Song Of A Captive Bird Quotes

I was a woman and I couldn't speak with the voice of a man, because it was not my voice - not true and not my own. But there was more to it than that. By writing in a woman's voice I wanted to say that a woman, too, is a human being. To say that we, too, have the right to breathe, to cry out, and to sing.

We only lose ourselves by looking back.

Art could survive; even when suppressed, even when outlawed, it could survive far worse fates than fire.

Remember the flight, for the bird is mortal.

A woman could see herself better when she wasn't known, I decided.

You don’t own the stories that happen to you,

A woman could see herself better where she wasn’t known, I decided.

Remember its flight, for the bird is mortal. —Forugh Farrokhzad, Iranian poet (1935–1967)

Mine was a country where they said a woman’s nature is riddled with sin, where they claimed that women’s voices had the power to drive men to lust and distract them from matters of both heaven and earth.

Is there a more pitiable spectacle than that of a wife contending with others for that charm in her husband's sight which no philters and no prayers can renew when once it has fled forever? Women are so unwise. Love is like a bird's song beautiful and eloquent when heard in forest freedom, harsh and worthless in repetition when sung from behind prison bars. You cannot secure love by vigilance, by environment, by captivity. What use is it to keep the person of a man beside you if his soul be truant from you?

I’d long since discovered the pleasure of breaking a rule, but that day I coupled it with an even greater pleasure: telling a story.

In Abadan I was different, but no one particularly cared. A woman could see herself better where she wasn’t known, I decided.

My memory is chained; captive the bird that sketches the evening in song." From Weathervane ("Veleta")

You don't own the stories that happen to you.

By insulting people’s intelligence you lose any chance to educate them, and in refusing the validity of their perspective you’ve denied yourself the main purpose of making art.

Connection,” I said. “Not just between one idea and another, but between people.

Love is another country. No, I’d go further than that. The difference between foreign countries is never so great as the difference between being in love and not being in love. Not only does the world around you seem changed when you are in love—bright where it was once dull, lively and varied where it was once routine—but people are different, not least of all you yourself, though the difference might be that you’ve returned to your native self.

It was autumn, the season of pomegranate and quince. The scent of roasted nuts and barbecued corn from the street vendors, of mud-packed alleyways, gasoline fumes, and concrete roads—I hadn’t known, until I encountered them again, how much I’d missed the city.

Among my associates, there were no takers. Understandably the boys of my age and social group were captivated by the yellow-or light-brown-skinned girls, with hairy legs and smooth little lips, and whose hair “hung down like horses' manes.” And even those sought-after girls were asked to “give it up or tell where it is.” They were reminded in a popular song of the times, “If you can't smile and say yes, please don't cry and say no.

The real loser in the eastern forests has been the songbird. One of the most striking losses was the Carolina parakeet, a lovely, innocuous bird whose numbers in the wild were possibly exceeded only by the unbelievably numerous passenger pigeon. (When the first pilgrims came to America there were an estimated nine billion passenger pigeons—more than twice the number of all birds found in America today.) Both were hunted out of existence—the passenger pigeon for pig feed and the simple joy of blasting volumes of birds from the sky with blind ease, the Carolina parakeet because it ate farmers’ fruit and had a striking plumage that made a lovely ladies’ hat. In 1914, the last surviving members of each species died within weeks of each other in captivity. A similar unhappy fate awaited the delightful Bachman’s warbler. Always rare, it was said to have one of the loveliest songs of all birds. For years it escaped detection, but in 1939, two birders, operating independently in different places, coincidentally saw a Bachman’s warbler within two days of each other. Both shot the birds (nice work, boys!), and that, it appears, was that for the Bachman’s warbler. But there are almost certainly others that disappeared before anyone much noticed. John James Audubon painted three species of bird—the small-headed flycatcher, the carbonated warbler, and the Blue Mountain warbler—that have not been seen by anyone since. The same is true of Townsend’s bunting, of which there is one stuffed specimen in the Smithsonian Institution in Washington. Between the 1940s and 1980s, the populations of migratory songbirds fell by 50 percent in the eastern United States (in large part because of loss of breeding sites and other vital wintering habitats in Latin America) and by some estimates are continuing to fall by 3 percent or so a year. Seventy percent of all eastern bird species have seen population declines since the 1960s. These days, the woods are a pretty quiet place.

