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Today's Stichomancy for Catherine Zeta-Jones

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

carrying a lamp. He was a powerful young fellow, with bewildered hair and beard, wearing his neck open; his blouse was stained with oil-colours in a harlequinesque disorder; and there was something rural in the droop and bagginess of his belted trousers.

From immediately behind him, and indeed over his shoulder, a woman's face looked out into the darkness; it was pale and a little weary, although still young; it wore a dwindling, disappearing prettiness, soon to be quite gone, and the expression was both gentle and sour, and reminded one faintly of the taste of certain drugs. For all that, it was not a face to dislike; when the prettiness had vanished, it seemed as if a certain pale beauty

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Life on the Mississippi by Mark Twain:

twain! .... Quarter twain! .... M-a-r-k twain! .... Quarter-less--'

Mr. Bixby pulled two bell-ropes, and was answered by faint jinglings far below in the engine room, and our speed slackened. The steam began to whistle through the gauge-cocks. The cries of the leadsmen went on--and it is a weird sound, always, in the night. Every pilot in the lot was watching now, with fixed eyes, and talking under his breath. Nobody was calm and easy but Mr. Bixby. He would put his wheel down and stand on a spoke, and as the steamer swung into her (to me) utterly invisible marks--for we seemed to be in the midst of a wide and gloomy sea--he would meet and fasten her there. Out of the murmur of half-audible talk, one caught a coherent sentence

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Rezanov by Gertrude Atherton:

of sunlight that no one of its worshippers had ever read the legends on the walls, and even the stations were but deeper bits of shade, would attune her mind to holy things, and throw a mantle of un- reality over those of the world.

He covered his face with his hand as she told her story. This she did in a few words, disjointed, for she was both tired and seething. For a few mo- ments afterward there was a silence; the good priest was increasingly disturbed and by no means certain of his course. He was astonished to feel a tug at

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 Protagoras by Plato:

son of Creon the Thessalian:

'Hardly on the one hand can a man become truly good, built four-square in hands and feet and mind, a work without a flaw.'

Do you know the poem? or shall I repeat the whole?

There is no need, I said; for I am perfectly well acquainted with the ode, --I have made a careful study of it.

Very well, he said. And do you think that the ode is a good composition, and true?

Yes, I said, both good and true.

But if there is a contradiction, can the composition be good or true?

No, not in that case, I replied.