Veil Of Mourning Quotes

People ask me why I wear veils. I reply, I am mourning. Mourning what? Well I figure something shitty must be going on somewhere.

Says the girl dressed up in formal Goth mourning," Shane said. "Seriously, who buys a black lace veil? You keep that on hand for special occasions, like prom and kid's birthdays?

Veil, you see, if I vas to say something portentous like "zer dark eyes of zer mind" back home in Uberwald, zer would be a sudden crash of thunder,' said Otto. 'And if I vas to point at a castle on a towering crag and say "Yonder is . . . zer castle" a volf would be bound to howl mournfully.' He sighed. 'In zer old country, zer scenery is psychotropic and knows vot is expected of it. Here, alas, people just look at you in a funny vay.

Why do we not care to acknowledge them? The cattle, the body count. We still don't like to admit the war was even partly our fault because so many of our people died. A photograph on every mantlepiece. And all this mourning has veiled the truth. It's not so much lest we forget, as lest we remember. Because you should realise the Cenotaph and the Last Post and all that stuff is concerned, there's no better way of forgetting something than by commemorating it.

A hundred years or more, she's bent her crown in storm, in sun, in moonsplashed midnight breeze. surviving all the random vagaries of this harsh world. A dense - twigged veil drifts down from crown along her trunk - mourning slow wood that rustles tattered, in a hint of wind this January dusk, cloudy, purpling the ground with sudden shadows. How she broods - you speculate - on dark surprise and loss, alone these many years, despondent, bent, her bolt-cracked mate transformed to splinters, moss. Though not alone, you feel the sadness of a twilight breeze. There's never enough love; the widow nods to you. Her branches moan.

Say to my friends, when they look upon me, dead, Weeping for me and mourning me in sorrow, ‘Do not believe that this corpse you see is myself, In the name of God, I tell you, it is not I, I am a spirit, and this is naught but flesh, It was my abode and my garment for a time. I am a treasure, by a talisman kept hid, Fashioned of dust, which served me as a shrine, I am a pearl, which has left it’s shell deserted, I am a bird, and this body was my cage, Whence I have now flown forth and it is left as a token, Praise to God, who hath now set me free, And prepared for me my place in the highest of the Heavens, Until today I was dead, though alive in your midst. Now I live in truth, with the grave – clothes discarded. Today I hold converse with the Saints above, With no veil between, I see God face to face. I look upon “Loh-i-Mahfuz” and there in I read, Whatever was and is, and all that is to be. Let my house fall in ruins, lay my cage in the ground, Cast away the talisman, it is a token no more, Lay aside my cloak, it was but my outer garment. Place them all in the grave, let them be forgotten, I have passed on my way and you are left behind, Your place of abode was no dwelling place for me. Think not that death is death, nay, it is life, A life that surpasses all we could dream of here, While in this world, here we are granted sleep, Death is but sleep, sleep that shall be prolonged Be not frightened when death draweth nigh, It is but the departure for this blessed home, Think of the mercy and love of your Lord, Give thanks for His Grace and come without fear. What I am now, even so shall you be, For I know that you are even as I am, The souls of all men come forth from God, The bodies of all are compounded alike, Good and evil, alike it was ours. I give you now a message of good cheer May God’s peace and joy forever more be yours.

Let me but live my life from year to year, With forward face and unreluctant soul, Not hastening to, nor turning from the goal; Nor mourning things that disappear In the dim past, nor holding back in fear From what the future veils; but with a whole And happy heart, that pays its toll To youth and age, and travels on with cheer. So let the way wind up the hill or down, Through rough or smooth, the journey will be joy, Still seeking what I sought when but a boy -- New friendship, high adventure, and a crown, I shall grow old, but never lose life's zest, Because the road's last turn will be the best.

He seemed to hasten the retreat of departing light by his very presence; the setting sun dipped sharply, as though fleeing before our nigger; a black mist emanated from him; a subtle and dismal influence; a something cold and gloomy that floated out and settled on all the faces like a mourning veil. The circle broke up. The joy of laughter died on stiffened lips.

Our northern summers, though, are versions Of southern winters, this is clear; And though we’re loath to cast aspersions, They seem to go before they’re here! The sky breathed autumn, turned and darkled; The friendly sun less often sparkled; The days grew short and as they sped, The wood with mournful murmur shed Its wondrous veil to stand uncovered; The fields all lay in misty peace; The caravan of cackling geese Turned south; and all around there hovered The sombre season near at hand; November marched across the land.

A KING WHO PLACED MIRRORS IN HIS PALACE There lived a king; his comeliness was such The world could not acclaim his charm too much. The world's wealth seemed a portion of his grace; It was a miracle to view his face. If he had rivals,then I know of none; The earth resounded with this paragon. When riding through his streets he did not fail To hide his features with a scarlet veil. Whoever scanned the veil would lose his head; Whoever spoke his name was left for dead, The tongue ripped from his mouth; whoever thrilled With passion for this king was quickly killed. A thousand for his love expired each day, And those who saw his face, in blank dismay Would rave and grieve and mourn their lives away- To die for love of that bewitching sight Was worth a hundred lives without his light. None could survive his absence patiently, None could endure this king's proximity- How strange it was that man could neither brook The presence nor the absence of his look! Since few could bear his sight, they were content To hear the king in sober argument, But while they listened they endure such pain As made them long to see their king again. The king commanded mirrors to be placed About the palace walls, and when he faced Their polished surfaces his image shone With mitigated splendour to the throne. If you would glimpse the beauty we revere Look in your heart-its image will appear. Make of your heart a looking-glass and see Reflected there the Friend's nobility; Your sovereign's glory will illuminate The palace where he reigns in proper state. Search for this king within your heart; His soul Reveals itself in atoms of the Whole. The multitude of forms that masquerade Throughout the world spring from the Simorgh's shade. If you catch sight of His magnificence It is His shadow that beguiles your glance; The Simorgh's shadow and Himself are one; Seek them together, twinned in unison. But you are lost in vague uncertainty... Pass beyond shadows to Reality. How can you reach the Simorgh's splendid court? First find its gateway, and the sun, long-sought, Erupts through clouds; when victory is won, Your sight knows nothing but the blinding sun.

