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Today's Stichomancy for Famke Janssen

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Phaedrus by Plato:

and write about poems and paintings, but we seem to have lost the gift of creating them. Can we wonder that few of them 'come sweetly from nature,' while ten thousand reviewers (mala murioi) are engaged in dissecting them? Young men, like Phaedrus, are enamoured of their own literary clique and have but a feeble sympathy with the master-minds of former ages. They recognize 'a POETICAL necessity in the writings of their favourite author, even when he boldly wrote off just what came in his head.' They are beginning to think that Art is enough, just at the time when Art is about to disappear from the world. And would not a great painter, such as Michael Angelo, or a great poet, such as Shakespeare, returning to earth, 'courteously rebuke' us--would he not say that we are putting 'in the place

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Through the Looking-Glass by Lewis Carroll:

`When you say "hill,"' the Queen interrupted, `_I_ could show you hills, in comparison with which you'd call that a valley.'

`No, I shouldn't,' said Alice, surprised into contradicting her at last: `a hill CAN'T be a valley, you know. That would be nonsense--'

The Red Queen shook her head, `You may call it "nonsense" if you like,' she said, `but I'VE heard nonsense, compared with which that would be as sensible as a dictionary!'

Alice curtseyed again, as she was afraid from the Queen's tone that she was a LITTLE offended: and they walked on in silence till they got to the top of the little hill.

Through the Looking-Glass
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Oscar Wilde Miscellaneous by Oscar Wilde:

occasion, those who disliked the play and its author being hypnotised by the extraordinary power of Mr. Robert Farquharson's Herod, one of the finest pieces of acting ever seen in this country. My friends the dramatic critics (and many of them are personal friends) fell on Salome with all the vigour of their predecessors twelve years before. Unaware of what was taking place in Germany, they spoke of the play as having been 'dragged from obscurity.' The Official Receiver in Bankruptcy and myself were, however, better informed. And much pleasure has been derived from reading those criticisms, all carefully preserved along with the list of receipts which were simultaneously pouring in from the German performances.

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 Soul of a Bishop by H. G. Wells:

aggressiveness, and there sprang up no less than three ecclesiastical scandals in the diocese. First, the Kensitites set themselves firmly to make presentations and prosecutions against Morrice Deans, who was reserving the sacrament, wearing, they said, "Babylonish garments," going beyond all reason in the matter of infant confession, and generally brightening up Mogham Banks; next, a popular preacher in Wombash, published a book under the exasperating title, "The Light Under the Altar," in which he showed himself as something between an Arian and a Pantheist, and treated the dogma of the Trinity with as little respect as one would show to an intrusive cat; while thirdly, an