Sparrow Chirping Quotes

The birds, on the other hand, were going crazy. They filled the air with chirps and trills and songs. It was probably sparrow for Holy shit, what’s going on, we’re all gonna die, but it sounded pretty.

Men must not cut down trees. There is a God. (He noted such revelations on the backs of envelopes.) Change the world. No one kills from hatred. Make it known (he wrote it down). He waited. He listened. A sparrow perched on the railing opposite chirped Septimus, Septimus, four or five times over and went on, drawing its notes out, to sing freshly and piercingly in Greek words how there is no crime and, joined by another sparrow, they sang in voices prolonged and piercing in Greek words, from trees in the meadow of life beyond a river where the dead walk, how there is no death.

I think of two landscapes- one outside the self, the other within. The external landscape is the one we see-not only the line and color of the land and its shading at different times of the day, but also its plants and animals in season, its weather, its geology… If you walk up, say, a dry arroyo in the Sonoran Desert you will feel a mounding and rolling of sand and silt beneath your foot that is distinctive. You will anticipate the crumbling of the sedimentary earth in the arroyo bank as your hand reaches out, and in that tangible evidence you will sense the history of water in the region. Perhaps a black-throated sparrow lands in a paloverde bush… the smell of the creosote bush….all elements of the land, and what I mean by “the landscape.” The second landscape I think of is an interior one, a kind of projection within a person of a part of the exterior landscape. Relationships in the exterior landscape include those that are named and discernible, such as the nitrogen cycle, or a vertical sequence of Ordovician limestone, and others that are uncodified or ineffable, such as winter light falling on a particular kind of granite, or the effect of humidity on the frequency of a blackpoll warbler’s burst of song….the shape and character of these relationships in a person’s thinking, I believe, are deeply influenced by where on this earth one goes, what one touches, the patterns one observes in nature- the intricate history of one’s life in the land, even a life in the city, where wind, the chirp of birds, the line of a falling leaf, are known. These thoughts are arranged, further, according to the thread of one’s moral, intellectual, and spiritual development. The interior landscape responds to the character and subtlety of an exterior landscape; the shape of the individual mind is affected by land as it is by genes. Among the Navajo, the land is thought to exhibit sacred order…each individual undertakes to order his interior landscape according to the exterior landscape. To succeed in this means to achieve a balanced state of mental health…Among the various sung ceremonies of this people-Enemyway, Coyoteway, Uglyway- there is one called Beautyway. It is, in part, a spiritual invocation of the order of the exterior universe, that irreducible, holy complexity that manifests itself as all things changing through time (a Navajo definition of beauty).

The birds, on the other hand, were going crazy. They filled the air with chirps and trills and songs. It was probably sparrow for Holy shit, what’s going on, we’re all gonna die, but it sounded pretty. Amos

When April bends above me And finds me fast asleep, Dust need not keep the secret A live heart died to keep. When April tells the thrushes, The meadow-larks will know, And pipe the three words lightly To all the wind that blow. Above his roof the swallows, In notes like far-blown rain, Will tell the chirping sparrow Beside his window-pane. O sparrow, little sparrow, When I am fast asleep, Then tell my love the secret That I have died to keep.

There is still life, however. Birds chirp; sparrows, they must be. Their small voices are clear and sharp, nails on glass: there’s no longer there’s no longer any sound of traffic to drown them out. Do they notice that quietness, the absence of motors? If so, are they happier?

Two tiny sparrows hopped along the branch of a nearby pine tree, fluffing up their feathers in the rain and chirping at each other fondly. Animals, Nor had learned, have their own names for each other. Best translated, they were typically things like Winsome, Persnickety, and Sanctimonious. Of these two, one called himself Vigilant, the other Balderdash.