Sunlight’s warmth on my face awoke me in the morning. I didn’t remember falling asleep or how I came to be in my own bed. But I did recall nightmares. Awful nightmares featuring Gwen. I turned my head to stare out an open window where the sun shone in full splendor, bleaching a clear sky enough to tell it was going to be a beautiful spring day. The air smelled of rain from overnight showers, mixed with a strong floral scent. A large lilac bush outside was responsible for the perfume. I breathed in the clean and fragrant air. My eyelids fluttered, blinking at a stunning reflection of daylight off the glass. The blue beyond gave an exquisite glow to my room. All of it was an invitation to bask in a new day—an invitation I declined because none of that mattered to me. The world might as well come to a dark and ugly end. I saw no reason for beauty or life to go on so long as Gwen was lost. Rolling over in bed, I felt the vice grips wrench at my heart again as I cried myself back to sleep. from Phantom's Veil

For too brief a moment in the universe the veil was lifted. The mysterious became known. Questions met answers somewhere behind the stars. Furrowed brows were smoothed and eyelids closed over long unblinking stares. Your beloved occupied the cosmos. You awoke to sunrays and nestled down to sleep in moonlight. All life was a gift open to you and burgeoning for you. Choirs sang to harps and your feet moved to ancestral drumbeats. For you were sustaining and being sustained by the arms of your beloved. Now the days stretch before you with the dryness and sameness of desert dunes. And in this season of grief we who love you have become invisible to you. Our words worry the empty air around you and you can sense no meaning in our speech. Yet, we are here. We are still here. Our hearts ache to support you. We are always loving you. You are not alone.

If it be a sign of mourning," replied Mr. Hooper, "I, perhaps, like most other mortals, have sorrows dark enough to be typified by a black veil.

While we are mourning the loss of our friend, others are rejoicing to meet him behind the veil.

Freedom is only mourned by those who no longer have it.

Her spirit still had flesh to house it. Like the remaining section of a ruined brick wall, which the bombing had not managed to destroy completely, since moved and incorporated into another structure – from which the blood has been washed clean. Flesh which was now no longer young. As she walked she imitated the steady gait of one who had never been broken. A clean cloth veiling each unstitched place. Doing without farewells, without mourning. If she believes that she has never been shattered, she can believe that she will be shattered no more. And so, there are a few things left to her: To stop lying. To (open her eyes and) remove the veil. To light a candle for all the deaths and spirits she can remember – including her own.

So here, twisted in steel, and spoiled with red your sunlight hide, smelling of death and fear, they crushed out your throat the terrible song you sang in the dark ranges. With what crying you mourned him! - the drinker of blood, the swift death-bringer who ran with you so many a night; and the night was long. I heard you, desperate poet, Did you hear my silent voice take up the cry? - replying: Achilles is overcome, and Hector dead, and clay stops many a warrior's mouth, wild singer. Voice from the hills and the river drunken with rain, for your lament the long night was too brief. Hurling your woes at the moon, that old cleaned bone, till the white shorn mobs of stars on the hill of the sky huddled and trembled, you tolled him, the rebel one. Insane Andromache, pacing your towers alone, death ends the verse you chanted; here you lie. The lover, the maker of elegies is slain, and veiled with blood her body's stealthy sun.

When Nature made her chief work, Stella’s eyes, In colour black why wrapp’d she beams so bright? Would she in beamy black, like painter wise, Frame daintiest lustre, mix’d of shades and light? Or did she else that sober hue devise, In object best to knit and strength our sight, Lest if no veil those brave gleams did disguise, They sun-like should more dazzle than delight? Or would she her miraculous power show, That whereas black seems Beauty’s contrary, She even in black doth make all beauties flow? Both so and thus, she minding Love should be Placed ever there, gave him this mourning weed, To honour all their deaths, who for her bleed.

The light was soft, diffuse, as if the sun itself had been wrapped in a white mourning veil. While fields of wheat whispered consolation to themselves, the hedgerows were filled with the bright shout of buttercups and champion, bluebells and cow parsley. Even in the shade the air was warm. It would be a good year for honey

