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Today's Stichomancy for Christina Aguilera

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Ferragus by Honore de Balzac:

iresistible voise now compells me to let you know the wrong you have done me. I know beforehand that your soul hardened in vise will not pitty me. Your heart is deaf to feeling. Is it deaf to the cries of nature? But what matter? I must tell you to what a dredful point you are gilty, and the horror of the position to which you have brought me. Henry, you knew what I sufered from my first wrong-doing, and yet you plunged me into the same misery, and then abbandoned me to my dispair and sufering. Yes, I will say it, the belif I had that you loved me and esteemed me gave me corage to bare my fate. But now, what have I left? Have you not made me loose all that was dear to me, all that held me to life;


Ferragus
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Gorgias by Plato:

only with a view to good,' and that 'they were the better for being punished.' Still his doctrine of a future state of rewards and punishments may be compared favourably with that perversion of Christian doctrine which makes the everlasting punishment of human beings depend on a brief moment of time, or even on the accident of an accident. And he has escaped the difficulty which has often beset divines, respecting the future destiny of the meaner sort of men (Thersites and the like), who are neither very good nor very bad, by not counting them worthy of eternal damnation.

We do Plato violence in pressing his figures of speech or chains of argument; and not less so in asking questions which were beyond the horizon of his vision, or did not come within the scope of his design. The main

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Dead Souls by Nikolai Vasilievich Gogol:

perfect passion for cards) yet playing neither a faultless nor an over-clean game, since he was both a blunderer and able to indulge in a large number of illicit cuts and other devices. The result was that the game often ended in another kind of sport altogether. That is to say, either he received a good kicking, or he had his thick and very handsome whiskers pulled; with the result that on certain occasions he returned home with one of those appendages looking decidedly ragged. Yet his plump, healthy-looking cheeks were so robustly constituted, and contained such an abundance of recreative vigour, that a new whisker soon sprouted in place of the old one, and even surpassed its predecessor. Again (and the following is a phenomenon peculiar to


Dead Souls
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 Babbitt by Sinclair Lewis:

not till he saw Paul paying the check did he bluster to the piano-salesman, "By golly-friend of mine over there--'scuse me second--just say hello to him."

He touched Paul's shoulder, and cried, "Well, when did you hit town?"

Paul glared up at him, face hardening. "Oh, hello, George. Thought you'd gone back to Zenith." He did not introduce his companion. Babbitt peeped at her. She was a flabbily pretty, weakly flirtatious woman of forty-two or three, in an atrocious flowery hat. Her rouging was thorough but unskilful.

"Where you staying, Paulibus?"

The woman turned, yawned, examined her nails. She seemed accustomed to not being introduced.

Paul grumbled, "Campbell Inn, on the South Side."