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Today's Stichomancy for Robert De Niro

The first excerpt represents the past or something you must release, and is drawn from The Hidden Masterpiece by Honore de Balzac:

the cause of what you call 'effects'? Your saint is a dark woman; but this, my poor Porbus, belongs to a fair one. Your figures are pale, colored phantoms, which you present to our eyes; and you call that painting! art! Because you make something which looks more like a woman than a house, you think you have touched the goal; proud of not being obliged to write "currus venustus" or "pulcher homo" on the frame of your picture, you think yourselves majestic artists like our great forefathers. Ha, ha! you have not got there yet, my little men; you will use up many a crayon and spoil many a canvas before you reach that height. Undoubtedly a woman carries her head this way and her petticoats that way; her eyes soften and droop with just that look of

The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Jungle Book by Rudyard Kipling:

stuck out his feet to act as brakes on the dark slope of the hot, moist earth.

Then the grass by the mouth of the hole stopped waving, and Darzee said, "It is all over with Rikki-tikki! We must sing his death song. Valiant Rikki-tikki is dead! For Nagaina will surely kill him underground."

So he sang a very mournful song that he made up on the spur of the minute, and just as he got to the most touching part, the grass quivered again, and Rikki-tikki, covered with dirt, dragged himself out of the hole leg by leg, licking his whiskers. Darzee stopped with a little shout. Rikki-tikki shook some of the dust


The Jungle Book
The third excerpt represents the future or something you must embrace, and is drawn from The Apology by Xenophon:

this theme, and all without exception have touched upon[3] the lofty style of the philosopher,[4] which may be taken as a proof that the language used by Socrates was really of that type. But none of these writers has brought out clearly the fact that Socrates had come to regard death as for himself preferable to life; and consequently there is just a suspicion of foolhardiness in the arrogancy of his address.[5] We have, however, from the lips of one of his intimate acquaintances, Hermogenes,[6] the son of Hipponicus, an account of him which shows the high demeanour in question to have been altogether in keeping with the master's rational purpose.[7] Hermogenes says that, seeing Socrates discoursing on every topic rather than that of his


The Apology