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Today's Stichomancy for Jane Seymour

The first excerpt represents the past or something you must release, and is drawn from The Village Rector by Honore de Balzac:

this moment she saw Monsieur Bonnet and could not help blushing as she met a piercing look from her confessor, which read her heart.

"I hope," she said, trembling, "that you will consent to marry Farrabesche and Catherine at once. Don't you recognize Monsieur Bonnet, my dear? He will tell you that Farrabesche, since his liberation has behaved as an honest man; the whole neighborhood thinks well of him, and if there is a place in the world where you may live happy and respected it is at Montegnac. You can make, by God's help, a good living as my farmers; for Farrabesche has recovered citizenship."

"That is all true, my dear child," said the rector.

Just then Farrabesche appeared, pulled along by his son. He was pale

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Pellucidar by Edgar Rice Burroughs:

was indeed snail-like, and our ammunition could not last forever. In discussing the problem, finally we came to the decision to burn our bridges behind us and make one last supreme effort to cross the divide.

It would mean that we must go without sleep for a long period, and with the further chance that when the time came that sleep could no longer be denied we might still be high in the frozen regions of perpetual snow and ice, where sleep would mean certain death, exposed as we would be to the attacks of wild beasts and without shelter from the hideous cold.

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

author's ear; nor has he claim to further praise, or to be more deeply censured, than in proportion to the good or bad judgment which he has employed in selecting his materials, as he has studiously avoided any attempt at ornament which might interfere with the simplicity of the tale.

At the same time, it must be admitted that the particular class of stories which turns on the marvellous possesses a stronger influence when told than when committed to print. The volume taken up at noonday, though rehearsing the same incidents, conveys a much more feeble impression than is achieved by the voice of the speaker on a circle of fireside auditors, who hang