Wedding Veil Quotes

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Don't answer the door in a wedding dress and veil, he might not think you're joking.
Amy Sedaris (I Like You: Hospitality Under the Influence)
A legion of horribles, hundreds in number, half naked or clad in costumes attic or biblical or wardrobed out of a fevered dream with the skins of animals and silk finery and pieces of uniform still tracked with the blood of prior owners, coats of slain dragoons, frogged and braided cavalry jackets, one in a stovepipe hat and one with an umbrella and one in white stockings and a bloodstained wedding veil and some in headgear or cranefeathers or rawhide helmets that bore the horns of bull or buffalo and one in a pigeontailed coat worn backwards and otherwise naked and one in the armor of a Spanish conquistador, the breastplate and pauldrons deeply dented with old blows of mace or sabre done in another country by men whose very bones were dust and many with their braids spliced up with the hair of other beasts until they trailed upon the ground and their horses' ears and tails worked with bits of brightly colored cloth and one whose horse's whole head was painted crimson red and all the horsemen's faces gaudy and grotesque with daubings like a company of mounted clowns, death hilarious, all howling in a barbarous tongue and riding down upon them like a horde from a hell more horrible yet than the brimstone land of Christian reckoning, screeching and yammering and clothed in smoke like those vaporous beings in regions beyond right knowing where the eye wanders and the lip jerks and drools.
Cormac McCarthy (Blood Meridian, or, the Evening Redness in the West)
Mom says each of us has a veil between ourselves and the rest of the world, like a bride wears on her wedding day, except this kind of veil is invisible. We walk around happily with these invisible veils hanging down over our faces. The world is kind of blurry, and we like it that way. But sometimes our veils are pushed away for a few moments, like there's a wind blowing it from our faces. And when the veil lifts, we can see the world as it really is, just for those few seconds before it settles down again. We see all the beauty, and cruelty, and sadness, and love. But mostly we are happy not to. Some people learn to lift the veil themselves. Then they don't have to depend on the wind anymore.
Rebecca Stead (When You Reach Me)
I take a length of cloth and hold it to my head - a wedding veil. I do not regret the days of make-believe, but for every time I played at bride I should have played at goddess, river, warrior queen
Joy McCullough (Blood Water Paint)
Do you know when they say soul-mates? Everybody uses it in personal ads. "Soul-mate wanted". It doesn't mean too much now. But soul mates- think about it. When your soul-whatever that is anyway-something so alive when you make music or love and so mysteriously hidden most of the rest of the time, so colorful and big but without color or shape-when your soul finds another soul it can recognize even before the rest of you knows about it. The rest of you just feels sweaty and jumpy at first. And your souls get married without even meaning to-even if you can't be together for some reason in real life, your souls just go ahead and make the wedding plans. A soul's wedding must be too beautiful to even look at. It must be blinding. In must be like all the weddings in the world-gondolas with canopies of doves, champagne glasses shattering, wings of veils, drums beating, flutes and trumpets,showers of roses. And after that happens-that's it, this is it. But sometimes you have to let that person go. When you are little, people , movie and fairy tales all tell you that one day you're going to meet this person. So you keep waiting and it's a lot harder than they make it sound. Then you meet and you think, okay, now we can just get on with it but you find out that sometimes your sould brother partner lover has other ideas about that.
Francesca Lia Block (Dangerous Angels (Weetzie Bat, #1-5))
Unless I’m at a wedding, I don’t like veiled threats.
Jarod Kintz (This Book Has No Title)
I am thinking about the way that life can be so slippery; the way that a twelve-year-old girl looking into the mirror to count freckles reaches out toward herself and that reflection has turned into that of a woman on her wedding day, righting her veil. And how, when that bride blinks, she reopens her eyes to see a frazzled young mother trying to get lipstick on straight for the parent/teacher conference that starts in three minutes. And how after that young woman bends down to retrieve the wild-haired doll her daughter has left on the bathroom floor, she rises up to a forty-seven-year-old, looking into the mirror to count age spots.
Elizabeth Berg (What We Keep)
I sit with Shakespeare, and he winces not. Across the color line I move arm and arm with Balzac and Dumas, where smiling men and welcoming women glide in gilded halls. From out of the caves of evening that swing between the strong-limbed Earth and the tracery of stars, I summon Aristotle and Aurelius and what soul I will, and they come all graciously with no scorn nor condescension. So, wed with Truth, I dwell above the veil. Is this the life you grudge us, O knightly America? Is this the life you long to change into the dull red hideousness of Georgia? Are you so afraid lest peering from this high Pisgah, between Philistine and Amalekite, we sight the Promised Land?
W.E.B. Du Bois (The Souls of Black Folk)
Nature, who has played so many queer tricks upon us, making us so unequally of clay and diamonds, of rainbow and granite, and stuffed them into a case, often of the most incongruous, for the poet has a butcher’s face and the butcher a poet’s; nature, who delights in muddle and mystery, so that even now (the first of November, 1927) we know not why we go upstairs, or why we come down again, our most daily movements are like the passage of a ship on an unknown sea, and the sailors at the mast-head ask, pointing their glasses to the horizon: Is there land or is there none? to which, if we are prophets, we make answer “Yes”; if we are truthful we say “No”; nature, who has so much to answer for besides the perhaps unwieldy length of this sentence, has further complicated her task and added to our confusion by providing not only a perfect ragbag of odds and ends within us—a piece of a policeman’s trousers lying cheek by jowl with Queen Alexandra’s wedding veil—but has contrived that the whole assortment shall be lightly stitched together by a single thread. Memory is the seamstress, and a capricious one at that. Memory runs her needle in and out, up and down, hither and thither. We know not what comes next, or what follows after. Thus, the most ordinary movement in the world, such as sitting down at a table and pulling the inkstand towards one, may agitate a thousand odd, disconnected fragments, now bright, now dim, hanging and bobbing and dipping and flaunting, like the underlinen of a family of fourteen on a line in a gale of wind. Instead of being a single, downright, bluff piece of work of which no man need feel ashamed, our commonest deeds are set about with a fluttering and flickering of wings, a rising and falling of lights.
Virginia Woolf (Orlando)
It's about Diana,' sobbed Anne luxuriously. 'I love Diana so, Marilla. I cannot ever live without her. But I know very well when we grow up that Diana will get married and go away and leave me. And oh, what shall I do? I hate her husband — I just hate him furiously. I've been imagining it all out — the wedding and everything — Diana dressed in snowy white garments, and a veil, and looking as beautiful and regal as a queen; and me the bridesmaid, with a lovely dress, too, and puffed sleeves, but with a breaking heart hid beneath my smiling face. And then bidding Diana good-bye-e-e—' Here Anne broke down entirely and wept with increasing bitterness. Marilla turned quickly away to hide her twitching face, but it was no use; she collapsed on the nearest chair and burst into such a hearty and unusual peal of laughter…
L.M. Montgomery (Anne of Green Gables (Anne of Green Gables, #1))
We walked for some time, and grew to know each other, as best as we'd allow. These are some of the high points. They lack continuity. I don't apologize. I merely pointed it out, adding with some truth, I feel, that most liaisons lack continuity. We find ourselves in odd places at various times, and for a brief span we link our lives to others and then, our time elapsed, we move apart. Through a haze of pain occasionally, usually through a veil of memory that clings, then passes, sometimes as though we have never touched.
Harlan Ellison
She’d read all of Jane Austen that year—Austen was good, but when you told people you liked Pride and Prejudice, they expected you to be all sunshine and wedding veils, and Sylvia preferred the rainy moors. The Brontës weren’t afraid to let someone die of consumption, which Sylvia respected.
Emma Straub (The Vacationers)
I sit with Shakespeare and he winces not. Across the color-line I move arm in arm with Balzac and Dumas, where smiling men and welcoming women glide in gilded halls. From out the caves of the evening that swing between the strong-limbed earth and the tracery of the stars, I summon Aristotle and Aurelius... and they come all graciously with no scorn nor condescension. So, wed with Truth, I dwell above the Veil.
