Falcon Bird Quotes

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[W]hen you find yourself face to face with one [Bondsmage], you bow and scrape and mind your 'sirs' and 'madams.'" ... 'Nice bird, asshole,' said Locke.
Scott Lynch (The Lies of Locke Lamora (Gentleman Bastard, #1))
Love is a rebellious bird that nobody can tame. He looked up, meeting her eyes. 'I'm called Peregrine. Like the falcon. People call me Perry.' She smiled. 'We're alike, Perry. My voice is called a falcon soprano.' His hand brushed past her cheek and slid into her hair. 'We're the same, Aria.
Veronica Rossi (Through the Ever Night (Under the Never Sky, #2))
Once there was a boy,” said Jace. Clary interrupted immediately. “A Shadowhunter boy?” “Of course.” For a moment a bleak amusement colored his voice. Then it was gone. “When the boy was six years old, his father gave him a falcon to train. Falcons are raptors – killing birds, his father told him, the Shadowhunters of the sky. “The falcon didn’t like the boy, and the boy didn’t like it, either. Its sharp beak made him nervous, and its bright eyes always seemed to be watching him. It would slash at him with beak and talons when he came near: For weeks his wrists and hands were always bleeding. He didn’t know it, but his father had selected a falcon that had lived in the wild for over a year, and thus was nearly impossible to tame. But the boy tried, because his father told him to make the falcon obedient, and he wanted to please his father. “He stayed with the falcon constantly, keeping it awake by talking to it and even playing music to it, because a tired bird was meant to be easier to tame. He learned the equipment: the jesses, the hood, the brail, the leash that bound the bird to his wrist. He was meant to keep the falcon blind, but he couldn’t bring himself to do it – instead he tried to sit where the bird could see him as he touched and stroked its wings, willing it to trust him. Hee fed it from his hand, and at first it would not eat. Later it ate so savagely that its beak cut the skin of his palm. But the boy was glad, because it was progress, and because he wanted the bird to know him, even if the bird had to consume his blood to make that happen. “He began to see that the falcon was beautiful, that its slim wings were built for the speed of flight, that it was strong and swift, fierce and gentle. When it dived to the ground, it moved like likght. When it learned to circle and come to his wrist, he neary shouted with delight Sometimes the bird would hope to his shoulder and put its beak in his hair. He knew his falcon loved him, and when he was certain it was not just tamed but perfectly tamed, he went to his father and showed him what he had done, expecting him to be proud. “Instead his father took the bird, now tame and trusting, in his hands and broke its neck. ‘I told you to make it obedient,’ his father said, and dropped the falcon’s lifeless body to the ground. ‘Instead, you taught it to love you. Falcons are not meant to be loving pets: They are fierce and wild, savage and cruel. This bird was not tamed; it was broken.’ “Later, when his father left him, the boy cried over his pet, until eventually his father sent a servant to take the body of the bird away and bury it. The boy never cried again, and he never forgot what he’d learned: that to love is to destroy, and that to be loved is to be the one destroyed.
Cassandra Clare (City of Bones (The Mortal Instruments, #1))
Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight: a waste of desert sand; A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Wind shadows of the indignant desert birds. The darkness drops again but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born?
W.B. Yeats
Featherweight by Suzy Kassem One evening, I sat by the ocean and questioned the moon about my destiny. I revealed to it that I was beginning to feel smaller compared to others, Because the more secrets of the universe I would unlock, The smaller in size I became. I didn't understand why I wasn't feeling larger instead of smaller. I thought that seeking Truth was what was required of us all – To show us the way, not to make us feel lost, Up against the odds, In a devilish game partitioned by An invisible wall. Then the next morning, A bird appeared at my window, just as the sun began Spreading its yolk over the horizon. It remained perched for a long time, Gazing at me intently, to make sure I knew I wasn’t dreaming. Then its words gently echoed throughout my mind, Telling me: 'The world you are in – Is the true hell. The journey to Truth itself Is what quickens the heart to become lighter. The lighter the heart, the purer it is. The purer the heart, the closer to light it becomes. And the heavier the heart, The more chained to this hell It will remain.' And just like that, it flew off towards the sun, Leaving behind a tiny feather. So I picked it up, And fastened it to a toothpick, To dip into ink And write my name.
Suzy Kassem (Rise Up and Salute the Sun: The Writings of Suzy Kassem)
The Windhover To Christ our Lord I CAUGHT this morning morning’s minion, king- dom of daylight’s dauphin, dapple-dawn-drawn Falcon, in his riding Of the rolling level underneath him steady air, and striding High there, how he rung upon the rein of a wimpling wing In his ecstasy! then off, off forth on swing, As a skate’s heel sweeps smooth on a bow-bend: the hurl and gliding Rebuffed the big wind. My heart in hiding Stirred for a bird,—the achieve of; the mastery of the thing! Brute beauty and valour and act, oh, air, pride, plume, here Buckle! AND the fire that breaks from thee then, a billion Times told lovelier, more dangerous, O my chevalier! No wonder of it: shéer plód makes plough down sillion Shine, and blue-bleak embers, ah my dear, Fall, gall themselves, and gash gold-vermillion.
Gerard Manley Hopkins (Poems and Prose)
Why Just ask the donkey in me To speak to the donkey in you, When I have so many other beautiful animals And brilliant colored birds inside That are longing to say something wonderful And exciting to your heart? Let's open all the locked doors upon our eyes That keep us from knowing the Intelligence That begets love And a more lively and satisfying conversation With the Friend. Let's turn loose our golden falcons So that they can meet in the sky Where our spirits belong-- Necking like two Hot kids. Let's hold hands and get drunk near the sun And sing sweet songs to God Until He joins us with a few notes From his own sublime lute and drum. If you have a better idea Of how to pass a lonely night After your glands may have performed All their little magic Then speak up sweethearts, speak up, For Hafiz and all the world will listen. Why just bring your donkey to me Asking for stale hay And a boring conference with the idiot In regards to this precious matter-- Such a precious matter as love, When I have so many other divine animals And brilliant colored birds inside That are all longing To so sweetly Greet You!
Hafez (The Gift)
The hardest thing of all to see is what is really there. Books about birds show pictures of the peregrine, and the text is full of information. Large and isolated in the gleaming whiteness of the page, the hawk stares back at you, bold, statuesque, brightly coloured. But when you have shut the book, you will never see that bird again. Compared with the close and static image, the reality will seem dull and disappointing. The living bird will never be so large, so shiny-bright. It will be deep in landscape, and always sinking farther back, always at the point of being lost. Pictures are waxworks beside the passionate mobility of the living bird.
