Today's Stichomancy for Michelle Yeoh

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Poems of Goethe, Bowring, Tr. by Johann Wolfgang von Goethe:

TOGETHER at the altar we In vision oft were seen by thee,

Thyself as bride, as bridegroom I. Oft from thy mouth full many a kiss In an unguarded hour of bliss

I then would steal, while none were by.

The purest rapture we then knew, The joy those happy hours gave too,

When tasted, fled, as time fleets on. What now avails my joy to me? Like dreams the warmest kisses flee,

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Maitre Cornelius by Honore de Balzac:

according to his usual custom. The king himself appeared to be dozing. His head had drooped upon his breast; his cap, pulled forward on his forehead, hid his eyes. Thus seated in his high chair, surmounted by the royal crown, he seemed crouched together like a man who had fallen asleep in the midst of some deep meditation.

At this moment Tristan and his cortege crossed the canal by the bridge of Sainte-Anne, about two hundred feet from the entrance to Plessis.

"Who is that?" said the king.

The two courtiers questioned each other with a look of surprise.

"He is dreaming," said Coyctier, in a low voice.

"Pasques-Dieu!" cried Louis XI., "do you think me mad? People are

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from A Child's Garden of Verses by Robert Louis Stevenson:

I'll always remember my town by the sea.

VII The Land of Story-books

At evening when the lamp is lit, Around the fire my parents sit; They sit at home and talk and sing, And do not play at anything.

Now, with my little gun, I crawl All in the dark along the wall, And follow round the forest track Away behind the sofa back.

A Child's Garden of Verses

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 The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw:

like a revised Rienzi than like Siegfried. If anyone doubts the extent to which Wagner's eyes had been opened to the administrative-childishness and romantic conceit of the heroes of the revolutionary generation that served its apprenticeship on the barricades of 1848-9, and perished on those of 187@ under Thiers' mitrailleuses, let him read Eine Kapitulation, that scandalous burlesque in which the poet and composer of Siegfried, with the levity of a schoolboy, mocked the French republicans who were doing in 1871 what he himself was exiled for domg in 1849. He had set the enthusiasm of the Dresden Revolution to his own greatest music; but he set the enthusiasm of twenty years later