Fellow-citizens, pardon me, allow me to ask, why am I called upon to speak here to-day? What have I, or those I represent, to do with your national independence? Are the great principles of political freedom and of natural justice, embodied in that Declaration of Independence, extended to us? And am I, therefore, called upon to bring our humble offering to the national altar, and to confess the benefits and express devout gratitude for the blessings resulting from your independence to us? I am not included within the pale of this glorious anniversary! Your high independence only reveals the immeasurable distance between us. The blessings in which you this day rejoice are not enjoyed in common. The rich inheritance of justice, liberty, prosperity, and independence bequeathed by your fathers is shared by you, not by me. The sunlight that brought life and healing to you has brought stripes and death to me. This Fourth of July is yours, not mine. You may rejoice, I must mourn. To drag a man in fetters into the grand illuminated temple of liberty, and call upon him to join you in joyous anthems, were inhuman mockery and sacrilegious irony. Do you mean, citizens, to mock me, by asking me to speak today? What, to the American slave, is your Fourth of July? I answer: a day that reveals to him, more than all other days of the year, the gross injustice and cruelty to which he is a constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciation of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade and solemnity, are, to Him, mere bombast, fraud, deception, impiety, and hypocrisy—a thin veil to cover up crimes that would disgrace a nation of savages. There is not a nation of the earth guilty of practices more shocking and bloody than are the people of these United States at this very hour. At a time like this, scorching irony, not convincing argument, is needed. O! had I the ability, and could reach the nation’s ear, I would, to-day, pour forth a stream, a fiery stream of biting ridicule, blasting reproach, withering sarcasm, and stern rebuke. For it is not light that is needed, but fire; it is not the gentle shower, but thunder. We need the storm, the whirlwind, the earthquake. The feeling of the nation must be quickened; the conscience of the nation must be roused; the propriety of the nation must be startled; the hypocrisy of the nation must be exposed; and the crimes against God and man must be proclaimed and denounced.

All that day and all that night there sat an awful gladness in my heart,—nay, blame me not if I see the world thus darkly through the Veil,—and my soul whispers ever to me saying, “Not dead, not dead, but escaped; not bond, but free.” No bitter meanness now shall sicken his baby heart till it die a living death, no taunt shall madden his happy boyhood. Fool that I was to think or wish that this little soul should grow choked and deformed within the Veil! I might have known that yonder deep unworldly look that ever and anon floated past his eyes was peering far beyond this narrow Now. In the poise of his little curl-crowned head did there not sit all that wild pride of being which his father had hardly crushed in his own heart? For what, forsooth, shall a Negro want with pride amid the studied humiliations of fifty million fellows? Well sped, my boy, before the world had dubbed your ambition insolence, had held your ideals unattainable, and taught you to cringe and bow. Better far this nameless void that stops my life than a sea of sorrow for you.

It was a something found that had long been sought for by a thousand restless yearnings and vague desires, less of the heart than mind; not as when youth discovers the one to be beloved, but rather as when the student, long wandering after the clew to some truth in science, sees it glimmer dimly before him, to beckon, to recede, to allure, and to wane again. She fell at last into unquiet slumber, vexed by deformed, fleeting, shapeless phantoms; and, waking, as the sun, through a veil of hazy cloud, glinted with a sickly ray across the casement, she heard her father settled back betimes to his one pursuit, and calling forth from his Familiar a low mournful strain, like a dirge over the dead.

Whether he feels guilty with regard to the loved being, or whether he seeks to impress that being by representing his unhappiness, the amorous subject outlines an ascetic behavior of self-punishment (in life style, dress, etc.). Since I am guilty of this, of that (I have—I assign myself—a thousand reasons for being so), I shall punish myself, I shall chasten my body: cut my hair very short, conceal my eyes behind dark glasses (a way of taking the veil), devote myself to the study of some serious and abstract branch of learning. I shall get up early and work while it is still dark outside, like a monk. I shall be very patient, a little sad, in a word, worthy, as suits a man of resentment. I shall (hysterically) signify my mourning (the mourning which I assign myself) in my dress, my haircut, the regularity of my habits. This will be a gentle retreat; just that slight degree of retreat necessary to the proper functioning of a discrete pathos.

What we have here is a war—the war of matter and spirit. In the classical era, spirit was in harmony with matter. Matter used to condense spirit. What was unseen—the ghost of Hamlet’s father—was seen—in the conscience of the king. The spirit was trapped in the matter of theater. The theater made the unseen, seen. In the Romantic era, spirit overwhelms matter. The glass of champagne can’t contain the bubbles. But never in the history of humanity has spirit been at war with matter. And that is what we have today. The war of banks and religion. It’s what I wrote in Prayers of the Dawn, that in New York City, banks tower over cathedrals. Banks are the temples of America. This is a holy war. Our economy is our religion. When I came back to midtown a week after the attack—I mourned—but not in a personal way—it was a cosmic mourning—something that I could not specify because I didn’t know any of the dead. I felt grief without knowing its origin. Maybe it was the grief of being an immigrant and of not having roots. Not being able to participate in the whole affair as a family member but as a foreigner, as a stranger—estranged in myself and confused—I saw the windows of Bergdorf and Saks—what a theater of the unexpected—my mother would have cried—there were only black curtains, black drapes—showing the mourning of the stores—no mannequins, just veils—black veils. When the mannequins appeared again weeks later—none of them had blond hair. I don’t know if it was because of the mourning rituals or whether the mannequins were afraid to be blond—targets of terrorists. Even they didn’t want to look American. They were out of fashion after the Twin Towers fell. To the point, that even though I had just dyed my hair blond because I was writing Hamlet and Hamlet is blond, I went back to my coiffeur immediately and told him—dye my hair black. It was a matter of life and death, why look like an American. When naturally I look like an Arab and walk like an Egyptian.

