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Today's Stichomancy for Robert E. Lee

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Firm of Nucingen by Honore de Balzac:

out that the experiment in aere publico was not meant to last for more than seven, five, or even three years, so that shareholders would not have long to wait for the catastrophe. It was in the childhood of the art. Promoters did not even publish the gigantic prospectuses with which they stimulate the imagination, and at the same time make demands for money of all and sundry."

"That only comes when nobody wishes to part with money," said Couture.

"In short, there was no competition in investments," continued Bixiou. "Paper-mache manufacturers, cotton printers, zinc-rollers, theatres, and newspapers as yet did not hurl themselves like hunting dogs upon their quarry--the expiring shareholder. 'Nice things in shares,' as

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Country of the Pointed Firs by Sarah Orne Jewett:

'twas cold, waitin' to hear all about it as I come up the field. Lord, how I think o' all them little things!"

"This was what she called the best room; in this way," he said presently, laying his knitting on the table, and leading the way across the front entry and unlocking a door, which he threw open with an air of pride. The best room seemed to me a much sadder and more empty place than the kitchen; its conventionalities lacked the simple perfection of the humbler room and failed on the side of poor ambition; it was only when one remembered what patient saving, and what high respect for society in the abstract go to such furnishing that the little parlor was interesting at all. I could

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Fisherman's Luck by Henry van Dyke:

the valleys; rivers filled with floating logs; sawmills beside the waterfalls; wooden farmhouses painted white; and rail-fences around the fields. The people seemed sturdy, prosperous, independent. They had the familiar habit of coming down to the station to see the train arrive and depart. We might have fancied ourselves on a journey through the Connecticut valley, if it had not been for the soft sing-song of the Norwegian speech and the uniform politeness of the railway officials.

What a room that was in the inn at Randsfjord where we spent our first night out! Vast, bare, primitive, with eight windows to admit the persistent nocturnal twilight; a sea-like floor of blue-painted

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 Memorabilia by Xenophon:

[2] For Parrhasius of Ephesus, the son of Evenor and rival of Zeuxis, see Woltmann and Woermann, "Hist. of Painting," p. 47 foll.; Cobet, "Pros. Xen." p. 50 (cf. in particular Quint. XII. x. 627). At the date of conversation (real or ideal) he may be supposed to have been a young man.

I suppose, Parrhasius (said he), painting may be defined as "a representation of visible objects," may it not?[3] That is to say, by means of colours and palette you painters represent and reproduce as closely as possible the ups and downs, lights and shadows, hard and soft, rough and smooth surfaces, the freshness of youth and the wrinkles of age, do you not?


The Memorabilia