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Today's Stichomancy for Voltaire

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Pagan and Christian Creeds by Edward Carpenter:

trace (as in chapter iv above) the divinization or deification of four-footed animals and birds and snakes and trees and the like, from the personification of the collective emotion of the tribe towards these creatures. For people whose chief food was bear-meat, for instance, whose totem was a bear, and who believed themselves descended from an ursine ancestor, there would grow up in the tribal mind an image surrounded by a halo of emotions-- emotions of hungry desire, of reverence, fear, gratitude and so forth--an image of a divine Bear in whom they lived and moved and had their being. For another

Pagan and Christian Creeds
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Lord Arthur Savile's Crime, etc. by Oscar Wilde:

import, illustrating Shakespeare's conception of the true relations between the art of the actor and the art of the dramatist.

'It is of course evident that there must have been in Shakespeare's company some wonderful boy-actor of great beauty, to whom he intrusted the presentation of his noble heroines; for Shakespeare was a practical theatrical manager as well as an imaginative poet, and Cyril Graham had actually discovered the boy-actor's name. He was Will, or, as he preferred to call him, Willie Hughes. The Christian name he found of course in the punning sonnets, CXXXV. and CXLIII.; the surname was, according to him, hidden in the seventh line of the 20th Sonnet, where Mr. W. H. is described as -

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Cruise of the Jasper B. by Don Marquis:

on, what Cleggett beheld; Cap'n Abernethy seemed to be saying, with these snores: "If you was to ask me, I'd say it ain't a cheerful ship this mornin', Mr. Cleggett, it ain't a cheerful ship."

But Cleggett's nature was too lively and vigorous to remain clouded for long. By the time the red disk of the sun had crept above the eastern horizon he had shaken off his fit of the blues.

The sun looked large and bland and friendly, and, somehow, the partisan of integrity and honor. He drew strength from it. Cleggett, like all poetic souls, was responsive to these familiar recurrent phenomena of nature.

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 Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson:

flags, warmed (after the fashion of a country house) by a bright, open fire, and furnished with costly cabinets of oak. "Will you wait here by the fire, sir? or shall I give you a light in the dining-room?"

"Here, thank you," said the lawyer, and he drew near and leaned on the tall fender. This hall, in which he was now left alone, was a pet fancy of his friend the doctor's; and Utterson himself was wont to speak of it as the pleasantest room in London. But tonight there was a shudder in his blood; the face of Hyde sat heavy on his memory; he felt (what was rare with him) a nausea and distaste of life; and in the gloom of his spirits, he seemed

The Strange Case of Dr. Jekyll and Mr. Hyde