you sow shall you reap. This story is told in the western variety of the Southern dialect of Azamgarhi.

This story — which can be said to be the Azamgarhi version of the world-famous folktale of Cinderella — is about a gorgeous princess named Sheherbānō whose mother dies, and her father remarries. The stepmother would never like the princess and inflict tremendous pain on her. Living in forsaken circumstances, the young princess witnesses a remarkable change in her fortune, thanks to her very attractive sandal being lost in the market after returning from her friend’s wedding. This leads to her accession to the throne when a prince finds that sandal and turns desperate to marry its owner. This story describes how the stepmother tries the best of her stratagems, leaving no stone unturned, to prevent this from happening — but in total vain.

This is a story about a prince whose maternal uncles killed his father. Once — when young — he asks his mother about his father. She replies that he was murdered by his uncle. From that day onwards, he decides to take revenge for his father’s death. His uncles wanted to kill the prince too — the way they killed his father. This story describes how the prince takes revenge. This story is in the western variety of the Southern dialect of Azamgarhi. succeeds in finding Sheherbano. This story is told in the western variety of the Southern dialect of Azamgarhi

This is an analytical discussion — in Urdu — on a drama titled – Gharphū̃kan patōh (Eng. spendthrift daughter-in-law). It depicts a typical rural life of the North Indian plains where a woman and her family are very much sick of the misdeeds of the daughter-in-law because she is very spendthrift! Naazli helps Maaz understand some unfamiliar words and guides him through some of the sentences while she was sewing some clothes on the sewing machine.

This is an audio recording of Wali, 16 year old boy, having a conversation with his friend on a mobile phone. He appears to be quite upset about an event at his one friend’s house during birthday celebrations. He narrates to his friend, on phone, the heated exchange of words between him and some other friend. The swear words are bleeped.

This is a reading and simultaneous interpretation of an Urdu article Khōkhlā vajūd 'Hollow existence', which appeared in the Urdu daily newspaper 'The Inquilab' dated 26th of December 2019. The article was read by Naazli at her residence, and her cousin Faiza Khan simultaneously interpreted it into Azamgarhi. This was done at the request of Maaz, and the article was suggested to him by his grandfather.

This is a story about a man who once dreams that God will come as a guest to his house. He does all the required preparation and was eagerly waiting since morning for Him to come. But instead of God, he finds a beggar at his doors and after some time a refuge seeker both of whom he turns away saying that God is about to come. And finally, a poor woman with her baby knocks on his door seeking help, and he refuses her too. It becomes dark but God doesn’t come. He sleeps and dreams again asking God why he didn’t come. God replies saying that He had visited him thrice.

This is a recording of a conversation on ladies’ clothes and design between four women, among whom one was sewing clothes.

This is a description of an Urdu poem, written by one of the speaker's relatives, on the dowry system prevalent in North India. The poem is in the Urdu language, and the speaker interprets it and explains its meaning and significance in Azamgarhi to the researcher.

This is a story about a prince whose mother died and his stepmother would never like him. The story describes how she troubles him and never gives him good food to eat, but he was lucky enough to have the blessings of a miraculous cow and feed on her milk. Later on, when his stepmother realized this, she ordered that all cows be slaughtered. Still, the prince escapes along with the cow to a different country where he grows up in a healthy environment. After quite a few years, he returns to his village, reuniting with his father.

This is a recording of various folktales which begin with a short conversation. After completing the narration of a story, Mehar Afroz asks Qamar Afroz to stitch a cloth. After which, she asks Asiya Khatoon to sing some folksongs along with her, followed by a discussion on each of them. These kinds of traditional songs are sung on the occasion of girls' marriage, varying from praising the beauty of the beloved daughter to vidāī — the girl's farewell from their parental home. The songs in this recording are in the Eastern dialect of Urdu. The discussions on them and some other conversations take place in a mix of Azamgarhi and Urdu.