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Today's Stichomancy for Lucy Liu

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Euthydemus by Plato:

a desperate twist that he may get away, I said: No, Dionysodorus, I have not.

What a miserable man you must be then, he said; you are not an Athenian at all if you have no ancestral gods or temples, or any other mark of gentility.

Nay, Dionysodorus, I said, do not be rough; good words, if you please; in the way of religion I have altars and temples, domestic and ancestral, and all that other Athenians have.

And have not other Athenians, he said, an ancestral Zeus?

That name, I said, is not to be found among the Ionians, whether colonists or citizens of Athens; an ancestral Apollo there is, who is the father of

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Oedipus Trilogy by Sophocles:

This is his queen the mother of his children.

MESSENGER All happiness attend her and the house, Blessed is her husband and her marriage-bed.

JOCASTA My greetings to thee, stranger; thy fair words Deserve a like response. But tell me why Thou comest--what thy need or what thy news.

MESSENGER Good for thy consort and the royal house.

JOCASTA


Oedipus Trilogy
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Phantasmagoria and Other Poems by Lewis Carroll:

She moved her lips without a sound, And every now and then she frowned.

He gazed upon the sleeping sea, And joyed in its tranquillity, And in that silence dead, but she

To muse a little space did seem, Then, like the echo of a dream, Harked back upon her threadbare theme.

Still an attentive ear he lent But could not fathom what she meant: She was not deep, nor eloquent.

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 Little Rivers by Henry van Dyke:

since Titian's day; not a scrap of the original stone or plaster may remain; but beyond a doubt the view that we saw from the window is the same that Titian saw. Now, for the first time, I could understand and appreciate the landscape-backgrounds of his pictures. The compact masses of mountains, the bold, sharp forms, the hanging rocks of cold gray emerging from green slopes, the intense blue aerial distances--these all had seemed to be unreal and imaginary--compositions of the studio. But now I knew that, whether Titian painted out-of-doors, like our modern impressionists, or not, he certainly painted what he had seen, and painted it as it is.