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Today's Stichomancy for Adam Sandler

The first excerpt represents the past or something you must release, and is drawn from An Inland Voyage by Robert Louis Stevenson:

N'EST-CE PAS?' she would say; and when she had received a proper answer, she disappeared into the kitchen. That common French dish, partridge and cabbages, became a new thing in my eyes at the Golden Sheep; and many subsequent dinners have bitterly disappointed me in consequence. Sweet was our rest in the Golden Sheep at Moy.


WE lingered in Moy a good part of the day, for we were fond of being philosophical, and scorned long journeys and early starts on principle. The place, moreover, invited to repose. People in elaborate shooting costumes sallied from the chateau with guns and game-bags; and this was a pleasure in itself, to remain behind

The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Exiles by Honore de Balzac:

extremities, and from the extremities to the centre again. Nature was one and homogeneous. In the most seemingly trivial, as in the most stupendous work, everything obeyed that law; each created object reproduced in little an exact image of that nature--the sap in the plant, the blood in man, the orbits of the planets. He piled proof on proof, always completing his idea by a picture musical with poetry.

And he boldly anticipated every objection. He thundered forth an eloquent challenge to the monumental works of science and human excrescences of knowledge, such as those which societies use the elements of the earthly globe to produce. He asked whether our wars, our disasters, our depravity could hinder the great movement given by

The third excerpt represents the future or something you must embrace, and is drawn from Seraphita by Honore de Balzac:

the tiers of this Coliseum Monsieur Becker seated the gray legions of Doubt, the stern ideas, the specious formulas of Dispute. He convoked the various antagonistic worlds of philosophy and religion, and they all appeared, in the guise of a fleshless shape, like that in which art embodies Time,--an old man bearing in one hand a scythe, in the other a broken globe, the human universe.

Wilfrid had bidden to the scene his earliest illusions and his latest hopes, human destiny and its conflicts, religion and its conquering powers.

Minna saw heaven confusedly by glimpses; love raised a curtain wrought with mysterious images, and the melodious sounds which met her ear