It seems that in the kingdom of Heaven, the cosmic lottery works in reverse; in the kingdom of Heaven, all of our notions of the lucky and the unlucky, the blessed and the cursed, the haves and the have-nots, are turned upside down. In the kingdom of Heaven, the last will be first and the first will be last. In India, I realised that while the poor and oppressed certainly deserve my compassion and help, they do not need my pity. Widows and orphans and lepers and untouchables enjoy special access to the Gospel that I do not have. They benefit immediately from the Good News that freedom is found not in retribution but in forgiveness, that real power belongs not to the strong but to the merciful, that joy comes not from wealth but from generosity. The rest of us have to get used to the idea that we cannot purchase love or fight for peace or find happiness in high positions. Those of us who have never suffered are at a disadvantage because Jesus invites His followers to fellowship in His suffering. In fact, the first thing Jesus did in His sermon on the mount was to mess with our assumptions about the cosmic lottery. In Luke’s account, Jesus says, "Blessed are you who are poor for yours is the Kingdom of God. Blessed are you who hunger now, for you will be satisfied. Blessed are you who weep now, for you will laugh. But woe to you who are rich, for you have already received your comfort. Woe to you who are well-fed now, for you will go hungry. Woe to you who laugh now, for you will mourn and weep.” (Luke 6:20-21; 24-25) It seems that the kingdom of God is made up of the least of these. To be present among them is to encounter what the Celtic saints called “thin spaces”, places or moments in time in which the veil separating heaven and earth, the spiritual and the material, becomes almost transparent. I’d like to think that I’m a part of this kingdom, even though my stuff and my comforts sometimes thicken the veil. Love, joy, peace, patience, kindness, goodness, faithfulness, gentleness and self-control – these are God things, and they are available to all, regardless of status or standing. Everything else is just extra, and extra can be a distraction. Extra lulls us into the complacency and tricks us into believing that we need more than we need. Extra makes it harder to distinguish between God things and just things.

But hitherto the emotion had remained in him as a silent ache, veiling with sadness the beauty that evoked it. He did not even know whether anyone else in the world felt as he did, or whether he was the sole victim of this mournful privilege. Then he learned that one other spirit had trembled with the same touch of wonder: that at his side, living under his roof and eating his bread, was a creature to whom he could say: ‘That’s Orion down yonder; the big fellow to the right is Aldebaran, and the bunch of little ones —like bees swarming — they’re the Pleiades...’ or whom he could hold entranced before a ledge of granite thrusting up through the fern while he unrolled the huge panorama of the ice age, and the long dim stretches of succeeding time. The fact that admiration for his learning mingled with Mattie’s wonder at what he taught was not the least part of his pleasure. And there were other sensations, less definable but more exquisite, which drew them together with a shock of silent joy: the cold red of sunset behind winter hills, the flight of cloud-flocks over slopes of golden stubble, or the intensely blue shadows of hemlocks on sunlit snow. When she said to him once: ‘It looks just as if it was painted!’ it seemed to Ethan that the art of definition could go no farther, and that words had at last been found to utter his secret soul....

But she was a widow and she had to watch her behavior. Not for her the pleasures of unmarried girls. She had to be grave and aloof. Ellen had stressed this at great length after catching Frank's lieutenant swinging Scarlett in the garden swing and making her squeal with laughter. Deeply distressed, Ellen had told her how easily a widow might get herself talked about. The conduct of a widow must be twice as circumspect as that of a matron. 'And God only knows,' thought Scarlett, listening obediently to her mother's soft voice, 'matrons never have any fun at all. So widows might as well be dead.' A widow had to wear hideous black dresses without even a touch of braid to enliven them, no flower or ribbon or lace or even jewelry, except onyx mourning brooches or necklaces made from the deceased's hair. And the black crepe veil on her bonnet had to reach to her knees, and only after three years of widowhood could it be shortened to shoulder length. Widows could never chatter vivaciously or laugh aloud. Even when they smiled, it must be a sad, tragic smile. And, most dreadful of all, they could in no way indicate an interest in the company of gentlemen. And should a gentleman be so ill bred as to indicate an interest in her, she must freeze him with a dignified but well-chosen reference to her dead husband. Oh, yes, thought Scarlett, drearily, some widows do remarry eventually, when they are old and stringy. Though Heaven knows how they manage it, with their neighbors watching. And then it's generally to some desperate old widower with a large plantation and a dozen children.

Last Night My Soul Cried O Exalted Sphere Of Heaven Last night my soul cried, “O exalted sphere of Heaven, you hang indeed inverted, with flames in your belly. “Without sin and crime, eternally revolving upon your body in its complaining is the indigo of mourning; “Now happy, now unhappy, like Abraham in the fire; at once king and beggar like Ebrahim-e Adham. “In your form you are terrifying, yet your state is full of anguish: you turn round like a millstone and writhe like a snake.” Heaven the blessed replied, “How should I not fear that one who makes the Paradise of the world as Hell? “In his hand earth is as wax, he makes it Zangi and Rumi , he makes it falcon and owl, he makes it sugar and poison. “He is hidden, friend, and has set us forth thus patent so that he may become concealed. “How should the ocean of the world be concealed under straws? The straws have been set adancing, the waves tumbling up and down’ “Your body is like the land floating on the waters of the soul; your soul is veiled in the body alike in wedding feast or sorrow. “In the veil you are a new bride, hot-tempered and obstinate; he is railing sweetly at the good and the bad of the world. “Through him the earth is a green meadow, the heavens are unresting; on every side through him a fortunate one pardoned and preserved. “Reason a seeker of certainty through him, patience a seeker of help through him, love seeing the unseen through him, earth taking the form of Adam through him. “Air seeking and searching, water hand-washing, we Messiah-like speaking, earth Mary-like silent. “Behold the sea with its billows circling round the earthy ship; behold Kaabas and Meccas at the bottom of this well of Zamzam!” The king says, “Be silent, do not cast yourself into the well, for you do not know how to make a bucket and a rope out of my withered stumps.

