Today's Stichomancy for Salma Hayek

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Running a Thousand Miles for Freedom by William and Ellen Craft:

my heart and soul for his great kindness and tender mercy, in watching over us, and bringing us safely through.

As soon as the train had reached the platform, before it had fairly stopped, I hurried out of my carriage to my master, whom I got at once into a cab, placed the luggage on, jumped in myself, and we drove off to the boarding-house which was so kindly recommended to me. On leaving the station, my master--or rather my wife, as I may now say-- who had from the commencement of the journey

Running a Thousand Miles for Freedom

The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Road to Oz by L. Frank Baum:

the future.

At last the shaggy man turned and inquired, "What's your name, little girl?"

"My name's Dorothy," said she, jumping up again, "but what are we going to do? We can't stay here forever, you know."

"Let's take the seventh road," he suggested. "Seven is a lucky number for little girls named Dorothy."

"The seventh from where?"

"From where you begin to count."

So she counted seven roads, and the seventh looked just like all the others; but the shaggy man got up from the ground where he had been

The Road to Oz

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Tapestried Chamber by Walter Scott:

afford the best copies for the painter's art. But although SICUT PICTURA POESIS is an ancient and undisputed axiom--although poetry and painting both address themselves to the same object of exciting the human imagination, by presenting to it pleasing or sublime images of ideal scenes--yet the one conveying itself through the ears to the understanding, and the other applying itself only to the eyes, the subjects which are best suited to the bard or tale-teller are often totally unfit for painting, where the artist must present in a single glance all that his art has power to tell us. The artist can neither recapitulate the past nor intimate the future. The single NOW is all which he can

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 An Ideal Husband by Oscar Wilde:

the bracelet, but fails.]

LORD GORING. Oh! don't use big words. They mean so little.

MRS. CHEVELEY. [Again tears at the bracelet in a paroxysm of rage, with inarticulate sounds. Then stops, and looks at LORD GORING.] What are you going to do?

LORD GORING. I am going to ring for my servant. He is an admirable servant. Always comes in the moment one rings for him. When he comes I will tell him to fetch the police.

MRS. CHEVELEY. [Trembling.] The police? What for?

LORD GORING. To-morrow the Berkshires will prosecute you. That is what the police are for.