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Today's Stichomancy for Frederick II

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Heart of Darkness by Joseph Conrad:

I actually left the track and ran in a wide semicircle (I verily believe chuckling to myself) so as to get in front of that stir, of that motion I had seen--if indeed I had seen anything. I was circumventing Kurtz as though it had been a boyish game.

"I came upon him, and, if he had not heard me coming, I would have fallen over him, too, but he got up in time. He rose, unsteady, long, pale, indistinct, like a vapour exhaled by the earth, and swayed slightly, misty and silent before me; while at my back the fires loomed between the trees, and the murmur of many voices issued from the forest. I had cut him off cleverly; but when actually confronting him I seemed


Heart of Darkness
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Moby Dick by Herman Melville:

rocking, jerking boat, under extreme headway. Steel and wood included, the entire spear is some ten or twelve feet in length; the staff is much slighter than that of the harpoon, and also of a lighter material--pine. It is furnished with a small rope called a warp, of considerable length, by which it can be hauled back to the hand after darting.

But before going further, it is important to mention here, that though the harpoon may be pitchpoled in the same way with the lance, yet it is seldom done; and when done, is still less frequently successful, on account of the greater weight and inferior length of the harpoon as compared with the lance, which in effect become


Moby Dick
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Figure in the Carpet by Henry James:

had wished to give it, and the march of occurrences was not so ordered as to make up for what it lacked. He had begun on the spot, for one of the quarterlies, a great last word on Vereker's writings, and this exhaustive study, the only one that would have counted, have existed, was to turn on the new light, to utter - oh, so quietly! - the unimagined truth. It was in other words to trace the figure in the carpet through every convolution, to reproduce it in every tint. The result, according to my friend, would be the greatest literary portrait ever painted, and what he asked of me was just to be so good as not to trouble him with questions till he should hang up his masterpiece before me. He did me the honour to

The fourth excerpt represents the element of Earth. It speaks of physical influences and the impact of the unseen on the visible world, and is drawn from McTeague by Frank Norris:

he knew it. Terrified at his weakness at the very moment he believed himself strong, he threw himself once more into his work with desperate energy. By the time he was fastening the sheet of rubber upon the tooth, he had himself once more in hand. He was disturbed, still trembling, still vibrating with the throes of the crisis, but he was the master; the animal was downed, was cowed for this time, at least.

But for all that, the brute was there. Long dormant, it was now at last alive, awake. From now on he would feel its presence continually; would feel it tugging at its chain, watching its opportunity. Ah, the pity of it! Why could he


McTeague