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Today's Stichomancy for Cary Grant

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Finished by H. Rider Haggard:

what to do. At the moment it was useless to ask the opinion of the others who were but children in native matters. I and I alone must take the responsibility and act, praying that I might do so aright. Another moment and I had made up my mind.

Signing to Anscombe to follow me, I rode about a hundred yards or more down the nor'-westerly path. Then I turned sharply along a rather stony ridge of ground, the cart following me all the time, and came back across our own track, our my object being of course to puzzle any Kaffirs who might spoor us. Now we were on the edge of the gentle slope that led down to the bush-veld. Over this I rode towards a deserted cattle kraal built of stones, in

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Muse of the Department by Honore de Balzac:

Ministry, and I have come to propose an arrangement."

"What is that?"

"Of course, monsieur, you know the position of your debtor--"

"Of my debtors--"

"Well, monsieur, you understand the position of your debtors; they stand high in the King's good graces, but they have no money, and are obliged to make a good show.--Again, you know the difficulties of the political situation. The aristocracy has to be rehabilitated in the face of a very strong force of the third estate. The King's idea--and France does him scant justice--is to create a peerage as a national institution analogous to the English peerage. To realize this grand

The Muse of the Department
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Soul of the Far East by Percival Lowell:

"I know nothing." It is indeed you who are wanting, not the thing.

The question of verbs leads us to another matter bearing on the subject of impersonality; namely, the arrangement of the words in a Japanese sentence. The Tartar mode of grammatical construction is very nearly the inverse of our own. The fundamental rule of Japanese syntax is, that qualifying words precede the words they qualify; that is, an idea is elaborately modified before it is so much as expressed. This practice places the hearer at some awkward preliminary disadvantage, inasmuch as the story is nearly over before he has any notion what it is all about; but really it puts the speaker to much more trouble, for he is obliged to fashion his

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 Frances Waldeaux by Rebecca Davis:

"Nonsense! The girl is not twenty. Very fetching with all her vulgarity, though. Steward, send some coffee to my stateroom. Let's go down, Jem. The fog is too chilly."

Frances Waldeaux did not find the fog chilly. She had been thinking for thirty years of the day when she should start to Europe--ever since she could think at all.

This was the day. It was like no other, now that it had come. The fog, the crowd, the greasy smells of the pier, all familiar enough yesterday, took on a certain remoteness and mystery. It seemed to her that she was