J.A. Baker (The Peregrine)
The term "fed up" actually comes from falconry. When you train a falcon, you train it by hunger, using it as a tool to manipulate the bird's psychology. So when the bird has had too much to eat, it won't cooperate and gets annoyed by any attempts to tell it what to do. It simply sits in the top of a tree and sulks. It is "fed up".
Douglas Adams (Last Chance to See)
Either you’re a falconer or you’re not. Either the birds come back to you or they fly away.
Carol Rifka Brunt (Tell the Wolves I'm Home)
The peregrine falcon is the swiftest, most adept animal I have ever seen. It is worth noting that, like many bird, the falcon's bones are hollow. Travel light.
Ethan Hawke (Rules for a Knight)
The Peregrine Falcon is the fastest animal in the world, capable of speeds of at least 242 miles per hour and potentially more than 300 miles per hour, and is able to make turns that generate 27 Gs (one G is the force of gravity, and humans lose consciousness at 9 Gs).
David Allen Sibley (What It's Like to Be a Bird: From Flying to Nesting, Eating to Singing—What Birds Are Doing, and Why (Sibley Guides))
At Coucy’s level, men and women hawked and hunted and carried a favorite falcon, hooded, on the wrist wherever they went, indoors or out—to church, to the assizes, to meals. On occasion, huge pastries were served from which live birds were released to be caught by hawks unleashed in the banquet
Barbara W. Tuchman (A Distant Mirror: The Calamitous 14th Century)
If things went my way, I would be working at a renaissance fair as a falconer. I wouldn’t have to worry about climbing career ladders or getting promotions, because falconry’s not like that. Either you’re a falconer or you’re not. Either the birds come back to you or they fly away. My father waited
Carol Rifka Brunt (Tell The Wolves I'm Home)
1 Cain lifts Crow, that heavy black bird and strikes down Abel. Damn, says Crow, I guess this is just the beginning. 2 The white man, disguised as a falcon, swoops in and yet again steals a salmon from Crow's talons. Damn, says Crow, if I could swim I would have fled this country years ago. 3 The Crow God as depicted in all of the reliable Crow bibles looks exactly like a Crow. Damn, says Crow, this makes it so much easier to worship myself. 4 Among the ashes of Jericho, Crow sacrifices his firstborn son. Damn, says Crow, a million nests are soaked with blood. 5 When Crows fight Crows the sky fills with beaks and talons. Damn, says Crow, it's raining feathers. 6 Crow flies around the reservation and collects empty beer bottles but they are so heavy he can only carry one at a time. So, one by one, he returns them but gets only five cents a bottle. Damn, says Crow, redemption is not easy. 7 Crow rides a pale horse into a crowded powwow but none of the Indian panic. Damn, says Crow, I guess they already live near the end of the world.
Sherman Alexie
The reason a falcon is hooded is exactly the reason a falconer is not: the birds can see so well that they would most likely be distracted by other prey much further away. The falconer hoods the bird and waits. He wants the falcon to only see what he sees.
Colum McCann (Apeirogon)
You can’t make a falcon love you, but you can convince its little bird brain that sitting on your glove means a full croup.” “Unless it’s a Harris Hawk.
S.M. Stirling (The Golden Princess (Emberverse Book 11))
Peregrine Falcon This is a large falcon about the size of a crow.
Mark Farley (Birds of Prey)
Whenever I get bird meat, I like to eat it in the open, let the falcons and hawks see who the boss is. Me. I’m the boss.
Shannon Hale (Squirrel Meets World (The Unbeatable Squirrel Girl #1))
was repulsed by the fact that owls sometimes eat smaller birds, as do some raptors like hawks and falcons. I called them “cannibals.
Dean Koontz (Quicksilver)
I thought: 'You in there, Horus?' 'What?' he said testily. 'Bird form, please.' 'Oh, I see. You don't trust me. But now you need my help.' 'Man, come on. Just do the falcon thing.' 'Would you settle for an emu?
Rick Riordan (The Red Pyramid (The Kane Chronicles, #1))
And I've been thinking: if the human race manages to destroy itself, as it often seems to want to do, or if some great disaster comes, as it did for the dinosaurs, then the birds will still manage to survive. When our gardens and fields and farms and woods have turned wild, when the park at the end of Falconer Road has turned into a wilderness, when our cities are in ruins, the birds will go on flying and singing and making their nests and laying their eggs and raising their young. It could be that the birds will exist for ever and for ever until the earth itself comes to an end, no matter what might happen to the other creatures. They'll sing until the end of time. So here's my thought: If there is a God, could it be that He's chosen the birds to speak for Him. Could it be true? The voice of God speaks through the beaks of birds.
David Almond (My Name Is Mina (Skellig, #0.5))
Something about her roused his feline, and not in a hunt-the-bird-down-and-swallow-her-whole kind of way, but more like an I-want-to-lick-her-up-and-down fashion to see if he could ruffle her unflappable feathers.
Eve Langlais (Lion and the Falcon (Furry United Coalition, #4))
Do you understand what’s going on here?” Hodgesaargh took another slow look at the scene. “No,” he said. “In that case’s not my job to understand this sort of thing,” said the falconer. “I wasn’t trained. Probably takes a lot of training, understanding this. That’s your job. And her job. Can you understand what’s going on when a bird’s been trained and’ll make a kill and still came back to the wrist?” “Well, no—” “There you are, then. So that’s all right. Cup of tea, was it?
Terry Pratchett (Carpe Jugulum (Discworld, #23; Witches, #6))
Trained hawks have a peculiar ability to conjure history because they are in a sense immortal. While individual hawks of different species die, the species themselves remain unchanged. There are no breed or varieties, because hawks were never domesticated. The birds we fly today are identical to those of five thousand years ago. Civilisations rise and fall, but hawks stay the same. This gives falconry birds the ability to feel like relics from the distant past. You take a hawk onto your fist. You imagine the falconer of the past doing the same. It is hard not to feel it is the same hawk.
Helen Macdonald (H is for Hawk)
This was because the hawks and falcons in the castle mews were all Lancre birds and therefore naturally possessed of a certain “sod you” independence of mind. After much patient breeding and training Hodgesaargh had managed to get them to let go of someone’s wrist, and now he was working on stopping them viciously attacking the person who had just been holding them, i.e., invariably Hodgesaargh. He was nevertheless a remarkably optimistic and good-natured man who lived for the day when his hawks would be the finest in the world. The hawks lived for the day when they could eat his other ear.
