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Today's Stichomancy for Sharon Stone

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The School For Scandal by Richard Brinsley Sheridan:

nor Hypocrisy could prevent your showing the sharpness of your Vexation.

SURFACE. But why should your Reproaches fall on me for this Disappointment?

LADY SNEERWELL. Are not you the cause of it? what had you to bate in your Pursuit of Maria to pervert Lady Teazle by the way.--had you not a sufficient field for your Roguery in blinding Sir Peter and supplanting your Brother--I hate such an avarice of crimes--'tis an unfair monopoly and never prospers.

SURFACE. Well I admit I have been to blame--I confess I deviated from the direct Road of wrong but I don't think we're so totally

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Meno by Plato:

original question, Whether in seeking to acquire virtue we should regard it as a thing to be taught, or as a gift of nature, or as coming to men in some other way?

SOCRATES: Had I the command of you as well as of myself, Meno, I would not have enquired whether virtue is given by instruction or not, until we had first ascertained 'what it is.' But as you think only of controlling me who am your slave, and never of controlling yourself,--such being your notion of freedom, I must yield to you, for you are irresistible. And therefore I have now to enquire into the qualities of a thing of which I do not as yet know the nature. At any rate, will you condescend a little, and allow the question 'Whether virtue is given by instruction, or in any other

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Intentions by Oscar Wilde:

reiterate 'Le bandeau! le bandeau!' may be taken as an example of the difference between LA TRAGEDIE PHILOSOPHIQUE and the drama of real life; and the introduction for the first time of the word MOUCHOIR at the Theatre Francais was an era in that romantic- realistic movement of which Hugo is the father and M. Zola the ENFANT TERRIBLE, just as the classicism of the earlier part of the century was emphasised by Talma's refusal to play Greek heroes any longer in a powdered periwig - one of the many instances, by the way, of that desire for archaeological accuracy in dress which has distinguished the great actors of our age.

In criticising the importance given to money in LA COMEDIE HUMAINE,

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 Ann Veronica by H. G. Wells:

She rubbed her knuckles into her forehead. "Oh, but life is difficult!" she groaned. "When you loosen the tangle in one place you tie a knot in another. . . . Before there is any change, any real change, I shall be dead--dead--dead and finished--two hundred years! . . ."

Part 5

One afternoon, while everything was still, the wardress heard her cry out suddenly and alarmingly, and with great and unmistakable passion, "Why in the name of goodness did I burn that twenty pounds?"

Part 6