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Today's Stichomancy for Mel Gibson

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Mansion by Henry van Dyke:

the mansion of his father's hopes. The break might not be final;

and in any event there would be much to live for; the fortunes of

the family would be secure. But the zest of it all would be gone if John Weightman had to give up the assurance of perpetuating his name and his principles in his son. It was a bitter disappointment, and he felt that he had not deserved it.

He rose from the chair and paced the room with leaden feet. For the first time in his life his age was visibly upon him. His head was heavy and hot, and the thoughts that rolled in it

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Iron Puddler by James J. Davis:

whole story of his life. He was still talking when they chased him out of court and took up the next case. He was a free man, and yet he had come within an inch of going to jail. All because he didn't know what "previous to the eighth and immediately subsequent thereto" meant.

The man was an expert puddler. A puddler makes iron bars. They were going to put him behind his own bars because he couldn't understand the legal jargon. Thanks to the great educational system of America the working man has improved his mental muscle as well as his physical.

This taught me a lesson. Jargon can put the worker in jail. Big

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Russia in 1919 by Arthur Ransome:

in the morning and said he had got me a guest's ticket for the conference in the Kremlin, and wondered why I had not been there the day before, when it had opened. I told him I knew nothing whatever about it; Litvinov and Karakhan, whom I had seen quite recently, had never mentioned it, and guessing that this must be the secret at which Bucharin had hinted, I supposed that they had purposely kept silence. I therefore rang up Litvinov, and asked if they had had any reason against my going. He said that he had thought it would not interest me. So I went. The Conference was still a secret. There was nothing about it in

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:

more marked in modern languages than in ancient. Both sentences and paragraphs are more precise and definite--they do not run into one another. They are also more regularly developed from within. The sentence marks another step in an argument or a narrative or a statement; in reading a paragraph we silently turn over the page and arrive at some new view or aspect of the subject. Whereas in Plato we are not always certain where a sentence begins and ends; and paragraphs are few and far between. The language is distributed in a different way, and less articulated than in English. For it was long before the true use of the period was attained by the classical writers both in poetry or prose; it was (Greek). The balance of sentences and the introduction of paragraphs at suitable intervals must