W.E.B. Du Bois (The Souls of Black Folk)
Do you know when they say soulmates? Everybody uses it in personal ads. “Soul mate wanted.” It doesn’t mean too much now. But soulmates – think about it. When your soul – whatever that is anyway – something so alive when you make music or love and so mysteriously hidden most of the rest of the time, so colorful and big but without color or shape – when your soul finds another soul it can recognize even before the rest of you knows about it. The rest of you just feels sweaty and jumpy at first. And your souls get married without even meaning to – even if you can’t be together for some reason in real life, your souls just go ahead and make the wedding plans. A soul’s wedding must be too beautiful to even look at. It must be blinding. It must be like all the weddings in the world – gondolas with canopies of doves, champagne glasses shattering, wings of veils, drums beating, flutes and trumpets, showers of roses. And after that happens you know – that’s it. This is it.
Francesca Lia Block (Missing Angel Juan (Weetzie Bat, #4))
Jace looked around uneasily at the walls hung with veils, fans, tiaras, and seed-pearl-encrusted trains. “Everything is .. .so white.” “Of course it’s white,” said Simon. “It’s a wedding.” “White for Shadowhunters is the color of funerals,” Luke explained. “But for mundanes, Jace, it’s the color of weddings. Brides wear white to symbolize their purity.” “I thought Jocelyn said her dress wasn’t white,” Simon said. “Well,” said Jace, “I suppose that ship has sailed.
Cassandra Clare (City of Fallen Angels (The Mortal Instruments, #4))
...We have seven people who knew the skewers were there: the wedding planner, the reception hall manager, the dressmaker, the florist, the veil-maker, the cake-maker, and the caterer. I haven't ruled out the butcher, the baker, and the candlestick maker, either.
Linda Howard (Veil of Night)
Their tongues met, starving, two years without this delicious meal. They kissed and kissed and kissed. The joining of their mouths was more intense than that night on the ferry. This was a kiss of reunion. Of forgiveness. Of coming home.
Lori Wilde (Once Smitten, Twice Shy (Wedding Veil Wishes, #2))
The world is a glorious place, and filled with so many unexpected moments that I'd get lumps in my throat, as though I were watching a bride walk down the aisle - moments as eternal and full of love as the lifting of veils, the saying of vows and the moment of the first wedded kiss.
Douglas Coupland (Hey Nostradamus!)
1. WE'VE LEFT SHORE SOMEHOW BECOME THE FRIENDS OF EARLY THEORY CLOSE ENOUGH TO SPEAK DESIRE AND PAIN OF ABSENCE OF MISTAKES WE'D MAKE GIVEN THE CHANCE. EACH SMILE RETURNED MAKES HARDER AVOIDING DREAMS THAT SEE US LYING IN EARLY EVENING CURTAIN SHADOWS, SKIN SAFE AGAINST SKIN. BLOOM OF COMPASSION RESPECT FOR MOMENTS EYES LOCK TURNS FOREVER INTO ONE MORE VEIL THAT FALLS AWAY. 2. THIS AFTER SEEING YOU LAST NIGHT, FIRST TIME SMELLING YOU WITH PERMISSION: SHOULDERS TO WONDER OPENLY AT AS CAREFULLY KISSED AS THOSE ARMS WAITED IMPOSSIBLY ON. THEY'VE HELD ME NOW AND YOUR BREATH DOWN MY BACK SENT AWAY NIGHT AIR THAT HAD ME SHAKING IN THE UNLIT ANGLICAN DOORWAY. 3. ARE WE RUINED FOR FINDING OUR FACES FIT AND WANT TO KNOW MORE ABOUT MORNING? IS FRIENDSHIP CANCELLED IF WE CAN'T CALL EACH OTHER ANYMORE IN AMNESIA, INVITE OURSELVES TO LAST GLANCES UNDER SUSPICIOUS CLOCKS TELLING US WHEN WE'VE HAD ENOUGH? 4. YOUR STEADY HANDS CRADLING MY GRATEFUL SKULL: WERE YOU TAKING IN MY FACE TO SAVE AN IMAGE YOU'VE RARELY ALLOWED YOURSELF AFTER LEAVING THAT COLD ALCOVE? AM I A PHOTOGRAPH YOU GAZE AT IN MOMENTS OF WEAKNESS? YOU ORDERED ME OFF MY KNEES INTO YOUR ARMS. WASN'T TO BEG THAT I KNELT; ONLY TO SEE YOU ONCE FROM BELOW. TRIED TO SAY SOMETHING THAT FILLED MY MOUTH AND LONGED TO REST IN YOUR EAR. DON'T DARE WRITE IT DOWN FOR FEAR IT'LL BECOME WORDS, JUST WORDS.
Viggo Mortensen (Coincidence of Memory)
[she used to say that] each of us has a veil between ourselves and the rest of the world – like a bride wears on her wedding day—except this kind of veil is invisible. we walk around happily with these invisible veils hanging down over our faces. the world is kind of blurry. we like it that way. but sometimes our veils are pushed away for a few moments – like there’s a wind blowing it from our faces – and when the veil lifts, we can see the world as it really is, just for those few seconds before it settles down again. we see all the beauty and cruelty and sadness and love, but mostly we are happy not to. some people learn to lift the veils themselves. then they don’t have to depend on the wind anymore. ...it’s just her way of saying that most of the time people get distracted by little stuff, and ignore the big stuff.
Rebecca Stead (When You Reach Me)
Beckett’s gruff voice moved her veil as he spoke, “Happy wedding, Whitebread. But please, don’t worry about this.
Debra Anastasia (Poughkeepsie (Poughkeepsie Brotherhood, #1))
All weddings... It never changes, when the groom lifts the veil, when the bride accepts the ring, the possibilities you see in their eyes, it's the same around the world. They truly believe their love and their marriage is going to break all records.
Mitch Albom (The Five People You Meet in Heaven)
It was her wedding dress and it had a flare-out bottom, and they had laid her head to foot in it so the dress could spread out, and they had made her a veil out of a mosquito bar so the auger holes in her face wouldn’t show.
William Faulkner (As I Lay Dying)
The priest then turning toward the bride, inquired: "Wilt thou have this man to be thy wedded husband, etc., etc., so long as ye both shall live?" To which the bride, throwing aside her veil, answered, firmly: "No! Not if he were the last man and I the last woman on the face of the earth and the human race was about to become extinct and the angel of Gabriel came down from above to ask it of me as a personal favor." The effect of this outburst, this revelation, this explosion, may be imagined but can never be adequately described.
E.D.E.N. Southworth (Capitola's Peril (A Sequel to "The Hidden Hand"))
A bride at her second marriage does not wear a veil. She wants to see what she is getting.
Helen Rowland
..myself standing in front of Monticello wearing a veil and a wedding gown, hand in hand with a very muscular President Jefferson.
Anne Fortier (Juliet)
The woman who presents herself to the spectator as a 'picture' forever arranged, is, for the contemplative mind, the chiefest danger. Sometimes one meets a woman who is beast turning human. Such a person's every movement will reduce to an image of a forgotten experience; a mirage of an eternal wedding cast on the racial memory; as insupportable a joy as would be the vision of an eland coming down an aisle of trees, chapleted with orange blossoms and bridal veil, a hoof raised in the economy of fear,stepping in the trepidation of flesh that will become myth; as the unicorn is neither man nor beast deprived, but human hunger pressing its breast to its prey. Such a woman is the infected carrier of the past; before her the structure of our head and jaws ache -- we feel that we could eat her, she who is eaten death returning, for only then do we put our face close to the blood on the lips of our forefathers.
Djuna Barnes (Nightwood)
It wasn't a wedding a small girl dreams of - the white lace dress and a flowing veil. There were no bridesmaids or a symphony orchestra or long trails of white roses. But what does a small girl know of real love?
Patti Callahan Henry (Becoming Mrs. Lewis)
You know every story, every wound, every memory. Their whole life's happiness is wrapped up in you... every single second. Don't you get it? Look down the road to her wedding. I'm in a room alone with her, fixing her veil, fluffing her dress, telling her no woman has ever looked so beautiful. And my fear is she'll be thinking, "I wish my mom was here.
