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Today's Stichomancy for Eliza Dushku

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Death of the Lion by Henry James:

over her capture, and nothing could exceed the confused apprehensions it excited in me. I had an instinctive fear of her which I tried without effect to conceal from her victim, but which I let her notice with perfect impunity. Paraday heeded it, but she never did, for her conscience was that of a romping child. She was a blind violent force to which I could attach no more idea of responsibility than to the creaking of a sign in the wind. It was difficult to say what she conduced to but circulation. She was constructed of steel and leather, and all I asked of her for our tractable friend was not to do him to death. He had consented for a time to be of india-rubber, but my thoughts were fixed on the day

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Divine Comedy (translated by Henry Wadsworth Longfellow) by Dante Alighieri:

Blowing into his beard with suspirations; And the Friar Catalan, who noticed this,

Said to me: "This transfixed one, whom thou seest, Counselled the Pharisees that it was meet To put one man to torture for the people.

Crosswise and naked is he on the path, As thou perceivest; and he needs must feel, Whoever passes, first how much he weighs;

And in like mode his father-in-law is punished Within this moat, and the others of the council, Which for the Jews was a malignant seed."


The Divine Comedy (translated by Henry Wadsworth Longfellow)
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Kidnapped by Robert Louis Stevenson:

over and over in his hands.

"Do ye ken what's in it?" he asked, suddenly.

"You see for yourself, sir," said I, "that the seal has not been broken."

"Ay," said he, "but what brought you here?"

"To give the letter," said I.

"No," says he, cunningly, "but ye'll have had some hopes, nae doubt?"

"I confess, sir," said I, "when I was told that I had kinsfolk well-to-do, I did indeed indulge the hope that they might help me in my life. But I am no beggar; I look for no favours at your


Kidnapped
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 The Soul of the Far East by Percival Lowell:

the soul of nature by the soul of man; the mirror of a mood, passing, perhaps, in fact, but perpetuated thus to fancy. Being an emotion, its intensity is directly proportional to the singleness with which it possesses the thoughts. The Far Oriental fully realizes the power of simplicity. This principle is his fundamental canon of pictorial art. To understand his paintings, it is from this standpoint they must be regarded; not as soulless photographs of scenery, but as poetic presentations of the spirit of the scenes. The very charter of painting depends upon its not giving us charts. And if with us a long poem be a contradiction in terms, a full picture is with them as self-condemnatory a production. From the