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Today's Stichomancy for Pierce Brosnan

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

the Emperor, the Grand Duke Constantine (Pavlovitch), its Viceroy and Commander-in-Chief, married morganatically to a Polish lady to whom he was fiercely attached, extended this affection to what he called "My Poles" in a capricious and savage manner. Sallow in complexion, with a Tartar physiognomy and fierce little eyes, he walked with his fists clenched, his body bent forward, darting suspicious glances from under an enormous cocked hat. His intelligence was limited, and his sanity itself was doubtful. The hereditary taint expressed itself, in his case, not by mystic leanings as in his two brothers, Alexander and Nicholas (in their various ways, for one was mystically liberal and the other


A Personal Record
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Case of the Golden Bullet by Grace Isabel Colbron and Augusta Groner:

turned the key in pretense only, soon vanished. It would have been a foolish suspicion anyway. If he were in league with the murderer, he could have let the latter escape with much more safety during the night. Horn let his eyes wander about the rooms again, and said slowly: "Then the murderer is still here - or else - "

"Or else?" asked the doctor.

"Or else we have a strange riddle to solve."

Johann had laid the pistol down again. Muller stretched forth his hand and took it up. He looked at it a moment, then handed it to the commissioner. "We have to do with a murder here. There was not a shot fired from this revolver, for every chamber is still

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw:

that Mozart and Beethoven invented these applications of their art; but they were the first whose works made it clear that the dramatic and subjective powers of sound were enthralling enough to stand by themselves quite apart from the decorative musical structures of which they had hitherto been a mere feature. After the finales in Figaro and Don Giovanni, the possibility of the modern music drama lay bare. After the symphonies of Beethoven it was certain that the poetry that lies too deep for words does not lie too deep for music, and that the vicissitudes of the soul, from the roughest fun to the loftiest aspiration, can make symphonies without the aid of dance tunes. As much,

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 Adventure by Jack London:

She nodded.

"It isn't nice," she said. "I'll go back and wait for you with the horses."

"But you can't go alone. Take two of the men."

"Then I'll go on," she said. "It would be foolish to weaken the pursuit, and I am certainly not tired."

The trail bent to the right as though the runaways had changed their mind and headed for the Balesuna. But the trail still continued to bend to the right till it promised to make a loop, and the point of intersection seemed to be the edge of the plantation where the horses had been left. Crossing one of the quiet jungle