Today's Stichomancy for Uma Thurman

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

destruction of the monster may be carried to him some subtle way. If we could only get some hint as to what passed in his mind, between the time of my argument with him today and his resumption of fly-catching, it might afford us a valuable clue. He is now seemingly quiet for a spell. . . Is he? That wild yell seemed to come from his room. . .

The attendant came bursting into my room and told me that Renfield had somehow met with some accident. He had heard him yell, and when he went to him found him lying on his face on the floor, all covered with blood. I must go at once. . .

CHAPTER 21

Dracula

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Divine Comedy (translated by H.F. Cary) by Dante Alighieri:

As when the ring-dove by his mate alights, In circles each about the other wheels, And murmuring cooes his fondness; thus saw I One, of the other great and glorious prince, With kindly greeting hail'd, extolling both Their heavenly banqueting; but when an end Was to their gratulation, silent, each, Before me sat they down, so burning bright, I could not look upon them. Smiling then, Beatrice spake: "O life in glory shrin'd!" Who didst the largess of our kingly court

The Divine Comedy (translated by H.F. Cary)

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Two Noble Kinsmen by William Shakespeare:

Not made in passion neither, but good heede.

THESEUS.

What is it, Sister?

PERITHOUS.

Vrge it home, brave Lady.

EMILIA.

That you would nev'r deny me any thing Fit for my modest suit, and your free granting: I tye you to your word now; if ye fall in't, Thinke how you maime your honour, (For now I am set a begging, Sir, I am deafe

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 Deserted Woman by Honore de Balzac:

her. The caprice of social conventions puts as many barriers between lovers as any Oriental imagination can devise in the most delightfully fantastic tale; indeed, the most extravagant pictures are seldom exaggerations. In real life, as in the fairy tales, the woman belongs to him who can reach her and set her free from the position in which she languishes. The poorest of calenders that ever fell in love with the daughter of the Khalif is in truth scarcely further from his lady than Gaston de Nueil from Mme. de Beauseant. The Vicomtesse knew absolutely nothing of M. de Nueil's wanderings round her house; Gaston de Nueil's love grew to the height of the obstacles to overleap; and the distance set between him and his extemporized lady-love produced