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Today's Stichomancy for Leon Trotsky

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from On Revenues by Xenophon:

again with ironfounders. Or again, in a plethoric condition of the corn and wine market these fruits of the soil will be so depreciated in value that the particular husbandries cease to be remunerative, and many a farmer will give up his tillage of the soil and betake himself to the business of a merchant, or of a shopkeeper, to banking or money-lending. But the converse is the case in the working of silver; there the larger the quantity of ore discovered and the greater the amount of silver extracted, the greater the number of persons ready to engage in the operation. One more illustration: take the case of movable property. No one when he has got sufficient furniture for his house dreams of making further purchases on this head, but of silver

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Enoch Arden, &c. by Alfred Tennyson:

'aaste: But a reads wonn sarmin a weeak, an' I 'a stubb'd Thornaby waaste. VIII. D'ya moind the waaste, my lass? naw, naw, tha was not born then; Theer wur a boggle in it, I often 'eerd un mysen; Moast loike a butter-bump,* for I 'eerd un aboot an aboot,

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Anthem by Ayn Rand:

Its walls were hard and smooth to the touch; it felt like stone, but it was not stone. On the ground there were long thin tracks of iron, but it was not iron; it felt smooth and cold as glass. We knelt, and we crawled forward, our hand groping along the iron line to see where it would lead. But there was an unbroken night ahead. Only the iron tracks glowed through it, straight and white, calling us to follow. But we could not follow, for we were losing the puddle


Anthem
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 Tales of the Klondyke by Jack London:

barbed arrows, buckskin-thonged bows, and simple basket-woven traps bespoke the fact that in the muddy current of the river the salmon-run was on. In the background, from the tangle of skin tents and drying frames, rose the voices of the fisher folk. Bucks skylarked with bucks or flirted with the maidens, while the older squaws, shut out from this by virtue of having fulfilled the end of their existence in reproduction, gossiped as they braided rope from the green roots of trailing vines. At their feet their naked progeny played and squabbled, or rolled in the muck with the tawny wolf-dogs.

To one side of the encampment, and conspicuously apart from it,