Today's Stichomancy for Sigmund Freud

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Research Magnificent by H. G. Wells:

breakfasts nearly but not completely forgotten. Prothero's door had been locked against the world, and he had appeared after a slight delay looking a little puffy and only apprehending who his visitor was after a resentful stare for the better part of a second. He might have been asleep, he might have been doing anything but the examination papers he appeared to be doing. The two men exchanged personal details; they had not met since some months before Benham' s marriage, and the visitor's eye went meanwhile from his host to the room and back to his host's face as though they were all aspects of the thing he was after, the Prothero humour, the earthly touch, the distinctive Prothero flavour. Then his eye was caught by a

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Sesame and Lilies by John Ruskin:

to strength, I chose for the students of Kensington, in a lecture since published, two characteristic examples of early art, of equal skill; but in the one case, skill which was progressive--in the other, skill which was at pause. In the one case, it was work receptive of correction--hungry for correction; and in the other, work which inherently rejected correction. I chose for them a corrigible Eve, and an incorrigible Angel, and I grieve to say that the incorrigible Angel was also an Irish Angel! {31}

And the fatal difference lay wholly in this. In both pieces of art there was an equal falling short of the needs of fact; but the Lombardic Eve knew she was in the wrong, and the Irish Angel thought

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Plain Tales from the Hills by Rudyard Kipling:

knew they could walk round any Horse and through any Guns, and over any Foot on the face of the earth! That insult was the first cause of offence.

Then the Colonel cast the Drum-Horse--the Drum-Horse of the White Hussars! Perhaps you do not see what an unspeakable crime he had committed. I will try to make it clear. The soul of the Regiment lives in the Drum-Horse, who carries the silver kettle-drums. He is nearly always a big piebald Waler. That is a point of honor; and a Regiment will spend anything you please on a piebald. He is beyond the ordinary laws of casting. His work is very light, and he only manoeuvres at a foot-pace. Wherefore, so long as he can step out

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 Cavalry General by Xenophon:

their novelty, but for their resemblacne to real warfare. The notion that the hipparch is to ride at a slower pace than his phylarchs, and to handle his horse precisely in their style, seems to me below the dignity of the office.

[16] In the hippodrome near Munychia, I suppose.

[17] Lit. ". . . it would be beautiful to form with extended front, so as to fill the hippodrome with horses and drive out the people from the central space, beautiful to . . ." The new feature of the review would seem to have been the introduction of a sham fight in three parts, down to the customary advance of the whole corps, {epi phalaggos}. Cf. Virg. "Aen." v. 545 foll. But see Martin, op.