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Today's Stichomancy for J.K. Rowling

The first excerpt represents the past or something you must release, and is drawn from My Aunt Margaret's Mirror by Walter Scott:

turn my eyes backward upon the days and manners of my better time; and the sad, yet soothing recollections come so close and interesting, that I almost think it sacrilege to be wiser or more rational or less prejudiced than those to whom I looked up in my younger years."

"I think I now understand what you mean," I answered, "and can comprehend why you should occasionally prefer the twilight of illusion to the steady light of reason."

"Where there is no task," she rejoined, "to be performed, we may sit in the dark if we like it; if we go to work, we must ring for candles."

The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Wife, et al by Anton Chekhov:

"Yes . . ." Ivan Ivanitch muttered inappropriately. "Burov, the merchant, must have four hundred thousand at least. I said to him: 'Hand over one or two thousand to the famine. You can't take it with you when you die, anyway.' He was offended. But we all have to die, you know. Death is not a potato."

A silence followed again.

"So there's nothing left for me but to reconcile myself to loneliness," I sighed. "One cannot fight single-handed. Well, I will try single-handed. Let us hope that my campaign against the famine will be more successful than my campaign against indifference."

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

I have rejected Mr Harris's view that Shakespear died broken-hearted of "the pangs of love despised." I have given my reasons for believing that Shakespear died game, and indeed in a state of levity which would have been considered unbecoming in a bishop. But Mr Harris's evidence does prove that Shakespear had a grievance and a very serious one. He might have been jilted by ten dark ladies and been none the worse for it; but his treatment by the British Public was another matter. The idolatry which exasperated Ben Jonson was by no means a popular movement; and, like all such idolatries, it was excited by the magic of Shakespear's art rather than by his views.

He was launched on his career as a successful playwright by the Henry