Cries From Syria Quotes

Long ago, when faeries and men still wandered the earth as brothers, the MacLeod chief fell in love with a beautiful faery woman. They had no sooner married and borne a child when she was summoned to return to her people. Husband and wife said a tearful goodbye and parted ways at Fairy Bridge, which you can still visit today. Despite the grieving chief, a celebration was held to honor the birth of the newborn boy, the next great chief of the MacLeods. In all the excitement of the celebration, the baby boy was left in his cradle and the blanket slipped off. In the cold Highland night he began to cry. The baby’s cry tore at his mother, even in another dimension, and so she went to him, wrapping him in her shawl. When the nursemaid arrived, she found the young chief in the arms of his mother, and the faery woman gave her a song she insisted must be sung to the little boy each night. The song became known as “The Dunvegan Cradle Song,” and it has been sung to little chieflings ever since. The shawl, too, she left as a gift: if the clan were ever in dire need, all they would have to do was wave the flag she’d wrapped around her son, and the faery people would come to their aid. Use the gift wisely, she instructed. The magic of the flag will work three times and no more. As I stood there in Dunvegan Castle, gazing at the Fairy Flag beneath its layers of protective glass, it was hard to imagine the history behind it. The fabric was dated somewhere between the fourth and seventh centuries. The fibers had been analyzed and were believed to be from Syria or Rhodes. Some thought it was part of the robe of an early Christian saint. Others thought it was a part of the war banner for Harald Hardrada, king of Norway, who gave it to the clan as a gift. But there were still others who believed it had come from the shoulders of a beautiful faery maiden. And that faery blood had flowed through the MacLeod family veins ever since. Those people were the MacLeods themselves.

Our ancestors, alas, knew it only too well. When they cried to God, ‘Deliver us from famine!’, this is what they had in mind. During the last hundred years, technological, economic and political developments have created an increasingly robust safety net separating humankind from the biological poverty line. Mass famines still strike some areas from time to time, but they are exceptional, and they are almost always caused by human politics rather than by natural catastrophes. There are no longer natural famines in the world; there are only political famines. If people in Syria, Sudan or Somalia starve to death, it is because

Song and the lyric poem came first. Prose was invented centuries later. In Israel, Greece, and China came the primal, model lyrics for two and a half millennia. Read the biblical Song of Songs in Hebrew, Sappho in Greek, and Wang Wei in Chinese and be deeply civilized. You will know the passions, tragedy, spirit, politic, philosophy, and beauty that have commanded our solitary rooms and public spaces. I emphasize solitary, because the lyric, unlike theater and sport, is an intimate dialogue between maker and reader. From the Jews we have their two bibles of wisdom poetry, from the Chinese we have thousands of ancient nightingales whose song is calm ecstasy, and from the Greeks we have major and minor names and wondrous poems. However, because of bigotry, most of Greek poetry, especially Sappho, was by religious decree destroyed from the Fall of the Roman Empire to the Renaissance. So apart from one complete ode, we read Sappho in fragments. Yet there survive fragrant hills for lovers and dark and luminous mountains for metaphysicians. Most of ancient Greek lyric poetry is contained in this volume. Do not despair about loss. You are lucky if you can spend your life reading and rereading the individual poets. They shine. If technology or return to legal digs in Egypt and Syria are to reveal a library of buried papyri of Greek lyrics equivalent to the Dead Sea Scrolls or the Gnostic Nag Hammadi Library, we should be able to keep singing and dancing for ten moons straight. For now, we have the song, human comedy, political outrage, and personal cry for centuries of good reading.

A row of young boys sat along an old metal pipe, excitedly singing Arabic songs. The girls whizzed each other around in wheelbarrows and played with their dolls on patches of earth that had hardened from mud to crusty dirt. “It is still like a playpen to them, like a big party,” one frail father said absently, as if he was staring right through me. “Soon they will know.” Crevices of stress had been delicately carved into his tanned face. His party was one of torment as he paced in circles, as if slowly going mad. I did not know what had happened to him and his family, but it did not feel right to ask.

From the glistening eyes of a child that once held hope, foreign faces, aid workers, and people dressed in suits had come to symbolize a sequence of disappointments. Abdullah was tired of talking about what he needed most; it had become a fruitless exercise. He and many others had come to believe that the other camps in the area were getting all the money. They felt as though they were the only ones who had been left out and made to suffer.

Mrs Massoud was always crying – for her son who had been taken by government troops in Damascus, and for her daughter, who had been killed by the bombs shortly after. She told Aya that a mother’s fountain of tears flows forever. But tonight there was also music coming from somewhere down the hall – a man’s voice singing a song in a language that Aya didn’t understand. It made her think of the girls in the dance class. The girl called Dotty who had grinned at her like she was just a normal kid. And Ciara, with the blonde hair and the haughty expression, and the mousey-haired girl – Lilli-Ella – who stuck her tongue out when she was concentrating. Aya’s limbs itched as she remembered. Just thinking about it made her want to dance. “Not really enough room for that kind of thing in here, eh, Moos!

I am a seed of Syria that blew to the West And grew like a crab apple tree But my fruit is of Syria I sound like Syria I laugh with Syria I cry for Syria But how dare I cry at all?" from "He Sounded Just Like Me" by Lisa Luxx (Sukoon)