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Today's Stichomancy for Pierce Brosnan

The first excerpt represents the past or something you must release, and is drawn from Myths and Myth-Makers by John Fiske:

chiefly upon some apparent discrepancies in the mythology of the two poems; but many of these difficulties have been completely solved by the recent progress of the science of comparative mythology. Thus, for example, the fact that, in the Iliad, Hephaistos is called the husband of Charis, while in the Odyssey he is called the husband of Aphrodite, has been cited even by Mr. Grote as evidence that the two poems are not by the same author. It seems to me that one such discrepancy, in the midst of complete general agreement, would be much better explained as Cervantes explained his own inconsistency with reference to the stealing of Sancho's mule, in the


Myths and Myth-Makers
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Scaramouche by Rafael Sabatini:

arrived there two days ago. Had you heard?"

"But no. How should I hear? Why is he at Meudon?" He was conscious of a faint excitement, which he could hardly have explained.

"I don't know. There have been fresh disturbances in Brittany. It may be due to that."

"And so he has come for shelter to his brother?" asked Andre-Louis.

"To his brother's house, yes; but not to his brother. Where do you live at all, Andre? Do you never hear any of the news? Etienne de Gavrillac emigrated years ago. He was of the household of M. d'Artois, and he crossed the frontier with him. By now, no doubt, he is in Germany with him, conspiring against France. For that is

The third excerpt represents the future or something you must embrace, and is drawn from Night and Day by Virginia Woolf:

information printed behind a piece of glass, "the wonderful thing about you is that you're ready for anything; you're not in the least conventional, like most clever men."

And she conjured up a scene of herself on a camel's back, in the desert, while Ralph commanded a whole tribe of natives.

"That is what you can do," she went on, moving on to the next statue. "You always make people do what you want."

A glow spread over her spirit, and filled her eyes with brightness. Nevertheless, before she left the Museum she was very far from saying, even in the privacy of her own mind, "I am in love with you," and that sentence might very well never have framed itself. She was, indeed,