Terry Pratchett (Lords and Ladies (Discworld, #14))
There was a downpour coming; Avery could feel it. The wind was already gaining strength, tearing out the last of her hairpins, whipping her dress close to her body. The air was heavy with the scent of rain. Avery's thoughts circled frantically in her mind, pressing so hard she thought she would burst. A falcon that had been perched farther along the railing turned a beady eye on her, curious. Avery watched it unfurl its wings and take off. She felt a sudden kinship with the bird, the way it flew screaming into the sky like a wild thing. She wished she could follow it straight into the gathering storm.
Katharine McGee (The Thousandth Floor (The Thousandth Floor, #1))
The emperor Caesar Augustus had a parakeet who greeted him daily, and after his victory over Mark Antony in Egypt in 29 B.C., he purchased a raven whose trainer had taught him to say “Ave, Caesar Victor Imperator.” (The trainer had wisely taught another bird to say “Ave, Victor Imperator Antoni” in case the battle went the other way.)
Sy Montgomery (Birdology: Adventures with a Pack of Hens, a Peck of Pigeons, Cantankerous Crows, Fierce Falcons, Hip Hop Parrots, Baby Hummingbirds, and One Murderously Big Living Dinosaur)
[The Chinese here is tricky and a certain key word in the context it is used defies the best efforts of the translator. Tu Mu defines this word as “the measurement or estimation of distance.” But this meaning does not quite fit the illustrative simile in ss. 15. Applying this definition to the falcon, it seems to me to denote that instinct of SELF RESTRAINT which keeps the bird from swooping on its quarry until the right moment, together with the power of judging when the right moment has arrived. The analogous quality in soldiers is the highly important one of being able to reserve their fire until the very instant at which it will be most effective. When the “Victory” went into action at Trafalgar at hardly more than drifting pace, she was for several minutes exposed to a storm of shot and shell before replying with a single gun. Nelson coolly waited until he was within close range, when the broadside he brought to bear worked fearful havoc on the enemy’s nearest ships.] 14.  Therefore the good fighter will be terrible in his onset, and prompt in his decision. [The word “decision” would have reference to the measurement of distance mentioned above, letting the enemy get near before striking. But I cannot help thinking that Sun Tzu meant to use the word in a figurative sense comparable to our own idiom “short and sharp.” Cf. Wang Hsi’s note, which after describing the falcon’s mode of attack, proceeds: “This is just how the ‘psychological moment’ should be seized in war.”]
Sun Tzu (The Art of War)
If you wish to bludgeon badgers or beavers or remove peregrine falcons and hen harrier chicks from their nests, a way can be found. If you wish, on the other hand, to restore fading species for nature conservation purposes, then you have to fill in 90-page documents which will be thoroughly scrutinized eventually and returned to you with a further suite of impossibly complex questions.
Derek Gow (Birds, Beasts and Bedlam: Turning My Farm Into an Ark for Lost Species)
A falcon screamed down from above and speared one of the two, and peeled off to rise again before the survivor had time to evade or mourn the loss, as if there had always been one and not two. As if there had always only ever been one Strange Bird. But from above, even dying, the companion defiant, urging the last on, and blessing the bird that had caught her, for it was only acting as to its nature and there was no cruelty in that.
Jeff VanderMeer (The Strange Bird (Borne, #1.5))
The now pregnant Isis returns to her home in the underworld and gives birth, in due time, to Horus, rightful son of the long-lost king, alienated as he matures from his now corrupted kingdom (something we all experience during our maturation). His primary attribute is the eye—the famous Egyptian single eye—while his avatar is the falcon, a bird that takes precise aim at its prey, strikes the target with deadly accuracy, and possesses an acuity of vision unparalleled in the kingdom of living things.
Jordan B. Peterson (Beyond Order: 12 More Rules for Life)
I like flowers because they are presentable, birds because they are musical, trees because they are natural, plants because they are beneficial, dogs because they are loyal, foxes because they are guileful, wolves because they are forceful, lions because they are royal, sharks because they are remarkable, crocodiles because they are formidable, bees because they are exceptional, spiders because they are artful, ants because they are responsible, chameleons because they are colorful, hawks because they are special, falcons because they are noble, owls because they are watchful, eagles because they are regal, streams because they are peaceful, rivers because they are predictable, lakes because they are crucial, oceans because they are beautiful, skies because they are delightful, stars because they are celestial, planets because they are spiritual, galaxies because they are incredible, winters because they are essential, summers because they are enjoyable, autumns because they are graceful, and springs because they are wonderful.
Matshona Dhliwayo
Many birds of prey, like eagles, falcons, and vultures, actually have two acute zones in each eye—one that looks forward, and another that looks out at a 45-degree angle. The side-facing one is sharper, and it’s the one that many raptors use when hunting. When a peregrine falcon dives after a pigeon, it doesn’t plunge straight at its prey. Instead, it flies along a descending spiral. That’s the only way it can keep the pigeon within its murderous side-eye, while also pointing its head down and maintaining a streamlined shape.[*20
Ed Yong (An Immense World: How Animal Senses Reveal the Hidden Realms Around Us)
A falcon. I can see that. I thought you said nothing lived here?” Sand’s face went blank. “There was nothing alive, except for me, until Merlin. And then you.” Perrotte bit back her exasperation, and said simply, “Go on.” He twined his blunt-tipped fingers together, staring down at them. “I, erm. I found the falcon in the mews.” “So, it’s not true that there was nothing alive in the castle?” “The truth is . . . Well, the truth is the truth, and thus worth telling, but sometimes truths are so complicated that it’s exhausting to get them out in the right order.” He glanced up at her. That sounded like an evasion if ever she’d heard one. She raised an eyebrow. “The falcon was dead!” Sand blurted out. “Stuffed and mounted, and then also damaged in the sundering. I mended him, and put him on the mantel, so I’d have something to talk to. But a couple days before you—you came upstairs—” He gestured helplessly at the bird, who stopped stripping water from its feathers just long enough to glare at the humans. Perrotte stared. “The bird came to life,” she whispered. “After you put it to rights, this falcon came to life. Just like me.” “Well . . .
