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Today's Stichomancy for Pamela Colman Smith

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Sons and Lovers by D. H. Lawrence:

he prayed when, after tea, the father did not come home from work.

That was another time when the family suffered intensely. The children came from school and had their teas. On the hob the big black saucepan was simmering, the stew-jar was in the oven, ready for Morel's dinner. He was expected at five o'clock. But for months he would stop and drink every night on his way from work.

In the winter nights, when it was cold, and grew dark early, Mrs. Morel would put a brass candlestick on the table, light a tallow candle to save the gas. The children finished their bread-and-butter, or dripping, and were ready to go out to play. But if Morel had not come they faltered. The sense of his sitting


Sons and Lovers
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Mysterious Affair at Styles by Agatha Christie:

Inglethorp was lying on the bed, her whole form agitated by violent convulsions, in one of which she must have overturned the table beside her. As we entered, however, her limbs relaxed, and she fell back upon the pillows.

John strode across the room, and lit the gas. Turning to Annie, one of the housemaids, he sent her downstairs to the dining-room for brandy. Then he went across to his mother whilst I unbolted the door that gave on the corridor.

I turned to Lawrence, to suggest that I had better leave them now that there was no further need of my services, but the words were frozen on my lips. Never have I seen such a ghastly look on any


The Mysterious Affair at Styles
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Essays of Travel by Robert Louis Stevenson:

to in the pastoral uplands from which he came; and the concourse of the streets was in his eyes only an extraordinary multiplication of such 'meetings.'

And now we come to that last and most subtle quality of all, to that sense of prospect, of outlook, that is brought so powerfully to our minds by a road. In real nature, as well as in old landscapes, beneath that impartial daylight in which a whole variegated plain is plunged and saturated, the line of the road leads the eye forth with the vague sense of desire up to the green limit of the horizon. Travel is brought home to us, and we visit in spirit every grove and hamlet that tempts us in the distance. SEHNSUCHT - the passion for

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 Tristram Shandy by Laurence Sterne:

But it looks, I suppose, better than it smells--crack, crack--crack, crack- -what a fuss thou makest!--as if it concerned the good people to be informed, that a man with pale face and clad in black, had the honour to be driven into Paris at nine o'clock at night, by a postillion in a tawny yellow jerkin, turned up with red calamanco--crack, crack--crack, crack-- crack, crack,--I wish thy whip--

--But 'tis the spirit of thy nation; so crack--crack on.

Ha!--and no one gives the wall!--but in the School of Urbanity herself, if the walls are besh..t--how can you do otherwise?

And prithee when do they light the lamps? What?--never in the summer months!--Ho! 'tis the time of sallads.--O rare! sallad and soup--soup and