Today's Stichomancy for Vidal Sassoon

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

[1] Literally, a man-eating goblin. The Japanese narrator gives also the Sanscrit term, "Rakshasa;" but this word is quite as vague as jikininki, since there are many kinds of Rakshasas. Apparently the word jikininki signifies here one of the Baramon-Rasetsu-Gaki,-- forming the twenty-sixth class of pretas enumerated in the old Buddhist books. [2] A Segaki-service is a special Buddhist service performed on behalf of beings supposed to have entered into the condition of gaki (pretas), or hungry spirits. For a brief account of such a service, see my Japanese Miscellany. [3] Literally, "five-circle [or five-zone] stone." A funeral monument consisting of five parts superimposed,-- each of a different form,--

Kwaidan

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Crowd by Gustave le Bon:

impulsiveness and their mobility, as on all the popular sentiments we shall have to study. All crowds are doubtless always irritable and impulsive, but with great variations of degree. For instance, the difference between a Latin and an Anglo-Saxon crowd is striking. The most recent facts in French history throw a vivid light on this point. The mere publication, twenty-five years ago, of a telegram, relating an insult supposed to have been offered an ambassador, was sufficient to determine an explosion of fury, whence followed immediately a terrible war. Some years later the telegraphic announcement of an insignificant reverse at Langson provoked a fresh explosion which brought about

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Out of Time's Abyss by Edgar Rice Burroughs:

slabs was polished by the contact of possibly millions of naked feet and worn away in the aisles between the pedestals so that the latter rested upon little mounds of stone several inches above the general level of the floor.

Finally, seeing that no one came to collect, Bradley arose and started for the doorway. He had covered half the distance when he heard the voice of mine host calling to him: "Come back, jaal-lu," screamed the Wieroo; and Bradley did as he was bid. As he approached the creature which stood now behind a large, flat-topped pedestal beside the alcove, he saw lying upon the smooth surface something that almost elicited a gasp of

Out of Time's Abyss

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 Story of an African Farm by Olive Schreiner:

across her feet and lay whining softly.

So she lay all that morning, and all that afternoon.

Again and again Gregory crept close to the bedside and looked at her; but she did not speak to him. Was it stupor or was it sleep that shone under those half-closed eyelids. Gregory could not tell.

At last in the evening he bent over her.

"The oxen have come," he said; "we can start tomorrow if you like. Shall I get the wagon ready tonight?"

Twice he repeated his question. Then she looked up at him, and Gregory saw that all hope had died out of the beautiful eyes. It was not stupor that shone there, it was despair.