Candle Lighting Ceremony Quotes

Maybe we should go on lots of double dates,” Cath said, “and then we can get married on the same day in a double ceremony, in matching dresses, and the four of us will light the unity candle all at the same time.” “Pfft,” Levi said, “I’m picking out my own dress.

Agnes Shay had the true spirit of a maid. Moistened with dishwater and mild eau de cologne, reared in narrow and sunless bedrooms, in back passages, back stairs, laundries, linen closets, and in those servants' halls that remind one of a prison, her soul had grown docile and bleak...Agnes loved the ceremonies of a big house. She drew the curtains in the living room at dark, lighted the candles on the table, and struck the dinner chimes like an eager altar boy. On fine evenings, when she sat on the back porch between the garbage pails and the woodbins, she liked to recall the faces of all the cooks she had known. It made her life seem rich.

Italy still has a provincial sophistication that comes from its long history as a collection of city states. That, combined with a hot climate, means that the Italians occupy their streets and squares with much greater ease than the English. The resultant street life is very rich, even in small towns like Arezzo and Gaiole, fertile ground for the peeping Tom aspect of an actor’s preparation. I took many trips to Siena, and was struck by its beauty, but also by the beauty of the Siennese themselves. They are dark, fierce, and aristocratic, very different to the much paler Venetians or Florentines. They have always looked like this, as the paintings of their ancestors testify. I observed the groups of young people, the lounging grace with which they wore their clothes, their sense of always being on show. I walked the streets, they paraded them. It did not matter that I do not speak a word of Italian; I made up stories about them, and took surreptitious photographs. I was in Siena on the final day of the Palio, a lengthy festival ending in a horse race around the main square. Each district is represented by a horse and jockey and a pair of flag-bearers. The day is spent by teams of supporters with drums, banners, and ceremonial horse and rider processing round the town singing a strange chanting song. Outside the Cathedral, watched from a high window by a smiling Cardinal and a group of nuns, with a huge crowd in the Cathedral Square itself, the supporters passed, and to drum rolls the two flag-bearers hurled their flags high into the air and caught them, the crowd roaring in approval. The winner of the extremely dangerous horse race is presented with a palio, a standard bearing the effigy of the Virgin. In the last few years the jockeys have had to be professional by law, as when they were amateurs, corruption and bribery were rife. The teams wear a curious fancy dress encompassing styles from the twelfth to the eighteenth centuries. They are followed by gangs of young men, supporters, who create an atmosphere or intense rivalry and barely suppressed violence as they run through the narrow streets in the heat of the day. It was perfect. I took many more photographs. At the farmhouse that evening, after far too much Chianti, I and my friends played a bizarre game. In the dark, some of us moved lighted candles from one room to another, whilst others watched the effect of the light on faces and on the rooms from outside. It was like a strange living film of the paintings we had seen. Maybe Derek Jarman was spying on us.

The sun goes down and it's night-time in New Orleans. The moon rises, midnight chimes from St. Louis cathedral, and hardly has the last note died away than a gruesome swampland whistle sounds outside the deathly still house. A fat Negress, basket on arm, comes trudging up the stairs a moment later, opens the door, goes in to the papaloi, closes it again, traces an invisible mark on it with her forefinger and kisses it. Then she turns and her eyes widen with surprise. Papa Benjamin is in bed, covered up to the neck with filthy rags. The familiar candles are all lit, the bowl for the blood, the sacrificial knife, the magic powders, all the paraphernalia of the ritual are laid out in readiness, but they are ranged about the bed instead of at the opposite end of the room as usual. The old man's head, however, is held high above the encumbering rags, his beady eyes gaze back at her unflinchingly, the familiar semicircle of white wool rings his crown, his ceremonial mask is at his side. 'I am a little tired, my daughter,' he tells her. His eyes stray to the tiny wax image of Eddie Bloch under the candles, hairy with pins, and hers follow them. 'A doomed one, nearing his end, came here last night thinking I could be killed like other men. He shot a bullet from a gun at me. I blew my breath at it, it stopped in the air, turned around, and went back in the gun again. But it tired me to blow so hard, strained my voice a little.' A revengeful gleam lights up the woman's broad face. 'And he'll die soon, papaloi?' 'Soon,' cackles the weazened figure in the bed. The woman gnashes her teeth and hugs herself delightedly. ("Papa Benjamin" aka "Dark Melody Of Madness")

The grate had been removed from the wide overwhelming fireplace to make way for a fire of wood, in the midst of which was an enormous log glowing and blazing, and sending forth a vast volume of light and heat: this, I understood, was the Yule-clog, which the squire was particular in having brought in and illumined on a Christmas Eve, according to ancient custom.* * The Yule-clog is a great log of wood, sometimes the root of a tree, brought into the house with great ceremony on Christmas Eve, laid in the fireplace, and lighted with the brand of last year's clog. While it lasted there was great drinking, singing, and telling of tales. Sometimes it was accompanied by Christmas candles; but in the cottages the only light was from the ruddy blaze of the great wood fire. The Yule-clog was to burn all night; if it went out, it was considered a sign of ill luck.

