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Today's Stichomancy for Al Pacino

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Nada the Lily by H. Rider Haggard:

said that I would run like a dog to do his bidding, and he gave me men to go with me.

Then I returned to my huts to bid farewell to my wives and children, and there I found that my wife, Anadi, the mother of Moosa, my son, had fallen sick with a wandering sickness, for strange things came into her mind, and what came into her mind that she said, being, as I did not doubt, bewitched by some enemy of my house.

Still, I must go upon the king's business, and I told this to my wife Macropha, the mother of Nada, and, as it was thought, of Umslopogaas, the son of Chaka. But when I spoke to Macropha of the matter she burst into tears and clung to me. I asked her why she wept thus, and she

Nada the Lily
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Polity of Athenians and Lacedaemonians by Xenophon:

rest of the world the young girl, who will one day become a mother (and I speak of those who may be held to be well brought up), is nurtured on the plainest food attainable, with the scantiest addition of meat or other condiments; whilst as to wine they train them either to total abstinence or to take it highly diluted with water. And in imitation, as it were, of the handicraft type, since the majority of artificers are sedentary,[5] we, the rest of the Hellenes, are content that our girls should sit quietly and work wools. That is all we demand of them. But how are we to expect that women nurtured in this fashion should produce a splendid offspring?

[4] Cf. a fragment of Critias cited by Clement, "Stromata," vi. p.

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Twelve Stories and a Dream by H. G. Wells:

and thrust of the hands.


"That, you know, was what HE couldn't get right," said Clayton. "But how do YOU--?"

"Most of this business, and particularly how you invented it, I don't understand at all," said Sanderson, "but just that phase--I do." He reflected. "These happen to be a series of gestures--connected with a certain branch of esoteric Masonry. Probably you know. Or else--HOW?" He reflected still further. "I do not see I can do any harm in telling you just the proper twist. After all, if you know, you know; if you don't, you don't."

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 Unconscious Comedians by Honore de Balzac:

walking about here."

"We'll amaze you a good deal more, my dear cousin," said Leon de Lora. "We'll take Paris as an artist takes his violoncello, and show you how it is played,--in short, how people amuse themselves in Paris."

"It is a kaleidoscope with a circumference of twenty miles," cried Gazonal.

"Before piloting monsieur about, I have to see Gaillard," said Bixiou.

"But we can use Gaillard for the cousin," replied Leon.

"What sort of machine is that?" asked Gazonal.

"He isn't a machine, he is a machinist. Gaillard is a friend of ours who has ended a miscellaneous career by becoming the editor of a