Today's Stichomancy for Mohandas Gandhi

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Sarrasine by Honore de Balzac:

came forward coquettishly to the footlights and curtsied to the audience with infinite grace. The brilliant light, the enthusiasm of a vast multitude, the illusion of the stage, the glamour of a costume which was most attractive for the time, all conspired in that woman's favor. Sarrasine cried aloud with pleasure. He saw before him at that moment the ideal beauty whose perfections he had hitherto sought here and there in nature, taking from one model, often of humble rank, the rounded outline of a shapely leg, from another the contour of the breast; from another her white shoulders; stealing the neck of that young girl, the hands of this woman, and the polished knees of yonder child, but never able to find beneath the cold skies of Paris the rich

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Man against the Sky by Edwin Arlington Robinson:

And in the sun saw power superbly wasted; And when the primitive old-fashioned stars Came out again to shine on joys and wars More primitive, and all arrayed for doom, He may have proved a world a sorry thing In his imagining, And life a lighted highway to the tomb.

Or, mounting with infirm unsearching tread, His hopes to chaos led, He may have stumbled up there from the past, And with an aching strangeness viewed the last

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Psychology of Revolution by Gustave le Bon:

and who claimed to be regenerating France by means of the guillotine.

But it was thanks to these valiant armies that the history of the Convention was transformed into an apotheosis which affected several generations with a religious respect which even to-day is hardly extinct.

Studying in detail the psychology of the ``Giants'' of the Convention, we find their magnitude shrink very rapidly. They were in general extremely mediocre. Their most fervent defenders, such as M. Aulard, are obliged to admit as much.

This is how M. Aulard puts it in his History of the French

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 Cratylus by Plato:

quantities, rhythms, rhymes, varieties and contrasts of all sorts. The poet with his 'Break, break, break' or his e pasin nekuessi kataphthimenoisin anassein or his 'longius ex altoque sinum trahit,' can produce a far finer music than any crude imitations of things or actions in sound, although a letter or two having this imitative power may be a lesser element of beauty in such passages. The same subtle sensibility, which adapts the word to the thing, adapts the sentence or cadence to the general meaning or spirit of the passage. This is the higher onomatopea which has banished the cruder sort as unworthy to have a place in great languages and literatures.

We can see clearly enough that letters or collocations of letters do by