Verses Christmas Quotes

Christmas is our annual reminder to look up—pondering celestial stars, to look out—serving those in need, and to look down—glorifying our Lord in humble prayer.

Christmas, when observed with the right spirit, still has the power to call miracles from Heaven to Earth.

Christmas is like candy; it slowly melts in your mouth sweetening every taste bud, making you wish it could last forever.

Because thou hast made the Lord, which is thy refuge, even the most high they habitation. There shall be no evil before thee, neither shall any plague come by thy dwelling. He shall call upon me, and I will answer him. I will be with him in trouble. I will deliver him and honor him." -Peter Cratchit

A new star, the Christ child, God's gift to mankind; these are what Christmas is made of.

The tides here are too rough. I sink here, happy only when I hoard my little blue sleeping pills, stash the blades of my razor. I accumulate a drawer of drop-out devices, so by December I can escape to a Merry Christmas.

tinseled trees shimmer in the electric mood spin of frantic whimsy

What is the spirit of Christmas, you ask?  Let me give you the answer in a true story... On a cold day in December, feeling especially warm in my heart for no other reason than it was the holiday season, I walked through the store sporting a big grin on my face.  Though most people were far too busy going about their business to notice me, one elderly gentleman in a wheelchair brought his eyes up to meet mine as we neared each other traveling opposite directions.  He slowed in passing just long enough to speak to me. "Now that's a Christmas smile if I ever saw one," he said. My lips stretched to their limit in response, and I thanked him for the compliment.  Then we went our separate ways. But, as I thought about the man and how sweetly he'd touched me, I realized something simply wonderful!  In that brief, passing interaction we'd exchanged heartfelt gifts! And that, my friend, is the spirit of Christ~mas. 

Once I am sure there's nothing going on I step inside, letting the door thud shut. Another church: matting, seats, and stone, And little books; sprawlings of flowers, cut For Sunday, brownish now; some brass and stuff Up at the holy end; the small neat organ; And a tense, musty, unignorable silence, Brewed God knows how long. Hatless, I take off My cycle-clips in awkward reverence. Move forward, run my hand around the font. From where I stand, the roof looks almost new - Cleaned, or restored? Someone would know: I don't. Mounting the lectern, I peruse a few Hectoring large-scale verses, and pronounce 'Here endeth' much more loudly than I'd meant. The echoes snigger briefly. Back at the door I sign the book, donate an Irish sixpence, Reflect the place was not worth stopping for. Yet stop I did: in fact I often do, And always end much at a loss like this, Wondering what to look for; wondering, too, When churches will fall completely out of use What we shall turn them into, if we shall keep A few cathedrals chronically on show, Their parchment, plate and pyx in locked cases, And let the rest rent-free to rain and sheep. Shall we avoid them as unlucky places? Or, after dark, will dubious women come To make their children touch a particular stone; Pick simples for a cancer; or on some Advised night see walking a dead one? Power of some sort will go on In games, in riddles, seemingly at random; But superstition, like belief, must die, And what remains when disbelief has gone? Grass, weedy pavement, brambles, buttress, sky, A shape less recognisable each week, A purpose more obscure. I wonder who Will be the last, the very last, to seek This place for what it was; one of the crew That tap and jot and know what rood-lofts were? Some ruin-bibber, randy for antique, Or Christmas-addict, counting on a whiff Of gown-and-bands and organ-pipes and myrrh? Or will he be my representative, Bored, uninformed, knowing the ghostly silt Dispersed, yet tending to this cross of ground Through suburb scrub because it held unspilt So long and equably what since is found Only in separation - marriage, and birth, And death, and thoughts of these - for which was built This special shell? For, though I've no idea What this accoutred frowsty barn is worth, It pleases me to stand in silence here; A serious house on serious earth it is, In whose blent air all our compulsions meet, Are recognized, and robed as destinies. And that much never can be obsolete, Since someone will forever be surprising A hunger in himself to be more serious, And gravitating with it to this ground, Which, he once heard, was proper to grow wise in, If only that so many dead lie round.

