Lynette said, without removing her fascinated eyes from the pythoness.
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I am sorry for this his incurable passion to play the pythoness.
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The Pithoness or pythoness, which usually appears in the M.E. writers as in the text.
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Will it be said that there was any collusion between St. Paul and the Pythoness?
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Laius set off to ask the oracular Pythoness at Delphi how to deal with this monster.
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It was a pythoness from Syria that advised Marius on the sacrifices he was to perform.
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But the pythoness was not wholly tamed, and she could not even yet forget her wrongs.
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The physical movements of the performers evoke those of a pythoness at traditional rituals of ancient Okinawa.
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But she was a pythoness, and did not at all come up to our idea of a witch.
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Saul, King of Israel, visits the "Pythoness" (the Witch of Endor in the Bible) in disguise to learn the outcome of his forthcoming battle against the Philistines. The Pythoness raises the ghost of the prophet Samuel, who predicts that Saul will lose everything: his children, his friends and his crown.
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An elevated term for a witch was pythoness, which came to us in medieval times from medical Latin via French.
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But at Delphi the sun-god's spiritual bride was known in the days of Herodotus as the Pythoness, and later as Pythia.
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On the fifteenth of January, it was discovered that the pythoness had excluded rather more than a hundred dirty-white, leathery-looking eggs.
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In addition to being a writer, Margaret Lumley Brown was a psychic, who began with the art of crystal gazing, but with practice was able to hone her abilities, and was eventually granted the title of Arch-Pythoness of the Society of the Inner Light, as well as being known as a Cosmic Medium. She first joined the Society of the Inner Light between 1943–1934, and remained a member until her death in 1975.
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1826 version In 1824, Delacroix recorded in his diary his experience of reading The Giaour and Childe Harold's PilgrimageRoger J. Porter, 'A serpent in the coils of a pythoness : conflicts and self- dramatization in Delacroix's journal', in Autobiography, Historiography, Rhetoric: A Festschrift in Honor of Frank Paul Bowman, Rodopi, 1994, 302 p. ( et 9789051835762) Edmond Estève, Byron et le romantisme français, Slatkine, 1973, 560 p., p. 196., probably in their 1819–1824 French translations by Amédée Pichot.
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"As for Glaucus, he made a journey to Delphi, and there consulted the oracle. … the Pythoness replied that it was as bad to have tempted the god as it would have been to have done the deed." Darrell Bock concludes that the episode emphasises the seriousness of sin, as well as the graciousness of God who often defers judgment. The church is not composed of perfect people, but sins including pride and deceit will eventually be dealt with.
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How wise Mambres, former sorcerer to the Pharaohs, recognized an old woman, and how she recognized him \---- As Mambres tries to persuade the old lady to sell the bull, she states that the bull is not hers to sell, like the rest of the animals they see there. Then they speak of how they met 700 years ago when Mambres was traveling from Syria to Egypt. The old lady was the noble Pythoness of Endor. The old woman states that even though they are old friends, she cannot satisfy their curiosity about the bull.
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Krok was the ruler of a Bohemian tribe, that today would have been located in the Kladno district. He was just and kept his tribe at peace. When the Bohemians recognized his wisdom and fairness, they elected him as their new judge. Krok and his wife, Niva (literally Lea, Mead) had three daughters: the eldest daughter, Kazi, knew every herbaceous plant and was a healer, a pythoness and Fate; their second daughter, Teta, taught Bohemians how to worship their deities, idols, and nymphs; the youngest daughter, Libuše, was a prophetess.
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James Reedeth is a young psychologist at New York's major mental health institution who is disenchanted with his job and his employer, the revered Elias Mogshack. Lyla Clay is a "pythoness," a young woman capable of metabolising certain psychedelic drugs to enter a trance in which she makes unconscious predictions. Matthew Flamen, a "spoolpigeon" (a variety of investigative journalist), is struggling to hold onto his job, and by his obsessive behaviour has driven his wife into Mogshack's asylum. The plot is contrived to bring the strands together and resolve matters by a lengthy discussion between Flamen, Reedeth, Lyla Clay, Pedro Diablo (Flamen's African-American counterpart), Xavier Conroy (a long-time critic of Mogshack), and Harry Madison (a former patient at Mogshack's asylum).
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Paglia criticizes feminists for sentimentality or wishful thinking about the causes of rape, violence, and poor relations between the sexes. The "sexual personae" of Paglia's title include the female vampire (Medusa, Lauren Bacall); the pythoness (the Delphic Oracle, Gracie Allen); the beautiful boy (Hadrian's Antinous, Dorian Gray); the epicene man of beauty (Byron, Elvis Presley); and the male heroine (the passive male sufferer; for example, the old men in William Wordsworth's poetry). Writers Paglia discusses include Spenser, Shakespeare, Jean-Jacques Rousseau, the Marquis de Sade, Goethe, William Blake, Wordsworth, Coleridge, Byron, Percy Bysshe Shelley, John Keats, Honoré de Balzac, Théophile Gautier, Charles Baudelaire, Joris- Karl Huysmans, Brontë, Algernon Charles Swinburne, Walter Pater, Wilde, Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, Ralph Waldo Emerson, Walt Whitman, Henry James, and Emily Dickinson. The works of literature Paglia analyzes include Spenser's The Faerie Queene, Shakespeare's As You Like It and Antony and Cleopatra, Goethe's Wilhelm Meister's Apprenticeship, Coleridge's Rime of the Ancient Mariner, Byron's Don Juan, Brontë's Wuthering Heights, and Wilde's The Importance of Being Earnest and The Picture of Dorian Gray.
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In Paris, Stella attended the salon of Gertrude Stein, where he met many other painters. "[Stein] found the big and boisterous painter rather like [her friend, the poet] Apollinaire; they both had a fund of sarcastic wit that was frequently turned on their hosts." Stella's view of his hostess was indeed sarcastic: she sat, he wrote, "enthroned on a sofa in the middle of the room," surrounded by her Cézannes and Picassos, "with the forceful solemnity of a pythoness or a sibyl ... in a high and distant pose."James Mellow, Charmed Circle: Gertrude Stein & Co. (New York, Henry Holt, 2003 edition), p. 181. Man Ray, 1920, Three Heads (Joseph Stella and Marcel Duchamp, painting bust portrait of Man Ray above Duchamp), gelatin silver print, 20.7 x 15.7 cm, Museum of Modern Art, New York Joseph Stella, 1919–20, Brooklyn Bridge, oil on canvas, 215.3 x 194.6 cm, Yale University Art Gallery Having met Umberto Boccioni and befriended Gino Severini in Europe, he became associated with the Italian Futurists and began to incorporate Futurist principles into his art, though he was also interested in the structural experiments of the Cubists and the dynamic color of the Fauves.
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