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Today's Stichomancy for Leonard Cohen

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Memories and Portraits by Robert Louis Stevenson:

them has ever taken out a patent. It is another cause of the comparative obscurity of the name: for a patent not only brings in money, it infallibly spreads reputation; and my father's instruments enter anonymously into a hundred light-rooms, and are passed anonymously over in a hundred reports, where the least considerable patent would stand out and tell its author's story.

But the life-work of Thomas Stevenson remains; what we have lost, what we now rather try to recall, is the friend and companion. He was a man of a somewhat antique strain: with a blended sternness and softness that was wholly Scottish and at first somewhat bewildering; with a profound essential melancholy of disposition

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Dead Souls by Nikolai Vasilievich Gogol:

with her; whether the oldest was a bachelor or married; whom the eldest had taken to wife; whether the dowry had been large; whether the father-in-law had been satisfied, and whether the said father-in-law had not complained of receiving too small a present at the wedding. In short, Chichikov touched on every conceivable point. Likewise (of course) he displayed some curiosity as to the landowners of the neighbourhood. Their names, he ascertained, were Blochin, Potchitaev, Minoi, Cheprakov, and Sobakevitch.

"Then you are acquainted with Sobakevitch?" he said; whereupon the old woman informed him that she knew not only Sobakevitch, but also Manilov, and that the latter was the more delicate eater of the two,


Dead Souls
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Pierre Grassou by Honore de Balzac:

stove; then, to use a studio expression, he dug at his pictures. He hired several models and Magus lent him stuffs.

After two months' seclusion the Breton had finished four pictures. Again he asked counsel of Schinner, this time adding Bridau to the invitation. The two painters saw in three of these pictures a servile imitation of Dutch landscapes and interiors by Metzu, in the fourth a copy of Rembrandt's "Lesson of Anatomy."

"Still imitating!" said Schinner. "Ah! Fougeres can't manage to be original."

"You ought to do something else than painting," said Bridau.

"What?" asked Fougeres.

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 Dreams by Olive Schreiner:

Realities. The clear sunshine played on them, and the tops were lost in the clouds. At the foot many paths ran up. An exultant cry burst from the hunter. He chose the straightest and began to climb; and the rocks and ridges resounded with his song. They had exaggerated; after all, it was not so high, nor was the road so steep! A few days, a few weeks, a few months at most, and then the top! Not one feather only would he pick up; he would gather all that other men had found--weave the net--capture Truth- -hold her fast--touch her with his hands--clasp her!

He laughed in the merry sunshine, and sang loud. Victory was very near. Nevertheless, after a while the path grew steeper. He needed all his breath for climbing, and the singing died away. On the right and left rose