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Today's Stichomancy for George Bernard Shaw

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw:

The success of Wagner has been so prodigious that to his dazzled disciples it seems that the age of what he called "absolute music must be at an end, and the musical future destined to be an exclusively Wagnerian one inaugurated at Bayreuth. All great geniuses produce this illusion. Wagner did not begin a movement: he consummated it. He was the summit of the nineteenth century school of dramatic music in the same sense as Mozart was the summit (the word is Gounod's) of the eighteenth century school. And those who attempt to carry on his Bayreuth tradition will assuredly share the fate of the forgotten purveyors of second-hand Mozart a hundred years ago. As to the expected

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Out of Time's Abyss by Edgar Rice Burroughs:

was prepared; but he was not forever courting disaster, and so it was that when about one o'clock in the morning of the fifteenth, he heard the dismal flapping of giant wings overhead, he was neither surprised nor frightened but idly prepared for an attack he had known might reasonably be expected.

The sound seemed to come from the south, and presently, low above the trees in that direction, the man made out a dim, shadowy form circling slowly about. Bradley was a brave man, yet so keen was the feeling of revulsion engendered by the sight and sound of that grim, uncanny shape that he distinctly felt the gooseflesh rise over the surface of his body, and it was with difficulty


Out of Time's Abyss
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Tour Through Eastern Counties of England by Daniel Defoe:

this warmth of my imagination I pleased and diverted myself more and in a more noble manner than I could possibly do in the crowds of gentlemen at the weighing and starting-posts and at their coming in, or at their meetings at the coffee-houses and gaming-tables after the races were over, where there was little or nothing to be seen but what was the subject of just reproach to them and reproof from every wise man that looked upon them.

N.B. - Pray take it with you, as you go, you see no ladies at Newmarket, except a few of the neighbouring gentlemen's families, who come in their coaches on any particular day to see a race, and so go home again directly.

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 Cratylus by Plato:

way; then he discovers a hive of wisdom in the philosophy of Heracleitus;-- the doctrine of the flux is contained in the word ousia (= osia the pushing principle), an anticipation of Anaxagoras is found in psuche and selene. Again, he ridicules the arbitrary methods of pulling out and putting in letters which were in vogue among the philologers of his time; or slightly scoffs at contemporary religious beliefs. Lastly, he is impatient of hearing from the half-converted Cratylus the doctrine that falsehood can neither be spoken, nor uttered, nor addressed; a piece of sophistry attributed to Gorgias, which reappears in the Sophist. And he proceeds to demolish, with no less delight than he had set up, the Heracleitean theory of language.