Jackie Harrison
Well," Fred said. "Gotta go. You two come by for dinner soon. I'll barbecue something." Where Fred was concerned, that probably meant he'd shoot something first, then barbecue it, but that was fine by Tony. He'd eat barbecued yak if it meant being a part of this family
Jane Graves (Tall Tales and Wedding Veils (Playboys, #2))
A silky rustling sound came from behind him. He turned, and saw Helen standing there in a white dress made of thin, glimmering layers of silk trimmed with lace. The dress clung to her slender form, the skirts pulled back to outline her hips and cascading gently behind her. She pulled back a filmy white veil sewn with lace and seed pearls, and smiled at him. She was unearthly in her beauty, as light and delicate as a wash of rainbow through morning mist. He held a hand over his hammering heart, as if to keep it from leaping out of his chest.
Lisa Kleypas (Marrying Winterborne (The Ravenels, #2))
The other people in your life are going to make decisions based on what they want in their life. Always. Even when it seems like they are interested in you, even when they genuinely do care about you, they are still going to make their decisions based on what works best for them. So you have to figure out what works for you. What will get you where you want to be. Then make sure any decision you make, no matter how small, will take you toward it.
Violet Howe (Diary of a Single Wedding Planner (Tales Behind the Veils, #1))
Nature, who has played so many queer tricks upon us, making us so unequally of clay and diamonds, of rainbow and granite, and stuffed them into a case, often of the most incongruous, for the poet has a butcher’s face and the butcher a poet’s; nature, who delights in muddle and mystery, so that even now (the first of November 1927) we know not why we go upstairs, or why we come down again, our most daily movements are like the passage of a ship on an unknown sea, and the sailors at the mast-head ask, pointing their glasses to the horizon; Is there land or is there none? to which, if we are prophets, we make answer ‘Yes’; if we are truthful we say ‘No’; nature, who has so much to answer for besides the perhaps unwieldy length of this sentence, has further complicated her task and added to our confusion by providing not only a perfect rag-bag of odds and ends within us — a piece of a policeman’s trousers lying cheek by jowl with Queen Alexandra’s wedding veil — but has contrived that the whole assortment shall be lightly stitched together by a single thread.
Virginia Woolf (Orlando)
Rumor's the slut you bend over a chair and never see again. Truth's the lady you wed.
Jeff Salyards (Veil of the Deserters (Bloodsounder's Arc, #2))
No. It made no sense at all. But she was a widow now. A bona fide, alone-in-the-world, parentless widow at that. She was entitled to go a bit crazy, if only for a little while. She opened the
Kristy Woodson Harvey (The Wedding Veil)
Mom says each of us has a veil between ourselves and the rest of the world, like a bride wears on her wedding day, except this kind of veil is invisible. We walk around happily with these invisible veils hanging down over our faces. The world is kind of blurry, and we like it that way. But sometimes our veils are pushed away for a few moments, like there’s a wind blowing it from our faces. And when the veil lifts, we can see the world as it really is, just for those few seconds before it settles down again. We see all the beauty, and cruelty, and sadness, and love. But mostly we are happy not to.
Rebecca Stead (When You Reach Me)
Her hair glowed. It shimmered and shone and pulsed, the full length of it flowing behind Rapunzel and lighting up the undersides of the trees and throwing soft illumination on all the paler leaves and mushrooms, gleaming for a moment where it hit a drop of dew or sap. The moths who had fled returned, like a fluttering train of silken flowers on a long, magical wedding veil, following the mesmerizing river of silver light.
Liz Braswell (What Once Was Mine)
Pandora, who walked down the aisle of the estate chapel on Devon's arm, was radiantly beautiful in a dress of white silk, the billowing skirts so intricately gathered and draped that no lace or ornamental trim had been necessary. She wore a coronet of fresh daisies and a veil of sheer tulle and carried a small bouquet of roses and daisies. If West had any remaining doubts about St. Vincent's true feelings for his bride, they were forever banished as he saw the man's expression. St. Vincent stared at Pandora as if she were a miracle, his cool composure disrupted by a faint flush of emotion. When Pandora reached him and the veil was pushed back, St. Vincent broke with etiquette by leaning down to press a tender kiss on her forehead. "That part isn't 'til later," Pandora whispered to him, but it was loud enough that the people around them overheard, and a rustle of laughter swept through the crowd.
Lisa Kleypas (Devil's Daughter (The Ravenels, #5))
Then he drew back searching my eyes. "I wanted more for you," he said. "A white veil in your hair. Vows we could keep." "A proper wedding night? just tell me this isn't goodbye. That's the only vow in need." "I love you, Alina.
Leigh Bardugo (Ruin and Rising (The Shadow and Bone Trilogy, #3))
BRIDE How long have I been wed to myself? Calling myself darling, dressing for my own pleasure, each morning choosing perfume to turn me on. How long have I been alone in this house but not alone? Married less to the man than to the woman silvering with the mirror. I know the kind of wife I need and I become her: the one who will leave this earth at the same instant I do. I am my own bride, lifting the veil to see my face. Darling, I say, I have waited for you all my life.
Maggie Smith (You Could Make This Place Beautiful)
The Wedding Ring Although the lamp was out, above its darkness I saw the bright reflection of a flame. My soul is bare, stripped to the purest bareness; It has escaped, transcended all its bounds. A man, I held desire my dearest treasure. but I give it, myself, my sacred pain, my prayers, my ecstasies - all these, O Father, I give with love to You, most loving one. And so the hour of limitless surrender enclosed me in a cloak of flames like wings; empowered me with the power of Your commandment, and clothed me in Your holy veil of fire. So let me stretch my hand out to my brother; I look in the Face of You, the Fount of Life, and in the radiance of transfigured torture I bear my cross, light as a wedding ring.
Zinaida Gippius
Going to miss this,” he said as he kissed my cheeks, my jaw, my eyelids. “The way you taste.” He set his lips to the hollow beneath my ear. “The way you smell.” His hands slid up my back. “The way you feel.” My breath hitched as his hips settled against mine. Then he drew back, searching my eyes. “I wanted more for you,” he said. “A white veil in your hair. Vows we could keep.” “A proper wedding night? Just tell me this isn’t goodbye. That’s the only vow I need.” “I love you, Alina.
Leigh Bardugo (Ruin and Rising (The Shadow and Bone Trilogy, #3))
Listen, kid,” the sob sister said to her, when she stood in her room for the last time, the lace of the wedding veil streaming like crystal foam from her hair to the blotched planks of the floor. “You think that if one gets hurt in life, it’s through one’s own sins—and that’s true, in the long run. But there are people who’ll try to hurt you through the good they see in you—knowing that it’s the good, needing it and punishing you for it. Don’t let it break you when you discover that.
Ayn Rand (Atlas Shrugged)
Money could buy many things. Even a bastard child as an official heir. I quieted down, reading the signs of his unwillingness to discuss more about his father’s title. It didn’t matter in the end. Nothing about the world we’d known mattered anymore.
Harper L. Woods (What Lies Beyond the Veil (Of Flesh & Bone, #1))
She wanted to slap herself for showing weakness around him. “Why?” he prodded. “Why what?” she snapped. “Why me?” “I was asking myself the same question.” “The wide-eyed act won’t work with me, cara.” “I am not—” “I won’t marry you. If that’s what you’re after, forget it. Not happening.” “I’m after what?!” she spluttered. She was at a loss for words. “It takes more than a cherry to make me cough up a wedding ring, “ he said with thinly veiled derision. “You should’ve done your homework. Marriage? Not in my cards.
Kat Madrid (Lonzo)
some point over the years, our children suddenly decide that they have free rein to parent us. It starts slowly. A comment here, a suggestion there. And then they take over, fully and completely, as though you didn’t do a perfectly fine job raising them in the first place.
Kristy Woodson Harvey (The Wedding Veil)
Smith echoes the famous appeal of W.E.B. Du Bois to the human bond in books that ignores the veil of racial prejudice: I sit with Shakespeare and he winces not. Across the color line I move arm and arm with Balzac and Dumas, where smiling men and welcoming women glide in gilded halls. From out the caves of evening that swing between the strong limbed earth and the tracery of the stars, I summon Aristotle and Aurelius and what soul I will, and they come all graciously with no scorn or condescension. So, wed with Truth, I dwell above the Veil.64 Committed to a goal (Truth) beyond what mere social life might offer, Du Bois finds in books a human community open to him in a way that his local human communities are not, riven as they are by segregation and hatred. Instead, on the basis of common humanity and common concern for truth, the dead authors welcome Du Bois into their company.