Tizzy squawked, and he bounced like a ball on the floor.  “I completely forgot; Santa said something more. He said that a book gives your very thoughts wings, That carry you off to see wonderful things, That lift you aloft, throughout time, throughout space To every era and every place!

christmas ghosts visit rearranging emotions tears waltz among smiles

Being the head of the home isn’t the same as controlling,” David said. “It means being the spiritual leader. The Scripture you may have heard is from Ephesians: ‘Wives, submit to your husbands as to the Lord. For the husband is the head of the wife as Christ is the head of the church.’ But for whatever reason, most people don’t read the verse before it that says, ‘Submit to one another out of reverence for Christ,’ and the one after it, ‘Husbands, love your wives just as Christ loved the church and gave himself up for her.

Although it pains me, I must admit that I have never found what I ‘need.’ And I am in this place because long ago I took it upon myself to decide what I ‘want’ to need, verses surrendering to what I ‘need’ to need. And thankfully I have realized that God made Christmas everything that I ‘want,’ but more so He made it everything that I ‘need.

Hm, hm, gent reader, is your entire kin well? Allow me; you might want, perhaps, [4] to learn now from me what “kinsfolks” means exactly? Well, here’s what kinsfolks are: we are required to pet them, [8] love them, esteem them cordially, and, following popular custom, come Christmas, visit them, or else congratulate them postally, [12] so that for the rest of the year they will not think about us.

Clive, surveying the scene from the churchyard, was not particularly concerned with the how or why. It was typical of his unquestioning, uncomplicated nature, as well-meaning as the printed verse in a Christmas card. Like the card, too, he was a symbol of goodwill towards all men. His life was one perpetual effort to be liked. This had naturally resulted in considerable unpopularity. His late-autumn holiday was being spent alone.

For men are homesick in their homes, And strangers under the sun, And they lay their heads in a foreign land Whenever the day is done. To an open house in the evening Home shall men come, To an older place than Eden And a taller town than Rome. To the end of the way of the wandering star, To the things that cannot be and that are, To the place where God was homeless And all men are at home. From: The House of Christmas, as anthologized in Burton Egbert Stevenson, ed., The Home Book of Verse, Volume 1 (New York: Henry Holt And Company, 1912); Project Gutenberg Etext #2619.

Over and over again we find the Church councils complaining that the peasants (and sometimes the priests too) were singing 'wicked songs with a chorus of dancing women,' or holding 'ballads and dancings and evil and wanton songs and such-like lures of the devil'; over and over again the bishops forbade these songs and dances; but in vain. In every country in Europe, right through the Middle Ages to the time of the Reformation, and after it, country folk continued to sing and dance in the churchyard. Two hundred years after Charlemagne's death there grew up the legend of the dancers of Kölbigk, who danced on Christmas Eve in the churchyard, in spite of the warning of the priest, and all got rooted to the spot for a year, till the Archbishop of Cologne released them. Some men say that they were not rooted standing to the spot, but that they had to go on dancing for the whole year; and that before they were released they had danced themselves waist-deep into the ground. People used to repeat the little Latin verse which they were singing: ... Through the leafy forest, Bovo went a-riding And his pretty Merswind trotted on beside him-- Why are we standing still? Why can't we go away?

