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Today's Stichomancy for Shaquille O'Neal

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

chided with me. The hour is now come for those high feats of arms that you have so long been pining for, therefore keep high hearts each one of you to do battle with the Trojans."

With these words he put heart and soul into them all, and they serried their companies yet more closely when they heard the of their king. As the stones which a builder sets in the wall of some high house which is to give shelter from the winds--even so closely were the helmets and bossed shields set against one another. Shield pressed on shield, helm on helm, and man on man; so close were they that the horse-hair plumes on the gleaming ridges of their helmets touched each other as they bent their


The Iliad
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Memories and Portraits by Robert Louis Stevenson:

figured in a scheme of another sort, they had been drawn to very different purpose; for in this elementary novel of adventure, the characters need to be presented with but one class of qualities - the warlike and formidable. So as they appear insidious in deceit and fatal in the combat, they have served their end. Danger is the matter with which this class of novel deals; fear, the passion with which it idly trifles; and the characters are portrayed only so far as they realise the sense of danger and provoke the sympathy of fear. To add more traits, to be too clever, to start the hare of moral or intellectual interest while we are running the fox of material interest, is not to enrich but to stultify your tale. The

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from A Pair of Blue Eyes by Thomas Hardy:

carefully tended, and formed virtually a part of the manor-house lawn; flowers and shrubs being planted indiscriminately over both, whilst the few graves visible were mathematically exact in shape and smoothness, appearing in the daytime like chins newly shaven. There was no wall, the division between God's Acre and Lord Luxellian's being marked only by a few square stones set at equidistant points. Among those persons who have romantic sentiments on the subject of their last dwelling-place, probably the greater number would have chosen such a spot as this in preference to any other: a few would have fancied a constraint in its trim neatness, and would have preferred the wild hill-top of


A Pair of Blue Eyes
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 Case of The Lamp That Went Out by Grace Isabel Colbron and Augusta Groner:

perhaps even hatred, for the man to whom it was written.

"Come to-morrow, but not before eight o'clock. He has gone away. God forgive him and you." This was the contents of the letter of the 17th of March. That is, the writer had penned the letter this way. But the last two words, "and you," had evidently not come from her heart, for she had annulled them by a heavy stroke of the pen. A stroke that seemed like a knife thrust, so full of rage and hate it was.

"So he was called to a rendezvous in Hietzing, too," murmured Muller, then he added after a few moments: "But this rendezvous had nothing whatever to do with love."