Then I used to lock myself in my room, or go to the end of the garden, climb on to the ruin of a high stone greenhouse and, dangling my legs from the wall which looked out on the road, would sit for hours, staring and staring, seeing nothing. Near me, over the dusty nettles, white butterflies fluttered lazily. A pert little sparrow would fly down on to a half-broken red brick nearby, and would irritate me with its chirping, ceaselessly turning its whole body with its outspread tail; the crows, still wary, occasionally cawed, sitting high, high on the bare top of a birch -- while the sun and wind played gently in its spreading branches; the bells of the Donskoy monastery would sometimes float across -- tranquil and sad -- and I would sit and gaze and listen, and would be filled with a nameless sensation which had everything in it; sorrow and joy, a premonition of the future, and desire, and fear of life. At the time, I understood none of this, and could not have given a name to any of the feelings which seethed within me; or else I would have called it all by one name – the name of Zinaida.

what was it, oh if only this kind of delay wasn’t happening just when Mai, away at college and so far from them, was coming back for a visit, you can never be sure of course, not even sure she was still his daughter, what he did seem to know was the wild sparrow in Madrid, chirping in despair like the chick this morning, endless cries ignored by merchants, standing with cross-armed in front of their shops, and about to sweep it away with the street dust under its golden newborn feathers, when would all this stop drumming in Daniel’s ears like the sparrow he’d left to its fate among the cables of the Madrid station, and this is what we all do without a clue how it leads to our undoing, unknowingly building airports, stations, steel and concrete deserts,

On a winter’s day when a person’s spirits may be low and to behold thirty to one-hundred Evening Grosbeaks busily gorging themselves on bird seed and perched in a stand of pines with all of them creating a cacophony of sparrow like chirps, this is real therapy for me. It is an act of contagious optimism. It is at such times I realize that a bird can do more for me than a shrink.

One attraction in coming to the woods to live was that I should have leisure and opportunity to see the Spring come in. The ice in the pond at length begins to be honeycombed, and I can set my heel in it as I walk. Fogs and rains and warmer suns are gradually melting the snow; the days have grown sensibly longer; and I see how I shall get through the winter without adding to my wood-pile, for large fires are no longer necessary. I am on the alert for the first signs of spring, to hear the chance note of some arriving bird, or the striped squirrel’s chirp, for his stores must be now nearly exhausted, or see the woodchuck venture out of his winter quarters. On the 13th of March, after I had heard the bluebird, song sparrow, and red-wing, the ice was still nearly a foot thick.

The actual proof of this Unborn which perfectly manages [everything] is that, as you’re all turned this way listening to me talk, if out back there’s the cawing of crows, the chirping of sparrows or the rustling of the wind, even though you’re not deliberately trying to hear each of these sounds, you recognize and distinguish each one. The voices of the crows and sparrows, the rustling of the wind—you hear them without making any mistake about them, and that’s what’s called hearing with the Unborn. In this way, all things are perfectly managed with the Unborn. This is the actual proof of the Unborn. Conclusively realize that what’s unborn and marvelously illuminating is truly the Buddha Mind,

Again I see before me the usual street. The canopy of civilization is burnt out. The sky is dark as polished whalebone. But there is a kindling in the sky whether of lamplight or of dawn. There is a stir of some sort--sparrows on plane trees somewhere chirping. There is a sense of the break of day. I will not call it dawn. What is dawn in the city to an elderly man standing in the street looking up rather dizzily at the sky? Dawn is some sort of whitening of the sky; some sort of renewal. Another day; another Friday; another twentieth of March, January, or September. Another general awakening. The stars draw back and are extinguished. The bars deepen themselves between the waves. The film of mist thickens on the fields. A redness gathers on the roses, even on the pale rose that hangs by the bedroom window. A bird chirps. Cottagers light their early candles. Yes, this is the eternal renewal, the incessant rise and fall and fall and rise again. 'And in me too the wave rises. It swells; it arches its back. I am aware once more of a new desire, something rising beneath me like the proud horse whose rider first spurs and then pulls him back. What enemy do we now perceive advancing against us, you whom I ride now, as we stand pawing this stretch of pavement? It is death. Death is the enemy. It is death against whom I ride with my spear couched and my hair flying back like a young man's, like Percival's, when he galloped in India. I strike spurs into my horse. Against you I will fling myself, unvanquished and unyielding, O Death!' The waves broke on the shore.

not like when you listen in the morning, coffee up in your nostrils, a single chirp at the deck window & you really listening to find out if that’s the same sparrow as the day before. that kind of listening.

