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Today's Stichomancy for James Legge

The first excerpt represents the past or something you must release, and is drawn from Scaramouche by Rafael Sabatini:

than we are?"

"That is not the point. The point is should we be better governed if we replaced the present ruling class by another? Without some guarantee of that I should be the last to lift a finger to effect a change. And what guarantees can you give? What is the class that aims at government? I will tell you. The bourgeoisie."


"That startles you, eh? Truth is so often disconcerting. You hadn't thought of it? Well, think of it now. Look well into this Nantes manifesto. Who are the authors of it?"

"I can tell you who it was constrained the municipality of Nantes

The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Riverman by Stewart Edward White:

their shifts earlier in the night. "Roll out, you web-footed sons of guns, and hear the little birds sing praise!"

Newmark, who had sat up the night through, and now shivered sleepily by the fire, began to hunt around for the bed-roll he had, earlier in the evening, dumped down somewhere in camp.

"I suppose that's all," said he. "Just a case of run logs now. I'll turn in for a little."

But Orde, a thick slice of bread half-way to his lips, had frozen in an attitude of attentive listening.

"Hark!" said he.

Faint, still in the depths of the forest, the wandering morning

The third excerpt represents the future or something you must embrace, and is drawn from A Daughter of Eve by Honore de Balzac:

with brown rays, gave to her glance the cruel fixity of a beast of prey, and betrayed the cold maliciousness of the courtesan. The eyes were gray, fringed with black lashes,--a charming contrast, which made their expression of calm and contemplative voluptuousness the more observable; the circle round the eyes showed marks of fatigue, but the artistic manner in which she could turn her eyeballs, right and left, or up and down, to observe, or seem to mediate, the way in which she could hold them fixed, casting out their vivid fire without moving her head, without taking from her face its absolute immovability (a manoeuvre learned upon the stage), and the vivacity of their glance, as she looked about a theatre in search of a friend, made her eyes the