O Come, O Come, Emmanuel “T hey shall call his name Immanuel” (which means, God with us)” (Matthew 1:23 ESV). This is perhaps our oldest Christmas carol. Historians say its roots go back to the 8th century. In its earliest form, it was a “plain song” or a chant and the monks sang it a cappella. It was sung or chanted in Latin during the seven days leading up to Christmas. Translated into English by John Mason Neale in 1851, we sing it to the tune “Veni, Emmanuel,” a 15th-century melody. Many churches sing it early in the Advent season because of its plaintive tone of expectant waiting. Traditionally Advent centers on the Old Testament preparation for the coming of the Messiah who will establish his kingdom on the earth. When the words form a prayer that Christ will come and “ransom captive Israel,” we ought to remember the long years of Babylonian captivity. Each verse of this carol features a different Old Testament name or title of the coming Messiah: “O come, O come, Emmanuel.” “O come, Thou Wisdom from on high.” “O come, Thou Rod of Jesse.” “O come, Thou Day-spring.” “O come, Thou Key of David.” “O come, Thou Lord of Might.” “O come, Desire of Nations.” This carol assumes a high level of biblical literacy. That fact might argue against singing it today because so many churchgoers don’t have any idea what “Day-spring” means or they think Jesse refers to a wrestler or maybe to a reality TV star. But that argument works both ways. We ought to sing this carol and we ought to use it as a teaching tool. Sing it—and explain it! We can see the Jewish roots of this carol in the refrain: Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel. But Israel’s Messiah is also our Savior and Lord. What Israel was waiting for turns out to be the long-expected Jesus. So this carol rightly belongs to us as well. The first verse suggests the longing of the Jewish people waiting for Messiah to come: O come, O come, Emmanuel And ransom captive Israel That mourns in lonely exile here Until the Son of God appears The second verse pictures Christ redeeming us from hell and death: O come, Thou Rod of Jesse, free Thine own from Satan’s tyranny From depths of Hell Thy people save And give them victory o’er the grave This verse reminds us only Christ can take us home to heaven: O come, Thou Key of David, come, And open wide our heavenly home; Make safe the way that leads on high, And close the path to misery. Rejoice! Rejoice! Emmanuel Shall come to thee, O Israel. Let’s listen as Selah captures the Jewish flavor of this carol. Lord, we pray today for all those lost in the darkness of sin. We pray for those who feel there is no hope. May the light of Jesus shine in their hearts today. Amen.

Then I’ll sing, though that will likely have the child holding his ears and you running from the room.” This, incongruously, had her lips quirking up. “My father isn’t very musical. You hold the baby, I’ll sing.” She took the rocking chair by the hearth. Vim settled the child in his arms and started blowing out candles as he paced the room. “He shall feed his flock, like a shepherd…” More Handel, the lilting, lyrical contralto portion of the aria, a sweet, comforting melody if ever one had been written. And the baby was comforted, sighing in Vim’s arms and going still. Not deathly still, just exhausted still. Sophie sang on, her voice unbearably lovely. “And He shall gather the lambs in his arm… and gently lead those that are with young.” Vim liked music, he enjoyed it a great deal in fact—he just wasn’t any good at making it. Sophie was damned good. She had superb control, managing to sing quietly even as she shifted to the soprano verse, her voice lifting gently into the higher register. By the second time through, Vim’s eyes were heavy and his steps lagging. “He’s asleep,” he whispered as the last notes died away. “And my God, you can sing, Sophie Windham.” “I had good teachers.” She’d sung some of the tension and worry out too, if her more peaceful expression was any guide. “If you want to go back to your room, I can take him now.” He didn’t want to leave. He didn’t want to leave her alone with the fussy baby; he didn’t want to go back to his big, cold bed down the dark, cold hallway. “Go to bed, Sophie. I’ll stay for a while.” She frowned then went to the window and parted the curtain slightly. “I think it’s stopped snowing, but there is such a wind it’s hard to tell.” He didn’t dare join her at the window for fear a chilly draft might wake the child. “Come away from there, Sophie, and why haven’t you any socks or slippers on your feet?” She glanced down at her bare feet and wiggled long, elegant toes. “I forgot. Kit started crying, and I was out of bed before I quite woke up.” They shared a look, one likely common to parents of infants the world over. “My Lord Baby has a loyal and devoted court,” Vim said. “Get into bed before your toes freeze off.” She gave him a particularly unreadable perusal but climbed into her bed and did not draw the curtains. “Vim?” “Hmm?” He took the rocker, the lyrical triple meter of the aria still in his head. “Thank you.” He

