Today's Stichomancy for Tim Burton

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from An Inland Voyage by Robert Louis Stevenson:

vexations that I came away to avoid. There is no discharge in the war of life, I am well aware; but shall there not be so much as a week's furlough?

We were up by six, the day we were to leave. They had taken so little note of us that I hardly thought they would have condescended on a bill. But they did, with some smart particulars too; and we paid in a civilised manner to an uninterested clerk, and went out of that hotel, with the india-rubber bags, unremarked. No one cared to know about us. It is not possible to rise before a village; but Compiegne was so grown a town, that it took its ease in the morning; and we were up and away while it was still in

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Man against the Sky by Edwin Arlington Robinson:

Down there some wind of heaven may yet revive him; But there's no quickening breath from anywhere Shall make of him again the poised young faun From Warwickshire, who'd made, it seems, already A legend of himself before I came To blink before the last of his first lightning. Whatever there be, they'll be no more of that; The coming on of his old monster Time Has made him a still man; and he has dreams Were fair to think on once, and all found hollow. He knows how much of what men paint themselves

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Several Works by Edgar Allan Poe:

from his astonishment.

"True," I replied; "the Amontillado."

As I said these words I busied myself among the pile of bones of which I have before spoken. Throwing them aside, I soon un- covered a quantity of building stone and mortar. With these materials and with the aid of my trowel, I began vigorously to wall up the entrance of the niche.

I had scarcely laid the first tier of the masonry when I discovered that the intoxication of Fortunato had in a great measure worn off. The earliest indication I had of this was a low moaning cry from the depth of the recess. It was not the cry of a drunken man.

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 Christ in Flanders by Honore de Balzac:

gazed, and no ideas connected with it arose in my mind. I saw without seeing the mighty maze of pillars, the great rose windows that hung like a network suspended as by a miracle in air above the vast doorways. I saw the doors at the end of the side aisles, the aerial galleries, the stained glass windows framed in archways, divided by slender columns, fretted into flower forms and trefoil by fine filigree work of carved stone. A dome of glass at the end of the choir sparkled as if it had been built of precious stones set cunningly. In contrast to the roof with its alternating spaces of whiteness and color, the two aisles lay to right and left in shadow so deep that the faint gray outlines of their hundred shafts were scarcely visible in