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Today's Stichomancy for Lucille Ball

The first excerpt represents the past or something you must release, and is drawn from The Touchstone by Edith Wharton:

the fears of Alexa who, scrupulously vigilant in the management of the household, preserved the American wife's usual aloofness from her husband's business cares. Glennard felt that he could not trust himself to a winter's solitude with her. He had an unspeakable dread of her learning the truth about the letters, yet could not be sure of steeling himself against the suicidal impulse of avowal. His very soul was parched for sympathy; he thirsted for a voice of pity and comprehension. But would his wife pity? Would she understand? Again he found himself brought up abruptly against his incredible ignorance of her nature. The fact that he knew well enough how she would behave in the ordinary emergencies

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Hamlet by William Shakespeare:

Ophe. Well, God dil'd you. They say the Owle was a Bakers daughter. Lord, wee know what we are, but know not what we may be. God be at your Table

King. Conceit vpon her Father

Ophe. Pray you let's haue no words of this: but when they aske you what it meanes, say you this: To morrow is S[aint]. Valentines day, all in the morning betime, And I a Maid at your Window, to be your Valentine. Then vp he rose, & don'd his clothes, & dupt the chamber dore, Let in the Maid, that out a Maid, neuer departed more

King. Pretty Ophelia

The third excerpt represents the future or something you must embrace, and is drawn from Essays & Lectures by Oscar Wilde:

which makes life obscure to us.'

Those strange, wild-eyed sibyls fixed eternally in the whirlwind of ecstasy, those mighty-limbed and Titan prophets, labouring with the secret of the earth and the burden of mystery, that guard and glorify the chapel of Pope Sixtus at Rome - do they not tell us more of the real spirit of the Italian Renaissance, of the dream of Savonarola and of the sin of Borgia, than all the brawling boors and cooking women of Dutch art can teach us of the real spirit of the history of Holland?

And so in our own day, also, the two most vital tendencies of the nineteenth century - the democratic and pantheistic tendency and