Twas the night before Christmas and in SICU All the patients were stirring, the nurses were, too. Some Levophed hung from an IMED with care In hopes that a blood pressure soon would be there. One patient was resting all snug in his bed While visions—from Versed—danced in his head. I, in my scrubs, with flowsheet in hand, Had just settled down to chart the care plan. Then from room 17 there arose such a clatter We sprang from the station to see what was the matter. Away to the bedside we flew like a flash, Saved the man from falling, with restraints from the stash. “Do you know where you are?” one nurse asked while tying; “Of course! I’m in France in a jail, and I’m dying!” Then what to my wondering eyes should appear? But a heart rate of 50, the alarm in my ear. The patient’s face paled, his skin became slick And he said in a moment, “I’m going to be sick!” Someone found the Inapsine and injected a port, Then ran for a basin, as if it were sport. His heart rhythm quieted back to a sinus, We soothed him and calmed him with old-fashioned kindness. And then in a twinkling we hear from room 11 First a plea for assistance, then a swearing to heaven. As I drew in my breath and was turning around, Through the unit I hurried to respond to the sound. “This one’s having chest pain,” the nurse said and then She gave her some nitro, then morphine and when She showed not relief from IV analgesia Her breathing was failing: time to call anesthesia. “Page Dr. Wilson, or May, or Banoub! Get Dr. Epperson! She ought to be tubed!” While the unit clerk paged them, the monitor showed V-tach and low pressure with no pulse: “Call a code!” More rapid than eagles, the code team they came. The leader took charge and he called drugs by name: “Now epi! Now lido! Some bicarb and mag! You shock and you chart it! You push med! You bag!” And so to the crash cart, the nurses we flew With a handful of meds, and some dopamine, too! From the head of the bed, the doc gave his call: “Resume CPR!” So we worked one and all. Then Doc said no more, but went straight to his work, Intubated the patient, then turned with a jerk. While placing his fingers aside of her nose, And giving a nod, hooked the vent to the hose. The team placed an art-line and a right triple-lumen. And when they were through, she scarcely looked human: When the patient was stable, the doc gave a whistle. A progress note added as he wrote his epistle. But I heard him exclaim ere he strode out of sight, “Merry Christmas to all! But no more codes for tonight!” Jamie L. Beeley Submitted by Nell Britton

Some songs from the era prove this, like a couple of little-known verses of Yankee Doodle: Two and two may go to Bed, Two and Two together; And if there is not room enough, Lie one a top o’to’ther Christmas is a coming Boys, We’ll go to Mother Chase’s And there we’ll get a sugar dram [i.e., rum] Sweetened with Melasses [molasses]. Heigh Ho for our Cape Cod, Heigh ho Nantasket, Do not let the Boston wags Feel your Oyster Basket.9 Yes, “Oyster Basket” means exactly what you think it means.

The Earth reminded us of a Christmas tree ornament hanging in the blackness of space. As we got farther and farther away it diminished in size. Finally it shrank to the size of a marble, the most beautiful marble you can imagine. That beautiful, warm, living object looked so fragile, so delicate, that if you touched it with a finger it would crumble and fall apart. Seeing this has to change a man, has to make a man appreciate the creation of God and the love of God.17—Astronaut James Irwin 2.

My brothers and sisters, true love is a reflection of the Savior's love. In December of each year we call it the Christmas spirit. You can hear it. You can see it. You can feel it.

In 1833 the familiar Christmas carol God Rest Ye Merry, Gentlemen was first published in Britain. It became widely known in America in the late 1800s and is still popular today. Many people miss the meaning of the first line because they leave out the comma between “merry” and “gentlemen.” This is not a song about “merry gentlemen,” but rather an exhortation to godly men. It helps to know that the word “merry” originally meant strong or valiant, as in Robin Hood and his “Merry Men,” meaning his strong, brave men. The word “rest” meant to make. So the first line really means, “God make you strong and valiant, gentlemen.” That explains the second line, “Let nothing you dismay.” What is it that makes us strong in the face of the struggles of life and our own repeated failures? “Remember Christ our Savior was born on Christmas Day.” The whole essence of the gospel is in the opening verse.

