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Today's Stichomancy for Sarah Michelle Gellar

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Les Miserables by Victor Hugo:

And launching at his wife a shrug of the shoulders which M. Leblanc did not catch, he continued with an emphatic and caressing inflection of voice:--

"Ah! we have had a happy life together, this poor darling and I! What would there be left for us if we had not that? We are so wretched, my respectable sir! We have arms, but there is no work! We have the will, no work! I don't know how the government arranges that, but, on my word of honor, sir, I am not Jacobin, sir, I am not a bousingot.[30] I don't wish them any evil, but if I were the ministers, on my most sacred word, things would be different. Here, for instance, I wanted to have my girls taught the trade of paper-box makers.

Les Miserables
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Prince by Nicolo Machiavelli:

relied on their word. You must know there are two ways of contesting,[*] the one by the law, the other by force; the first method is proper to men, the second to beasts; but because the first is frequently not sufficient, it is necessary to have recourse to the second. Therefore it is necessary for a prince to understand how to avail himself of the beast and the man. This has been figuratively taught to princes by ancient writers, who describe how Achilles and many other princes of old were given to the Centaur Chiron to nurse, who brought them up in his discipline; which means solely that, as they had for a teacher one who was half beast and half man, so it is necessary for a prince to know how to make use of both natures, and

The Prince
The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Mistress Wilding by Rafael Sabatini:

"At all costs?" she echoed, and her lip took on a curl. "And you call this egotism by the name of love! No doubt you are right," she continued with an irony that stung him, "for love it is - love of yourself."

"And is not all love of another founded upon the love of self?" he asked her, startling her with a question that revealed to her clear-sighted mind a truth undreamed of. "When some day - please Heaven - I come to find favour in your eyes, and you come to love me, what will it mean but that you have come to find me necessary to yourself and to your happiness? Would you deny me now your love if you felt that you had need of mine? I love you because I love myself, you say. I grant it you. But you'll confess that if you do not love me yet, it is for the

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 Intentions by Oscar Wilde:

ourselves from the influence of custom and the influence of novelty. He certainly could not, and he frankly acknowledges how difficult it is to form any fair estimate of contemporary work. But, on the whole, his taste was good and sound. He admired Turner and Constable at a time when they were not so much thought of as they are now, and saw that for the highest landscape art we require more than 'mere industry and accurate transcription.' Of Crome's 'Heath Scene near Norwich' he remarks that it shows 'how much a subtle observation of the elements, in their wild moods, does for a most uninteresting flat,' and of the popular type of landscape of his day he says that it is 'simply an enumeration of hill and dale,