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Today's Stichomancy for Fidel Castro

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Aeroplanes and Dirigibles of War by Frederick A. Talbot:

placed within the gas-bag, so that the air-resistance offered by ropes is virtually eliminated in its entirety, for the simple reason that practically no ropes are placed outside the envelope. The general principle of design may be gathered from the accompanying diagram. It is as if three sausage-shaped balloons were disposed pyramidally--two lying side by side with one super-imposed, with the bags connected at the points where the circular sections come into contact. Thus the external appearance of the envelope is decidedly unusual, comprising three symmetrical ridges. At the points where the three bags come into contact cloth bands are stretched across the arcs, thereby

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Young Forester by Zane Grey:

"Wal, I reckon."

From that time I trod on air. I found myself wishing for my brother Hal. I became reconciled to the loss of mustang and outfit. For a moment I almost forgot Dick and Buell. Forestry seemed less important than hunting. I had read a thousand books about old hunters and trappers, and here I was in a wild mountain canyon with a hunter who might have stepped out of one of my dreams. So I trudged along beside him, asking a question now and then, and listening always. He certainly knew what would interest me. There was scarcely a thing he said that I would ever forget. After a while, however, the trail became so steep and rough that I, at least, had no breath to spare for talking. We climbed and climbed. The canyon had become a narrow,


The Young Forester
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from In a German Pension by Katherine Mansfield:

Fraulein Sonia's neck. She bowed in the grand style.

"I am always successful," she said to me. "You see, when I act I AM. In Vienna, in the plays of Ibsen we had so many bouquets that the cook had three in the kitchen. But it is difficult here. There is so little magic. Do you not feel it? There is none of that mysterious perfume which floats almost as a visible thing from the souls of the Viennese audiences. My spirit starves for want of that." She leaned forward, chin on hand. "Starves," she repeated.

The Professor appeared with his trombone, blew into it, held it up to one eye, tucked back his shirt cuffs and wallowed in the soul of Sonia Godowska. Such a sensation did he create that he was recalled to play a

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 Some Reminiscences by Joseph Conrad:

mortals. But there is more than one aspect to the charm of that exalted and dangerous figure. He, too, had his frailties. After reading so many romances he desired naively to escape with his very body from the intolerable reality of things. He wished to meet eye to eye the valorous giant Brandabarbaran, Lord of Arabia, whose armour is made of the skin of a dragon, and whose shield, strapped to his arm, is the gate of a fortified city. O amiable and natural weakness! O blessed simplicity of a gentle heart without guile! Who would not succumb to such a consoling temptation? Nevertheless it was a form of self-indulgence, and the ingenious hidalgo of La Mancha was not a good citizen. The


Some Reminiscences