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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 St. Ives by Robert Louis Stevenson:

formidable weapon - and menaced him with the butt. 'Spare you!' I cried, 'you beast!'

His voice died in his fat inwards, but his lips still vehemently framed the same words of supplication. My anger began to pass off, but not all my repugnance; the picture he made revolted me, and I was impatient to be spared the further view of it.

'Here,' said I, 'stop this performance: it sickens me. I am not going to kill you, do you hear? I have need of you.'

A look of relief, that I could almost have called beautiful, dawned on his countenance. 'Anything - anything you wish,' said he.

Anything is a big word, and his use of it brought me for a moment

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

Il est comme un mur de platre ou les viperes sont passees, comme un mur de platre ou les scorpions ont fait leur nid. Il est comme un sepulcre blanchi, et qui est plein de choses degoutantes. Il est horrible, il est horrible ton corps! . . . C'est de tes cheveux que je suis amoureuse, Iokanaan. Tes cheveux ressemblent e des grappes de raisins, e des grappes de raisins noirs qui pendent des vignes d'Edom dans le pays des Edomites. Tes cheveux sont comme les cedres du Liban, comme les grands cedres du Liban qui donnent de l'ombre aux lions et aux voleurs qui veulent se cacher pendant la journee. Les longues nuits noires, les nuits ou la lune ne se montre pas, ou les etoiles ont peur, ne sont pas aussi noires. Le silence qui

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Beyond Good and Evil by Friedrich Nietzsche:

age--such as the sixteenth century, which suffered from its accumulated energy of will, and from the wildest torrents and floods of selfishness In the time of Socrates, among men only of worn-out instincts, old conservative Athenians who let themselves go--"for the sake of happiness," as they said, for the sake of pleasure, as their conduct indicated--and who had continually on their lips the old pompous words to which they had long forfeited the right by the life they led, IRONY was perhaps necessary for greatness of soul, the wicked Socratic assurance of the old physician and plebeian, who cut ruthlessly into his own flesh, as into the flesh and heart of the "noble," with a look that said


Beyond Good and Evil
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 Twelve Stories and a Dream by H. G. Wells:

think of those days in Rome--gone now beyond recalling? No one had understood her as he had done; no one in all the world. It would be a sort of melancholy pleasure to talk to him again, and what harm could it do? Why should she deny herself? That night she wrote a sonnet, all but the last two lines of the octave--which would not come, and the next day she composed a graceful little note to tell Fanny she was coming down.

And so she saw him again.

Even at the first encounter it was evident he had changed; he seemed stouter and less nervous, and it speedily appeared that his conversation had already lost much of its old delicacy. There even