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Today's Stichomancy for Hugh Grant

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Westward Ho! by Charles Kingsley:

his ship lost--above all, his brother lost.

Lost! O God, how should he find his brother?

Some strange bird out of the woods made mournful answer--"Never, never, never!"

How should he face his mother?

"Never, never, never!" wailed the bird again; and Amyas smiled bitterly, and said "Never!" likewise.

The night mist began to steam and wreathe upon the foul beer- colored stream. The loathy floor of liquid mud lay bare beneath the mangrove forest. Upon the endless web of interarching roots great purple crabs were crawling up and down. They would have

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Dust by Mr. And Mrs. Haldeman-Julius:

practical world. Bill was that rare kind of boy who could pull away from the traces just when he seemed most thoroughly broken to the harness.

It was ten o'clock before he got his pony out of the livery barn and started for home. Even on the way, he refused to imagine what would happen. He entered the house quietly, as though to tell his father that it was his next move, and setting his bundle of books on a chair, he glanced at his mother. She was at the stove, where an armful of kindling had been set off to take the chill out of the house. She looked at him mysteriously, as though he were a ghost of some lost one who had strayed in from a graveyard, but

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Pool in the Desert by Sara Jeanette Duncan:

goot animal subject. I bring him oudt on contract, five hundred rupees the monnth to paint for me, for my firm. Sir, it is now nine monnth. I am yoost four tousand five hundred rupees out of my pocket by this gentleman!'

To enable me to cope with this astonishing tale I asked Mr. Kauffer for a chair, which he obligingly gave me, and begged that he also would be seated. The files at my office were my business, and this was not, but no matter of Imperial concern seemed at the moment half so urgently to require probing. 'Surely,' I said, 'that is an unusual piece of enterprise for a photographic firm to employ an artist to paint on a salary. I don't know even a regular dealer who

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 Myths and Myth-Makers by John Fiske:

entitled to a reverential hearing on almost any point connected with Greek antiquity. Nevertheless it seems to me that his theory rests solely upon imagined difficulties which have no real existence. I doubt if any scholar, reading the Iliad ever so much, would ever be struck by these alleged inconsistencies of structure, unless they were suggested by some a priori theory. And I fear that the Wolfian theory, in spite of Mr. Grote's emphatic rejection of it, is responsible for some of these over-refined criticisms. Even as it stands, the Iliad is not an account of the war against Troy. It begins in the tenth year of the siege, and it does not continue to


Myths and Myth-Makers