Merrie Haskell (The Castle Behind Thorns)
Dottie: I miss being across the hall from you. Jason: Words I never thought you’d say. Dottie: I know, I surprised myself, but despite your annoying tendencies and non-stop chattering, I miss it. Jason: You’re making my heart soar like a fucking falcon. A goddamn FALCON, Dottie. Dottie: Falcon. That’s pretty serious. Do you know what would have been more serious? An albatross. Jason: Pfft, no way. They might have a ten-foot wingspan, but they’re seabirds, so they shit in the ocean. Where’s the fun in that? Dottie: As opposed to . . . Jason: Shitting on people’s heads, of course. If I was a bird, that would be my main purpose in life, shitting on unsuspecting people’s heads. Think about it, being targeted by a bird bowel movement is detrimental as a human being. You’re just going about your normal business when all of a sudden, WHACK, white goop drips from your forehead down your cheek. What is that, you think? You carefully touch it, your fingers immediately wet with semi-warm liquid. And when you realize it’s an anal secretion from a flying vertebrate, all hell breaks loose. The horror! The disgust! The SHAME OF BEING SHIT ON. There’s no coming back from that. #DayRuined And as the maniacal bird, there you are, floating around in the peaceful skies, watching idiot humans running around in circles, trying to get rid of the poo-poo. With one flip of the feather—or the bird, hey-o—you’re off to the bird feeder, filling up so you can drop turd once again. A vicious cycle of humans feeding birds only to get shit on unsuspectedly, I AM HERE FOR THAT! Dottie: I was wrong. I don’t have to be across the hall to be annoyed by you.
Meghan Quinn (The Lineup)
Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight: a waste of desert sand; A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Wind shadows of the indignant desert birds. The darkness drops again but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born?
W.B. Yeats
Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight: somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born?
W.B. Yeats
THE SECOND COMING TURNING and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight: somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at laSt, Slouches towards Bethlehem to be born?
W.B. Yeats (Complete Poetry and Plays)
11- His days in Shadbagh were numbered, like Shuja’s. He knew this now. There was nothing left for him here. He had no home here. He would wait until winter passed and the spring thaw set in, and he would rise one morning before dawn and he would step out the door. He would choose a direction and he would begin to walk. He would walk as far from Shadbagh as his feet would take him. And if one day, trekking across some vast open field, despair should take hold of him, he would stop in his tracks and shut his eyes and he would think of the falcon feather Pari had found in the desert. He would picture the feather coming loose from the bird, up in the clouds, half a mile above the world, twirling and spinning in violent currents, hurled by gusts of blustering wind across miles and miles of desert and mountains, to finally land, of all places and against all odds, at the foot of that one boulder for his sister to find. It would strike him with wonder, then, and hope too, that such things happened, And though he would know better, he would take heart, and he would open his eyes, and walk.
Khaled Hosseini (And the Mountains Echoed)
... as the cover falls my hawk makes a curious, bewitching movement. She twitches her head to one side then turns it upside down and continues to regard me with the tip of her beak pointing at the ceiling. I am astonished. I've seen this head-turning before. Baby falcons do it when they play. But goshawks? Really? I pull a sheet of paper towards me, tear a long strip from one side, scrunch it into a ball, and offer it to the hawk in my fingers. She grabs it with her beak, It crunches. She likes the sound. She crunches it again and then lets it drop, turning her head upside down as it hits the floor. I pick it up and offer it to her again. She grabs it and bites it very gently over and over again: gnam gnam gnam. She looks like a glove puppet, a Punch and Judy crocodile. Her eyes are narrowed in bird-laughter. I am laughing too. I roll a magazine into a tube and peer at her through it as if it were a telescope. She ducks her head to look at me through the hole. She pushes her beak into it as far as it will go, biting the empty air inside. Putting my mouth to my side of my paper telescope I boom into it: 'Hello, Mabel.' She pulls her beak free. All the feathers on her forehead are raised. She shakes her tail rapidly from side to side and shivers with happiness.
Helen Macdonald (H is for Hawk)
Once there was a boy. When the boy was 6 years old, his father gave him a falcon to train. Falcons are raptors - killing birds, his father told him, the Shadowhunters of the sky. The falcon didn't like the boy, and he didn't like it, either. Its sharp beak made him nervous, and its bright eyes always seemed to be watching him. It would slash at him with his beak and talons when he came near: For weeks his wrists and hands were always bleeding. He didn't know it, but his father had selected a falcon that had lived in the wild for over a year, and thus was nearly impossible to train. But the boy tried, because his father had told him to make the falcon obedient, and he wanted to please his father. He stayed with the falcon constantly, keeping it awake by talking to it and even playing music to it, because a tired bird was ment to be easier to tame. He leard the equipment: the jesses, the hood, the brail, the leash that bound the bird to his wrist. He was ment to keep the bird blind, but he couldn't bring himself to do it - instead he tryed to sit where the bird could see him as he touched and stroked its wings, willing it to trust him. He fed it from his hand, and at first it would not eat. Later it ate so savagely that the beak cut his palm. But the boy was glad, because it was progress, and because he wanted the bird to know him, even if it had to consume his blood to make that happen. He began to see that the falcon was beautiful, that its slim wings were built for the speed of flight, that it was strong and swift, fierce and gentle. When it dived to the ground, it moved like light. When it learned to circle and land on his wrist, he nearly shouted with delight. Sometimes the bird would hop to his sholder and but its beak in his hair. He knew his falcon loved him, and when he was certain that it was not just tamed but perfectly tamed, he went to his father and showed him what he had done, expecting him to be proud. Instead his father took the bird, now tame and trusting, in his hands, and broke its neck. 'I told you to make him obedient,' his father said, and dropped the falcon's lifeless body to the ground. "Instead, you taught it to love you. Falcons are not ment to be loving pets: They are fierce and wild, savage and cruel. This bird was not tamed; it was broken.' Later, when his father left him, the boy cried over his pet, until his father sent a servant to take the body of the bird away and bury it. The boy never cried again, and he never forgot what he'd learned: That to love is to destroy, and to be loved is to be the one destroyed.
Jace City of Bones
HOW SHOULD THE SOUL not take wings when from the Glory of God It hears a sweet, kindly call: "Why are you here, soul? Arise!" How should a fish not leap fast into the sea from dry land When from the ocean so cool the sound of the waves reaches its How should the falcon not fly back to his king from the hunt When from the falconer's drum it hears to call: "Oh, come back"? Why should not every Sufi begin to dance atom-like Around the Sun of duration that saves from impermanence? What graciousness and what beauty? What life-bestowing! What grace! If anyone does without that, woe- what err, what suffering! Oh fly , of fly, O my soul-bird, fly to your primordial home! You have escaped from the cage now- your wings are spread in the air. Oh travel from brackish water now to the fountain of life! Return from the place of the sandals now to the high seat of souls! Go on! Go on! we are going, and we are coming, O soul, From this world of separation to union, a world beyond worlds! How long shall we here in the dust-world like children fill our skirts With earth and with stones without value, with broken shards without worth? Let's take our hand from the dust grove, let's fly to the heavens' high, Let's fly from our childish behaviour and join the banquet of men! Call out, O soul, to proclaim now that you are rules and king! You have the grace of the answer, you know the question as well!
