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Today's Stichomancy for Hilary Duff

The first excerpt represents the past or something you must release, and is drawn from Astoria by Washington Irving:

and covered with bark. Others landed the timbers intended for the frame of the coasting vessel, and proceeded to put them together, while others prepared a garden spot, and sowed the seeds of various vegetables.

The next thought was to give a name to the embryo metropolis: the one that naturally presented itself was that of the projector and supporter of the whole enterprise. It was accordingly named ASTORIA.

The neighboring Indians now swarmed about the place. Some brought a few land-otter and sea-otter skins to barter, but in very scanty parcels; the greater number came prying about to gratify

The second excerpt represents the present or the deciding factor of the moment, and is drawn from La Grande Breteche by Honore de Balzac:

"After chatting with me for a few minutes, my hostess left me a prey to vague and sinister thoughts, to romantic curiosity, and a religious dread, not unlike the deep emotion which comes upon us when we go into a dark church at night and discern a feeble light glimmering under a lofty vault--a dim figure glides across--the sweep of a gown or of a priest's cassock is audible--and we shiver! La Grande Breteche, with its rank grasses, its shuttered windows, its rusty iron-work, its locked doors, its deserted rooms, suddenly rose before me in fantastic vividness. I tried to get into the mysterious dwelling to search out the heart of this solemn story, this drama which had killed three persons.


La Grande Breteche
The third excerpt represents the future or something you must embrace, and is drawn from Dark Lady of the Sonnets by George Bernard Shaw:

and mine. Industrial slavery is not compatible with that freedom of adventure, that personal refinement and intellectual culture, that scope of action, which the higher and subtler drama demands.

Even Cervantes had finally to drop Don Quixote's troubles with innkeepers demanding to be paid for his food and lodging, and make him as free of economic difficulties as Amadis de Gaul. Hamlet's experiences simply could not have happened to a plumber. A poor man is useful on the stage only as a blind man is: to excite sympathy. The poverty of the apothecary in Romeo and Juliet produces a great effect, and even points the sound moral that a poor man cannot afford to have a conscience; but if all the characters of the play had been