Today's Stichomancy for Mike Myers

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Poems of Goethe, Bowring, Tr. by Johann Wolfgang von Goethe:

We three to drink like six are not loth.

As here we see fair lads and lasses, But not a sign of oxen or asses, We know that we have gone astray And so go further on our way. -----

BALLADS.

----- Poet's art is ever able To endow with truth mere fable. ----

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Lady Windermere's Fan by Oscar Wilde:

come? This waiting is horrible. He should be here. Why is he not here, to wake by passionate words some fire within me? I am cold - cold as a loveless thing. Arthur must have read my letter by this time. If he cared for me, he would have come after me, would have taken me back by force. But he doesn't care. He's entrammelled by this woman - fascinated by her - dominated by her. If a woman wants to hold a man, she has merely to appeal to what is worst in him. We make gods of men and they leave us. Others make brutes of them and they fawn and are faithful. How hideous life is! . . . Oh! it was mad of me to come here, horribly mad. And yet, which is the worst, I wonder, to be at the mercy of a man who loves one, or

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Two Noble Kinsmen by William Shakespeare:

that I am deliverd to be. Marry, what I have (be it what it will) I will assure upon my daughter at the day of my death.

WOOER.

Sir, I demaund no more then your owne offer, and I will estate your Daughter in what I have promised.

IAILOR.

Wel, we will talke more of this, when the solemnity is past. But have you a full promise of her? When that shall be seene, I tender

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 The Figure in the Carpet by Henry James:

so far as to engage him in conversation. Didn't he know, hadn't he come into it as a matter of course? - that question hummed in my brain. Of course he knew; otherwise he wouldn't return my stare so queerly. His wife had told him what I wanted and he was amiably amused at my impotence. He didn't laugh - he wasn't a laugher: his system was to present to my irritation, so that I should crudely expose myself, a conversational blank as vast as his big bare brow. It always happened that I turned away with a settled conviction from these unpeopled expanses, which seemed to complete each other geographically and to symbolise together Drayton Deane's want of voice, want of form. He simply hadn't the art to use what