Some reputable scientists, even today, are not wholly satisfied with the notion that the song of birds is strictly and solely a territorial claim. It’s an important point. We’ve been on earth all these years and we still don’t know for certain why birds sing. We need someone to unlock the code to the foreign language and give us the key; we need a new Rosetta stone. Today I watched and heard a wren, a sparrow, and the mockingbird sing. My brain started to trill, why why why, what is the meaning meaning meaning? It’s not that they know something we don’t; we know much more than they do, and surely they don’t even know why they sing. No; we have been as usual asking the wrong question. It does not matter a hoot what the mockingbird on the chimney is singing. If the mockingbird were chirping to give us the long-sought formulae for a unified field theory, the point would be only slightly less irrelevant. The real and proper question is: Why is it beautiful? The question is there since I take it as given as I have said, that beauty is something objectively performed- the tree that falls in the forest- having being externally, stumbled across, or missed, as real and present as both sides of the moon…If the lyric is simply, mine mine mine, then why the extravagance of the score? It has the liquid, intricate sound of every creek’s tumble over every configuration of rock creek-bottom in the country. Beauty itself is the language to which we have no key; it is the mute cipher, the cryptogram, the uncracked, unbroken code. And it could be that for beauty there is no key, that it will never make sense in our language but only in its own, and that we need to start all over again, on a new continent, learning the strange syllables one by one.

There was a happy chirping in the cloakroom as the children put on their walking shoes. Mary, standing at the door, thought they might have been sparrows, so loud was the chirping and so fulfilled with satisfaction. Perhaps the purpose of sparrows, as of children let out of school, was just to remark loudly and with repetition that in spite of any appearance to the contrary everything is quite all right.

Curse you then. However beat and done with it all I am, I must haul myself up, and find the particular coat that belongs to me; must push my arms into the sleeves; must muffle myself up against the night air and be off. I, I, I, tired as I am, spent as I am, and almost worn out with all this rubbing of my nose along the surfaces of things, even I, an elderly man who is getting rather heavy and dislikes exertion, must take myself off and catch some last train. Again I see before me the usual street. The canopy of civilization is burnt out. The sky is dark as polished whalebone. But there is a kindling in the sky whether of lamplight or of dawn. There is a stir of some sort—sparrows on plane tree somewhere chirping. There is a sense of the break of day. I will not call it dawn. What is dawn in the city to an elderly man standing in the street looking up rather dizzily at the sky? Dawn is some sort of whitening of the sky; some sort of renewal. Another day; another Friday; another twentieth of March, January, or September. Another general awakening. The stars draw back and are extinguished. The bars deepen themselves between the waves. The film of mist thickens on the fields. A redness gathers on the roses, even on the pale rose that hangs by the bedroom window. A bird chirps. Cottagers light their early candles. Yes, this is the eternal renewal, the incessant rise and fall and fall and rise again. And in me too the wave rises. It swells; it arches its back. I am aware once more of a new desire, something rising beneath me like the proud horse whose rider first spurs and then pulls him back. What enemy do we now perceive advancing against us, you whom I ride now, as we stand pawing this stretch of pavement? It is death. Death is the enemy. It is death against whom I ride with my spear couched and my hair flying back like a young man’s, like Percival’s, when he galloped in India. I strike spurs into my horse. Against you I will fling myself, unvanquished and unyielding, O Death! The waves broke on the shore.

There was only another time in my life when I felt like that: last year, the morning after Mum died, when I woke up with my heart in tatters to a world that had not taken notice. Sparrows were chirping, newspapers were out. The season hadn’t turned overnight. It was obscene.

Never yet have I been able to write what I feel about the sunlight only. Colour and form and light are as magic to me. It is a trance. It is ten years since I have reclined on that grass plot, and yet I have been writing of it as if yesterday, and every blade of grass is as visible and real to me now as then. That beautiful and wonderful light excited a sense of some likewise beautiful or wonderful truth, some unknown but grand thought hovering as a swallow above. There was something here that was not in the books of human knowledge. This is what it intends, this is the explanation of a dream. The very grass-blades confounded the wisest, the tender leaf put them to shame, the grasshopper derided them, the sparrow chirped his scorn.

The angel was sitting by his bed when Simon Iddesleigh, sixth Viscount Iddesleigh, opened his eyes. He would've thought it a terrible dream, one of an endless succession that haunted him nightly -- or worse, that he'd not survived the beating and had made that final infinite plunge out of this world and into the flaming next. But he was almost certain hell did not smell of lavender and starch, did not feel like worn linen and down pillows, did not sound with the chirping of sparrows and the rustle of gauze curtains. And, of course, there were no angels in hell.

...soothed passage of the cars, slight pressure of the sparrow's chirps--just what the old glass gently tested, bending, she would have meant, and not a dream ascending.