The city had changed beyond recognition. Wrecking balls and bulldozers had leveled the old buildings to rubble. The dust of construction hung permanently over the streets. Gated mansions reached up to the northern foothills, while slums fanned out from the city’s southern limits. I feared an aged that had lost its heart, and I was terrified at the thought of so many useless hands. Our traditions were our pacifiers and we put ourselves to sleep with the lullaby of a once-great civilation and culture. Ours was the land of poetry flowers, and nightingales—and poets searching for rhymes in history’s junkyards. The lottery was our faith and greed our fortune. Our intellectuals were sniffing cocaine and delivering lectures in the back rooms of dark cafés. We bought plastic roses and decorated our lawns and courtyards with plaster swans. We saw the future in neon lights. We had pizza shops, supermarkets, and bowling alleys. We had trafric jams, skyscrapers, and air thick with noise and pollution. We had illiterate villagers who came to the capital with scraps of paper in their hands, begging for someone to show them the way to this medical clinic or that government officee. the streets of Tehran were full of Mustangs and Chevys bought at three times the price they sold for back in America, and still our oil wasn’t our own. Still our country wasn’t our own.

Eventually, the men’s talk of politics turned to poetry. The recitations could begin with a quatrain from Omar Khayyam’s Rubaiyat: I need a jug of wine and a book of poetry, Half a loaf for a bite to eat, Then you and I, seated in a deserted spot, Will have more wealth than a Sultan’s realm. To which a voice might answer with a poem by Rumi: My arrow of love has arrived at the target I am in the house of mercy and my heart is a place of prayer. These gatherings went on for hours, with one guest after another reciting poems of the Persian masters—Rumi, Khayyam, Sa’adi, snd Hafez. That my father, the Colonel, who could make us cower with a single sidelong glance, produced the most skillful recitations both bewildered and fascinated me. His voice had a deep timbre perfectly suited to reciting verse, and the frequent cries of “Lovely!” and “Exquisite!” roused him to ever more passionate declamation. I listened from behind the window, enraptured by the music of a language that can sometimes sound like susurrations of a lover and sometimes like the reed’s plaintive song. The words hooked into me and wouldn’t let me go. Rivers, oceans, and deserts, the nightingale and the rose—the perennial symbols of Persian poetry first grew familiar to me through these late-night scenes in the garden, and even though I was still a young girl, only just a child, the verses called me away to different lands.

But I don’t like this feeling of secrecy. I don’t like to pretend. I had to do that for so long, before.

NIGHT The sun descending in the West, The evening star does shine; The birds are silent in their nest, And I must seek for mine.

All at once the desert was everywhere, and I was overcome with a feeling of relief. Sand, rocks, hills—the whole landscape was tinted the same shade of orange as the sky.

Our garden had fallen to ruin, and I would never forgive my father’s sin in destroying it.

Every blue moon he dreamt of casting off all the expectations that sat heavy on him. Sometimes he imagined becoming a traveling bard who drank lore and spun it into song. He imagined gathering stories and reawakening places that were half dead and forgotten. And he wondered if remaining at the university, held within stone and glass and structure, was more akin to being a bird, held captive in an iron cage. But these were dangerous thoughts. It must be the isle blood in him. To crave a life of risk and little responsibility. To let the wind carry him from place to place.

