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Today's Stichomancy for Carmen Electra

The first excerpt represents the past or something you must release, and is drawn from Meno by Plato:

(Compare Phaedo.)

After Socrates has given this specimen of the true nature of teaching, the original question of the teachableness of virtue is renewed. Again he professes a desire to know 'what virtue is' first. But he is willing to argue the question, as mathematicians say, under an hypothesis. He will assume that if virtue is knowledge, then virtue can be taught. (This was the stage of the argument at which the Protagoras concluded.)

Socrates has no difficulty in showing that virtue is a good, and that goods, whether of body or mind, must be under the direction of knowledge. Upon the assumption just made, then, virtue is teachable. But where are the teachers? There are none to be found. This is extremely discouraging.

The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Mirror of the Sea by Joseph Conrad:

in Captain S-'s tradition rather to reprove his officers for not carrying on quite enough - in his phrase "for not taking every ounce of advantage of a fair wind." But there was also a psychological motive that made him extremely difficult to deal with on board that iron clipper. He had just come out of the marvellous Tweed, a ship, I have heard, heavy to look at but of phenomenal speed. In the middle sixties she had beaten by a day and a half the steam mail-boat from Hong Kong to Singapore. There was something peculiarly lucky, perhaps, in the placing of her masts - who knows? Officers of men-of-war used to come on board to take the exact dimensions of her sail-plan. Perhaps there had been a

The Mirror of the Sea
The third excerpt represents the future or something you must embrace, and is drawn from Beauty and The Beast by Bayard Taylor:

these apparitions were burning with impatience, but they dared not leave their seats until Abraham Bradbury had reached his hand to Henry Donnelly.

Then they rushed out. The mysterious personage was still beside the door, leaning against the wall. He was a short, thick-set man of fifty, with red hair, round gray eyes, a broad pug nose, and projecting mouth. He wore a heavy gray coat, despite the heat, and a waistcoat with many brass buttons; also corduroy breeches and riding boots. When they appeared, he started forward with open mouth and eyes, and stared wildly in their faces. They gathered around the poplar-trunks, and waited with some uneasiness to see