In the Hosanna acclamation, then, we find an expression of the complex emotions of the pilgrims accompanying Jesus and of his disciples: joyful praise of God at the moment of the processional entry, hope that the hour of the Messiah had arrived, and at the same time a prayer that the Davidic kingship and hence God’s kingship over Israel would be reestablished. As mentioned above, this passage from Psalm 118: “Blessed is he who enters in the name of the Lord!” had originally formed part of Israel’s pilgrim liturgy used for greeting pilgrims as they entered the city or the Temple. This emerges clearly from the second part of the verse: “We bless you from the house of the Lord.” It was a blessing that the priests addressed and, as it were, bestowed upon the pilgrims as they arrived. But in the meantime the phrase “who enters in the name of the Lord” had acquired Messianic significance. It had become a designation of the one promised by God. So from being a pilgrim blessing, it became praise of Jesus, a greeting to him as the one who comes in the name of the Lord, the one awaited and proclaimed by all the promises. It may be that this strikingly Davidic note, found only in Saint Mark’s text, conveys most accurately the pilgrims’ actual expectations at that moment. Luke, on the other hand, writing for Gentile Christians, completely omits the Hosanna and the reference to David, and in its place he gives an exclamation reminiscent of Christmas: “Peace in heaven and glory in the highest!” (19:38; cf. 2:14). All three Synoptic Gospels, as well as Saint John, make it very clear that the scene of Messianic homage to Jesus was played out on his entry into the city and that those taking part were not the inhabitants of Jerusalem, but the crowds who accompanied Jesus and entered the Holy City with him.

i remember dying trees inside that needed some shock therapy

but is it santa or jesus looking down on a scarred burned earth?

we shook our jingtinglers we banged our trumtookas and it was both too much and not enough

A rhyming Nativity narrative. "The donkey who carried Mary to the Nativity calmly focuses on feelings of wonderment surrounding the child’s birth. With huge eyes...the little donkey is utterly adorable. Lines like “a bit of tingle-my-toes. / That’s how the evergreen / smelled to me, / a bit of fresh pine to my nose” offer opportunities for caregivers to extend the reading to sensory activities, though the scent of pine doesn’t seem historically accurate. An uncluttered stable features friendly, curious barn animals that greet baby Jesus along with the three Wise Men. Told in verse, the tale evokes a tender, pleasant mood. ...“I lifted my head / above His hay bed // …and sang of this morning of grace.” Jesus, referred to as “the Baby” and “the Babe,” is tan-skinned, as are his parents. Two of the Wise Men are light-skinned, while one is darker-skinned. A gentle, spare tale, part bedtime story, part Christmas fare. (Picture book. 2-5)" Kirkus Reviews

Lucky Devon Pixies, said the sign. I’m a lucky Devon pixie, from the legend old and true, Kiss me once and turn me twice and I’ll bring luck to you. The pixies were silver charms in pretty little boxes with the verse on the lid,

Daddy's Little Girl acoustic melodic country [Verse] I see the pictures on your wall, moments I missed First steps, school plays, birthdays, and dusty Christmas gifts I know I've let you down, in ways too many to say But you're always on my mind, every single day [Verse 2] Your mama raised you strong, through storm and sunshine I see her in your eyes, the way you hold the line I was lost and wandering, trying to find myself But I’ve found my way back home, where you always dwelt [Chorus] I'm sorry I wasn't there, when you needed me the most I'm sorry I wasn't the father, you needed me to be But I'll always love you, 'cross the miles and in the dark You'll always be daddy's little girl, forever in my heart [Verse 3] The years keep slipping by, like a river to the sea Moments I can't get back, the man I used to be But I promise you right here, I'll never let you down From this day on, I'll always be around [Verse 4] Forgiveness ain't easy, you’ve built walls so high But I’ll keep on trying, till my last goodbye I’ll be your rock, your anchor, the father that you need The hand to hold, the heart that bleeds [Chorus] I'm sorry I wasn't there, when you needed me the most I'm sorry I wasn't the father, you needed me to be But I'll always love you, 'cross the miles and in the dark You'll always be daddy's little girl, forever in my heart

She makes me needlepoints of Bible verses for Christmas.” Jillian shook her head. “She disposed of a dead guy?

