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Today's Stichomancy for Celine Dion

The first excerpt represents the past or something you must release, and is drawn from Eryxias by Platonic Imitator:

not unknown among the followers of Plato. The Eryxias was doubted by the ancients themselves: yet it may claim the distinction of being, among all Greek or Roman writings, the one which anticipates in the most striking manner the modern science of political economy and gives an abstract form to some of its principal doctrines.

For the translation of these two dialogues I am indebted to my friend and secretary, Mr. Knight.

That the Dialogue which goes by the name of the Second Alcibiades is a genuine writing of Plato will not be maintained by any modern critic, and was hardly believed by the ancients themselves. The dialectic is poor and weak. There is no power over language, or beauty of style; and there is a

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Tono Bungay by H. G. Wells:

underlined and stamped home. I wished very much now that I had run away to sea, in spite of the coal dust and squalour Rochester had revealed to me. Perhaps over seas one came to different lands.

IV

I do not remember much of my journey to Wimblehurst with my mother except the image of her as sitting bolt upright, as rather disdaining the third-class carriage in which we traveled, and how she looked away from me out of the window when she spoke of my uncle. "I have not seen your uncle," she said, "since he was a boy...." She added grudgingly, "Then he was supposed to be

The third excerpt represents the future or something you must embrace, and is drawn from The Soul of the Far East by Percival Lowell:

Portraits of people, pictures of places, he does not know, and yet which purport to be his! And I venture to believe that to more than one of us the exquisite pathos of the Bride of Lammermoor is gone when Lucia warbles her woes, be it never so entrancingly, to an admiring house. It almost seems as if the garish publicity of using her name for operatic title were a special intervention of the Muse, that we might the less connect song with story,--two sensations that, like two lights, destroy one another by mutual interference.

Against this preference shown the sketch it may be urged that to appreciate such suggestions presupposes as much art in the public as in the painter. But the ability to appreciate a thing when