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Today's Stichomancy for Lucille Ball

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Under the Andes by Rex Stout:

approach to a smaller outlet which acted as a dam? Or was it merely a lessening of the incline of the bed of the stream? I cursed the darkness for my helplessness.

Finally the water became absolutely still, as I judged by the absence of pressure on my body, and I turned sharply at a right angle and began to swim. My weariness left me as by magic, and I struck out with bold and sweeping strokes; and by that lack of caution all but destroyed myself when my head suddenly struck against a wall of stone, unseen in the darkness.

I was stunned completely and sank; but the ducking revived me; and when I returned to the surface I swam a few careful strokes,

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Theaetetus by Plato:

judgments of men about the future? Would an untrained man, for example, be as likely to know when he is going to have a fever, as the physician who attended him? And if they differ in opinion, which of them is likely to be right; or are they both right? Is not a vine-grower a better judge of a vintage which is not yet gathered, or a cook of a dinner which is in preparation, or Protagoras of the probable effect of a speech than an ordinary person? The last example speaks 'ad hominen.' For Protagoras would never have amassed a fortune if every man could judge of the future for himself. He is, therefore, compelled to admit that he is a measure; but I, who know nothing, am not equally convinced that I am. This is one way of refuting him; and he is refuted also by the authority which he

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Oscar Wilde Miscellaneous by Oscar Wilde:

forgetful of the English law which prohibits the introduction of Scriptural characters on the stage. With his keen sense of the theatre Wilde would never have contrived the long speech of Salome at the end in a drama intended for the stage, even in the days of long speeches. His threat to change his nationality shortly after the Censor's interference called forth a most delightful and good- natured caricature of him by Mr. Bernard Partridge in Punch.

Wilde was still in prison in 1896 when Salome was produced by Lugne Poe at the Theatre de L'OEuvre in Paris, but except for an account in the Daily Telegraph the incident was hardly mentioned in England. I gather that the performance was only a qualified success, though

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 Thus Spake Zarathustra by Friedrich Nietzsche:

stupid and stony, like a pillar; I love fast racing.

And though there be on earth fens and dense afflictions, he who hath light feet runneth even across the mud, and danceth, as upon well-swept ice.

Lift up your hearts, my brethren, high, higher! And do not forget your legs! Lift up also your legs, ye good dancers, and better still, if ye stand upon your heads!

18.

This crown of the laughter, this rose-garland crown: I myself have put on this crown, I myself have consecrated my laughter. No one else have I found to-day potent enough for this.

Zarathustra the dancer, Zarathustra the light one, who beckoneth with his


Thus Spake Zarathustra