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Today's Stichomancy for Jessica Biel

The first excerpt represents the past or something you must release, and is drawn from Intentions by Oscar Wilde:

mere loveliness of the materials employed there are latent elements of culture. Nor is this all. By its deliberate rejection of Nature as the ideal of beauty, as well as of the imitative method of the ordinary painter, decorative art not merely prepares the soul for the reception of true imaginative work, but develops in it that sense of form which is the basis of creative no less than of critical achievement. For the real artist is he who proceeds, not from feeling to form, but from form to thought and passion. He does not first conceive an idea, and then say to himself, 'I will put my idea into a complex metre of fourteen lines,' but, realising the beauty of the sonnet-scheme, he conceives certain modes of

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Verses 1889-1896 by Rudyard Kipling:

There isn't even a grandchild, and the Gloster family's done -- The only one you left me, O mother, the only one! Harrer and Trinity College -- me slavin' early an' late -- An' he thinks I'm dying crazy, and you're in Macassar Strait! Flesh o' my flesh, my dearie, for ever an' ever amen, That first stroke come for a warning; I ought to ha' gone to you then, But -- cheap repairs for a cheap 'un -- the doctors said I'd do: Mary, why didn't ~you~ warn me? I've allus heeded to you, Excep' -- I know -- about women; but you are a spirit now; An', wife, they was only women, and I was a man. That's how. An' a man 'e must go with a woman, as you could not understand;

Verses 1889-1896
The third excerpt represents the future or something you must embrace, and is drawn from Gone With the Wind by Margaret Mitchell:

and sapphire about the room. The old portraits on the walls had been dignified and gracious and had looked down upon guests with an air of mellowed hospitality. The rosewood sofas had been soft and inviting and one of them, the largest, had stood in the place of honor in this same alcove where she now sat. It had been Scarlett's favorite seat at parties. From this point stretched the pleasant vista of drawing room and dining room beyond, the oval mahogany table which seated twenty and the twenty slim-legged chairs demurely against the walls, the massive sideboard and buffet weighted with heavy silver, with seven-branched candlesticks, goblets, cruets, decanters and shining little glasses. Scarlett

Gone With the Wind