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Today's Stichomancy for Christian Bale

The first excerpt represents the past or something you must release, and is drawn from Within the Tides by Joseph Conrad:

notion of making George and himself, and Captain Harry, too, for that matter, rich men. And he didn't think much of consequences. These patent-medicine chaps don't care what they say or what they do. They think the world's bound to swallow any story they like to tell. . . He stands listening for a bit. And it gives him quite a turn to hear a thump at the door and a sort of muffled raving screech inside the captain's room. He thinks he hears his own name, too, through the awful crash as the old Sagamore rises and falls to a sea. That noise and that awful shock make him clear out of the cabin. He collects his senses on the poop. But his heart sinks a little at the black wildness of the night. Chances that he


Within the Tides
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Another Study of Woman by Honore de Balzac:

never in the Kamtschatka of miry, narrow, commercial streets, never anywhere in bad weather. These flowers of Paris, blooming only in Oriental weather, perfume the highways; and after five o'clock fold up like morning-glory flowers. The women you will see later, looking a little like them, are would-be ladies; while the fair Unknown, your Beatrice of a day, is a 'perfect lady.'

"It is not very easy for a foreigner, my dear Count, to recognize the differences by which the observer /emeritus/ distinguishes them--women are such consummate actresses; but they are glaring in the eyes of Parisians: hooks ill fastened, strings showing loops of rusty-white tape through a gaping slit in the back, rubbed shoe-leather, ironed

The third excerpt represents the future or something you must embrace, and is drawn from The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw:

party was lost, were trying to find the path by the light of contemporary history instead of vainly consulting the oracle in the pages of Das Kapital. Marx himself was too simpleminded a recluse and too full of the validity of his remoter generalizations, and the way in which the rapid integration of capital in Trusts and Kartels was confirming them, to be conscious of the void himself.

Wagner, on the other hand, was comparatively a practical man. It is possible to learn more of the world by producing a single opera, or even conductmg a single orchestral rehearsal, than by ten years reading in the Library of the British Museum. Wagner