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Today's Stichomancy for David Boreanaz

The first excerpt represents the past or something you must release, and is drawn from The Riverman by Stewart Edward White:

In all other things they were to each other what they had been from the first. No more children had come to them. Bobby, however; had turned out a sturdy, honest little fellow, with more than a streak of his mother's charm and intuition. His future was the subject of all Orde's plans.

"I want to give him all the chance there is," he explained to Carroll. "A boy ought to start where his father left off, and not have to do the same thing all over again. But being a rich man's son isn't much of a job."

"Why don't you let him continue your business?" smiled Carroll, secretly amused at the idea of the small person before them ever

The second excerpt represents the present or the deciding factor of the moment, and is drawn from On the Duty of Civil Disobedience by Henry David Thoreau:

your life be a counter-friction to stop the machine. What I have to do is to see, at any rate, that I do not lend myself to the wrong which I condemn.

As for adopting the ways of the State has provided for remedying the evil, I know not of such ways. They take too much time, and a man's life will be gone. I have other affairs to attend to. I came into this world, not chiefly to make this a good place to live in, but to live in it, be it good or bad. A man has not everything to do, but something; and because he cannot do everything, it is not necessary that he should be petitioning the Governor


On the Duty of Civil Disobedience
The third excerpt represents the future or something you must embrace, and is drawn from The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw:

old-fashioned and stagey with as much energy and earnestness as if they were his loftiest inspirations. When Wotan wrests the ring from Alberic, the dwarf delivers a lurid and bloodcurdling stage curse, calling down on its every future possessor care, fear, and death. The musical phrase accompanying this outburst was a veritable harmonic and melodic bogey to mid-century ears, though time has now robbed it of its terrors. It sounds again when Fafnir slays Fasolt, and on every subsequent occasion when the ring brings death to its holder. This episode must justify itself purely as a piece of stage sensationalism. On deeper ground it is superfluous and confusing, as the ruin to which the