Today's Stichomancy for Rebecca Romijn

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Theaetetus by Plato:

own. After having slowly and laboriously in the course of ages gained a conception of a whole and parts, of the constitution of the mind, of the relation of man to God and nature, imperfect indeed, but the best we can, we are asked to return again to the 'beggarly elements' of ancient scepticism, and acknowledge only atoms and sensations devoid of life or unity. Why should we not go a step further still and doubt the existence of the senses of all things? We are but 'such stuff as dreams are made of;' for we have left ourselves no instruments of thought by which we can distinguish man from the animals, or conceive of the existence even of a mollusc. And observe, this extreme scepticism has been allowed to spring up among us, not, like the ancient scepticism, in an age when nature and

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Man that Corrupted Hadleyburg by Mark Twain:

all over the world. I can make a profit on this purchase, just as it stands; but there is a way, if I can get your approval, whereby I can make every one of these leaden twenty-dollar pieces worth its face in gold, and perhaps more. Grant me that approval, and I will give part of my gains to your Mr. Richards, whose invulnerable probity you have so justly and so cordially recognised tonight; his share shall be ten thousand dollars, and I will hand him the money to-morrow. [Great applause from the house. But the "invulnerable probity" made the Richardses blush prettily; however, it went for modesty, and did no harm.] If you will pass my proposition by a good majority--I would like a two-thirds vote--I will regard that as

The Man that Corrupted Hadleyburg

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Moon-Face and Other Stories by Jack London:

did not go away. My God! what was I to do? I loved you. I could not go away. I could not help it. I stayed. I resolved, but I broke my resolves. I was like a drunkard. I was drunk of you. I was weak, I know. I failed. I could not go away. I tried. I went away--you will remember, though you did not know why. You know now. I went away, but I could not remain away. Knowing that we could never marry, I came back to you. I am here, now, with you. Send me away, Lute. I have not the strength to go myself."

"But why should you go away?" she asked. "Besides, I must know why, before I can send you away."

"Don't ask me."

"Tell me," she said, her voice tenderly imperative.

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 Forged Coupon by Leo Tolstoy:

of "epidemic ideas" extended to religious com- munities and congregations.

"We must not go to meet each other, but go each of us to God. You say it is easier to go all together? Why yes, to dig or to mow. But one can only draw near to God in isolation . . . I picture the world to myself as a vast temple, in which the light falls from above in the very centre. To meet together all must go to- wards the light. There we shall find ourselves, gathered from many quarters, united with men

The Forged Coupon