Zena Hitz (Lost in Thought: The Hidden Pleasures of an Intellectual Life)
In the moral philosophy of John Rawls, the veil of ignorance asks us to judge the justice of a society by whether we’d join it without knowing our place in it. I think the scientist’s veil of ignorance is to ask whether we’d accept the results of a study based on the methods involved, without knowing what the conclusion will be.
Adam M. Grant (Think Again: The Power of Knowing What You Don't Know)
But on the way to the wedding I saw it was a mistake. I tried to get out of the car at a stoplight in my wedding dress, but he caught me and pulled me back. He punched me in the eye,” she said, “and it was a good thing I had a veil because the eye turned black, and I cried all the way through the ceremony. Also, my mother is dead.
Saul Bellow (Henderson the Rain King)
Wedding Superstitions The Bridal Gown White - You have chosen right. Grey - You'll go far away. Black - You'll wish yourself back. Red - You'll wish yourself dead. Green - Ashamed to be seen. Blue - You'll always be true. Pearl - You'll live in a whirl. Peach - A love out of reach. Yellow - Ashamed of your fellow. Pink - Your Spirits will sink. The Wedding Day Monday for health, Tuesday for wealth, Wednesday best of all, Thursday for losses, Friday for crosses, Saturday for no luck at all. The Wedding Month Marry in May, and you'll rue the day, Marry in Lent, you'll live to repent. Married when the year is new, He'll be loving, kind and true. When February birds do mate, You wed nor dread your fate. If you wed when March winds blow, Joy and sorrow both you'll know. Marry in April when you can, Joy for maiden and the man. Marry in the month of May, And you'll surely rue the day. Marry when the June roses grow, Over land and sea you'll go. Those who in July do wed, Must labour for their daily bread. Whoever wed in August be, Many a change is sure to see. Marry in September's shine, Your living will be rich and fine. If in October you do marry, Love will come, but riches tarry. If you wed in bleak November, Only joys will come, remember, When December's snows fall fast, Marry and true love will last. Married in January's roar and rime, Widowed you'll be before your prime. Married in February's sleepy weather, Life you'll tread in time together. Married when March winds shrill and roar, Your home will lie on a distant shore. Married 'neath April's changeful skies, A checkered path before you lies. Married when bees o'er May blossoms flit, Strangers around your board will sit. Married in month of roses June, Life will be one long honeymoon. Married in July with flowers ablaze, Bitter-sweet memories in after days. Married in August's heat and drowse, Lover and friend in your chosen spouse. Married in September's golden glow, Smooth and serene your life will go. Married when leaves in October thin, Toil and hardships for you begin. Married in veils of November mist, Fortune your wedding ring has kissed. Married in days of December's cheer, Love's star shines brighter from year to year
New Zealand Proverb
We found time for less serious things that summer, such as long hours spent playing games like Monopoly, Parcheesi, and Yacht. Peter came honestly by his honorary title of GGP—abbreviation for Great Game Player, bestowed on him by my young brother and sister. My family thought it would look impressive on his church bulletin—thus, “Peter Marshall, DD, GGP.” The day of our wedding saw a cold rain falling, “an ideal day for staying home and playing games,” Peter said. It was indeed. During the morning, I put the finishing touches to my veil and wrestled with a new influx of wedding gifts swathed in tons of tissue paper and excelsior. I gathered the impression that Peter was rollicking through successive games of Yacht, Parcheesi, and Rummy with anyone who had sufficient leisure to indulge him. That was all right, but I thought he was carrying it a bit too far when, thirty minutes before the ceremony, he was so busy pushing his initial advantage in a game of Chinese Checkers with my little sister Em that he still had not dressed.
Catherine Marshall (A Man Called Peter)
She wore a dress of white satin, elegant and unusual in its simplicity, with no fussy ruffles and frills to distract from the lovely shape of her figure. Instead of wearing the traditional veil, she had drawn the sides of her hair up to the crown of her head and let the rest cascade down her back in long golden coils. Her only ornamentation was a tiara of graduated diamond stars, which Tom had sent upstairs that morning as a Christmas gift. The wealth of rose-cut gems glittered madly in the candlelight, but they couldn't eclipse her sparkling eyes and radiant face. She looked like a snow queen walking through a winter forest, too beautiful to be entirely human. And there he stood, with his heart in his fist.
Lisa Kleypas (Chasing Cassandra (The Ravenels, #6))
As Blake leaned down to accept her hug she whispered, “Remember when you and Livia tried to hog the spotlight at my wedding? Just when you and Livia get to the good part, Cole and I are going to have porno sex right there.”She and John took one small step at a time. She was obviously much more concerned about tripping than Kyle had been. During her descent, Blake just looked. Her white gown fit her frame perfectly, and the strapless dress revealed the gentle, tempting curves of her shoulders. Her bouquet contained the paper-napkin roses he’d made for her, combined with baby’s breath. A flowing train cascaded down the stairs behind Livia, and an even longer veil billowed in the gentle breeze like a blown wish.
Debra Anastasia (Poughkeepsie (Poughkeepsie Brotherhood, #1))
It was right. At the time,” I reply. Trying to steer the conversation onto neutral ground, I add, “Did you know that modern Egyptian women pinch the bride for good luck?” “That’s unfortunate.” “There are all kinds of superstitions around weddings. Veils protected the bride from evil spirits. Bridesmaids confused the Devil, if he came to snatch the bride. And a long train made it harder for her to run away.
Jodi Picoult (The Book of Two Ways)
When Elizabeth finally descended the stairs on her way to the dining room she was two hours late. Deliberately. “Good heavens, you’re tardy, my dear!” Sir Francis said, shoving back his chair and rushing to the doorway where Elizabeth had been standing, trying to gather her courage to do what needed to be done. “Come and meet my guests,” he said, drawing her forward after a swift, disappointed look at her drab attire and severe coiffure. “We did as you suggested in your note and went ahead with supper. What kept you abovestairs so long?” “I was at prayer,” Elizabeth said, managing to look him straight in the eye. Sir Francis recovered from his surprise in time to introduce her to the three other people at the table-two men who resembled him in age and features and two women of perhaps five and thirty who were both attired in the most shockingly revealing gowns Elizabeth had ever seen. Elizabeth accepted a helping of cold meat to silence her protesting stomach while both women studied her with unhidden scorn. “That is a most unusual ensemble you’re wearing, I must say,” remarked the woman named Eloise. “Is it the custom where you come from to dress so…simply?” Elizabeth took a dainty bite of meat. “Not really. I disapprove of too much personal adornment.” She turned to Sir Francis with an innocent stare. “Gowns are expensive. I consider them a great waste of money.” Sir Francis was suddenly inclined to agree, particularly since he intended to keep her naked as much as possible. “Quite right!” he beamed, eyeing the other ladies with pointed disapproval. “No sense in spending all that money on gowns. No point in spending money at all.” “My sentiments exactly,” Elizabeth said, nodding. “I prefer to give every shilling I can find to charity instead.” “Give it away?” he said in a muted roar, half rising out of his chair. Then he forced himself to sit back down and reconsider the wisdom of wedding her. She was lovely-her face more mature then he remembered it, but not even the black veil and scraped-back hair could detract from the beauty of her emerald-green eyes with their long, sooty lashes. Her eyes had dark circles beneath them-shadows he didn’t recall seeing there earlier in the day. He put the shadows down to her far-too-serious nature. Her dowry was creditable, and her body beneath that shapeless black gown…he wished he could see her shape. Perhaps it, too, had changed, and not for the better, in the past few years. “I had hoped, my dear,” Sir Francis said, covering her hand with his and squeezing it affectionately, “that you might wear something else down to supper, as I suggested you should.” Elizabeth gave him an innocent stare. “This is all I brought.” “All you brought?” he uttered. “B-But I definitely saw my footmen carrying several trunks upstairs.” “They belong to my aunt-only one of them is mine,” she fabricated hastily, already anticipating his next question and thinking madly for some satisfactory answer. “Really?” He continued to eye her gown with great dissatisfaction, and then he asked exactly the question she’d expected: “What, may I ask, does your one truck contain if not gowns?” Inspiration struck, and Elizabeth smiled radiantly. “Something of great value. Priceless value,” she confided. All faces at the table watched her with alert fascination-particularly the greedy Sir Francis. “Well, don’t keep us in suspense, love. What’s in it?” “The mortal remains of Saint Jacob.
