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Today's Stichomancy for Noah Wyle

The first excerpt represents the past or something you must release, and is drawn from Lucile by Owen Meredith:

Are the days when with innocence we could discuss Dreams like these. Fled, indeed, are the dreams of my life! Oh trust me, the best friend you have is your wife. And I--in that pure child's pure virtue, I bow To the beauty of virtue. I felt on my brow Not one blush when I first took her hand. With no blush Shall I clasp it to-night, when I leave you. "Hush! hush! I would say what I wish'd to have said when you came. Do not think that years leave us and find us the same! The woman you knew long ago, long ago,

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Beyond Good and Evil by Friedrich Nietzsche:

of Pericles, became gradually STRICTER towards woman, in short, more Oriental. HOW necessary, HOW logical, even HOW humanely desirable this was, let us consider for ourselves!

239. The weaker sex has in no previous age been treated with so much respect by men as at present--this belongs to the tendency and fundamental taste of democracy, in the same way as disrespectfulness to old age--what wonder is it that abuse should be immediately made of this respect? They want more, they learn to make claims, the tribute of respect is at last felt to be well-nigh galling; rivalry for rights, indeed actual strife itself, would be preferred: in a word, woman is losing modesty.

Beyond Good and Evil
The third excerpt represents the future or something you must embrace, and is drawn from The Soul of the Far East by Percival Lowell:

piece were subsequently painted, as in Grecian sculptures, a custom which is not practised in China or Japan. Lastly, another fact fatal to the representation of landscape is the size. The reduced scale of the reproduction suggests falsity at once, a falsity whose belittlement the mind can neither forget nor forgive. Plain sculpture is therefore practically limited to statuary, either of men or animals. The result is that in their art, where landscape counts for so much, sculpture plays a very minor part. In what little there is, Nature's place is taken by Buddha. For there are two classes of statues, divided the one from the other by that step which separates the sublime from the ridiculous, namely, the