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Today's Stichomancy for Arthur E. Waite

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

prompt copy, was of less importance than the others); nor with The Cardinal of Arragon, the manuscript of which I never saw. I scarcely think it ever existed, though Wilde used to recite proposed passages for it.

Some years after Wilde's death I was looking over the papers and letters rescued from Tite Street when I came across loose sheets of manuscript and typewriting, which I imagined were fragments of The Duchess of Padua; on putting them together in a coherent form I recognised that they belonged to the lost Florentine Tragedy. I assumed that the opening scene, though once extant, had disappeared. One day, however, Mr. Willard wrote that he possessed a typewritten

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Damnation of Theron Ware by Harold Frederic:

good care not to go, all the same. They've got horse-sense, those priests. They're artists, too. They know how to allow for the machinery behind the scenes."

"But it's all so different," urged the young minister; "the same things are not expected of them. Now I sat the other night and watched those people you got up around the altar-rail, groaning and shouting and crying, and the others jumping up and down with excitement, and Sister Lovejoy--did you see her?--coming out of her pew and regularly waltzing in the aisle, with her eyes shut, like a whirling dervish--I positively believe it was


The Damnation of Theron Ware
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Facino Cane by Honore de Balzac:

that the structure of the building was such that no watch was needed below, the level of the Pozzi dungeons being several steps below the threshold, it was possible gradually to raise the earthen floor without exciting the warder's suspicions.

"The tremendous labor had profited nothing--nothing at least to him that began it. The very fact that it was left unfinished told of the unknown worker's death. Unless his devoted toil was to be wasted for ever, his successor must have some knowledge of Arabic, but I had studied Oriental languages at the Armenian Convent. A few words written on the back of the stone recorded the unhappy man's fate; he had fallen a victim to his great possessions; Venice had coveted his

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 Criminal Sociology by Enrico Ferri:

will end by accepting the indefinite seclusion of hardened criminals, as they have already come to accept criminal lunatic asylums, though both ideas are opposed to the classical theories.

This is so true that at the Prison Congress at St. Petersburg in 1889 the question was first propounded ``whether it can be admitted that certain criminals should be regarded as incorrigible, and, if so, what means could be employed to protect society against this class of convicts.'' And speaking as a delegate from the Law Society of St. Petersburg, M. Spasovitch acknowledged that ``this question bore the stamp of its origin on its face. Of all the questions in the programme, it seemed to be