Judith McNaught (Almost Heaven (Sequels, #3))
The sun had streamed through the stained glass on our wedding day. I remember trying to slow my walk down the aisle, because my soon-to-be husband was staring at me like he never had before. I thought, This aisle is too short to hold this moment. When he saw me for the first time in my inevitable wedding dress, he blinked his eyes so hard and fast, as if his own tears surprised him. My veil was a blusher, it covered my face. And for once in our whole relationship, he was the naked and emotional one, and I was the less transparent one. I remember thinking, Someday I will tell our children how their father looked at me on this day. But on this day, on the eighth floor of the superior court, the father of the children we never ended up having looked at me for half a second. He glanced at me by accident, really, and then turned on his heel and went into the courtroom.
Faith Salie
You need only embrace the best-known secret of all: no mystery is closed to an open mind. What came of that mystical wedding, of the world we know and the world we do not know, by that rose of the spirit, committed thus in so great a hope, so great a faith? The Druid is not here to tell. Faith after Faith has withered like a leaf. But still we stand by ancestral altars, still offer the Rose of Desire to the veiled Mystery, still commit this our symbol to the fathomless, the everlasting, the unanswered Deep. —WILLIAM SHARP, from Where the Forest Murmurs
Raven Grimassi (Grimoire of the Thorn-Blooded Witch: Mastering the Five Arts of Old World Witchery)
She had sensed the truth of it long ago, Dany thought as she took a step closer to the conflagration, but the brazier had not been hot enough. The flames writhed before her like the women who had danced at her wedding, whirling and singing and spinning their yellow and orange and crimson veils, fearsome to behold, yet lovely, so lovely, alive with heat. Dany opened her arms to them, her skin flushed and glowing. This is a wedding, too, she thought. Mirri Maz Duur had fallen silent. The godswife thought her a child, but children grow, and children learn.
George R.R. Martin (A Game of Thrones (A Song of Ice and Fire, #1))
Quiet apart from the neurotic fear that invisible mothers or fathers may be lurking behind the marriage Veil, even the normal young man has good reason to feel apprehensive about the wedding ritual. It is essentially a woman's initiation right, in which a man is bound to feel like anything but a conquering hero. No wonder we find, in tribal societies, such counterphobic rituals as the abduction or rape of the bride. These enable the man to cling to the remnants of his heroic role at the very moment that he must submit to his bride and assume the responsibilities of marriage.
Joseph L. Henderson (Man and His Symbols)
He did not find out until the wedding that she was simple. Her father had been scrupulous about keeping her veiled until the ceremony, and my father had humored him. If she was ugly, there were always slave girls and serving boys. When at last they pulled off the veil, they say my mother smiled. That is how they knew she was quite stupid. Brides did not smile. When I was delivered, a boy, he plucked me from her arms and handed me to a nurse. In pity, the midwife gave my mother a pillow to hold instead of me. My mother hugged it. She did not seem to notice a change had been made.
Madeline Miller (The Song of Achilles)
Saturday Sonnet by Stewart Stafford The Bard once wrote that love is blind, Desire’s muslin cloth veils the eyes behind, As a hog for truffles nosing in dirt, The human sniffs out a way to flirt, Flippant words become overture, And a dungeon-dweller emerges pure, Love’s great story blossoming anew, Past indiscretions in a penitent’s pew, Hearts as one, a confluence of minds, Time to think of the tie that binds, Sure of footing and glad of heart Wheels turning on a bridal cart, Handsome husband, pretty wife, Set out together in this thing called life. © Stewart Stafford, 2021. All rights reserved.
Stewart Stafford
I am thinking about the way that life can be so slippery, the way a twelve-year-old girl looking into the mirror to count freckles reaches out toward her reflection has turned into that woman on her wedding day, righting her veil. And how, when that bride blinks, she reopens her eyes to see a frazzled young mother trying to get lipstick on straight for the parent-teacher conference that starts in three minutes. And how after that young woman bends down to retrieve the wild-haired doll her daughter has left on the bathroom floor, she rises up to a forty-seven-year-old, looking in the mirror to count age spots. - What We Keep
Elizabeth Berg
We probably won’t arrive home in time for your wedding.” She pictured the wedding gown hanging in her closet. The veil. The shoes. Even the strands of pearls, all laid out awaiting her return. Return. The heavy word weighed on her as Ira continued to snore and Oscar continued to study her in a way that made her feel captivating and beautiful. Camille stood up, not sure if she’d been inching toward him. His lips had certainly seemed to be getting closer. “Randall will understand, I’m sure. He’s a very reasonable person,” she said, her voice rapid. Oscar started to stand. “Where are you going?” “No, please, sit,” she said. “I…I just need to, um, use the trees.” Camille jiggled her nearly empty canteen to strengthen her excuse. She turned in a circle until she spotted a copse of trees. She had to be somewhere other than hidden in the flowers with Oscar, somewhere she could try and convince herself that Randall might one day be able to look at her with the same intensity Oscar had just displayed. Oscar sat back down, and Camille trampled the grass on the way to the safety of the trees. Another attack of guilt snuck up on her as she glanced back at Oscar, who was watching her walk away. Camille would miss her own wedding-and she didn’t care one bit.
Angie Frazier (Everlasting (Everlasting, #1))
I sit with Shakespeare and he winces not. Across the color-line I move arm in arm with Balzac and Dumas, where smiling men, and welcoming women glide in gilded halls. From out the caves of evening that swing between the strong-limbed earth and the tracery of the stars, I summon Aristotle and Aurelius and what soul I will, and they come all graciously with no scorn nor condescension. So, wed with Truth, I dwell above the Veil. Is this the life you grudge us, O knightly America? Is this the life you long to change into the dull red hideousness of Georgia? Are you so afraid lest peering from this high Pisgah, between Philistine and Am-alekite, we sight the Promised Land?
W.E.B. Du Bois (The Souls of Black Folk)
Suddenly, we saw her. She was dressed from head to toe in white silk. On her head, a veil streamed out behind her in the cold wind. She was looking around, even as she was herded into line for the selection. The rest of us women all stopped, riveted by this sight. It was, unbelievably, not the most depressing thing we had ever seen: a bride, ripped from her own wedding, separated from her groom, and put on a transport to Auschwitz. On the contrary, it gave us hope. It meant that no matter what was happening in this camp, no matter how many Jews they managed to round up and kill, there were still more of us out there: living lives, falling in love, getting married, assuming that tomorrow would come.
Jodi Picoult (The Storyteller)
A legion of horribles, hundreds in number, half naked or clad in costumes attic or biblical or wardrobed out of a fevered dream with the skins of animals and silk finery and pieces of uniform still tracked with the blood of prior owners, coats of slain dragoons, frogged and braided cavalry jackets, one in a stovepipe hat and one with an umbrella and one in white stockings and a bloodstained wedding veil and some in headgear or cranefeathers or rawhide helmets that bore the horns of bull or buffalo and one in a pigeontailed coat worn backwards and otherwise naked and one in the armor of a Spanish conquistador, the breastplate and pauldrons deeply dented with old blows of mace or sabre done in another country by men whose very bones were dust and many with their braids spliced up with the hair of other beasts until they trailed upon the ground and their horses' ears and tails worked with bits of brightly colored cloth and one whose horse's whole head was painted crimson red and all the horsemen's faces gaudy and grotesque with daubings like a company of mounted clowns, death hilarious, all howling in a barbarous tongue and riding down upon them like a horde from a hell more horrible yet than the brimstone land of Christian reckoning, screeching and yammering and clothed in smoke like those vaporous beings in regions beyond right knowing where the eye wanders and the lip jerks and drools. Oh my god, said the sergeant.