Eventually, he felt an overwhelming urge to meld his voice with the notes, and he began to play his ballad for the wind. Jack sang his verses, his fingers strumming with confidence. He sang to the southern wind with its promise of strength in battle. He sang to the western wind with its promise of healing. He sang to the northern wind with its promise of vindication. The notes rose and fell, undulating like the hills far beneath him. But while the wind carried his music and his voice, the folk of the air didn’t answer. What if they refuse to come? Jack wondered, with a pulse of worry. From the corner of his eye, he watched as Adaira rose to her feet. The wind seemed to be waiting for her to move. To stand and meet it. She stood planted on the rock as Jack continued to play, shielded by Orenna’s essence. Twice, he had played for the spirits and had nearly forgotten he was a man, that he was not a part of them. But this time he held firmly to himself as he watched the folk answer. The southern wind manifested first. They arrived with a sigh and formed themselves from the gust, individualizing into men and women with hair like fire—red and amber with a trace of blue. Great feathered wings bloomed from their backs like those of a bird, and each beat of their pinions emitted a wash of warmth and longing. Jack could taste the nostalgia they offered; he drank it like a bittersweet wine, like the memories of a summer long ago. The east wind was the next to arrive. They manifested in a flurry of leaves, their hair like molten gold. Their wings were fashioned like those of a bat, long and pronged and the shade of dusk. They carried the fragrance of rain in their wings. The west wind spun themselves out of whispers, with hair the shade of midnight, long and jeweled with stars. Their wings were like those of a moth, patterned with moons, beating softly and evoking both beauty and dread as Jack beheld them. The air shimmered at their edges like a dream, as if they might melt at any moment, and their skin smelled of smoke and cloves as they hovered in place, unable to depart as Jack’s music captivated them. Half of the spirits watched him, entranced by his ballad. But half of them watched Adaira, their eyes wide and brimming with light. “It’s her,” some of them whispered. Jack missed a note. He quickly regained his place, pushing his concern aside. It felt like his nails were creating sparks on the brass strings. He sang the verse for the northern wind again. The sky darkened. Thunder rumbled in the distance as the north reluctantly answered Jack’s summoning. The air plunged cold and bitter as the strongest of the winds manifested from wisps of clouds and stinging gales. It answered the music, fragmenting into men and women with flaxen hair, dressed in leather and links of silver webs. Their wings were translucent and veined, reminiscent of a dragonfly’s, boasting every color found beneath the sun. They came reluctantly, defiantly. Their eyes bore into him like needles. Jack was alarmed by their reaction to him. Some of them hissed through their sharp teeth, while others cowered as if awaiting a death blow. His ballad came to its end, and the absence of his voice and music sharpened the terror of the moment. Adaira continued to stand before an audience of manifested spirits, and Jack was stunned by the sight of them. To know that they had rushed alongside him as he walked the east. That he had felt their fingers in his hair, felt them kiss his mouth and steal words from his lips, carrying his voice in their hands. And his music had just summoned them. His voice and song now held them captive, beholden to him. He studied the horde. Some of the spirits looked amused, others shocked. Some were afraid, and some were angry.

I take the first true measure of my body and decide that it’s shame, not sin, that’s unholy.

Someone once told me you had to break a bird’s wings to make it stay a beautiful captive, singing its song of sorrow in a pretty gilded cage. Yet wasn’t I taking the coward’s way out by not clipping the bird’s wings myself?

Letting go is letting your love come and go; when it brings visitors, you are gracious enough to feed them. when the visitors wish to leave, you give them something to take with them, brush their coats and hold the door open. birds fly in and out of the windows: if you close the shutters against them, you'll never hear them sing; if you put them in cages their songs will be songs of homesick captives.

Letting go is letting your love come and go; when it brings visitors, you are gracious enough to feed them. when the visitors wish to leave, you give them something to take with them, brush their coats and hold the door open. birds fly in and out of the windows: if you close the shutters against them, you'll never hear them sing; if you put them in cages their songs will be songs of homesick captives.

Letting go is letting your love come and go; when it brings visitors, you are gracious enough to feed them. When the visitors wish to leave, you give them something to take with them, brush their coats and hold the doors open. Birds fly in and out of the windows: if you close the shutters against them, you'll never hear them sing; if you put them in cages their songs will be songs of homesick captives.