Today's Stichomancy for John Travolta

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

you can imagine in a donkey. And so, sure enough, you had only to look at him to see he had never worked. There was something too roguish and wanton in his face, a look too like that of a schoolboy or a street Arab, to have survived much cudgelling. It was plain that these feet had kicked off sportive children oftener than they had plodded with a freight through miry lanes. He was altogether a fine-weather, holiday sort of donkey; and though he was just then somewhat solemnised and rueful, he still gave proof of the levity of his disposition by impudently wagging his ears at me as I drew near. I say he was somewhat solemnised just then; for, with the admirable instinct of all men and animals under restraint, he had so wound and

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Summer by Edith Wharton:

would come back, and she was equally sure that, for the moment at least, it was she whom he loved and not Miss Balch. Yet the girl, no less, remained a rival, since she represented all the things that Charity felt herself most incapable of understanding or achieving. Annabel Balch was, if not the girl Harney ought to marry, at least the kind of girl it would be natural for him to marry. Charity had never been able to picture herself as his wife; had never been able to arrest the vision and follow it out in its daily consequences; but she could perfectly imagine Annabel

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Chinese Boy and Girl by Isaac Taylor Headland:

instead of being executed he was allowed to repeat his performance. This was the origin of the play in China which corresponds to Punch and Judy in Europe and America. To the question which naturally arises as to how the play was carried to the West, I reply, it may not have been carried to Europe at all, but have originated there. From marked similarities in the two plays however, and more especially in the methods of their production, we may suppose that the Chinese Punch and Judy was carried to Europe in the following way:

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 Jungle Book by Rudyard Kipling:

the necks of the big stone idols and shrieked as they skipped along the battlements, while Mowgli, dancing in the summerhouse, put his eye to the screenwork and hooted owl-fashion between his front teeth, to show his derision and contempt.

"Get the man-cub out of that trap; I can do no more," Bagheera gasped. "Let us take the man-cub and go. They may attack again."

"They will not move till I order them. Stay you sssso!" Kaa hissed, and the city was silent once more. "I could not come before, Brother, but I think I heard thee call"--this was to Bagheera.

"I--I may have cried out in the battle," Bagheera answered.

The Jungle Book