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Today's Stichomancy for Marlon Brando

The first excerpt represents the past or something you must release, and is drawn from Theaetetus by Plato:

Socrates will come to the rescue. Socrates prefaces his defence by resuming the attack. He asks whether a man can know and not know at the same time? 'Impossible.' Quite possible, if you maintain that seeing is knowing. The confident adversary, suiting the action to the word, shuts one of your eyes; and now, says he, you see and do not see, but do you know and not know? And a fresh opponent darts from his ambush, and transfers to knowledge the terms which are commonly applied to sight. He asks whether you can know near and not at a distance; whether you can have a sharp and also a dull knowledge. While you are wondering at his incomparable wisdom, he gets you into his power, and you will not escape until you have come to an understanding with him about the money which is to be paid for your

The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Black Dwarf by Walter Scott:

more receipt of custom, than if, moving forth upon the road, he were to require a contribution from each person whom he chanced to meet in his journey, when, according to the vulgar adage, he might possibly be greeted with more kicks than halfpence.

But, secondly, supposing it again urged, that Ithacus, the most wise of the Greeks, acquired his renown, as the Roman poet hath assured us, by visiting states and men, I reply to the Zoilus who shall adhere to this objection, that, DE FACTO, I have seen states and men also; for I have visited the famous cities of Edinburgh and Glasgow, the former twice, and the latter three times, in the course of my earthly pilgrimage. And, moreover, I

The third excerpt represents the future or something you must embrace, and is drawn from Northanger Abbey by Jane Austen:

and ornaments over it of the prettiest English china. The windows, to which she looked with peculiar dependence, from having heard the general talk of his preserving them in their Gothic form with reverential care, were yet less what her fancy had portrayed. To be sure, the pointed arch was preserved--the form of them was Gothic--they might be even casements--but every pane was so large, so clear, so light! To an imagination which had hoped for the smallest divisions, and the heaviest stone-work, for painted glass, dirt, and cobwebs, the difference was very distressing.


Northanger Abbey