Cormac McCarthy (Blood Meridian, or, the Evening Redness in the West)
Lela’s love affair with nuptials was born at the age of eleven, when she watched two epic weddings on TV. In July of 1981, Lady Diana Spencer and Prince Charles of Wales were wed in London. Back home in Wisconsin, Lela watched every minute of it with her mom, perched on the edge of their brown pleather sectional. Then, in November, fictional couple Luke and Laura tied the knot on every teenage girl’s favorite soap opera, General Hospital. Actress Genie Francis wore a bizarre head-hugging veil and a dress that looked like a marshmallow. Her groom, Anthony Geary, rocked his deceptively fluffy ‘80s hair. Lela couldn’t help but be transfixed. It all felt larger than life. And her little eleven year-old heart gave into it lock, stock and barrel.
Karen Booth (Gray Hair Don't Care (Never Too Late, #1))
I miss my mother." Mrs. Norton touched Trudy's shoulder in silent sympathy. "She never had a chance to see any of her daughters get married." Trudy laid the veil on the bed. "It's hard to completely enjoy your wedding day when your mother isn't with you." "Your mother did see your sisters wed and I'm sure she'll be with you today." Trudy looked at the woman, astonished she hadn't received a more pious answer from a minister's wife. She pointed a finger upward. "I know she's in heaven." Mrs. Norton gently folded Trudy's hand until her palm rested on her chest, "In heaven and in your heart, love never fails, my dear Ms. Bower. I know it's not the same as feeling your mother's arms around you on such a special day, nevertheless, I'm sure she's sending you plenty of love.
Debra Holland (Trudy (Mail-Order Brides of the West, #1; Montana Sky))
The Fable of the Comet and the Moon I have betrothed the O so inconstant moon, with a band of six of Saturn's seven rings, leaving the gas giant's last ring unpilfered as a cosmic lagniappe. The astrological charts cautioned me against such a star-crossed marriage, but I, being a headstrong comet hung with an enormous tail, and impetuous Luna, being a headlong stellar slut (satellites known to be as submissive as Asians for the right price), well, we both threw caution to the solar winds. Our wedding proceeded on cycle, with Luna luminescent and draped in silvery white (the craters of her complexion conveniently masked behind a veil of clouds). It was downhill from day one, Luna losing a sliver of herself every night and bit by bit revealing to me her dark side. Luna and I went our separate elliptical ways after a domestic disturbance where I called her a professional tailgater. and she called me a dirty snowball.
Beryl Dov
He knew that she was to have an elaborate wedding, and the being who loved her most, who would love her forever, would not even have the right to die for her. Jealousy, which until that time had been drowned in weeping, took possession of his soul. He prayed to God that lightning of divine justice would strike Fermina Daza as she was about to give her vow of love and obedience to a man who wanted her for his wife only as a social adornment, and he went into rapture at the vision of the bride, his bride or no one’s, lying face up on the flagstones of the Cathedral, her orange blossoms laden with the dew of death, and the foaming torrent of her veil covering the funerary marbles of the fourteen bishops who were buried in front of the main altar. Once his revenge was consummated, however, he repented of his own wickedness, and then he saw Fermina Daza rising from the ground, her spirit intact, distant but alive, because it was not possible for him to imagine the world without her.
Gabriel García Márquez (Love in the Time of Cholera)
Well?" said Loki. "What about you, Heimdall? Do you have any suggestions?" "I do," said Heimdall. "But you won't like it." Thor banged his fist down upon the table. "It does not matter whether or not we like it," he said. "We are gods! There is nothing that any of us gathered here would not do to get back Mjollnir, the hammer of the gods. Tell us your idea, and if it is a good idea, we will like it." "You won't like it," said Heimdall. "We will like it!" said Thor. "Well," said Heimdall, "I think we should dress Thor as a bride. Have him put on the necklace of the Brisings. Have him wear a bridal crown. Stuff his dress so he looks like a woman. Veil his face. We'll have him wear keys that jingle, as women do, drape him with jewels -" "I don't like it!" said Thor. "People will think... well, for a start they'll think I dress up in women's clothes. Absolutely out of the question. I don't like it. I am definitely not going to be wearing a bridal veil. None of us like this idea, do we? Terrible, terrible idea. I've got a beard. I can't shave off my beard." "Shut up, Thor," said Loki son of Laufey. "It's an excellent idea.
Neil Gaiman
I lift the lid of the chest. Inside, the air is musty and stale, held hostage for years in its three-foot-by-four-foot tomb. I lean in to survey the contents cautiously, then pull out a stack of old photos tied with twine. On top is a photo of a couple on their wedding day. She's a young bride, wearing one of those 1950's netted veils. He looks older, distinguished- sort of like Cary Grant or Gregory Peck in the old black-and-white movies I used to watch with my grandmother. I set the stack down and turn back to the chest, where I find a notebook, filled with handwritten recipes. The page for Cinnamon Rolls is labeled "Dex's Favorite." 'Dex.' I wonder if he's the man in the photo. There are two ticket stubs from 1959, one to a Frank Sinatra concert, another to the movie 'An Affair to Remember.' A single shriveled rosebud rests on a white handkerchief. A corsage? When I lift it into my hand, it disintegrates; the petals crinkle into tiny pieces that fall onto the living room carpet. At the bottom of the chest is what looks like a wedding dress. It's yellowed and moth-eaten, but I imagine it was once stark white and beautiful. As I lift it, I can hear the lace swishing as if to say, "Ahh." Whoever wore it was very petite. The waist circumference is tiny. A pair of long white gloves falls to the floor. They must have been tucked inside the dress. I refold the finery and set the ensemble back inside. Whose things are these? And why have they been left here? I thumb through the recipe book. All cookies, cakes, desserts. She must have loved to bake. I tuck the book back inside the chest, along with the photographs after I've retied the twine, which is when I notice a book tucked into the corner. It's an old paperback copy of Ernest Hemingway's 'The Sun Also Rises.' I've read a little of Hemingway over the years- 'A Moveable Feast' and some of his later work- but not this one. I flip through the book and notice that one page is dog-eared. I open to it and see a line that has been underscored. "You can't get away from yourself by moving from one place to another." I look out to the lake, letting the words sink in. 'Is that what I'm trying to do? Get away from myself?' I stare at the line in the book again and wonder if it resonated with the woman who underlined it so many years ago. Did she have her own secret pain? 'Was she trying to escape it just like me?
Sarah Jio (Morning Glory)
Брачное кольцо Над темностью лампады незажженной Я увидал сияющий отсвет. Последним обнаженьем обнаженной Моей душе — пределов больше нет. Желанья были мне всего дороже... Но их, себя, святую боль мою, Молитвы, упованья, — всё, о Боже, В Твою Любовь с любовью отдаю. И этот час бездонного смиренья Крылатым пламенем облек меня. Я властен властью — Твоего веленья, Одет покровом — Твоего огня. Я к близкому протягиваю руки, Тебе, Живому, я смотрю в Лицо, И, в светлости преображенной муки, Мне легок крест, как брачное кольцо. The Wedding Ring Although the lamp was out, above its darkness I saw the bright reflection of a flame. My soul is bare, stripped to the purest bareness; It has escaped, transcended all its bounds. A man, I held desire my dearest treasure. but I give it, myself, my sacred pain, my prayers, my ecstasies - all these, O Father, I give with love to You, most loving one. And so the hour of limitless surrender enclosed me in a cloak of flames like wings; empowered me with the power of Your commandment, and clothed me in Your holy veil of fire. So let me stretch my hand out to my brother; I look in the Face of You, the Fount of Life, and in the radiance of transfigured torture I bear my cross, light as a wedding ring.
