Gypsy Fortune Teller Quotes

At the end of the street was a large glass box with a female mannequin inside it, dressed as a gypsy fortune teller. “Now,” said Wednesday, “at the start of any quest or enterprise it behooves us to consult the Norns.” He dropped a coin into the slot. With jagged, mechanical motions, the gypsy lifted her arm and lowered it once more. A slip of paper chunked out of the slot. Wednesday took it, read it, grunted, folded it up and put it in his pocket. “Aren’t you going to show it to me? I’ll show you mine,” said Shadow. “A man’s fortune is his own affair,” said Wednesday, stiffly. “I would not ask to see yours.” Shadow put his own coin into the slot. He took his slip of paper. He read it. EVERY ENDING IS A NEW BEGINNING. YOUR LUCKY NUMBER IS NONE. YOUR LUCKY COLOUR IS DEAD. Motto: LIKE FATHER, LIKE SON. Shadow made a face. He folded the fortune up and put it inside his pocket.

They say a basis in fact underlies most legends. They say it all the time, all those Wise Elders in all those old horror films, the high priests, the scientists, the gypsy fortune tellers. On this single issue they agree unanimously.

He ran down the heart of the old midway, where the weight guessers, fortune-tellers, and dancing gypsies had once worked. He lowered his chin and held his arms out like a glider, and every few steps he would jump, the way children do, hoping running will turn to flying. It might have seemed ridiculous to anyone watching, this white-haired maintenaance worker, all alone, making like an airplane. But the running boy is inside every man, no matter how old he gets.

Europe in the fifteenth century and become such a nuisance in Milan that they were banished by a decree in 1493. In his notebooks, Leonardo mentioned a portrayal of a gypsy in a list of his drawings, and he also recorded spending 6 soldi for a fortune-teller. All of this is speculative, and that is one of the many things that make Leonardo’s works, including those with a bit of mystery, so wonderful: his fantasia is infectious.

Good Friday is a holiday, and nothing else, for the majority: it is the day on which there is more drunkenness than on any other day in the year. An English fair is one of the most glorious things in the world, even on Hampstead Heath, with its jingling round-abouts, striped booths, coconut shies, gypsy fortune-tellers, and its riot of friendliness. But the fair on Hampstead Heath on Good Friday makes Hampstead Heath Calvary, a Calvary where Christ is mocked while He dies. But His own excuse for poor human nature is true indeed: “they know not.

Sinuous and beautiful fortune-tellers, stagily coifed and ear-ringed and flounced in tiers of yellow and magenta and apple-green, perfunctorily shuffled their cards and proffered them in dog-eared fans as they strolled through the crowds, laying soft-voiced and unrelenting siege to every stranger they met.

But the Butler-Brennan collaboration splendidly informs The Prince and the Pirate, a Samuel Goldwyn million-dollar Technicolor production that spoofs the swashbuckling pictures of the 1930s that made Errol Flynn a star. Butler seems to have given Brennan free rein in bringing to life one of his most exuberant and ribald roles. As Featherhead, a scuzzy pirate, he convinces the malicious Captain Barrett, “the Hook” (Victor McLaglen) to spare a female gypsy fortune-teller, impersonated by “The Great Sylvester” (Hope) from walking the plank. The pirate crew is perplexed by Featherhead’s lascivious designs on this none too appetizing dish, but he practically slavers over his prize, which he bears away with great glee. Brennan plays Featherhead with devouring relish. But as soon as he has Hope to himself, Featherhead confesses he has known all along that she is a he. The shocked Sylvester recovers enough to say, “If you don’t tell anybody I’m not a gypsy, I won’t tell anybody you’re not an idiot.” Featherhead has appropriated the performer in a scheme to outwit The Hook and to capture a buried treasure. Brennan takes out his teeth for this role, and either through added weight or makeup, presents a rubicund complexion and a robust, rounded face that is startlingly different from the gaunt and rickety Eddie of To Have and Have Not.

Prophecies aren't meant to be supernatural or some sort of other worldly power. It's a mathematical calculationss. The near and dear one's can always tell accurately what's going to happen. But the problem is, we never pay attention to their words. Cause they aren't Gypsy!

Count ANGELO DE GUBERNATIS once remarked to one of the most distinguished English statesmen that there was in the country in Tuscany ten times as much heathenism as Christianity. The same remark was made to me by a fortune-teller in Florence. She explained what she meant. It was the vecchia religione—"the old religion"—not Christianity, but the dark and strange sorceries of the stregha, or witch, the compounding of magical medicine over which spells are muttered, the making love-philters, the cursing enemies, the removing the influence of other witches, and the manufacture of amulets in a manner prohibited by the Church.

So I spilled my guts already. Your turn. If you won’t tell me what happened just now, at least tell me what happened at the tattoo place.” I did. I was tempted to joke that his dad was right--apparently I was evil--but he wouldn’t appreciate that. When I was done, he stood there, his broad face screwed up in disbelief. “So this old lady, who’s never met you before, sees your birthmark and says you’re a witch?” “Sounds like something from a TV movie, doesn’t it?” I hummed a few bars of suitably sinister music. “Should have been a fortune-teller, though. The teenage girl goes to the fortune-teller, whose gypsy grandmother says she’s cursed.” “Maybe that was it. Like one of those reality TV shows. You got pranked.” “In Nanaimo? Must be a low-budget Canadian production.” “Is there any other kind?

The teenage girl goes to the fortune-teller, whose gypsy grandmother says she’s cursed.” “Maybe that was it. Like one of those reality TV shows. You got pranked.” “In Nanaimo? Must be a low-budget Canadian production.” “Is there any other kind?