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Today's Stichomancy for Chuck Norris

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Don Quixote by Miquel de Cervantes:

willingly.

With this permission Don Quixote went on to say, "I, sirs, am a knight-errant whose calling is that of arms, and whose profession is to protect those who require protection, and give help to such as stand in need of it. Some days ago I became acquainted with your misfortune and the cause which impels you to take up arms again and again to revenge yourselves upon your enemies; and having many times thought over your business in my mind, I find that, according to the laws of combat, you are mistaken in holding yourselves insulted; for a private individual cannot insult an entire community; unless it be by defying it collectively as a traitor, because he cannot tell who in


Don Quixote
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Flatland: A Romance of Many Dimensions by Edwin A. Abbot:

after a very long training supplemented by constant experience -- it is possible for the well-educated classes among us to discriminate with fair accuracy between the middle and lowest orders, by the sense of sight. If my Spaceland Patrons have grasped this general conception, so far as to conceive the possibility of it and not to reject my account as altogether incredible -- I shall have attained all I can reasonably expect. Were I to attempt further details I should only perplex. Yet for the sake of the young and inexperienced, who may perchance infer -- from the two simple instances I have given above, of the manner in which I should recognize my Father and my Sons -- that Recognition by sight


Flatland: A Romance of Many Dimensions
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Mrs. Warren's Profession by George Bernard Shaw:

triumphant amusement of startling all but the strongest-headed of the London theatre critics clean out of the practice of their profession. No author who has ever known the exultation of sending the Press into an hysterical tumult of protest, of moral panic, of involuntary and frantic confession of sin, of a horror of conscience in which the power of distinguishing between the work of art on the stage and the real life of the spectator is confused and overwhelmed, will ever care for the stereotyped compliments which every successful farce or melodrama elicits from the newspapers. Give me that critic who rushed from my play to declare furiously that Sir George Crofts ought to be kicked.

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 Crisis in Russia by Arthur Ransome:

towards individual command, and fears were expressed lest this should mean putting summary powers into the hands of bourgeois specialists, thus nullifying "workers' control". In reply, it was pointed out that individual command had proved necessary in the army and had resulted in victory for the revolution. The question was not between specialists and no specialists. Everybody knew that specialists were necessary. The question was how to get the most out of them. Effective political control had secured that bourgeois specialists, old officers, led to victory the army of the Red Republic. The same result could be secured in the factories