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Today's Stichomancy for Shigeru Miyamoto

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Mirror of the Sea by Joseph Conrad:

shifting of the clouds reflected in the mirror of the sea.

To penalize a yacht in proportion to the fineness of her performance is unfair to the craft and to her men. It is unfair to the perfection of her form and to the skill of her servants. For we men are, in fact, the servants of our creations. We remain in everlasting bondage to the productions of our brain and to the work of our hands. A man is born to serve his time on this earth, and there is something fine in the service being given on other grounds than that of utility. The bondage of art is very exacting. And, as the writer of the article which started this train of thought says with lovable warmth, the sailing of yachts is a fine art.


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

irregular creation.

"You're a new one to me," Dorothy said reflectively, addressing the Patchwork Girl. "I can't imagine where you've come from."

"Who, me?" asked Scraps, looking around the pretty room instead of at the girl. "Oh, I came from a bed-quilt, I guess. That's what they say, anyhow. Some call it a crazy-quilt and some a patchwork quilt. But my name is Scraps--and now you know all about me."

"Not quite all," returned Dorothy with a smile.


The Patchwork Girl of Oz
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Memoir of Fleeming Jenkin by Robert Louis Stevenson:

remains to this day in the hands of the direct line. It is not my design, nor have I the necessary knowledge, to give a history of this obscure family. But this is an age when genealogy has taken a new lease of life, and become for the first time a human science; so that we no longer study it in quest of the Guaith Voeths, but to trace out some of the secrets of descent and destiny; and as we study, we think less of Sir Bernard Burke and more of Mr. Galton. Not only do our character and talents lie upon the anvil and receive their temper during generations; but the very plot of our life's story unfolds itself on a scale of centuries, and the biography of the man is only an episode in the epic of the family.

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 On Horsemanship by Xenophon:

want to find him him a showy, attractive animal, with a certain grandeur of bearing. If so, you must abstain from pulling at his mouth with the bit, or applying the spur and whip--methods commonly adopted by people with a view to a fine effect, though, as a matter of fact, they thereby achieve the very opposite of what they are aiming at. That is to say, by dragging the mouth up they render the horse blind instead of alive to what is in front of him; and what with spurring and whipping they distract the creature to the point of absolute bewilderment and danger.[1] Feats indeed!--the feats of horses with a strong dislike to being ridden--up to all sorts of ugly and ungainly tricks. On the contrary, let the horse be taught to be ridden on a


On Horsemanship