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Today's Stichomancy for Ian McKellan

The first excerpt represents the past or something you must release, and is drawn from Danny's Own Story by Don Marquis:

they is selling, and if they are mebby going to start a new grain elevator, or buy land, or what. The usual ones around the depot rubbered at us, and I hearn one geezer say to another:

"See that big feller there? He was through here a year or two ago selling patent medicine."

"You don't say so!" says the other one, like it was something important, like a president or a circus had come, and his eyes a-bugging out. And the doctor hearn them, too. Fur some reason or other he flushed up and cut a look out of the corner of his

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Nada the Lily by H. Rider Haggard:

fight, but in the end I destroyed him and all his people: Engwade killed eight men with his own hand before I slew him. Then I came back to the kraal with the few that were left alive of the two regiments.

After that the two kings quarrelled more and more, and I weighed them both in my balance, for I would know which was the most favourable to me. In the end I found that both feared me, but that Umhlangana would certainly put me to death if he gained the upper hand, whereas this was not yet in the mind of Dingaan. So I pressed down the balance of Umhlangana and raised that of Dingaan, sending the fears of Umhlangana to sleep till I could cause his hut to be surrounded. Then Umhlangana followed upon the road of Chaka his brother, the road of the assegai;


Nada the Lily
The third excerpt represents the future or something you must embrace, and is drawn from The Alkahest by Honore de Balzac:

alone disapprove such excess, and respect only the energy represented by a finished execution whose perfect quiet charms superior men. The life of this essentially thrifty people amply fulfils the conditions of happiness which the masses desire as the lot of the average citizen.

A refined materialism is stamped on all the habits of Flemish life. English comfort is harsh in tone and arid in color; whereas the old- fashioned Flemish interiors rejoice the eye with their mellow tints, and the feelings with their genuine heartiness. There, work implies no weariness, and the pipe is a happy adaptation of Neapolitan "far- niente." Thence comes the peaceful sentiment in Art (its most