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Today's Stichomancy for George W. Bush

The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Salammbo by Gustave Flaubert:

silver, and brass coins were arranged on tables or packed into niches, and rose as high as the joists of the roof along the four walls. In the corners there were huge baskets of hippopotamus skin supporting whole rows of smaller bags; there were hillocks formed of heaps of bullion on the pavement; and here and there a pile that was too high had given way and looked like a ruined column. The large Carthaginian pieces, representing Tanith with a horse beneath a palm-tree, mingled with those from the colonies, which were marked with a bull, star, globe, or crescent. Then there might be seen pieces of all values, dimensions, and ages arrayed in unequal amounts--from the ancient coins of Assyria, slender as the nail, to the ancient ones of Latium,


Salammbo
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from A Woman of No Importance by Oscar Wilde:

GERALD. You have never been married, Lord Illingworth, have you?

LORD ILLINGWORTH. Men marry because they are tired; women because they are curious. Both are disappointed.

GERALD. But don't you think one can be happy when one is married?

LORD ILLINGWORTH. Perfectly happy. But the happiness of a married man, my dear Gerald, depends on the people he has not married.

GERALD. But if one is in love?

LORD ILLINGWORTH. One should always be in love. That is the reason one should never marry.

GERALD. Love is a very wonderful thing, isn't it?

LORD ILLINGWORTH. When one is in love one begins by deceiving

The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Vailima Prayers & Sabbath Morn by Robert Louis Stevenson:

average Samoan is but a larger child in most things, and would lay an uneasy head on his wooden pillow if he had not joined, even perfunctorily, in the evening service. With my husband, prayer, the direct appeal, was a necessity. When he was happy he felt impelled to offer thanks for that undeserved joy; when in sorrow, or pain, to call for strength to bear what must be borne.

Vailima lay up some three miles of continual rise from Apia, and more than half that distance from the nearest village. It was a long way for a tired man to walk down every evening with the sole purpose of joining in family worship; and the road through the bush was dark, and, to the Samoan imagination, beset with supernatural

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 Memories and Portraits by Robert Louis Stevenson:

survival from some former stage of bodily portliness. Of yore, when he was a great pedestrian and no enemy to good claret, he may have pointed with these minute guns his allocutions to the bench. His humour was perfectly equable, set beyond the reach of fate; gout, rheumatism, stone and gravel might have combined their forces against that frail tabernacle, but when I came round on Sunday evening, he would lay aside Jeremy Taylor's LIFE OF CHRIST and greet me with the same open brow, the same kind formality of manner. His opinions and sympathies dated the man almost to a decade. He had begun life, under his mother's influence, as an admirer of Junius, but on maturer knowledge had transferred his