Zinaida Gippius
Amazing Grace” Amazing grace, how sweet the sound, That saved a wretch like me! I once was lost, but now am found; Was blind, but now I see. ’Twas grace that taught my heart to fear, And grace my fears relieved; How precious did that grace appear, The hour I first believed. Through many dangers, toils and snares, I have already come; ’Tis grace hath brought me safe thus far, And grace will lead me home. The Lord has promised good to me, His Word my hope secures; He will my Shield and Portion be, As long as life endures. Yea, when this flesh and heart shall fail, And mortal life shall cease, I shall possess, within the veil, A life of joy and peace. The earth shall soon dissolve like snow, The sun forbear to shine; But God, who called me here below, Will be forever mine. When we’ve been there ten thousand years, Bright shining as the sun, We’ve no less days to sing God’s praise, Than when we’d first begun. Lyrics by John Newton, 1779 “Swing Low, Sweet Chariot” (Chorus) Swing low, sweet chariot, Coming for to carry me home. Swing low, sweet chariot, Coming for to carry me home. I looked over Jordan, and what did I see? (Coming for to carry me home) A band of angels coming after me. (Coming for to carry me home) (Chorus) If you get there before I do, (Coming for to carry me home) Tell all of my friends, that I'm coming there too. (Coming for to carry me home) (Chorus) Traditional lyrics Wallis Willis, circa 1865 “Battle Hymn of the Republic” Mine eyes have seen the glory of the coming of the Lord; He is trampling out the vintage where the grapes of wrath are stored; He hath loosed the fateful lightning of His terrible swift sword: His truth is marching on. (Chorus) Glory, Glory, hallelujah! Glory, glory, hallelujah! Glory, glory, hallelujah! His truth is marching on. I have seen Him in the watch-fires of a hundred circling camps, They have builded Him an altar in the evening dews and damps; I can read His righteous sentence in the dim and flaring lamps: His day is marching on. (Chorus) I have read a fiery gospel writ in burnished rows of steel: "As ye deal with my contemners, so with you my grace shall deal"; Let the Hero, born of woman, crush the serpent with his heel, Since God is marching on. (Chorus) He has sounded forth the trumpet that shall never call retreat; He is sifting out the hearts of men before His judgment-seat; Oh, be swift, my soul, to answer Him! Be jubilant, my feet! Our God is marching on. (Chorus) In the beauty of the lilies Christ was born across the sea, With a glory in His bosom that transfigures you and me. As He died to make men holy, let us die to make men free, While God is marching on. Lyrics by Julia Ward Howe, 1861
Dyrk Ashton (Wrath of Gods (The Paternus Trilogy, #2))
The traditional Roman wedding was a splendid affair designed to dramatize the bride’s transfer from the protection of her father’s household gods to those of her husband. Originally, this literally meant that she passed from the authority of her father to her husband, but at the end of the Republic women achieved a greater degree of independence, and the bride remained formally in the care of a guardian from her blood family. In the event of financial and other disagreements, this meant that her interests were more easily protected. Divorce was easy, frequent and often consensual, although husbands were obliged to repay their wives’ dowries. The bride was dressed at home in a white tunic, gathered by a special belt which her husband would later have to untie. Over this she wore a flame-colored veil. Her hair was carefully dressed with pads of artificial hair into six tufts and held together by ribbons. The groom went to her father’s house and, taking her right hand in his, confirmed his vow of fidelity. An animal (usually a ewe or a pig) was sacrificed in the atrium or a nearby shrine and an Augur was appointed to examine the entrails and declare the auspices favorable. The couple exchanged vows after this and the marriage was complete. A wedding banquet, attended by the two families, concluded with a ritual attempt to drag the bride from her mother’s arms in a pretended abduction. A procession was then formed which led the bride to her husband’s house, holding the symbols of housewifely duty, a spindle and distaff. She took the hand of a child whose parents were living, while another child, waving a hawthorn torch, walked in front to clear the way. All those in the procession laughed and made obscene jokes at the happy couple’s expense. When the bride arrived at her new home, she smeared the front door with oil and lard and decorated it with strands of wool. Her husband, who had already arrived, was waiting inside and asked for her praenomen or first name. Because Roman women did not have one and were called only by their family name, she replied in a set phrase: “Wherever you are Caius, I will be Caia.” She was then lifted over the threshold. The husband undid the girdle of his wife’s tunic, at which point the guests discreetly withdrew. On the following morning she dressed in the traditional costume of married women and made a sacrifice to her new household gods. By the late Republic this complicated ritual had lost its appeal for sophisticated Romans and could be replaced by a much simpler ceremony, much as today many people marry in a registry office. The man asked the woman if she wished to become the mistress of a household (materfamilias), to which she answered yes. In turn, she asked him if he wished to become paterfamilias, and on his saying he did the couple became husband and wife.
Anthony Everitt (Cicero: The Life and Times of Rome's Greatest Politician)
In order to conform to the current Empire style in fashion, the modiste had raised the waistline so that it fell just beneath Esme's small rounded breasts. Mrs. Benson had embellished further by adding a slender grosgrain ribbon there that matched the exact shade of tiny embroidered golden flowers scattered over the gown's ivory satin. Next she had shortened the sleeves so they were now small puffed caps edged against the arms with more narrow golden ribbon. As for the long length of material that had once run from shoulder to heel, she'd removed it and used the excess fabric to create a sweeping train that ended in a spectacular half circle that trailed after Esme as she walked. The entire hem was further enlivened by small appliquéd white lace rosettes, whose effect was nothing short of ethereal. On her feet, Esme wore a soft pair of ivory satin slippers with gold and diamond buckles that had been a last-minute gift from Mallory and Adam. On her hands were long white silk gloves that ended just above her elbows; her lustrous dark hair was pinned and styled in an elaborate upsweep with a few soft curls left to brush in dainty wisps against her forehead and cheeks. Carefully draped over head was a waist-length veil of the finest Brussels lace, which had been another present, this one from Claire, and in her hands she held creamy pink hothouse roses and crisp green holly leaves banded together inside a wide white satin ribbon.
Tracy Anne Warren (Happily Bedded Bliss (The Rakes of Cavendish Square, #2))
One of the most effective ways to quicken your story’s pace is to move from a static description of an object, place or person to an active scene. The classic method for accomplishing this is to have your character interact with the subject that’s been described. For instance, let’s say you’ve just written three paragraphs describing a wedding dress in a shop window. You’ve detailed the Belgian lace veil, the beaded bodice, the twelve-foot train, even the row of satin buttons down the sleeves. Instinctively you feel it’s time to move into an action scene, but how do you do it without making your transition obvious? A simple, almost seamless way is to initiate an action between your character (let’s call her Miranda) and the dress you’ve just described. Perhaps Miranda could be passing by on the sidewalk when the dress in the window catches her attention. Or she could walk into the shop and ask the shopkeeper how much the dress costs. This method works well to link almost any static description with a scene of action. Describe an elegant table, for instance, complete with crystal goblets, damask tablecloth, monogrammed napkins and sterling silver tableware; then let the maid pull a cloth from her apron and begin to polish one of the forks. Or describe a Superman kite lying beside a tree, then watch as a little girl grabs the string and begins to run. You will still be describing, but the nature of your description will have changed from static to active, thus quickening the story’s pace. Throughout
Rebecca McClanahan (Word Painting: A Guide to Writing More Descriptively)
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.
Rumi (Jalal ad-Din Muhammad ar-Rumi)
The tailor sidled forward, his long, multi-joined fingers caressing the dress form closest to me. "Ah, yes," he said. "Beautiful, isn't it? The color of storms and oceans, or so we've been told. This dress," he continued, "belonged to Magdalena. She was beautiful- the way you mortals reckon, anyhow- beautiful, but stupid. Oh ho, we had fun with this one, we did, but we used her up too soon. Her fire died, leaving us cold and dark." The dress form beneath the gown was tall and well-formed, the bosom and hips generous, the waist tiny. The dress, a robe à la française, was made from a deep, jewel-toned blue silk, and I could imagine the dramatic coloring of the woman who had worn it: pale skin, dark hair, and blue eyes to match her gown. A breathless beauty, a glittering jewel, and I imagined the Goblin King partaking of her loveliness over and over again, biting the sweet peaches of her cheeks until she was gone. "And this one," Thistle chimed in, pointing to another dress form, "belonged to Maria Emmanuel. Prissy, she was. Refused to do her duty by her lord. She was consecrated to someone else- a carpenter? Something like that. Don't know what the king saw in her, but they were both possessed of a strange devotion to a figure nailed to a wooden cross. She lasted the longest, this prudish nun, not having given herself to king and land, and during her rule, our kingdom suffered. Yet she lasted the longest for that, although she too died in the end, pining for the world above she could see but not touch." This dress form was slim, the gown that hung on it made of an austere gray wool. I could imagine the woman who wore this dress- a pious creature, veiled like a bride of Christ. No beauty, but her eyes would be a clear, luminous gray, shining with the fervor of her passion and faith. Not like Magdalena, whose loveliness would have been carnal and earthly; Maria Emmanuel would have glowed with an inner light, the beauty of a saint or a martyr. The Goblin King was a man of varied tastes, it seemed.