And the ladies dressed in red for my pain and with my pain latched onto my breath, clinging like the fetuses of scorpions in the deepest crook of my neck, the mothers in red who sucked out the last bit of heat that my barely beating heart could give me — I always had to learn on my own the steps you take to drink and eat and breathe, I was never taught to cry and now will never learn to do this, least of all from the great ladies latched onto the lining of my breath with reddish spit and floating veils of blood, my blood, mine alone, which I drew myself and which they drink from now after murdering the king whose body is listing in the river and who moves his eyes and smiles, though he’s dead and when you’re dead, you’re dead, for all the smiling you do, and the great ladies, the tragic ladies in red have murdered the one who is floating down the river and I stay behind like a hostage in their eternal custody. I want to die to the letter of the law of the commonplace, where we are assured that dying is the same as dreaming. The light, the forbidden wine, the vertigo. Who is it you write for? The ruins of an abandoned temple. If only celebration were possible. A mournful vision, splintered, of a garden of broken statues. Numb time, time like a glove upon a drum. The three who compete in me remain on a shifting point and we neither are nor is. My eyes used to find rest in humiliated, forsaken things. Nowadays I see with them; I’ve seen and approved of nothing. Seated at the bottom of a lake. She has lost her shadow, but not the desire to be, to lose. She is alone with her images. Dressed in red, and unseeing. Who has reached this place that no one ever reaches? The lord of those dead who are dressed in red. The man who is masked in a faceless face. The one who came for her takes her without him. Dressed in black, and seeing. The one who didn’t know how to die of love and so couldn’t learn a thing. She is sad because she is not there. There are words with hands; barely written, they search my heart. There are words condemned like the lilac in a tempest. There are words resembling some among the dead, and from these I prefer the ones that evoke the doll of some unhappy girl. Ward 18 when I think of occupational therapy I think of poking out my eyes in a house in ruin then eating them while thinking of all my years of continuous writing, 15 or 20 hours writing without a break, whetted by the demon of analogies, trying to configure my terrible wandering verbal matter, because — oh dear old Sigmund Freud — psychoanalytic science forgot its key somewhere: to open it opens but how to close the wound? for other imponderables lovelier than the smile of the Virgin of the Rocks the shadows strike blows the black shadows of the dead nothing but blows and there were cries nothing but blows

In short, we had rather be Sir Walter Scott (meaning thereby the Author of Waverley) than Lord Byron a hundred times over, and for the reason just given, namely, that he casts his descriptions in the mould of nature, ever-varying, never tiresome, always interesting and always instructive, instead of casting them constantly in the mould of his own individual impressions. He gives us man as he is, or as he was, in almost every variety of situation, action and feeling. Lord Byron makes man after his own image, woman after his own heart; the one is a capricious tyrant, the other a yielding slave; he gives us the misanthrope and the voluptuary by turns; and with these two characters, burning or melting in their own fires, he makes out everlasting centos of himself. He hangs the cloud, the film of his existence over all outward things, sits in the centre of his thoughts, and enjoys dark night, bright day, the glitter and the gloom 'in cell monastic.' We see the mournful pall, the crucifix, the death's-heads, the faded chaplet of flowers, the gleaming tapers, the agonized brow of genius, the wasted form of beauty; but we are still imprisoned in a dungeon; a curtain intercepts our view; we do not breathe freely the air of nature or of our own thoughts. The other admired author draws aside the curtain, and the veil of egotism is rent; and he shows us the crowd of living men and women, the endless groups, the landscape background, the cloud and the rainbow, and enriches our imaginations and relieves one passion by another, and expands and lightens reflection, and takes away that tightness at the breast which arises from thinking or wishing to think that there is nothing in the world out of a man's self! In this point of view, the Author of Waverley is one of the greatest teachers of morality that ever lived, by emancipating the mind from petty, narrow, and bigoted prejudices: Lord Byron is the greatest pamperer of those prejudices, by seeming to think there is nothing else worth encouraging but the seeds or the full luxuriant growth of dogmatism and self-conceit. In reading the Scotch Novels, we never think about the author, except from a feeling of curiosity respecting our unknown benefactor: in reading Lord Byron's works, he himself is never absent from our minds. The colouring of Lord Byron's style, however rich and dipped in Tyrian dyes, is nevertheless opaque, is in itself an object of delight and wonder: Sir Walter Scott's is perfectly transparent. In studying the one, you seem to gaze at the figures cut in stained glass, which exclude the view beyond, and where the pure light of Heaven is only a means of setting off the gorgeousness of art: in reading the other, you look through a noble window at the clear and varied landscape without. Or to sum up the distinction in one word, Sir Walter Scott is the most dramatic writer now living, and Lord Byron is the least so.

Above Him the heavens opened, and many thousands of angels appeared. They veiled their faces as they bent over the Garden of Gethsemane. All was mournfully silent, as they observed the sufferings of Christ the Lord, the Divine Man, the one whom the Scriptures describe as “Wonderful, Counselor, Mighty God, Everlasting Father, Prince of Peace.”22

I had crawled so deeply within my shell of mourning that all the entrances to me had shrunk beneath a dark veil. It was getting harder to see and feel good.

