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Today's Stichomancy for Jennifer Connelly

The first excerpt represents the past or something you must release, and is drawn from Court Life in China by Isaac Taylor Headland:

first to the Princess and then to the ladies as best I could. I afterwards watched the other lady visitors and saw that they put their right hand up near their head as our soldiers salute, and courtesied to the Princess, her daughter-in-law and her eldest daughter. They then went over to a little table on which was a silver sacrificial set, consisting of a wine tankard, a great bowl, and a number of tiny cups holding but two tablespoonfuls. They took the cup in its little saucer, and, facing the beautiful canopied catafalque where the Dowager Princess was lying in state, they raised the cup as high as their head three times, emptying and refilling it each time. The mourners prostrated

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Love and Friendship by Jane Austen:

Night was now approaching and that the Damps began to fall. "And whither shall we go (said I) to shelter us from either?" "To that white Cottage." (replied she pointing to a neat Building which rose up amidst the grove of Elms and which I had not before observed--) I agreed and we instantly walked to it--we knocked at the door--it was opened by an old woman; on being requested to afford us a Night's Lodging, she informed us that her House was but small, that she had only two Bedrooms, but that However we should be wellcome to one of them. We were satisfied and followed the good woman into the House where we were greatly cheered by the sight of a comfortable fire--. She was a widow

Love and Friendship
The third excerpt represents the future or something you must embrace, and is drawn from Virginibus Puerisque by Robert Louis Stevenson:

tell ourselves that we are the richer by one more beautiful experience. Or it may be something even slighter: as when the opulence of the sunshine, which somehow gets lost and fails to produce its effect on the large scale, is suddenly revealed to him by the chance isolation - as he changes the position of his sunshade - of a yard or two of roadway with its stones and weeds. And then, there is no end to the infinite variety of the olive-yards themselves. Even the colour is indeterminate and continually shifting: now you would say it was green, now gray, now blue; now tree stands above tree, like "cloud on cloud," massed into filmy indistinctness; and now, at the