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Today's Stichomancy for Werner Heisenberg

The first excerpt represents the past or something you must release, and is drawn from A Journal of the Plague Year by Daniel Defoe:

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This inequality, I say, is exceedingly augmented when the numbers of people are considered. I pretend not to make any exact calculation of the numbers of people which were at this time in the city, but I shall make a probable conjecture at that part by-and-by. What I have said now is to explain the misery of those poor creatures above; so that it might well be said, as in the Scripture, Woe be to those who are with child, and to those which give suck in that day. For, indeed, it was a woe to them in particular.

I was not conversant in many particular families where these things


A Journal of the Plague Year
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Koran:

enter it to-day unto you no poor person!'

And they went early deciding to be stingy.

And when they saw it they said, 'Verily, we have erred! Nay, we are forbidden (its fruit)!'

Said the most moderate of them, 'Said I not to you, "unless ye celebrate God's praises!"'

Said they, 'Celebrated be the praises of our Lord! verily, we were unjust!'

And they approached each other with mutual blame.

Said they, 'O woe to us! verily, we have been outrageous! Haply our Lord may give us instead a better than it; verily, we unto our


The Koran
The third excerpt represents the future or something you must embrace, and is drawn from De Profundis by Oscar Wilde:

world is a song. I remember saying once to Andre Gide, as we sat together in some Paris CAFE, that while meta-physics had but little real interest for me, and morality absolutely none, there was nothing that either Plato or Christ had said that could not be transferred immediately into the sphere of Art and there find its complete fulfilment.

Nor is it merely that we can discern in Christ that close union of personality with perfection which forms the real distinction between the classical and romantic movement in life, but the very basis of his nature was the same as that of the nature of the artist - an intense and flamelike imagination. He realised in the