Rumi (Jalal ad-Din Muhammad ar-Rumi) (Look! This Is Love)
HOW SHOULD THE SOUL How should the soul not take wings when from the Glory of God It hears a sweet, kindly call: "Why are you here, soul? Arise!" How should a fish not leap fast into the sea form dry land When from the ocean so cool the sound of the waves reaches its How should the falcon not fly back to his king from the hunt When from the falconer's drum it hears to call: "Oh, come back"? Why should not every Sufi begin to dance atom-like Around the Sun of duration that saves from impermanence? What graciousness and what beauty? What life-bestowing! What grace! If anyone does without that, woe- what err, what suffering! Oh fly , of fly, O my soul-bird, fly to your primordial home! You have escaped from the cage now- your wings are spread in the air. Oh travel from brackish water now to the fountain of life! Return from the place of the sandals now to the high seat of souls! Go on! Go on! we are going, and we are coming, O soul, From this world of separation to union, a world beyond worlds! How long shall we here in the dust-world like children fill our skirts With earth and with stones without value, with broken shards without worth? Let's take our hand from the dust grove, let's fly to the heavens' high, Let's fly from our childish behaviour and join the banquet of men! Call out, O soul, to proclaim now that you are rules and king! You have the grace of the answer, you know the question as well!
Rumi (Jalal ad-Din Muhammad ar-Rumi) (Look! This Is Love)
Even if his talk carried him to Paris, for example, to a place like the Faubourg Montmartre, he spiced and flavored it with his Attic ingredients, with thyme, sage, tufa, asphodel, honey, red clay, blue roofs; acanthus trimmings, violet light, hot rocks, dry winds, dust, rezina, arthritis and the electrical crackle that plays over the low hills like a swift serpent with a broken spine. He was a strange contradiction, even in his talk. With his snake-like tongue which struck like lightning, with fingers moving nervously, as though wandering over an imaginary spinet, with pounding, brutal gestures which somehow never smashed anything but simply raised a din, with all the boom of surf and the roar and sizzle and razzle-dazzle, if you suddenly observed him closely you got the impression that he was sitting there immobile, that only the round falcon's eye was alert, that he was a bird which had been hypnotized, or had hypnotized itself, and that his claws were fastened to the wrist of an invisible giant, a giant like the earth. All this flurry and din, all these kaleidoscopic prestidigitations of his, was only a sort of wizardry which he employed to conceal the fact that he was a prisoner—that was the impression he gave me when I studied him, when I could break the spell for a moment and observe him attentively. But to break the spell, required a power and a magic almost equal to his own; it made one feel foolish and impotent, as one always does when one succeeds in destroying the power of illusion. Magic is never destroyed —the most we can do is to cut ourselves off, amputate the mysterious antennae which serve to connect us with forces beyond our power of understanding.
Henry Miller (The Colossus of Maroussi)
commonly crossed talons, and eagles squared off against falcons and loons, to say nothing of other eagles. This was no different from when wildlife populations had been at their apex before Euramericans swept over the continent. Conflicts and displays of territoriality were common, and sometimes these kinds of events manifested unexpected and even unconventional behavior that not even scientists could explain. The mystery revealed itself most strikingly when eagles at the Upper Mississippi River National Wildlife and Fish Refuge in Illinois gave cam viewers a rousing performance in 2017 of an intereagle conflict different from Ozzie and M-15’s. Five years earlier, a couple named Valor and Hope had occupied a nest at the eighty-foot top of a silver maple. Valor was not the quintessential devoted parent. He was an unreliable provider. After eggs were laid that year, he rarely assumed his sitting duties. When chicks were in the nest and Hope called for him to bring food, he typically ignored her, forcing Hope to leave the chicks in Valor’s capricious care as she herself went off to hunt. At best, he would squat at the nest’s edge for a few minutes before taking flight to wherever whim took him. In the end, Hope could not sustain the brood without a fully present partner, and her two eaglets died. When Hope returned to the nest the next year, 2013, she brought another mate with her. Valor showed up only to find he’d been ousted. He didn’t fight off his rival, which seems consistent with his inertia as a parent. He didn’t leave the eagledom either, and the new mate didn’t chase him away. Hope and her new partner, whom the refuge’s nest stewards named Valor II, remained cordial toward the original Valor. A couple years later, Valor was part of nest life again, alongside Hope and Valor II. Having emerged from his parental torpor, he assumed the responsibilities of a proper partner. The birds formed a threesome. The refuge’s visitor service manager quipped that the upper Mississippi had its “own little soap opera.” In 2015, the couple and their new partner raised three eaglets.44 Parenting trios in the wild aren’t altogether uncommon, although
Jack Emerson Davis (The Bald Eagle: The Improbable Journey of America's Bird)
THE ROYAL PIGEON Nasruddin became prime minister to the king. Once while he wandered through the palace, he saw a royal falcon. Now Nasruddin had never seen this kind of a pigeon before. So he got out a pair of scissors and trimmed the claws, the wings and the beak of the falcon. “Now you look like a decent bird,” he said. “Your keeper had evidently been neglecting you. “You’re different so there’s something wrong with you!” MONKEY SALVATION FOR A FISH
Leonard J. Duhl (The Social Entrepreneurship of Change)
Galen glanced at the peregrine circling them. He couldn’t shake the feeling that the falcon and Logan’s need to uncover who was behind the magic controlling the bird just might be the tipping point that caused Logan to succumb to the darkness.
Donna Grant (Shadow Highlander (Dark Sword, #5))
the falcon approached nearer to him, lose his nerve and plummet down in a vain effort to reach mother earth and the sanctuary of his burrow? Field glasses were now out for those who needed them, and up and down the line excited exclamations—in two languages—were running. ‘Oh! He can’t make it.’ ‘Yes he can, he can.’ ‘Only a little way to go now.’ ‘But look, look, the falcon is gaining on him.’ And then, suddenly, only one bird was to be seen against the cloud. ‘Well done! Well done! Shahbash! Shahbash!’ The owl had made it, and while hats were being waved and hands were being clapped, the falcon in a long graceful glide came back to the semul tree from which he had started. The reactions of human beings to any particular event are unpredictable. Fifty-four birds and four animals had been shot that morning—and many more missed—without a qualm or the batting of an eyelid. And now, guns, spectators, and mahouts were unreservedly rejoicing that a ground owl had escaped the talons of a peregrine falcon.
