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Today's Stichomancy for Laurence Fishburne

The first excerpt represents the past or something you must release, and is drawn from The Tanach:

2_Kings 19: 35 And it came to pass that night, that the angel of the LORD went forth, and smote in the camp of the Assyrians a hundred fourscore and five thousand; and when men arose early in the morning, behold, they were all dead corpses.

2_Kings 19: 36 So Sennacherib king of Assyria departed, and went and returned, and dwelt at Nineveh.

2_Kings 19: 37 And it came to pass, as he was worshipping in the house of Nisroch his god, that Adrammelech and Sarezer his sons smote him with the sword; and they escaped into the land of Ararat. And Esarhaddon his son reigned in his stead.

2_Kings 20: 1 In those days was Hezekiah sick unto death. And Isaiah the prophet the son of Amoz came to him, and said unto him: 'Thus saith the LORD: Set thy house in order; for thou shalt die, and not live.'

2_Kings 20: 2 Then he turned his face to the wall, and prayed unto the LORD, saying:

2_Kings 20: 3 `Remember now, O LORD, I beseech Thee, how I have walked before Thee in truth and with a whole heart, and have done that which is good in Thy sight.' And Hezekiah wept sore.

2_Kings 20: 4 And it came to pass, before Isaiah was gone out of the inner court of the city, that the word of the LORD came to him, saying:

2_Kings 20: 5 'Return, and say to Hezekiah the prince of My people: Thus saith the LORD, the God of David thy father: I have heard thy prayer, I have seen thy tears; behold, I will heal thee; on the


The Tanach
The second excerpt represents the present or the deciding factor of the moment, and is drawn from The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw:

had to be dramatized also in the persons of Alberic, Mime, Fafnir, Loki, and the rest. None of these appear in Night Falls On The Gods save Alberic, whose weird dream-colloquy with Hagen, effective as it is, is as purely theatrical as the scene of the Ghost in Hamlet, or the statue in Don Giovanni. Cut the conference of the Norns and the visit of Valtrauta to Brynhild out of Night Falls On The Gods, and the drama remains coherent and complete without them. Retain them, and the play becomes connected by conversational references with the three music dramas; but the connection establishes no philosophic coherence, no real identity between the operatic Brynhild of the Gibichung

The third excerpt represents the future or something you must embrace, and is drawn from Early Short Fiction of Edith Wharton by Edith Wharton:

headaches, and went to bed early. As soon as she was gone I slipped out. I had got together a sort of disguise--red beard and queer-looking ulster. I shoved them into a bag, and went round to the garage. There was no one there but a half-drunken machinist whom I'd never seen before. That served me, too. They were always changing machinists, and this new fellow didn't even bother to ask if the car belonged to me. It was a very easy- going place. . .

"Well, I jumped in, ran up Broadway, and let the car go as soon as I was out of Harlem. Dark as it was, I could trust myself to strike a sharp pace. In the shadow of a wood I stopped a second