When memory is a veil of exposure through which the fullness of tides is visible, I can still sometimes smell the radiance of flowers. I argued with friends that Mumbai does have seasons—if one bothers to watch closely. Now I trace the months on a calendar like a distant call, the sound of a train whistle or fog that engulfs before the onset of rain to participate in a collective mourning.

When memory is a veil of exposure through which the fullness of tides is visible, I can still sometimes smell the radiance of flowers. I have argued with friends that Mumbai does have seasons—if one bothers to watch closely. Now I trace the months on a calendar like a distant call, the sound of a train whistle or fog that engulfs before the onset of rain to participate in a collective mourning.

Where Storms Nest by Stewart Stafford Time's arrow has left its quiver, And mortal men denied a sliver, Of sweet-faced solace or settled debt, Surrendering all to sweeping death. Beware the vixen with the perished pup, Of merciless slight and sacrilegious sup, Of mother's milk and witches' brew, Curdling infamy and death's-head stew. The trap is sprung, the rider unseated, A mourning procession for the defeated, A great wrong sits on the anointed throne, She is Queen Bee and you, but a drone. From a spider's web veil, she does regard, Hateful glances from black heart's shard, Envenomed nature of poisonous Man, The scorpion's strike of a foul plan. After seeking power and blood and lust, Remorse a late guest to a dagger's thrust, The vulture shrieks to the globe's outer rim, That Man's ambition is a Hell to him. © Stewart Stafford, 2022. All rights reserved.

Death's Embrace - A Soliloquy by Stewart Stafford In sincere tongue, declare with heart: Art thou but a mimic, shadow of the art, Or standest thou bold, architect of the new, Crafting the morrow in thy vision true? Unburden me from this oppressive weight, I cannot bear this overwhelming force. Despair hath found its pinnacle in me, And I must peer into realms unknown, If cherished sight fails me at mine end, I shall renounce all chimeras of the light. But fall not tamely from Life’s precipice, Death presses hard on thy frail fingers, Hold on, cry, resist thy certain ruin! Trouble's court, may yet bestow thee favour. Dreams are but fancies giv’n swift wings, That soar beyond the bounds of reason; In minds that dare to fly unshackled, The dreamer becometh the vision. Love is both a journey and destination: Long and painful upon the path, Unsought, yet blissful when it is found. From dust conjur’d — to stars, we’re turned. Beware the self-righteous man, Whose pride does unseat the very world Before he sees his error. Piteous wounds of thine own hand, 'Tis easy to judge from afar Without walking with aching bones. If there be cause that yet remaineth here, It showeth their harshness and injustice To themselves and their loving others. Mourn their release with mercy and thanks Transient whispers guide along chance’s way. Weep not for those who have found Death’s embrace, They lament for us who tarry on old shores. Death but ushers a veiled dawn, not life's twilight, A metamorphosis of guise, not of the spirit's light. Though we must part for now, we shall be one again. For love’s wrought by flesh, yet holds not its chain. Time-worn age stoops; penitents depart. Pawned as one in vigilant trance But what a folly 'tis to mark the signs of our undoing; Memory's comet trails bequeathed to loved ones left, Contagion's rehearsal on the ephemeral stage. With luck, a stand-in may go on in thy stead. Ere thy final bow becomes unavoidable. With tyrant Death prowling public ways, I turn from mankind hence to seek delight. A chamber ceiling seen upon morn's wake, I say: “The sun does rise? Let's haste away!” Upon waking, a stone tomb's ashen lid, I would perchance say: “Alas!..mine eyes do grow heavy.” A life well-liv’d is not weigh’d by earthly goods Or the number of mourners at the grave. Numerous, deep laugh lines tell the tale, On the face of the person lying still in the crypt, Reveals threescore years and twelve’s true worth. Death is not the villain of the piece; It is the next phase of life, in strange attire. I accept my fate with grace and courage. For I have liv’d and lov’d and dream’d enough. © Stewart Stafford, 2024. All rights reserved.

The library was blessedly empty, probably due in part to the cold. Mist rolled down from Argant’s green hills and hung about Caer-Isel like a horde of ghosts. The university’s bell tower wore its fog as if it were a widow’s mourning veil.

I do know guilt. I do know denial. Anger. The curse of remembering. I know what it’s like to live in the aftermath, when the veil of mourning has lifted, and the world around you seems to rush forward. Brighter and louder than ever, while you’re still trapped in the shadow of what you lost. That defining moment where life, as you knew it, shattered. Severing your life into a Before and After.

Whether he feels guilty with regard to the loved being, or whether he seeks to impress that being by representing his unhappiness, the amorous subject outline an ascetic behavior of self-punishment (in life style, dress, etc.). Since I am guilty of this, of that (I have—I assign myself—a thousand reasons for being so), I shall punish myself, I shall chasten my body: cut my hair very short, conceal my eyes behind dark glasses (a way of taking the veil), devote myself to the study of some serious and abstract branch of learning. I shall get up early and work while it is still dark outside, like a monk. I shall be very patient, a little sad, in a word, worthy, as suits a man of resentment. I shall (hysterically) signify my mourning (the mourning which I assign myself) in my dress, my haircut, the regularity of my habits. This will be a gentle retreat; just that slight degree of retreat necessary to the proper functioning of a discrete pathos.

While we are mourning the loss of our friend, others are rejoicing to meet him behind the veil. -John Taylor

Freedom is only mourned by those who no longer have it. Those who’ve never known it don’t have that luxury.

