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Today's Stichomancy for Nicolas Cage

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Chance by Joseph Conrad:

acting like a gentleman, surely. And acting unselfishly too, because I can very well understand how distasteful it may be to you. Generally speaking, an unselfish action is a moral action. I'll tell you what. I'll go with you."

He turned round and stared at me with surprise and suspicion. "You would go with me?" he repeated.

"You don't understand," I said, amused at the incredulous disgust of his tone. "I must run up to town, to-morrow morning. Let us go together. You have a set of travelling chessmen."

His physiognomy, contracted by a variety of emotions, relaxed to a certain extent at the idea of a game. I told him that as I had


Chance
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Poems by Oscar Wilde:

The autumn forests treacherously slew What Sparta held most dear and was the crown Of far Eurotas, and passed on, nor knew How God had staked an evil net for him In the small bay at Salamis, - and yet, the page grows dim,

Its cadenced Greek delights me not, I feel With such a goodly time too out of tune To love it much: for like the Dial's wheel That from its blinded darkness strikes the noon Yet never sees the sun, so do my eyes Restlessly follow that which from my cheated vision flies.

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Dawn O'Hara, The Girl Who Laughed by Edna Ferber:

you of it, laughing. But you didn't laugh. You rubbed it off, furiously, and you wanted to cry. Cry! You, Dawn O'Hara! Begorra! 'Tis losin' your sense av humor you're after doin'! Get to work."

After which I would fall upon the book in a furious, futile fashion, writing many incoherent, irrelevant paragraphs which I knew would be cast aside as worthless on the sane and reasoning to-morrow.

Oh, it had been easy enough to talk of love in a lofty, superior impersonal way that New Year's day. Just the luxury of speaking of it at all, after those weeks of

The fourth excerpt represents the element of Earth. It speaks of physical influences and the impact of the unseen on the visible world, and is drawn from The Girl with the Golden Eyes by Honore de Balzac:

agitates, sustains, and occupies it! Consider! And, in the first place, examine the world which possesses nothing.

The artisan, the man of the proletariat, who uses his hands, his tongue, his back, his right arm, his five fingers, to live--well, this very man, who should be the first to economize his vital principle, outruns his strength, yokes his wife to some machine, wears out his child, and ties him to the wheel. The manufacturer--or I know not what secondary thread which sets in motion all these folk who with their foul hands mould and gild porcelain, sew coats and dresses, beat out iron, turn wood and steel, weave hemp, festoon crystal, imitate flowers, work woolen things, break in horses, dress harness, carve in


The Girl with the Golden Eyes