Love Minus Zero / No Limit" My love she speaks like silence Without ideals or violence She doesn't have to say she's faithful Yet she's true, like ice, like fire People carry roses And make promises by the hours My love she laughs like the flowers Valentines can't buy her In the dime stores and bus stations People talk of situations Read books, repeat quotations Draw conclusions on the wall Some speak of the future My love she speaks softly She knows there's no success like failure And that failure's no success at all The cloak and dagger dangles Madams light the candles In ceremonies of the horsemen Even a pawn must hold a grudge Statues made of match-sticks Crumble into one another My love winks, she does not bother She knows too much to argue or to judge The bridge at midnight trembles The country doctor rambles Bankers' nieces seek perfection Expecting all the gifts that wise men bring The wind howls like a hammer The night blows rainy My love she's like some raven At my window with a broken wing Bringing It All Back Home (1965)

Now Santa put toys, fruit and nuts in the stockings of good children, while bad children got coal, or birch switches, which was better than back in Zurich, where bad children received horse manure and rotten vines (although not yet in stockings). In Zurich, Samichlaus also brought trees for all children, while in Germany the Christmas tree remained, for the moment, something for the prosperous and the urban. The less prosperous became familiar with the custom in institutions – in schools, hospitals, orphanages and the like – where they had become a feature of charitable giving: patrons and donors attended candle-lighting ceremonies, at which carols were sung and gifts were handed to the poor.

As soon as the Rabbi of Bluzhov had finished the ceremony of kindling the lights, Zamietchkowski elbowed his way to the rabbi and said, “Spira, you are a clever and honest person. I can understand your need to light Hanukkah candles in these wretched times. I can even understand the historical note of the second blessing, ‘Who wroughtest miracles for our fathers in days of old, at this season.’ But the fact that you recited the third blessing is beyond me. How could you thank God and say ‘Blessed art Thou, O Lord our God, King of the Universe, who has kept us alive, and hast preserved us, and enabled us to reach this season’? How could you say it when hundreds of dead Jewish bodies are literally lying within the shadows of the Hanukkah lights, when thousands of living Jewish skeletons are walking around in camp, and millions more are being massacred? For this you are thankful to God? For this you praise the Lord? This you call ‘keeping us alive’?” “Zamietchkowski, you are a hundred percent right,” answered the rabbi. “When I reached the third blessing, I also hesitated and asked myself, what should I do with this blessing? I turned my head in order to ask the Rabbi of Zaner and other distinguished rabbis who were standing near me, if indeed I might recite the blessing. But just as I was turning my head, I noticed that behind me a throng was standing, a large crowd of living Jews, their faces expressing faith, devotion, and concentration as they were listening to the rite of the kindling of the Hanukkah lights. I said to myself, if God, blessed be He, has such a nation that at times like these, when during the lighting of the Hanukkah lights they see in front of them the heaps of bodies of their beloved fathers, brothers, and sons, and death is looking from every corner, if despite all that, they stand in throngs and with devotion listening to the Hanukkah blessing ‘Who wroughtest miracles for our fathers in days of old, at this season’; if, indeed, I was blessed to see such a people with so much faith and fervor, then I am under a special obligation to recite the third blessing.”2 Some years after liberation, the Rabbi of Bluzhov, now residing in Brooklyn, New York, received regards from Mr. Zamietchkowski. Zamietchkowski asked the son of the Skabiner Rabbi to tell Israel Spira, the Rabbi of Bluzhov, that the answer he gave him that dark Hanukkah night in Bergen Belsen had stayed with him ever since, and was a constant source of inspiration during hard and troubled times. Based

Sometimes I utilize a form of bibliomancy, or dictionariomancy, to give me a clue as to what in the foggy blue hell is going to happen next. My method is this: I make myself a pot of Evening in Missoula tea, pretend that I’m in Missoula, where I’ve never been. I light a wand of Nag Champa incense, pretend that I’m uncountable, which is the meaning of Nag Champa. I light whatever candle is handy. I am alone when I do this, not only out of respect for Pollux’s sensibilities. I would be embarrassed for anybody else to know that this is how I make rational decisions. It was a warm winter day, so Hetta and Pollux were out strolling with Jarvis, who was bundled and wrapped like a tiny mummy. The time was now. In an aura of ceremonial gravity, I set the dictionary down on the coffee table. I cleared my mind. I closed my eyes, opened up the dictionary, and let my finger drift until it touched down on a word. Divination n. 1. The art or act of foretelling future events or revealing occult knowledge by means of augury or alleged supernatural agency. 2. An inspired guess or a presentiment. 3. That which has been divined. My source confirmed my instinct and my finger landed on exactly what I was doing. My augur told me that something was coming. But I was annoyed. I thought the dictionary got it wrong because that something, the wraith of Flora, was already here. I was wrong. Something else was definitely on its way.

personally begin by asking for white light protection, as discussed earlier in this and all of my books. Light the white candle. Write the name of the loved one you are wishing to make a connection with on the piece of paper and fold it twice. I like to put my hand on the memento or hold the picture and think back to a happy memory of them. Please do not dredge up negative memories, regrets, or how they passed or suffered. Now, ask your spirit guides to assist you in making a connection while you sleep. Again, keep it simple; you don't need to beg or plead. Just a simple request that's short and sweet: "I would love to make a connection with (name) in spirit tonight. Thank you." If you can safely do so, you can burn the paper with the name on it. Please be careful in doing so and make sure that the ashes are completely out. Alternately - and this works just as well - you can simply tear the paper twice. No matter what you choose, the paper with the name must be destroyed as you are ceremoniously letting the person go free in spirit. This is very important; don't skip this. Blow out the candle. Again, please make sure it's

There is no way to take away the pain of another. What we can do is hold space for them, such as by performing little ceremonies for them like lighting a candle for them each day, thinking kind thoughts about them, or imagining a day when they will be happy. But we can’t take away their pain.