Jim Corbett (The Temple Tiger and More Man-eaters of Kumaon)
At Coucy’s level, men and women hawked and hunted and carried a favorite falcon, hooded, on the wrist wherever they went, indoors or out—to church, to the assizes, to meals. On occasion, huge pastries were served from which live birds were released to be caught by hawks unleashed in the banquet hall.
Barbara W. Tuchman (A Distant Mirror: The Calamitous 14th Century)
The gyrfalcon Dan flew that day was a bird of the year who was just learning to hunt. When he brought her out, I shook my head at the size of her. She was massive; Dan had aptly named her Jabba the Hut. As with all falcons, female gyrfalcons are a third larger than the males. ... She thought that she was a person and treated Dan as her mate.This gave new meaning to the term "henpecked.
Dan O'Brien (The Rites of Autumn)
I told you to make it obedient, Instead, you taught it to love you. Falcons are not meant to be loving pets: They are fierce and wild, savage and cruel. This bird was not tamed; it was broken.
Cassandra Clare
I told you to make it obedient, Instead, you taught it to love you. Falcons are not meant to be loving pets: They are fierce and wild, savage and cruel. This bird was not tamed; it was broken. that to love is to destroy, and that to be loved is to be the one destroyed.
Cassandra Clare (City of Bones (The Mortal Instruments, #1))
I told you to make it obedient, Instead, you taught it to love you. Falcons are not meant to be loving pets: They are fierce and wild, savage and cruel. This bird was not tamed; it was broken." "that to love is to destroy, and that to be loved is to be the one destroyed.
Cassandra Clare (City of Bones (The Mortal Instruments, #1))
I told you to make it obedient, Instead, you taught it to love you. Falcons are not meant to be loving pets: They are fierce and wild, savage and cruel. This bird was not tamed; it was broken.” “that to love is to destroy, and that to be loved is to be the one destroyed.
Cassandra Clare (City of Bones (The Mortal Instruments, #1))
But gosses are nervous, highly-strung birds and it takes a long time to convince them you’re not the enemy. Nervousness, of course, isn’t quite the right word: it’s simply that they have jacked-up nervous systems in which nerve pathways from the eyes and ears to the motor neurons that control their muscles have only minor links with associated neurons in the brain. Goshawks are nervous because they live life ten times faster than we do, and they react to stimuli literally without thinking. ‘Of all Hawks,’ wrote seventeenth-century falconer Richard Blome, ‘she is doubtless the most Shie and Coy both towards the Men and Dogs, requiring more the Courtship of a Mistress than the Authority of a Master, being apt to remember any unkind and rough usage; but being gently handled, will become very tractable, and kind to her keeper.’ Well, kindness it would be, and kindness we shall hope for.
Helen Macdonald (H is for Hawk)
When the boy was six years old, his father gave him a falcon to train. Falcons are raptors—killing birds, his father told him, the Shadowhunters of the sky. “The falcon didn’t like the boy, and the boy didn’t like it, either. Its sharp beak made him nervous, and its bright eyes always seemed to be watching him. It would slash at him with beak and talons when he came near: For weeks his wrists and hands were always bleeding. He didn’t know it, but his father had selected a falcon that had lived in the wild for over a year, and thus was nearly impossible to tame. But the boy tried, because his father had told him to make the falcon obedient, and he wanted to please his father. “He stayed with the falcon constantly, keeping it awake by talking to it and even playing music to it, because a tired bird was meant to be easier to tame. He learned the equipment: the jesses, the hood, the brail, the leash that bound the bird to his wrist. He was meant to keep the falcon blind, but he couldn’t bring himself to do it—instead he tried to sit where the bird could see him as he touched and stroked its wings, willing it to trust him. He fed it from his hand, and at first it would not eat. Later it ate so savagely that its beak cut the skin of his palm. But the boy was glad, because it was progress, and because he wanted the bird to know him, even if the bird had to consume his blood to make that happen. “He began to see that the falcon was beautiful, that its slim wings were built for the speed of flight, that it was strong and swift, fierce and gentle. When it dived to the ground, it moved like light. When it learned to circle and come to his wrist, he nearly shouted with delight. Sometimes the bird would hop to his shoulder and put its beak in his hair. He knew his falcon loved him, and when he was certain it was not just tamed but perfectly tamed, he went to his father and showed him what he had done, expecting him to be proud. “Instead his father took the bird, now tame and trusting, in his hands and broke its neck. ‘I told you to make it obedient,’ his father said, and dropped the falcon’s lifeless body to the ground. ‘Instead, you taught it to love you. Falcons are not meant to be loving pets: They are fierce and wild, savage and cruel. This bird was not tamed; it was broken.’ “Later, when his father left him, the boy cried over his pet, until eventually his father sent a servant to take the body of the bird away and bury it. The boy never cried again, and he never forgot what he’d learned: that to love is to destroy, and that to be loved is to be the one destroyed.
Cassandra Clare (City of Bones (The Mortal Instruments, #1))
Instead his father took the bird, now tame and trusting, in his hands and broke its neck. ‘I told you to make it obedient,’ his father said, and dropped the falcon’s lifeless body to the ground. ‘Instead, you taught it to love you. Falcons are not meant to be loving pets: They are fierce and wild, savage and cruel. This bird was not tamed; it was broken.
Cassandra Clare (City of Bones (The Mortal Instruments, #1))
The distance record holder was the black and white Arctic tern, with its 22,000-mile yearly journey between polar ice caps, but in fall 2006, a team of researchers published news of sooty shearwaters captured in their New Zealand breeding burrows and outfitted with satellite tracking devices. Flying in a giant figure eight over the Pacific basin, they journey 39,000 miles a year. (The birds can also dive beneath the ocean’s surface, searching for squid, to 225 feet.) In 2007, an even more astonishing record was established by a bar-tailed godwit. Satellite tracking allowed researchers to follow a female shorebird who flew 7,145 miles nonstop from Alaska to New Zealand. In nine days, she crossed the vast Pacific, without a single meal, rest, or drink.
