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Today's Stichomancy for Hugh Jackman

The first excerpt represents the past or something you must release, and is drawn from A Distinguished Provincial at Paris by Honore de Balzac:

Bruel, maker of vaudevilles, owed a snug little sinecure in the Treasury.

Lucien had gone from surprise to surprise since the dinner at Flicoteaux's. For two months Literature had meant a life of poverty and want; in Lousteau's room he had seen it at its cynical worst; in the Wooden Galleries he had met Literature abject and Literature insolent. The sharp contrasts of heights and depths; of compromise with conscience; of supreme power and want of principle; of treachery and pleasure; of mental elevation and bondage--all this made his head swim, he seemed to be watching some strange unheard-of drama.

Finot was talking with the manager. "Do you think du Bruel's piece

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Essays of Travel by Robert Louis Stevenson:

them but a look, a haunting expression; just that secret quality in a face that is apt to slip out somehow under the cunningest painter's touch, and leave the portrait dead for the lack of it. And if it is hard to catch with the finest of camel's-hair pencils, you may think how hopeless it must be to pursue after it with clumsy words. If I say, for instance, that this look, which I remember as Lizzie, was something wistful that seemed partly to come of slyness and in part of simplicity, and that I am inclined to imagine it had something to do with the daintiest suspicion of a cast in one of her large eyes, I shall have said all that I can, and the reader will not be much advanced towards comprehension. I had struck up an acquaintance with

The third excerpt represents the future or something you must embrace, and is drawn from The Black Dwarf by Walter Scott:

hastily and partially disposed around those of the chapel, and mingled inconsistently with scutcheons and funeral emblems of the dead, which they elsewhere exhibited. On each side of the stone altar was a monument, the appearance of which formed an equally strange contrast. On the one was the figure, in stone, of some grim hermit, or monk, who had died in the odour of sanctity; he was represented as recumbent, in his cowl and scapulaire, with his face turned upward as in the act of devotion, and his hands folded, from which his string of beads was dependent. On the other side was a tomb, in the Italian taste, composed of the most beautiful statuary marble, and accounted a model of modern art.