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Today's Stichomancy for George Bernard Shaw

The first excerpt represents the past or something you must release, and is drawn from Apology by Plato:

Plato has provided him. But leaving this question, which does not admit of a precise solution, we may go on to ask what was the impression which Plato in the Apology intended to give of the character and conduct of his master in the last great scene? Did he intend to represent him (1) as employing sophistries; (2) as designedly irritating the judges? Or are these sophistries to be regarded as belonging to the age in which he lived and to his personal character, and this apparent haughtiness as flowing from the natural elevation of his position?

For example, when he says that it is absurd to suppose that one man is the corrupter and all the rest of the world the improvers of the youth; or, when he argues that he never could have corrupted the men with whom he had

The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Dunwich Horror by H. P. Lovecraft:

ff - ff - FATHER! FATHER! YOG-SOTHOTH!...' But that was all. The pallid group in the road, still reeling at the indisputably English syllables that had poured thickly and thunderously down from the frantic vacancy beside that shocking altar-stone, were never to hear such syllables again. Instead, they jumped violently at the terrific report which seemed to rend the hills; the deafening, cataclysmic peal whose source, be it inner earth or sky, no hearer was ever able to place. A single lightning bolt shot from the purple zenith to the altar-stone, and a great tidal wave of viewless force and indescribable stench swept down from the hill to all

The Dunwich Horror
The third excerpt represents the future or something you must embrace, and is drawn from The Symposium by Xenophon:


[52] Or, "that by largess of beauty he can enthrall his lover."

[53] See Plat. "Symp." 182 A, 192 A.

I have a longing, Callias, by mythic argument[54] to show you that not men only, but gods and heroes, set greater store by friendship of the soul than bodily enjoyment. Thus those fair women[55] whom Zeus, enamoured of their outward beauty, wedded, he permitted mortal to remain; but those heroes whose souls he held in admiration, these he raised to immortality. Of whom are Heracles and the Dioscuri, and there are others also named.[56] As I maintain, it was not for his body's sake, but for his soul's, that Ganymede[57] was translated to

The Symposium