Life, ongoing life, is really what death rituals are about. Mourners who are fortunate enough to be enveloped in familiar traditions by family and caring friends can become revitalized and newly sustained by the process. Mourning traditions revive and animate memories and feelings. They satisfy a human need of validation and inclusiveness; that is, we need to feel that we are an acceptable part of a larger whole. We bid farewell to those who have gone to another dimension, and by sharing memories of the deceased, people reinforce feelings and even beliefs about the deceased after the veil of death is drawn closed.

And no one was left to walk behind that coffin but three old women who quietly, timidly, beneath the black veils covering their transitory old faces, mourned the end of a lineage and the inevitability of extinction.

Did someone die?” Pru asked, holding the newly dyed veil in the air. “I am,” I said. “A little each day that I’m here.” I placed the black veil over my head and adjusted the combs, then looked in the mirror and silently mourned my identity.

As a modern society, we have largely abandoned traditional mourning rituals. We are as eager to hear someone say that they are 'okay' as we are to say it ourselves. I used to wish that I could wear all black like a Victorian widow—a veil over my face that said, “Be gentle with me.” I used to wish there was an etiquette book for grief: a protective formality written into the code of our society, a temporary insanity clause defendable in the court of life.

It was the hottest day in July, and the island’s humidity was draped over me like a mourning veil, yet my body went cold and sweaty. Even my skin was crying.

The sun seemed to take a long while to sink from the sky. The colors of the heavens were blood red, surrounded by shades of orange and pink. As the moon appeared, the clouds covered it like a thin veil. A ring appeared around the moon like some terrible omen. The forest was dark, eerily silent. Tendrils of fog wound low to the ground around tree trunks and bushes. A gentle wind lazily pushed the clouds, brushed at heavy branches, and tried vainly to disperse the smell of smoke that lingered persistently in the forest. The wind fingered the black ashes and burned beams, the blackened stones, all that remained of what had once been Mikhail Dubrinsky’s home. Two wolves nosed at the blackened remains, lifted their muzzles skyward, and howled mournfully. Throughout the forest other wolves answered, sang out their grief. Within a few minutes, the echoes of their tribute died away. The two wolves circled the charred ruins and sniffed at the two shadowy sentinels they found standing sharply alert near the wrought-iron gate. The wolves swung quickly away, finding something menacing in the two lethal figures. They trotted briskly back into the darkened interior of the forest. Silence once more blanketed the mountains like a shroud. The forest creatures huddled in their dens and holes, rather than face the smell of the ashes and the death of the home of one who was so much a part of them. Below the earth two bodies lay motionless, lifeless. Into the silence, a single heart began to beat. Strong, steady. Blood rushed, receded. A long, low hiss of air heralded the working of lungs. Dark eyes snapped open, and Mikhail searched the grounds above him.

A dying poet to his daughter Little daughter mine, do not sorrow, All creatures must one day depart. My little one, show seemly patience When your loss is vast. Mourn me, but quietly, Behind your veil and screen. When at last you adress me, And I am too weak to speak, Say: 'Abu Firas, the ornament of youth, Was not fated to enjoy his youth.

She rose and bathed, and Parisa helped her to dress in her royal robes. Shirin pulled her hair into a style reminiscent of her first night with the king. Mahin covered her glowing black tresses with a colorful veil. Hettie placed the royal crown on her head and a ring on her finger. Rosana tucked jeweled sandals on her feet. And Jazmin spritzed the faint scent of lavender over her clothes. Peace settled over Esther as Zareen held the golden mirror before her. She was ready. As ready as she was going to be. Olive oil moistened her lips, lest she appear as though she had been in mourning. The king must not know that yet. "Shall we go with you?" Parisa asked, concern etched in her gaze. None of them looked at peace- not like the peace that Esther felt- but none of them had prayed as Esther had prayed, at least not with the knowledge she had. How could they? They had no idea what trials her people had been through. They did not know the history of the Jews had with Haman's people or how the Amalekites had attacked them when they were vulnerable on their journey out of Egypt. Hostility had existed between the Amalekites and the Israelites ever since. She looked at each one, cupped each dear cheek. "You have been a blessing to me to attempt what I did not think I could ever do." She drew in a breath. "If I do not return, please know that I could have chosen no better maids. But do not mourn for me. Mourn for my people, and do what you can to tell your family and friends that we are not your enemies. Perhaps you will make a difference in my place.

The New Jersey Palisades had cut the throat of the sun. She bled copious color into the water-blue sky, arterial scarlet and venous purple, then fell behind the horizon, into her grave, shrouded by aquamarine clouds. The Earth turned its face away and dressed itself in black, lowering a mournful veil of night, hanging crepe over the mirror of the Hudson. The moon filled with lamentations, the wind howled its grief, and the stars lit votives for the funeral of the day.

When George died in January 1936, grief was widespread and sincere, but there was no repetition of the mass mourning of 1910. Court mourning was reduced to nine months, and general mourning was laid aside immediately after the funeral. When George VI died in February 1952, Court mourning was further reduced to ten weeks, and there was no general mourning at all.31 By that stage, Queen Mary had lived to witness the passing of four successive monarchs. At her son’s lying-in-state in Westminster Hall, she was photographed in all the trappings of Edwardian bereavement: black cap, black veil, black gloves and a floor-length black dress. To her left was her daughter-in-law, the widowed Queen Elizabeth. To her right, sorrow etched clearly on her face, was Queen Elizabeth II.

