WSC Instance Prompts (2)-part-1
WSC Instance Prompts (2)-part-1
) In
Canada a proposed high-speed rail network had its target speed slashed before
being rebranded as a high frequency network. In many developed countries
ambitious projects have gone out of fashion in favor of slow incremental ones.
Check out the mega projects below as well as those from your own country then
discuss with your team: is this shift in approach justified? How might
megaprojects (or their failure) affect the way people perceive progress? And are
some countries more consistently successful at these projects?
Prompt: Some poets have also taken a swing at predicting the future. Consider
the selections below then discuss with your team: how seriously were they
intended to tell the future? Is poetry (with its often murky meanings) the perfect
vehicle for prophecy?
Jyotish is deeply woven into Indian culture. It is one of the six Vedāṅga (ancillary
sciences) attached to the Vedas, originally used to determine proper timing for rituals
(Hindu astrology - Wikipedia) (Hindu astrology - Wikipedia). Over centuries, texts like
the Bṛhat Parāśara Horāśāstra compiled astrological rules that are still referenced
(Hindu astrology - Wikipedia). Today, many Hindus consult astrologers for major life
events – it’s common to match horoscopes for compatible marriage partners, pick
favorable dates for ceremonies or business launches, and even name newborns based
on their moon sign (Hindu astrology - Wikipedia). The belief is that planetary positions at
birth influence one’s temperament and fortune (seen as the “fruit of karma,” with
planets as agents delivering results of past karma) (Hindu astrology - Wikipedia).
Despite its popularity, astrology including Jyotish is regarded by modern science as a
pseudoscience with no proven predictive power (Hindu astrology - Wikipedia). In India,
however, it straddles both skepticism and respect – universities have at times offered
courses in Jyotir Vigyan (Jyotish science) (Hindu astrology - Wikipedia), provoking
debate between traditionalists and scientists. In practice, millions read their
horoscopes in newspapers or follow astrologers’ advice. Jyotish’s role today is thus
twofold: culturally significant (a source of identity and comfort, tied to religion) and
controversially seen (debunked by rationalists, yet defended by practitioners who claim
uncanny accuracy in the hands of a skilled guru). For believers, Jyotish offers a cosmic
lens to understand one’s life path and to navigate the future’s ups and downs with the
help of the stars. (Hindu astrology - Wikipedia) (Hindu astrology - Wikipedia)
I Ching
I Ching (易經 Yìjīng, “Book of Changes”) is an ancient Chinese divination text and
wisdom book, traditionally used to gain insight into situations or decisions by interpreting
hexagrams (I Ching - Wikipedia) (I Ching - Wikipedia). It dates back over 3,000 years
to the Western Zhou period (c. 1000–750 BC) as a manual for cleromancy (casting lots)
(I Ching - Wikipedia). The core of I Ching consists of 64 hexagrams – each hexagram is
a figure of six lines, either broken (⚋, representing yin) or solid (⚊, representing yang).
To consult the I Ching, one traditionally uses fifty yarrow stalks or, more commonly
today, three coins. By a prescribed method of sorting the stalks or tossing coins six
times, the diviner produces a random hexagram (I Ching - Wikipedia). Each of the 64
hexagrams corresponds to a chapter in the I Ching text, which contains a brief oracle:
typically a judgment or omen and several lines of commentary (often expanded by later
appendices known as the “Ten Wings”). The interpreter reads the text for the obtained
hexagram (and sometimes a second hexagram if any lines are changing from yin to
yang or vice versa) and applies its meaning to the question asked.
The I Ching’s answers are indirect and symbolic – for example, Hexagram 11 (Tai or
“Peace”) is generally favorable, indicating harmony, while Hexagram 23 (Po or “Splitting
Apart”) warns of decay or collapse. Users must reflect on how the imagery (such as “the
superior man eats and drinks in peace” or “the roof beam sags”) pertains to their
situation. Historically, the I Ching became one of the fundamental Classics of
Confucianism, studied not just as a fortune-telling device but as a treatise on philosophy
and cosmology (its yin-yang logic and emphasis on change influenced Confucian,
Taoist, and later Buddhist thought in China) (I Ching - Wikipedia) (I Ching - Wikipedia).
