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Today's Stichomancy for Karl Rove

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

Oh, tell me may I stay, or must I go?

DUCHESS

I would not have you either stay or go; For if you stay you steal my love from me, And if you go you take my love away. Guido, though all the morning stars could sing They could not tell the measure of my love. I love you, Guido.

GUIDO

[stretching out his hands] Oh, do not cease at all;

The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Wheels of Chance by H. G. Wells:

sob.

"I fail to see what status Widgery has," says Dangle, "thrusting himself in there."

"He takes too much upon himself," said Phipps.

"I've been noticing little things, yesterday and to-day," said Dangle, and stopped.

"They went to the cathedral together in the afternoon."

"Financially it would be a good thing for her, of course," said Dangle, with a gloomy magnanimity.

He felt drawn to Phipps now by the common trouble, in spite of the man's chequered legs. "Financially it wouldn't be half bad."

The third excerpt represents the future or something you must embrace, and is drawn from Timaeus by Plato:

the other hand there is no kind or degree of absurdity or fancy in which the more foolish writers, both of antiquity and of modern times, have not indulged respecting it. The Neo-Platonists, loyal to their master, like some commentators on the Christian Scriptures, sought to give an allegorical meaning to what they also believed to be an historical fact. It was as if some one in our own day were to convert the poems of Homer into an allegory of the Christian religion, at the same time maintaining them to be an exact and veritable history. In the Middle Ages the legend seems to have been half-forgotten until revived by the discovery of America. It helped to form the Utopia of Sir Thomas More and the New Atlantis of Bacon, although probably neither of those great men were at all