A delightfully evocative word.
I used it with pleasure in The Laird Takes a Bride, in a scene in which my heroine, Fiona Douglass, is recalling some of the various weddings she’s attended:
Two years ago, in this very church, a spectacular brawl had erupted at the altar when the bridegroom’s twin brother (already roaring drunk) had lunged forward, seized the hapless bride, and tried to carry her off. A wild melee ensued as several other men (also already drunk) had, with joyful shouts, joined in. Forty-five minutes later, the combatants subdued by brute force and the bride’s veil hastily repaired, the ceremony had proceeded without further incident, the chastened, bloodied twin the very first to warmly shake his brother’s hand.
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What a delightful word for a writer. I was glad to utilize it in The Laird Takes a Bride.
In this snippet, which appears in Chapter 2, my hero, Alasdair Penhallow, is just about to learn about an arcane clan law which dictates that he must marry, or face dreadful consequences.
As Dame Margery drew near, she noisily banged her stick on the marble floor, causing people nearby to stir, moan, rouse. She passed by Uncle Duff, insensate, draped sideways on a chair and his long beard dangling perpendicularly, and muttered audibly, “Ach, the old wastrel!” before turning her piercing and unblinking stare to Alasdair. Finally she stopped before the dais on which the two great chairs — one for the laird, one (long unoccupied) for his lady — stood. Her silence, Alasdair noticed, had a heavy, expectant, rather ominous sort of quality, and he groaned under his breath. He wasn’t in the mood for drama. Still, he was the laird, and one must be polite, so he cleared his throat and said:
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A word I’m very fond of, and deployed with great pleasure in The Laird Takes a Bride:
A little voice, solemn, oracular:
You stare at the moon, ever changing. Turn about, lady, turn about.
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