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Today's Stichomancy for Kate Beckinsale

The first excerpt represents the past or something you must release, and is drawn from Mrs. Warren's Profession by George Bernard Shaw:


FRANK. I give him due credit for that. [Rising and flinging down his paper] But just imagine his telling Crofts to bring the Warrens over here! He must have been ever so drunk. You know, my dear Praddy, my mother wouldnt stand Mrs Warren for a moment. Vivie mustnt come here until she's gone back to town.

PRAED. But your mother doesnt know anything about Mrs Warren, does she? [He picks up the paper and sits down to read it].

FRANK. I dont know. Her journey to town looks as if she did. Not that my mother would mind in the ordinary way: she has stuck like a brick to lots of women who had got into trouble. But they

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Prince Otto by Robert Louis Stevenson:

Meanwhile, with his usual ponderous grace, he bent before the lady.

'I propose,' she said in a strange voice, not known to her till then, 'that we release the Prince and do not prosecute the war.'

'Ah, madam,' he replied, ' 'tis as I knew it would be! Your heart, I knew, would wound you when we came to this distasteful but most necessary step. Ah, madam, believe me, I am not unworthy to be your ally; I know you have qualities to which I am a stranger, and count them the best weapons in the armoury of our alliance:- the girl in the queen - pity, love, tenderness, laughter; the smile that can reward. I can only command; I am the frowner. But you! And you have the fortitude to command these comely weaknesses, to tread them

The third excerpt represents the future or something you must embrace, and is drawn from The Jolly Corner by Henry James:

had heard behind him the click of his great house-door, began for him, on the jolly corner, as beguilingly as the slow opening bars of some rich music follows the tap of the conductor's wand.

He always caught the first effect of the steel point of his stick on the old marble of the hall pavement, large black-and-white squares that he remembered as the admiration of his childhood and that had then made in him, as he now saw, for the growth of an early conception of style. This effect was the dim reverberating tinkle as of some far-off bell hung who should say where? - in the depths of the house, of the past, of that mystical other world that might have flourished for him had he not, for weal or woe,