Today's Stichomancy for Steven Spielberg

he began to finger out passages from things Miss Nellie had been practising, passages that were already his, that lay under the bone of his pinched, conical little skull, definite as animal desires.

The door opened; Miss Nellie and her music-master stood behind it, but blind Samson, who was so sensitive to presences, did not know they were there. He was feeling out the pattern that lay all ready-made on the big and little keys. When he paused for a moment, because the sound was wrong and he wanted another, Miss Nellie spoke softly. He whirled about in a spasm of terror, leaped forward in the dark, struck his head on the open window, and fell screaming and

My Antonia

At last it arrested her-- and she beheld a striking resemblance to Mr. Darcy, with such a smile over the face as she remembered to have sometimes seen when he looked at her. She stood several minutes before the picture, in earnest contemplation, and returned to it again before they quitted the gallery. Mrs. Reynolds informed them that it had been taken in his father's lifetime.

There was certainly at this moment, in Elizabeth's mind, a more gentle sensation towards the original than she had ever felt at the height of their acquaintance. The commendation bestowed on him by Mrs. Reynolds was of no trifling nature. What praise

Pride and Prejudice

more marked in modern languages than in ancient. Both sentences and paragraphs are more precise and definite--they do not run into one another. They are also more regularly developed from within. The sentence marks another step in an argument or a narrative or a statement; in reading a paragraph we silently turn over the page and arrive at some new view or aspect of the subject. Whereas in Plato we are not always certain where a sentence begins and ends; and paragraphs are few and far between. The language is distributed in a different way, and less articulated than in English. For it was long before the true use of the period was attained by the classical writers both in poetry or prose; it was (Greek). The balance of sentences and the introduction of paragraphs at suitable intervals must

anything. Yet something should be said to break the spell, to call down again this man to the earth. But it was Lingard who spoke first. "Where has Mrs. Travers gone?"

"She has gone . . . where naturally she would be anxious to go first of all since she has managed to come to us," answered d'Alcacer, wording his answer with the utmost regard for the delicacy of the situation.

The stillness of Lingard seemed to have grown even more impressive. He spoke again.

"I wonder what those two can have to say to each other."

He might have been asking that of the whole darkened part of the

The Rescue