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Today's Stichomancy for Claire Forlani

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from In the South Seas by Robert Louis Stevenson:

banyan, the black pigs galloping in the bush, and the architecture of the native houses dissipated ere it could be enjoyed.

The houses on the Hatiheu side begin high up; higher yet, the more melancholy spectacle of empty paepaes. When a native habitation is deserted, the superstructure - pandanus thatch, wattle, unstable tropical timber - speedily rots, and is speedily scattered by the wind. Only the stones of the terrace endure; nor can any ruin, cairn, or standing stone, or vitrified fort present a more stern appearance of antiquity. We must have passed from six to eight of these now houseless platforms. On the main road of the island, where it crosses the valley of Taipi, Mr. Osbourne tells me they

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Muse of the Department by Honore de Balzac:

vaulted with hard stone, the walls were of desperate thickness; the tower overlooked the precipice.

"When the luckless man had convinced himself of the impossibility of escape, he fell into those day-dreams which are at once the comfort and the crowning despair of prisoners. He gave himself up to the trifles which in such cases seem so important; he counted the hours and the days; he studied the melancholy trade of being prisoner; he became absorbed in himself, and learned the value of air and sunshine; then, at the end of a fortnight, he was attacked by that terrible malady, that fever for liberty, which drives prisoners to those heroic efforts of which the prodigious achievements seem to us impossible,


The Muse of the Department
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from A Start in Life by Honore de Balzac:

she exclaimed, leaving her son and taking the coachman apart a few steps.

"I hope you're well, Madame Clapart," he replied, with an air that expressed both respect and familiarity.

"Yes, Pierrotin, very well. Please take good care of my Oscar; he is travelling alone for the first time."

"Oh! so he is going alone to Monsieur Moreau!" cried Pierrotin, for the purpose of finding out whether he were really going there.

"Yes," said the mother.

"Then Madame Moreau is willing?" returned Pierrotin, with a sly look.

"Ah!" said the mother, "it will not be all roses for him, poor child!

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 Devil's Dictionary by Ambrose Bierce:

Lillian Russell's refusal to wear it, and many were the conjectures as to her motive, the guess of Miss Pauline Hall showing a high order of ingenuity and sustained reflection. It was Miss Hall's belief that nature had not endowed Miss Russell with beautiful legs. This theory was impossible of acceptance by the male understanding, but the conception of a faulty female leg was of so prodigious originality as to rank among the most brilliant feats of philosophical speculation! It is strange that in all the controversy regarding Miss Russell's aversion to tights no one seems to have thought to ascribe it to what was known among the ancients as "modesty." The nature of that sentiment is now imperfectly understood, and possibly incapable of


The Devil's Dictionary