Jay whistled. “Ooo. Xi Angel verse Reality. I’m not betting on that one.

In the Christmas season of 1822, Clement Clarke Moore, a prosperous New York scholar and landowner, wrote a series of verses in a lively anapestic rhythm for the amusement of his daughters.13 Legend has it that they were inspired by the portly figure of his fur-clad sleigh driver as he returned home from a shopping trip through the snowy streets. The poem appeared anonymously in the Troy Sentinel a year later under the title “Account of a Visit from St. Nicholas”:

Then Bill Anders spoke, not just to CapCom, to all the world listening to his words from so far away. “For all the people on earth,” he said, his emotions unmasked, “the crew of Apollo 8 has a message we would like to send you.” A brief pause, and then Anders stunned his audience as he began reading from the verses of the book of Genesis: “In the beginning, God created the heaven and the earth . . . ” As Anders concluded the fourth verse, Lovell read the next four. Borman concluded by beginning his reading of the ninth verse, and then sent to the world a special Christmas message: “And from the crew of Apollo 8, we close with good night, good luck, a Merry Christmas, and God bless all of you—all of you on the good earth.” Later, Borman would add a passage that would be repeated by the men who would venture to the moon, words spoken with stark emotion, sometimes with tears. As Apollo raced around the cratered world below, Borman watched the earth “rising” above the lunar horizon. “This is the most beautiful, heart-catching sight of my life.” Suddenly

Jenny has taken a daft notion to go to Paris.” Louisa knew she sounded worried, but it couldn’t be helped. The parlor door was closed, the syllabub had been served, and this was likely the only privacy the children, spouses, and parents would allow her with her sisters. “Paris in springtime is supposed to be lovely,” Sophie observed. “Sindal says he’ll take me one of these years, but there always seems to be a baby on the way or one just arrived.” Petite, blond Eve, her feet up on a hassock, patted her belly. “Please, God, let one arrive before I explode or Deene frets himself into a decline. Lou wouldn’t be worried if Jenny were making a quick shopping visit.” Maggie left off poking at the fire—no footmen would disturb this gathering—and took up a rocking chair. “Jenny told me the same thing. Told me not to be angry with her, but if she didn’t leave now, she’d never go.” “She needs a fellow,” Louisa said. “We all needed a fellow, and the boys needed their ladies.” Sophie considered her drink. “I don’t know, Lou. Your fellow lets you write all the poetry you want, and has you dedicate the racy verses to him. Ladies have been writing poetry for eons. Jenny’s art is a different matter.” “Deene let me ride King William,” Eve said. “Before I got as big as King William. Maybe the right fellow will encourage Jenny’s painting.” There

She's jealous of you. She has been since you got that solo in the sixth-grade Christmas pageant." (...) "You're telling me I went through six years of drama from Lydia because she decided I didn't deserve to sing the verses of 'It Came Upon A Midnight Clear' instead of her?

In 1891, Robert Louis Stevenson received a letter from a Vermont girl named Annie Ide. Her birthday fell on Christmas, she said, and she seldom received birthday presents. He replied with a document decreeing that “I, Robert Louis Stevenson, . . .in consideration that Miss Annie H. Ide, . . .was born, out of all reason, upon Christmas Day, and is therefore out of all justice denied the consolation and profit of a proper birthday; and considering that I, the said Robert Louis Stevenson, have attained an age when we never mention it, and that I have now no further use for a birthday of any description. . . . HAVE TRANSFERRED, and DO HEREBY TRANSFER, to the said Annie H. Ide, ALL AND WHOLE my rights and privileges in the thirteenth day of November, formerly my birthday, now, hereby, and henceforth, the birthday of the said Annie H. Ide, to have, hold, exercise, and enjoy the same in the customary manner, by the sporting of fine raiment, eating of rich meats, and receipt of gifts, compliments, and copies of verse, according to the manner of our ancestors.