Emperors and generals often sought counsel from the I Ching in antiquity and the
middle ages. In the 20th century, it gained popularity in the West as well – figures like
psychologist Carl Jung admired it for tapping into synchronicity (meaningful
coincidence) rather than linear cause and effect. As a divination method today, the I
Ching is appreciated for its depth: it doesn’t give a simple yes/no but rather a poetic
prompt that the querent must contemplate. Many find value in its timeless wisdom
regardless of belief in the supernatural. Thus, the I Ching stands out as both a fortune-
telling method and a literary classic, bridging philosophy and prophecy. It remains in
active use, from temple rituals in East Asia (often with coin or bamboo stick casting) to
Western enthusiasts using translated texts to guide personal decisions. (I Ching -
Wikipedia) (I Ching - Wikipedia)
Bazi (Four Pillars of Destiny)
Jiǎobēi (筊杯), or moon blocks, are a traditional Chinese divination tool used to obtain
yes-or-no answers from the gods (Jiaobei - Wikipedia). They consist of a pair of
crescent-shaped wooden or bamboo blocks, each rounded on one side and flat on the
other (Jiaobei - Wikipedia). A person with a question (commonly at a Taoist or Buddhist
temple) will kneel and address the deity, then toss the two blocks gently onto the ground
(Jiaobei - Wikipedia). The way they land determines the answer: one block flat side up
and the other round side up (one yin, one yang) is called “shèngjiǎo” – a divine answer
of yes or approval (Jiaobei - Wikipedia). Both blocks landing flat side down (both yin) is
“nùjiǎo” (angry or no) – the gods decline or disagree (Jiaobei - Wikipedia). Both
landing round side down (both yang) is often interpreted as the gods laughing or the
question being unclear (essentially a maybe/try again). This binary divination is
remarkably direct compared to elaborate systems: it’s essentially flipping divine “coins”
for guidance.
Jiaobei are one of the most commonly seen divination methods in Chinese folk religion
(Jiaobei - Wikipedia). In temples across Taiwan, Hong Kong, and other Chinese
communities, devotees routinely use them to confirm if a deity has accepted their prayer
or if a proposed action has celestial approval. Often, fortune sticks (籤 qiān) are used
in tandem: one first draws a fortune stick from a canister, then throws the jiaobei to
confirm if that drawn fortune is the correct one (Jiaobei - Wikipedia) (Jiaobei -
Wikipedia). This double method ensures the message is validated by the gods. The
practice is deeply cultural – it’s not viewed as superstition by devotees so much as
basic communication with the divine. Historically, jiaobei (or similar block casting) goes
back many centuries, though the exact origin is unclear. What’s notable is its
persistence: despite modern technology, you’ll still find worshippers in high-tech Taiwan
crouched before altars, tossing these simple wooden moon blocks and earnestly
interpreting the will of the gods. Because it’s a lot-casting method, statisticians might
say it’s random, but believers hold that the gods influence the fall of the blocks. To this
day, important community decisions in some temples (like whether to proceed with a
festival) may be settled by asking the deity through jiaobei. It represents a fascinating
living example of interactive divination, where the questioner directly gets a binary
response from the divine in real-time.
Omikuji (Sacred Lot)
Omikuji (御神籤) are random fortune strips one draws at Shinto shrines and Buddhist
temples in Japan (O-mikuji - Wikipedia). Literally meaning “sacred lot,” an omikuji is
essentially a fortune cookie without the cookie: a slender piece of paper printed with a
general fortune. To get an omikuji, you usually pay a small offering (e.g. 100 yen), then
either shake a wooden box until a numbered bamboo stick comes out or draw a folded
slip from a box. The number or slip corresponds to a pre-written fortune that a priest or
miko will hand to you (or today, vending machines at some shrines can dispense them!)
(O-mikuji - Wikipedia) (O-mikuji - Wikipedia). The fortune sheet typically has a heading
indicating the overall luck level – ranging from “great blessing” (大吉 daikichi, excellent
luck) to “great curse” (大凶 daikyou, very bad luck) – and then detailed predictions for
specific areas like health, love, business, travel, and so on (O-mikuji - Wikipedia). It
might say things like “SUEYOSHI (末吉): A late fortune. Desires will be eventually
fulfilled. Be patient; good news will come late in the year. Health: guard against colds.