CHAPTER XVIII HOW THE KNIGHT HULDBRAND IS MARRIED THE story now telleth of the marriage feast at Castle Ringstetten, how it was held and what cheer they had who were present thereat. Bethink thee of a multitude of bright and pleasant things heaped together, and over them all a veil of mourning spread. Would not the gloom of the covering make mockery of all their brilliance ? Would it be happiness, think you, on which you looked ? Would it not rather suggest the nothingness of all human joys ? Now it is true that no ghostly visitants disturbed the festal company, for the castle, as we well know, had been made safe 127

All eyes were fixed on Alexandra, who, in defiance of protocol, followed on the arm of the King. Stately and erect in her black gown and flowing veil, the blue sash of the Garter across her breast, she lent what Margot Asquith called a ‘thrilling touch of beauty & pathos’ to what had, until then, been a fairly shambolic scene. Throughout her married life, Alexandra’s inexhaustible appeal to the hearts and imaginations of the British people had inspired love, and even adulation. Her last moments with her husband of almost half a century were to be her apotheosis. ‘She has the finest carriage and walks better than any one of our time,’ marvelled Margot, ‘& not only has grace, charm and real beauty, but all the atmosphere of a fascinating female queen for whom men & women die.

Edward’s final meeting with his mistress was as harrowing as that with his banker was dignified. Even before the news was broken to the nation, the atmosphere surrounding Mrs Keppel was fraught. From her nursery window, nine-year-old Sonia could see knots of people clustered on the pavements, and strangers buttonholing each other for the latest. Inside, the servants were distracted and grim. Fifteen-year-old Violet was clearly in on the secret but refused to divulge any details. That afternoon, Mrs Keppel presented a letter to the Queen, which Edward had written to her almost a decade earlier. In the event he was ever taken seriously ill, he asked her to come and see him ‘so that I may say farewell and thank you for all your kindness and friendship since it has been my good fortune to know you’. He concluded with a thinly veiled order to his wife and children: ‘I feel convinced that all those who have any affection for me will carry out the wishes which I expressed in these lines.’37 Always magnanimous to her husband’s lovers, Alexandra invited Mrs Keppel to the Palace at 5 p.m. By then, the King was being kept alive with strychnine. At 1 p.m., he had had a heart attack and was believed to be dead. Coming round, he had drifted in and out of consciousness for several hours. At 4.30 p.m., the Prince of Wales informed him that his horse, Witch of the Air, had just won by half a length at Kempton Park. ‘I am very glad,’ Edward murmured.38 When Mrs Keppel arrived, he barely recognised her. According to Lord Esher, who heard a full account from Francis Knollys, the Queen shook hands and told her, ‘I am sure you have always had a good influence over him.

Every daughter has a duty to mourn the loss of her father, and I grieve for mine as a daughter should. But I am infinitely more unhappy and heart-stricken for this soil, this land of my birth and upbringing. Now, as I write this, it seems as though the veil of ignorance is lifted from my sight and all the events of the past are marching before me in a procession. O woe for the country and nation that was made a sacrifice to one man's avarice!

The Night When Fear Strays by Stewart Stafford Each Hallowtide, all monstrous shapes do quail, No balm for wounded wretches feeling frail, Spectators as charlatan mortals filch frights, Appropriated skins on haunted nights. With bonfire’s glow ablaze in dauntless eyes, Children’s fun quelled by strangest sighs, A hulking shape, once fierce, wails tainted, Its fearful gaze in phantom mists attainted. Small, tender hands caressed its sodden fur, A trembling growl betrayed its lonesome blur, “Peace, gentle shade, what sorrow stirs unfed?” “November’s dawn shall call me home,” it said. Their kindly-shared oat cakes eased its pangs, A webbed claw from veiled night to munching fangs, It feasted with a hunger born of striven years alone, Stroked the child’s cheek for the kindness shown. When parents called, it whispered, soft and torn, “At midnight’s knell, this thicket heralds morn— Go, kindred babes, I’ll linger in this glade. Each Halloween, I’ll mourn my fear remade.” © 2025, Stewart Stafford. All rights reserved.

Winter Dusk I watch the great clear twilight Veiling the ice-bowed trees; Their branches tinkle faintly With crystal melodies. The larches bend their silver Over the hush of snow; One star is lighted in the west, Two in the zenith glow. For a moment I have forgotten Wars and women who mourn— I think of the mother who bore me And thank her that I was born.

Before long, curiosity about our local law enforcement’s presence (perhaps also owing to phone calls made by Mrs. De Troyes) attracts a small crowd of observers to the normally deserted fishing hole. Hushed conversations take place as neighbors stand in small groups, hands folded across their chests, watching the police carry out a feeble search. My stomach aches at how Mr. De Troyes looks on the verge of tears when the officers go to leave. “We’ll keep in touch,” one says with a nod. Then they drive off. The crowd splits up at that moment as if collectively aware of exactly what needs to be done, understanding what a worried father needs to see happen. Husbands and wives, grandparents, kids, and even their dogs divide up into search parties to hunt for the missing girl. People step lightly through the switch grass, pushing blades aside—looking. Some walk in opposite directions along the shoreline with a shading hand at their eyes—looking. A few men wade into the lake at different points, feeling with their feet, some daring to dive in—looking. Others walk away from the scene, but their voices call out for Gwen—looking. All I can do is stand there and bleed inside, knowing without knowing that their good intentions are to no avail. Gwen is gone. The horizon turns red, and I envision innocent blood smeared across my eyes. A black, starless night becomes a tomb under which I mourn bitterly.