Sy Montgomery (Birdology: Adventures with a Pack of Hens, a Peck of Pigeons, Cantankerous Crows, Fierce Falcons, Hip Hop Parrots, Baby Hummingbirds, and One Murderously Big Living Dinosaur)
And long before the appearance of Archaeopteryx—whose scientific name means “first bird
Sy Montgomery (Birdology: Adventures with a Pack of Hens, a Peck of Pigeons, Cantankerous Crows, Fierce Falcons, Hip Hop Parrots, Baby Hummingbirds, and One Murderously Big Living Dinosaur)
A bird in the hand is worth two in the bush,
Glynn Stewart (Interstellar Mage (Starship's Mage: Red Falcon, #1))
Instead his father took the bird, now tame and trusting, in his hands and broke its neck. ‘I told you to make it obedient,’ his father said, and dropped the falcon’s lifeless body to the ground. ‘Instead, you taught it to love you. Falcons are not meant to be loving pets: They are fierce and wild, savage and cruel. This bird was not tamed; it was broken.’ “Later, when his father left him, the boy cried over his pet, until eventually his father sent a servant to take the body of the bird away and bury it. The boy never cried again, and he never forgot what he’d learned: that to love is to destroy, and that to be loved is to be the one destroyed.
Cassandra Clare (City of Bones (The Mortal Instruments, #1))
up’ is from when a bird has eaten too much of his kill and doesn’t want to hunt or do anything for a while,” she said. “And ‘under my thumb’ and ‘wrapped around his little finger’ are from holding a falcon tight to your fist by its jesses so it can’t fly. Those terms were in Shakespeare’s plays and until then they weren’t common usage.
C.J. Box (The Disappeared (Joe Pickett, #18))
use of eagles in falconry demands access to open countryside in unpopulated areas. These large birds are quite capable of killing small dogs. Only the most experienced and responsible falconers should even consider flying eagles. Because they are highly individualist eagles that often do not take well to being handled by more than one person. Due to their size, basic training practices must be altered to accommodate their bulk.
Philip Golding (Falconry & Hawking: The Essential Handbook - Including Equipment, Training and Health)
In 1752, inspired by the mechanistic philosophy of René Descartes, the French scientist René Antoine Ferchault de Réaumur set out to investigate one of these supposed vital activities, digestion, with an ingenious experiment. It was generally believed at the time that animals digested their food by a mechanical process brought about by pounding and churning within their digestive organs. This theory seemed especially pertinent to birds, whose gizzards contained small stones that were thought to macerate their food—a mechanical action consistent with René Descartes’s view (outlined in the previous chapter) that animals were mere machines. But de Réaumur was puzzled by how birds of prey, whose gizzards lacked digestive stones, also managed to digest their food. So he fed his pet falcon small pieces of meat enclosed in tiny metal capsules punctured by small holes. When he recovered the capsules he discovered that the meat was completely digested, despite the fact that, protected within the metal, it could not have been subject to any mechanical action.
Johnjoe McFadden (Life on the Edge: The Coming of Age of Quantum Biology)
They began a dance, the woman and the bird, a swinging and sweeping dance that defied the compass of the earth, marked by the flash of emeralds, the bells, and the white glory of the falcon’s twisting flight as it drove and stooped and chased the toll. Around and around the lure spun, beckoning and evading, mercurial, up and down and doubled back, the falcon keen and nimble in pursuit—an eternity— and yet before Ruck could take his eyes from them, before he could imprint the picture on his mind, before he could overcome the irresistible rise of his heart at the sight of the falcon’s dance, it was over.
Laura Kinsale (For My Lady's Heart (Medieval Hearts, #1))
It was tedious work; they had to reheat the dagger several times to cauterise all the wounds. The Falconer was half-mad with pain by the time they’d finished; his eyes were closed and his teeth clenched. The air in the enclosed room stank of burnt flesh and scalded blood. ‘Now,’ said Locke, sitting on the Falconer’s chest, ‘it’s time to talk.’ ‘I cannot,’ said the Bondsmage. ‘I cannot . . . betray my client’s secrets.’ ‘You no longer have a client,’ said Locke. ‘You no longer serve Capa Raza; he hired a Bondsmage, not a fingerless freak with a dead bird for a best friend. When I removed your fingers, I removed your obligations to Raza – at least the way I see it.’ ‘Go to hell,’ the Falconer spat. ‘Oh, good. You’ve decided to do it the hard way.’ Locke smiled again and tossed the dagger to Jean, who set it over the flame and began to heat it once more. ‘If you were any other man, I’d threaten your balls next. I’d make all sorts of cracks about eunuchs, but I think you could bear that. You’re not most men. I think the only thing I can take from you that would truly pain you to the depths of your soul would be your tongue.’ The Bondsmage stared at him, his lips quivering. ‘Please,’ he whispered at last, ‘have pity, for the gods’ sakes, have pity; my order exists to serve – I was carrying out a contract.’ ‘When that contract became my friends,’ said Locke, ‘you exceeded your mandate.’ ‘Please,’ whispered the Falconer. ‘No,’ said Locke. ‘I will cut it out; I will cauterise it while you lie there writhing. I will make you a mute – I’m guessing you might be able to conjure some magic without fingers, but without a tongue?’ ‘Please!’ ‘Speak,’ said Locke. ‘Tell me what I want to know.’ ‘Gods,’ sobbed the Falconer. ‘Gods forgive me. Ask. Ask your questions.’ ‘If I catch you in a lie,’ said Locke, ‘it’s balls first, and then the tongue. Don’t presume on my patience. Why did Capa Raza want us all dead?
Scott Lynch (The Lies of Locke Lamora (Gentleman Bastard #1))
They were hunting dogs, the student continued, who ran in packs behind a falcon or hawk, the bird guiding them towards their prey. In each pack there were two principal dogs whose role it was to watch the hawk as they ran. The complexity and speed of this proceed, he said, could not be overestimated: the pack flowed silently over the landscape, light and inexorable as death itself, encroaching unseen and unheard on its target. To follow the subtlety of the hawk’s signals overhead while running at speed was a demanding and exhausting feat: the two principal dogs worked in concert, the one taking over while the other rested its concentration and then back again. This idea, of the two dogs sharing the work of reading the hawk, was one he found appealing. It suggested that ultimate fulfilment of a conscious being lay not in solitude but in a shared state so intricate and cooperative it might almost be said to represent the entwining of two selves. This notion, of the unitary self being broken down, of consciousness not as an imprisonment in one’s perceptions but rather as something more intimate and less divided, a universality that could come from shared experience at the highest level - well, like the German training before him, he was both seduced by the idea and willing to do the hard work in executing it.
Rachel Cusk (Transit)
Foreign leaves feed many a marsupial, grub and duck. Koalas often munch on American cypress pine needles and camphor laurel leaves. (They also like to perch in camphor laurels in summer for the cool shade they throw.) Exotic foods, and I don’t just mean weeds, are thoroughly enmeshed in foodwebs. Most Australia’s birds of prey take exotic meats. A study around Mildura found that young rabbits were the staple food (60-92 percent by weight) of eagles, goshawks, harriers, kites and falcons – eight species in all. That was be calicivirus struck. Wedge-tailed eagles will eat feral cats. In Western Australia little eagles moved into the south-west when rabbits arrived, then retreated after myxomatosis struck. House mice feed hawks, snakes and owls in central Australia, making up to 97 percent of barn owl diets.
