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Today's Stichomancy for Catherine Zeta-Jones

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

And mark you, it would be no less foolish to begin at Gravesend with a chart of the Red Sea. SI JEUNESSE SAVAIT, SI VIEILLESSE POUVAIT, is a very pretty sentiment, but not necessarily right. In five cases out of ten, it is not so much that the young people do not know, as that they do not choose. There is something irreverent in the speculation, but perhaps the want of power has more to do with the wise resolutions of age than we are always willing to admit. It would be an instructive experiment to make an old man young again and leave him all his SAVOIR. I scarcely think he would put his money in the Savings Bank after all; I doubt if he

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Dark Lady of the Sonnets by George Bernard Shaw:

had gauged the situation.

The same capacity for pity governs Harris's study of Shakespear, whom, as I have said, he pities too much; but that he is not insensible to humor is shewn not only by his appreciation of Wilde, but by the fact that the group of contributors who made his editorship of The Saturday Review so remarkable, and of whom I speak none the less highly because I happened to be one of them myself, were all, in their various ways, humorists.

"Sidney's Sister: Pembroke's Mother"

And now to return to Shakespear. Though Mr Harris followed Tyler in identifying Mary Fitton as the Dark Lady, and the Earl of Pembroke as

The third excerpt represents the future or something you must embrace, and is drawn from The Last War: A World Set Free by H. G. Wells:

delightful shelf there is a deep and densely wooded trench, a great gulf of blue some mile or so in width out of which arise great precipices very high and wild. Above the asphodel fields the mountains climb in rocky slopes to solitudes of stone and sunlight that curve round and join that wall of cliffs in one common skyline. This desolate and austere background contrasts very vividly with the glowing serenity of the great lake below, with the spacious view of fertile hills and roads and villages and islands to south and east, and with the hotly golden rice flats of the Val Maggia to the north. And because it was a remote and insignificant place, far away out of the crowding tragedies


The Last War: A World Set Free