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Today's Stichomancy for Meyer Lansky

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Myths and Myth-Makers by John Fiske:

story of his perils in infancy belongs to solar mythology as much as the stories of the magic sleep of Charlemagne and Barbarossa. His grandfather, Astyages, is purely a mythical creation, his name being identical with that of the night-demon, Azidahaka, who appears in the Shah-Nameh as the biting serpent Zohak. See Cox, Mythology of the Aryan Nations, II. 358.

[107] In mediaeval legend this resistless Moira is transformed into the curse which prevents the Wandering Jew from resting until the day of judgment.

[108] Cox, Manual of Mythology, p. 134.

Myths and Myth-Makers
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Breaking Point by Mary Roberts Rinehart:

it has to be begun all over again. So when we quarrel, I always know - "


The evening had shaken Dick profoundly. David's appearance and Lucy's grief and premonition, most of all the talk of Elizabeth, had depressed and unnerved him. Even the possibility of his own innocence was subordinated to an overwhelming yearning for the old house and the old life.

Through a side window as he went toward the street he could see Reynolds at his desk in the office, and he was possessed by a fierce jealousy and resentment at his presence there. The

The Breaking Point
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from On Horsemanship by Xenophon:

fast nor yet too slow, but in a way to bring out the best qualities in all the animals, their spirit, fire, grace of mien and bearing ripe for action--I say, if you take the lead of them in this style, the collective thud, the general neighing and the snorting of the horses will combine to render not only you at the head, but your whole company[10] down to the last man a thrilling spectacle.

[9] Reading as vulg. {os malista epainousi tous toioutous ippous, os}. L. Dind. omits the words as a gloss.

[10] Reading {oi} (for {osoi}) {sumparepomenoi}. See Hartmann, "An. Xen. Nov." xiv. p. 343.

One word more. Supposing a man has shown some skill in purchasing his

On Horsemanship
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 Theaetetus by Plato:

can be given. And how can any one be ignorant of either of them, and yet know both of them? There is, however, another alternative:--We may suppose that the syllable has a separate form or idea distinct from the letters or parts. The all of the parts may not be the whole. Theaetetus is very much inclined to adopt this suggestion, but when interrogated by Socrates he is unable to draw any distinction between the whole and all the parts. And if the syllables have no parts, then they are those original elements of which there is no explanation. But how can the syllable be known if the letter remains unknown? In learning to read as children, we are first taught the letters and then the syllables. And in music, the notes, which are the letters, have a much more distinct meaning to us than the combination of