Tim Low (Radio Volume 2)
(Warning: You can get into something of a tangle with these birds. Many people use the words sparrowhawk and kestrel interchangeably, but kestrels, Eurasian or American, are all falcons, while not all sparrowhawks are kestrels, or vice versa. You see what I mean? I am only sorry we lost the beautiful British name windhover. But we have G. M. Hopkins’s poem.)
Ursula K. Le Guin (No Time to Spare: Thinking About What Matters)
This recent recovery was in no way apparent in Baker’s lifetime or to a generation of writers growing up in the 1960s. Tim Dee writes that he ‘grew up thinking of peregrines as sickly’. ‘The magnificent hunter, the apotheosis of the wild, the falcon on the king’s gloved fist, was becoming as helpless as a spastic battery hen, a bird that broke its own eggs.
J.A. Baker (The Peregrine)
Manicunian
Joshua Hammer (The Falcon Thief: A True Tale of Adventure, Treachery, and the Hunt for the Perfect Bird)
A pen in a case is like a bird in a cage.
R.P. Falconer (Compendium 4)
Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight: somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born?
WB Yeatts
THE NEXT DAY, GREG AND THE OTHER MUSKETEERS WOKE at the crack of dawn to ride to the royal hunting grounds along with the king—and the king’s staggeringly large entourage. There were four falconers, a squadron of soldiers, two dozen servants, and a coterie of distant relatives and other hangers-on. Despite all the attendants, King Louis was the only one allowed to participate in any of the actual falconry—although in truth, Louis really just sat on his horse and had other people do everything for him. The falconers brought him the birds. A stable boy held the reins of his horse. There were even servants armed with parasols to shade the king from the sun. And for what? At the far end of the field, a gamekeeper would release a previously captured dove. Then, with great fanfare, Louis would remove the blindfold from his falcon, which would take off—and kill the dove. That was it. To make it all worse, even if Greg had wanted to watch one bird kill another, the attack generally happened very far away, often quite high up in the sky, so that it merely looked like one dot flying into a slightly smaller dot. While Greg found the whole process mind-numbing, everyone else seemed absolutely enthralled. Even Aramis, who Greg wouldn’t have expected to root for the death of anything, was beside
Stuart Gibbs (Traitor's Chase (The Last Musketeer, #2))
Factfulness: Ten Reasons We’re Wrong About the World—and Why Things Are Better Than You Think. Lendrum’s
Joshua Hammer (The Falcon Thief: A True Tale of Adventure, Treachery, and the Hunt for the Perfect Bird)
The vultures came in shifts, sentinels to the requiem. The topmost ridges were first to welcome the daylight. A falcon swooped through the valley, scattering its benediction. I was mesmerized by the sentry duty of the carrion birds. They watched to see that all was well on earth: that death took its allotted share of animals and in return left provisions. Below, on the steep slopes that chamfered the gorge, the yaks grazed. Lying in the long grasses, cold, calm and watchful, Léo studied every crag through his binoculars. I was less conscientious. Patience has its limits, and I had come to the end of mine when we reached the canyon. I was busy assigning each animal a rung on the social ladder of the kingdom. The snow leopard was the regent; her status reinforced by her invisibility. She reigned, and therefore had no need to show herself. The prowling wolves were knavish princes; the yaks, richer burghers, warmly attired; the lynxes were musketeers; the foxes country squires; the blue sheep and the wild donkeys were the general populace. The raptors represented the priests, hieratic masters of the heavens and of death. These clerics in plumed livery were not against the idea that things might bode ill for us.
Sylvain Tesson (The Art of Patience: Seeking the Snow Leopard in Tibet)
She lives, Lord Buzzard—” “Hawk.” “Both birds of prey. What difference?” “A buzzard is a scavenger. A hawk selects his kill as carefully as a falcon. Stalks it with the same unerring conviction. And fails as frequently—which is never.” “Never,” Adam mused. “There are no absolutes, Lord Hawk.” “In that you’re wrong. I choose, I adhere, I pursue, I commit, I attain. That—that, my errant friend—is an absolute.
Karen Marie Moning (Beyond the Highland Mist (Highlander, #1))
He sighed. "I do hope not. I should have to train another porter. I quite fancied a royina for a time." The eyes glittered. "So does my great-souled Illvin. He's prayed to Me for you, after all. Consider my reputation." Ista considered His reputation. "It's dreadful," she observed. He merely grinned, that familiar, stolen, heart-stopping flash of teeth. "What training?" she added, feeling suddenly cantankerous. "You never explained anything." "Instructing you, sweet Ista, would be like teaching a falcon to walk up to its prey. It might with great effort be done, but one would end with a very footsore and cranky bird, and a tedious wait for dinner. With a wingspan like yours, it's ever so much easier just to shake you from my wrist and let you fly." "Plummet," Ista growled. "No. Not you. Granted, you tumble and complain halfway down the abyss, but eventually you do spread your wings and soar.
Lois McMaster Bujold (The Curse of Chalion (World of the Five Gods, #1))
Civilisations rise and fall, but the hawks stay the same. This gives falconry birds the ability to feel like relics from the distant past. You take a hawk onto your fist. You imagine the falconer of the past doing the same. It is hard not to feel it is the same hawk. I once asked my friends if they’d ever held things that gave them a spooky sense of history. Ancient pots with three-thousand-year-old thumbprints in the clay, said one. Antique keys, another. Clay pipes. Dancing shoes from WWII. Roman coins I found in a field. Old bus tickets in secondhand books. Everyone agreed that what these small things did was strangely intimate; they gave them the sense, as they picked them up and turned them in their fingers, of another person, an unknown person a long time ago, who had held that object in their hands. You don’t know anything about them, but you feel the other person’s there, one friend told me. It’s like all the years between you and them disappear. Like you become them, somehow.
Helen Macdonald (H is for Hawk)
There is a part of me, like a white-winged falcon, free, proud, wild, a souring thing that goes its own way seeking the bright stars and the sun. If you kill that white bird, I will be earthbound, bound in the patterns of men, with no words of my own, no actions of my own. I will take that bird for you, cage it. Only let it live.
Patricia A. McKillip (The Forgotten Beasts of Eld)