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Today's Stichomancy for Eva Mendes

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Marriage Contract by Honore de Balzac:

sense to keep to himself. He even endeavored to study Mademoiselle Evangelista as a man should who desires not to compromise his future life; for the words of his friend de Marsay did sometimes rumble in his ears like a warning. But, in the first place, persons accustomed to luxury have a certain indifference to it which misleads them. They despise it, they use it; it is an instrument, and not the object of their existence. Paul never imagined, as he observed the habits of life of the two ladies, that they covered a gulf of ruin. Then, though there may exist some general rules to soften the asperities of marriage, there are none by which they can be accurately foreseen and evaded. When trouble arises between two persons who have undertaken to

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from McTeague by Frank Norris:

it while you were gone."

"Don't believe you."

"Truly, truly, Mac. Do you think I'd lie to you? Do you think I'd lower myself to do that?"

"Well, the next time I earn any money I'll keep it myself."

"But tell me, Mac, DID you get a place?"

McTeague turned his back on her.

"Tell me, Mac, please, did you?"

The dentist jumped up and thrust his face close to hers, his heavy jaw protruding, his little eyes twinkling meanly.


McTeague
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Mrs. Warren's Profession by George Bernard Shaw:

stage, whilst the other half can either be evaded by a pretence of compliance or defied with complete impunity by any reasonably strong-minded person. Nobody can feel that such conventions are really compulsory; and consequently nobody can believe in the stage pathos that accepts them as an inexorable fate, or in the genuineness of the people who indulge in such pathos. Sitting at such plays, we do not believe: we make-believe. And the habit of make-believe becomes at last so rooted that criticism of the theatre insensibly ceases to be criticism at all, and becomes more and more a chronicle of the fashionable enterprises of the only realities left on the stage: that is, the performers in

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 Grimm's Fairy Tales by Brothers Grimm:

the fields to his master's house.

'Here he is, master,' said he, 'I have got the better of him': and when the farmer saw his old servant, his heart relented, and he said. 'Thou shalt stay in thy stable and be well taken care of.' And so the poor old horse had plenty to eat, and lived--till he died.

THE BLUE LIGHT

There was once upon a time a soldier who for many years had served the king faithfully, but when the war came to an end could serve no longer because of the many wounds which he had received. The king said to him: 'You may return to your home, I need you no longer, and you will not receive any more money, for he only receives wages who renders me


Grimm's Fairy Tales