Lady Jenny, your turn.” She passed her sketch pad over to him, feeling a pang of sympathy for accused criminals as they stood in the dock. And yet, she’d asked for this. Gotten together all of her courage to ask for this one moment of artistic communion. “Well,” Mr. Harrison said, “isn’t he a handsome fellow? What do you think, ladies?” “You look like a papa,” Fleur observed. “Though our papa doesn’t sketch. He reads stories.” “And hates his ledgers,” Amanda added. “Is my hair that long in back?” “Yes,” Jenny said, because she’d drawn not only Elijah Harrison’s hands, but all of him, looking relaxed, elegant, and handsome, with Amanda crouched at his side, fascinated with what he created on the page. “I look…” He regarded the sketch in silence, while Jenny heard a coach-and-four rumbling toward her vulnerable heart. “I look… a bit tired, slightly rumpled, but quite at home. You are very quick, Lady Genevieve, and quite good.” Quite good. Like saying a baby was adorable, a young gentleman well-mannered. “The pose was simple,” Jenny said, “the lighting uncomplicated, and the subject…” “Yes?” He was one of those men built in perfect proportion. Antoine had spent an entire class wielding a tailor’s measure on Mr. Harrison’s body, comparing his proportions to the Apollo Belvedere, and scoffing at the “mistakes” inherent in Michelangelo’s David. Jenny wanted to snatch her drawing from his hand. “The subject is conducive to a pleasing image.” He passed the sketch pad back, but Jenny had the sense that in some way, some not entirely artistic way, she’d displeased him. The disappointment was survivable. Her art had been displeasing men since she’d first neglected her Bible verses to sketch her brothers. “You

This is part of being married?” Joseph’s hand stroked slowly over her hair, and Louisa thought for a moment he hadn’t heard the question—or maybe she hadn’t spoken aloud. “It is part of you being married to me.” There was an implication in his words Louisa was too scattered to parse. Insights—into old passages of verse, into her siblings’ marital devotion, into her own parents’—floated in the haze that passed for her thoughts. “Can one do this repeatedly? Successively? Nine times in a row?” “One can if she’s female and has some time on her hands. We fellows would find ourselves challenged to keep that sort of pace—though the attempt would certainly be pleasurable in the right company.” His tone suggested Louisa was the right company for him, which did nothing to restore her composure. “Why doesn’t anybody tell a young lady about these things?” “Young men all over England are whispering to their sweethearts about things like this. Perhaps the old fellows are too, if they’re lucky.

Before Joseph’s eyes, Louisa’s confidence crumbled. Defending her husband’s decisions in Spain, she’d been magnificent, assured, and unfaltering. One mention of her literary talent, and she wilted like a tender plant in a frost. And that, Sir Joseph would not permit. “A devoted knight offers to his lady the most beautiful verse he can find,” Joseph said. “‘How do I learn the number of kisses needed to satisfy my longing for you?’” Louisa’s head came up. Shock registered in her gorgeous green eyes. “Joseph? You know?” He wanted to declaim the entire poem, the entire volume of poetry, but settled for one more line: “‘So many kisses that no intruding eye could count them, nor any gossiping tongue accurately fix their total, much less their precious worth to me.’” “Joseph, you know? You knew?

They launched into some of their favorite Christmas carols, and the third verse of “Silent Night” brought Kiera back to thinking about the stable and ‘the least of these’. She smoothed the crisp paper of the package sitting in her lap and felt a lump rise in her throat. Anything she could do would never be enough. God would have to act and maybe He would use her.

Of the three women, Hannah liked Annabelle the most. She had a knack for keeping the conversation entertaining, and she was amusing and well versed in many subjects. In fact, Annabelle was an example of what Natalie might become in a few years.

For thus saith the LORD to the men of Judah and Jerusalem, Break up your fallow ground, and sow not among thorns.’ ” “Old Testament?” “Yes, Jeremiah 4, verse 3.” “So what does it mean to you?” “God has given us good resources; use them. Don’t choose the thorny or sin-laden fields because those are not meant for His people.