S. Jae-Jones (Wintersong (Wintersong, #1))
For her seventh birthday, Mazy Gulliver got a Play Bride set that included a white veil, a plastic bouquet and a rhinestone ring. She immediately organized a wedding celebration under the basketball goal where she married Termy Latham, the boy next door. An argument could be made that the incident was merely the first in a long series of hasty, ill-conceived and unwise decisions about men.
Pamela Morsi (Mr. Right Goes Wrong (Tales from Marrying Stone, #4))
Artists have a habit of becoming what they practice on the canvas. Who knows when it began? When he discovered that the sky, filtered through a ghostly veil, would prove so profoundly right? I admit I feel the power of his paintings, can clearly see how they symbolize just what he claims, but why is it that an artist is expected to match their expression, as if the painting itself is just a distillation of the man? That man across the ramshackle table, warnings from his friends to stop drinking, pools of sauces in white plates we'd cleared in hopes we could lift another glass, felt as far away as any ocean horizon, seemed void of what I'd hoped to find in him. I saw what I presumed art can do to a broken person, what it can do, perhaps, to a broken generation: The painting itself can fortify the isolation that painting brings, the muted colors on canvas leading the artist to believe that he, too, is only worthy if muted. I felt so sure I was right about him, but hoped I wasn't. I drank to it, a sickly prayer.
Megan Rich (Six Years of A Floating Life: A Memoir)
I am a Tamilian by geographical disposition and a Roman Catholic by faith. A very unfortunate combination, if you ask me. Because not only did I get stuck with a name like Sophia Thilagam, I was also frequently subject to the aesthetically disturbing sight of crimson red, Kanjeevaram silk sarees with loud, gold borders worn with Colgate-white veils and equally unsubtle tiaras to match. The Tamil Catholic wedding, of course.
Judy Balan (Sophie Says)
wed. Kareem would find it difficult to outwit
Jean Sasson (Princess: A True Story of Life Behind the Veil in Saudi Arabia)
Wedding Veil [10w] + {Couplet} A wedding veil's of no avail because virginity's a fairy-tale.
Beryl Dov
headed, what you want to achieve, and where you want to be, and then you find a man who fits in that plan and supports you in reaching it—well, then by all means, have at him. But make it a conscious choice, Tyler. Be sure he is what you want. He needs to fit in your future. Don’t just latch on to whoever is there, compromising your goals and yourself because you fancy accommodating him will be what is best.
Violet Howe (Diary of a Single Wedding Planner (Tales Behind the Veils, #1))
Look, we never have to feel bad about our feelings. They are simply that—feelings. It is how we choose to act upon them that gets us in trouble. Don’t make any rash decisions or do anything drastic. Just feel what you’re feeling and allow yourself to work through this without all the pressure of whether you should or shouldn’t.
Violet Howe (Diary of a Single Wedding Planner (Tales Behind the Veils, #1))
The other people in your life are going to make decisions based on what they want in their life. Always. Even when it seems like they are interested in you, even when they genuinely do care about you, they are still going to make their decisions based on what works best for them. So you have to figure out what works for you. What will get you where you want to be. Then make sure any decision you make, no matter how small, will take you toward it.” My
Violet Howe (Diary of a Single Wedding Planner (Tales Behind the Veils, #1))
want to be? In regards to travel, status, job, location, life? Write down some goals. Where you want to find yourself in three years, five years, ten. Where you want to be in a year. Then figure out the steps necessary to get you there. I will be more than happy to help you with that part if you wish, but you simply must have a destination before you can map out the trip.
Violet Howe (Diary of a Single Wedding Planner (Tales Behind the Veils, #1))
You may be surprised what caliber of men you can attract when you know what you want.” I
Violet Howe (Diary of a Single Wedding Planner (Tales Behind the Veils, #1))
This whole fairy tale concept does an incredible disservice to the commitment and selflessness required for love and marriage. People are quite imperfect. Loving them does not protect you from that.
Violet Howe (Diary of a Single Wedding Planner (Tales Behind the Veils, #1))
The fairy tale suggests you will find the perfect one. It does not exist. What does exist is love. Support, patience, kindness, forgiveness, compassion, understanding. These exist. They are choices that must be made every day to maintain a marriage.
Violet Howe (Diary of a Single Wedding Planner (Tales Behind the Veils, #1))
I wish for them that they will make each other laugh. That they will support and encourage each other. Hold each other accountable. Uplift. Forgive. I wish for them the stamina it takes to choose love each and every day. For love is a verb. An action we choose. To love is to risk. To work through both the mundane and the unexpected. To love is to be completely vulnerable with no guarantee of safety. Because there is no happily ever after. There is only the choice to love.” “So
Violet Howe (Diary of a Single Wedding Planner (Tales Behind the Veils, #1))
The whole beauty of love, of marriage, is that people do it in spite of the uncertainty. In spite of the work. The fact that we allow ourselves to love and be loved is the ultimate symbol of hope. It is the choosing that makes it so.” She
Violet Howe (Diary of a Single Wedding Planner (Tales Behind the Veils, #1))
It is twenty-four years since I was a bride at old Green Gables—the happiest bride that ever was—and the wedding-veil of a happy bride brings good luck,
L.M. Montgomery (The L.M. Montgomery Collection)
sit with Shakespeare and he winces not. Across the color-line I move arm in arm with Balzac and Dumas, where smiling men and welcoming women glide in gilded halls. From out the caves of evening that swing between the strong-limbed earth and the tracery of the stars, I summon Aristotle and Aurelius and what soul I will, and they come all graciously with no scorn nor condescension. So, wed with Truth, I dwell above the Veil.
W.E.B. Du Bois (The Souls of Black Folk)
Mom says each of us has a veil between ourselves and the rest of the world, like a bride wears on her wedding day, except this kind of veil is invisible. We walk around happily with these invisible veils hanging down over our faces. The world is kind of blurry, and we like it that way. But sometimes our veils are pushed away for a few moments, like there’s a wind blowing it from our faces. And when the veil lifts, we can see the world as it really is, just for those few seconds before it settles down again. We see all the beauty, and cruelty, and sadness, and love. But mostly we are happy not to. Some people learn to lift the veil themselves. Then they don’t have to depend on the wind anymore.
Rebecca Stead (When You Reach Me)
Those childhood stories ending in a grand wedding are incomplete, their heroines left to tangle in their veils forever.
Joy McCullough (Blood Water Paint)
Lace/Veils: Marriage/weddings Murky colors: Trauma Ribbon: Cancer Straight line: Closure, stability, peace Torn lace: Divorce White roses: Forgiveness and closure Window: Perspective, mental clarity
Tyler Henry (Between Two Worlds: Lessons from the Other Side)
I watch myself in the mirrored walls, veiled, slide down to sit on the floor and dial the reception planner. “Checking to make sure you’ve arranged a place card and seat for Simone.” “Yes,” she says. “I’ve put her with the table you’ve labeled ‘one-offs.’” “Perfect.” I hang up. The doors slide open. The concierge’s voice trails me out of the elevator. “I’ve heard it’s good luck to say a rosary on the morning of your wedding. I have one at my desk if you…” Minutes down the tree-lined road, the groom is being mimosa-toasted in his aunt Henshaw’s home. The cake is in the shape of the lake. In the morning we’ll return to the city. Alone in the room, I switch the channel to a newscast and slide under the folded coverlet. From the shelf of sleep, I hear local news stories. Henrietta has opened a store during an unfriendly economic climate. Despite everyone’s predictions, she is doing well. In global news, in towns around the world, people prepare for different holidays amid varied architecture.
Marie-Helene Bertino (Parakeet)
I sit with Shakespeare and he winces not. Across the color-line I move arm in arm with Balzac and Dumas, where smiling men and welcoming women glide in gilded halls. From out the caves of evening that swing between the strong-limbed earth and the tracery of the stars, I summon Aristotle and Aurelius and what soul I will, and they come all graciously with no scorn nor condescension. So, wed with Truth, I dwell above the Veil.
W.E.B. Du Bois (The Souls of Black Folk)