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
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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 |
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