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Today's Stichomancy for Leonardo DiCaprio

The first excerpt represents the past or something you must release, and is drawn from Myths and Myth-Makers by John Fiske:

philosophy, currently known as fetichism, but treated by Mr. Tylor under the somewhat more comprehensive name of "animism," which we must now consider in a few of its most conspicuous exemplifications. When we have properly characterized some of the processes which the untrained mind habitually goes through, we shall have incidentally arrived at a fair solution of the genesis of mythology.

Let us first note the ease with which the barbaric or uncultivated mind reaches all manner of apparently fanciful conclusions through reckless reasoning from analogy. It is through the operation of certain laws of ideal association


Myths and Myth-Makers
The second excerpt represents the present or the deciding factor of the moment, and is drawn from Romeo and Juliet by William Shakespeare:

not Iule? And by my holy-dam, the pretty wretch lefte crying, & said I: to see now how a Iest shall come about. I warrant, & I shall liue a thousand yeares, I neuer should forget it: wilt thou not Iule quoth he? and pretty foole it stinted, and said I

Old La. Inough of this, I pray thee hold thy peace

Nurse. Yes Madam, yet I cannot chuse but laugh, to thinke it should leaue crying, & say I: and yet I warrant it had vpon it brow, a bumpe as big as a young Cockrels stone? A perilous knock, and it cryed bitterly. Yea quoth my husband, fall'st vpon thy face, thou wilt fall backward


Romeo and Juliet
The third excerpt represents the future or something you must embrace, and is drawn from Charmides by Plato:

Dictionary and Grammar; but is quite unworthy of the translator, who seeks to produce on his reader an impression similar or nearly similar to that produced by the original. To him the feeling should be more important than the exact word. He should remember Dryden's quaint admonition not to 'lacquey by the side of his author, but to mount up behind him.' (Dedication to the Aeneis.) He must carry in his mind a comprehensive view of the whole work, of what has preceded and of what is to follow,--as well as of the meaning of particular passages. His version should be based, in the first instance, on an intimate knowledge of the text; but the precise order and arrangement of the words may be left to fade out of sight, when the translation begins to take shape. He must form a general idea of the