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Today's Stichomancy for Kelsey Grammer

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Magic of Oz by L. Frank Baum:

beach and propel it slowly to where the Wizard stood on the river bank.

"Good!" exclaimed the little man, well pleased.

"May I go across with you?" asked Dorothy.

The Wizard hesitated.

"If you'll take care not to leave the raft or step foot on the island, you'll be quite safe," he decided. So the Wizard told the Hungry Tiger and the Cowardly Lion to guard the cage of monkeys until he returned, and then he and Dorothy got upon the raft. The paddle which Cap'n Bill had made was still there, so the little Wizard paddled the clumsy raft across the water and ran it upon the beach of the Magic Isle as close to the place where Cap'n Bill and Trot were

The Magic of Oz
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Woman and Labour by Olive Schreiner:

himself, and with endless fatigue, his ancestors supplied the race with its meat and defended it from destruction by wild beasts) that he finds his greatest satisfaction; it serves to render the degradation and uselessness of his existence less obvious to himself and to others than if he passed his life reclining in an armchair.

On Yorkshire moors today may be seen walls of sod, behind which hide certain human males, while hard-labouring men are employed from early dawn in driving birds towards them. As the birds are driven up to him, the hunter behind his wall raises his deadly weapon, and the bird, which it had taken so much human labour to rear and provide, falls dead at his feet; thereby greatly to the increase of the hunter's glory, when, the toils of

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Cratylus by Plato:

found in the analysis of their elements. But why does he admit etymologies which are absurd, based on Heracleitean fancies, fourfold interpretations of words, impossible unions and separations of syllables and letters?

1. The answer to this difficulty has been already anticipated in part: Socrates is not a dogmatic teacher, and therefore he puts on this wild and fanciful disguise, in order that the truth may be permitted to appear: 2. as Benfey remarks, an erroneous example may illustrate a principle of language as well as a true one: 3. many of these etymologies, as, for example, that of dikaion, are indicated, by the manner in which Socrates speaks of them, to have been current in his own age: 4. the philosophy of language had not made such progress as would have justified Plato in

The fourth excerpt represents the element of Earth. It speaks of physical influences and the impact of the unseen on the visible world, and is drawn from Pierre Grassou by Honore de Balzac:

his comrades.

But for all this, Grassou gave excellent counsel, like those feuilletonists incapable of writing a book who know very well where a book is wanting. There was this difference, however, between literary critics and Fougeres; he was eminently sensitive to beauties; he felt them, he acknowledged them, and his advice was instinct with a spirit of justice that made the justness of his remarks acceptable. After the revolution of July, Fougeres sent about ten pictures a year to the Salon, of which the jury admitted four or five. He lived with the most rigid economy, his household being managed solely by an old charwoman. For all amusement he visited his friends, he went to see works of art,