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Today's Stichomancy for Famke Janssen

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Les Miserables by Victor Hugo:

infallible, imperious, intractable, stubborn to all counsels of the intelligence and to all the dissolvents of reason, and which, in whatever manner destinies are arranged, secretly warns the man-dog of the presence of the man-cat, and the man-fox of the presence of the man-lion.

It frequently happened that when M. Madeleine was passing along a street, calm, affectionate, surrounded by the blessings of all, a man of lofty stature, clad in an iron-gray frock-coat, armed with a heavy cane, and wearing a battered hat, turned round abruptly behind him, and followed him with his eyes until he disappeared, with folded arms and a slow shake of the head, and his upper lip raised in company with his lower to his nose, a sort of significant


Les Miserables
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Democracy In America, Volume 1 by Alexis de Toqueville:

such be your desires, you can have no surer means of satisfying them than by equalizing the conditions of men, and establishing democratic institutions.

But if the time be passed at which such a choice was possible, and if some superhuman power impel us towards one or the other of these two governments without consulting our wishes, let us at least endeavor to make the best of that which is allotted to us; and let us so inquire into its good and its evil propensities as to be able to foster the former and repress the latter to the utmost.

Chapter XV: Unlimited Power Of Majority, And Its Consequences -

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Essays & Lectures by Oscar Wilde:

and as it is with the greater artists, poet and philosopher and song-bird, so let it be with you.

LECTURE TO ART STUDENTS

IN the lecture which it is my privilege to deliver before you to- night I do not desire to give you any abstract definition of beauty at all. For we who are working in art cannot accept any theory of beauty in exchange for beauty itself, and, so far from desiring to isolate it in a formula appealing to the intellect, we, on the contrary, seek to materialise it in a form that gives joy to the soul through the senses. We want to create it, not to define it. The definition should follow the work: the work should not adapt

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 Edition of The Ambassadors by Henry James:

whatever their weight, that Strether's friend Waymarsh is so keenly clutched at, on the threshold of the book, or that no less a pounce is made on Maria Gostrey--without even the pretext, either, of HER being, in essence, Strether's friend. She is the reader's friend much rather--in consequence of dispositions that make him so eminently require one; and she acts in that capacity, and REALLY in that capacity alone, with exemplary devotion from beginning to and of the book. She is an enrolled, a direct, aid to lucidity; she is in fine, to tear off her mask, the most unmitigated and abandoned of ficelles. Half the dramatist's art, as we well know--since if we don't it's not the fault of the