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Today's Stichomancy for George Washington

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Russia in 1919 by Arthur Ransome:

reactionaries if it were not for the real revolutionary spirit of the people as a whole. The reactionaries have money, munitions, supplies of all kinds, instructors, from outside. We have nothing, and yet we beat them. Do you know that the English have given them tanks? Have you heard that in one place they used gases or something of the kind, and blinded eight hundred men? And yet we win. Why? Because from every town we capture we get new strength. And any town they take is a source of weakness to them, one more town to garrison and hold against the wishes of the population."

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from A Heap O' Livin' by Edgar A. Guest:

That taking is but the forerunner of giving; That strangers are friends that we some day may meet; And not all the bitter can equal the sweet; That creeds are but colors, and no man has said That God loves the yellow rose more than the red.

I believe in the path that to-day I am treading, That I shall come safe through the dangers I'm dreading;


A Heap O' Livin'
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Venus and Adonis by William Shakespeare:

And on thy well-breath'd horse keep with thy hound.

'And when thou hast on foot the purblind hare, Mark the poor wretch, to overshoot his troubles 680 How he outruns the winds, and with what care He cranks and crosses with a thousand doubles: The many musits through the which he goes Are like a labyrinth to amaze his foes. 684

'Sometime he runs among a flock of sheep, To make the cunning hounds mistake their smell, And sometime where earth-delving conies keep, To stop the loud pursuers in their yell, 688

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 Almayer's Folly by Joseph Conrad:

In the increasing light of the moon that had risen now above the night mist, the objects on the verandah came out strongly outlined in black splashes of shadow with all the uncompromising ugliness of their disorder, and a caricature of the sleeping Almayer appeared on the dirty whitewash of the wall behind him in a grotesquely exaggerated detail of attitude and feature enlarged to a heroic size. The discontented bats departed in quest of darker places, and a lizard came out in short, nervous rushes, and, pleased with the white table-cloth, stopped on it in breathless immobility that would have suggested sudden death had it not been for the melodious call he exchanged with a less


Almayer's Folly