Today's Stichomancy for Philip K. Dick

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Othello by William Shakespeare:

Exit Cassio.

Iago. Hah? I like not that

Othel. What dost thou say? Iago. Nothing my Lord; or if- I know not what

Othel. Was not that Cassio parted from my wife? Iago. Cassio my Lord? No sure, I cannot thinke it That he would steale away so guilty-like, Seeing your comming

Oth. I do beleeue 'twas he

Des. How now my Lord? I haue bin talking with a Suitor heere,

Othello

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Pagan and Christian Creeds by Edward Carpenter:

[? victim], and of both with the officiating priest. The connection was emphasized by the priests wearing the newly-flayed skins of the victims--just as in Greece, Egypt and Assyria, the fawn-skin or bull-hide or goat-skin or fish- skin of the victims is worn by the celebrants. Finally, an image of the god was made out of paste, and this was divided into morsels and eaten in a hideous sacrament by those who communicated."[2]

[1] Compare the festival of Thargelia at Athens, originally connected with the ripening of the crops. A procession was formed and the first fruits of the year offered to Apollo, Artemis and

Pagan and Christian Creeds

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Jungle by Upton Sinclair:

a mad whirling. This is quite irresistible, and every one in the room joins in, until the place becomes a maze of flying skirts and bodies quite dazzling to look upon. But the sight of sights at this moment is Tamoszius Kuszleika. The old fiddle squeaks and shrieks in protest, but Tamoszius has no mercy. The sweat starts out on his forehead, and he bends over like a cyclist on the last lap of a race. His body shakes and throbs like a runaway steam engine, and the ear cannot follow the flying showers of notes--there is a pale blue mist where you look to see his bowing arm. With a most wonderful rush he comes to the end of the tune, and flings up his hands and staggers back exhausted; and with a final shout of delight the dancers fly apart, reeling here and there, bringing

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 Charmides by Plato:

possession of philosophy.

If Mr. Grote should do me the honour to read any portion of this work he will probably remark that I have endeavoured to approach Plato from a point of view which is opposed to his own. The aim of the Introductions in these volumes has been to represent Plato as the father of Idealism, who is not to be measured by the standard of utilitarianism or any other modern philosophical system. He is the poet or maker of ideas, satisfying the wants of his own age, providing the instruments of thought for future generations. He is no dreamer, but a great philosophical genius struggling with the unequal conditions of light and knowledge under which he is living. He may be illustrated by the writings of moderns, but he must be