Love: the one you wait for will arrive.” If the fortune is bad, custom dictates you tie the
strip of paper to a designated rack or tree at the shrine, effectively leaving the bad luck
behind to be neutralized by the kami (spirit) (O-mikuji - Wikipedia). Good fortunes you
can take home as a keepsake (some also tie them up, a choice often left to the
individual) (O-mikuji - Wikipedia).
Omikuji have been a feature of Japanese shrine culture for centuries. The practice
evolved from lot oracles used in Buddhist temples – one historical version attributed to
the monk Ryōgen (10th century) involved one hundred poetic slips for Kannon
(Bodhisattva Avalokiteśvara) that people drew for guidance (O-mikuji - Wikipedia). By
the Edo period, shrines made the lots widely available to laypeople. Omikuji remain very
popular today: during New Year’s shrine visits (hatsumōde), families often draw omikuji
to get a read on their year’s outlook. The fortunes are generally phrased in an
encouraging way, even the bad ones often offer advice on how to improve one’s luck or
attitude (“A smile will make you fortune’s friend” or such). In essence, omikuji are mass-
produced fortunes that add a bit of ritual thrill to shrine visits. They are a playful form
of divination – few take an omikuji as absolute fate, but if it’s positive it can be uplifting,
and if negative, it’s a prompt for caution and a chance to symbolically dispose of
misfortune by tying the slip. This tradition parallels fortune cookies and horoscope
scrolls elsewhere, but is more directly tied into religious practice. It’s interesting to note
that omikuji have even been compared to fortune cookies: indeed, both likely have roots
in older Chinese fortune-drawing customs (O-mikuji - Wikipedia). Ultimately, drawing an
omikuji is a way for the average person to engage with the unknown in a lighthearted
yet spiritually mindful manner – a small ritual of chance and hope as part of one’s
temple experience.
Ouija (Spirit Board)
Ouija boards (also known as spirit boards or talking boards) are a tool for attempting to
communicate with spirits, often used to seek answers about the future or unknown. A
typical Ouija board is a flat board marked with the letters A–Z, numbers 0–9, and words
like “YES,” “NO,” and “GOODBYE” (Ouija - Wikipedia). Participants lightly place their
fingers on a small heart-shaped pointer called a planchette, and after a question is
asked, the planchette is believed to move gradually to spell out responses by pointing to
letters or words (Ouija - Wikipedia) (Ouija - Wikipedia). The concept emerged from
American Spiritualist circles in the late 19th century. It was patented as a parlor game in
1891 by Elijah Bond and marketed as a mystical oracle that anyone could use at home
(Ouija - Wikipedia). Early on, Ouija was seen as a quirky entertainment, not necessarily
sinister – newspaper horoscopes and Ouija boards both enjoyed public enthusiasm in
the early 20th century. During World War I, spiritualist Pearl Curran famously claimed to
channel an entity via Ouija, which helped popularize it as a divining tool rather than just
a game (Ouija - Wikipedia).
Using a Ouija board can feel uncanny. People often report that the planchette moves on
its own accord, spelling things they don’t consciously intend. However, scientific
examination pins this on the ideomotor effect – subtle unconscious movements by the
users produce the motion and coherent answers, even if everyone sincerely feels they
aren’t pushing it (Ouija - Wikipedia). In controlled conditions, Ouija sessions fail to spell
meaningful messages without the participants’ biased guidance. Despite this, many
users believe they are genuinely in touch with spirits or accessing some collective
subconscious. Culturally, Ouija has a double image: on one hand, it’s sold by toy
companies (Hasbro owns the trademark) and enjoyed at sleepovers as a spooky game.
On the other hand, numerous religious groups, especially some Christians, warn that
Ouija boards are dangerous conduits to evil spirits or demonic influence (Ouija -
Wikipedia). Stories abound in pop culture of Ouija sessions gone wrong, and movies
often depict them as summoning tools in horror plots. Occultists themselves are split –
some feel the Ouija can be a legitimate mediumistic device if used properly, while
others echo the warnings and avoid it (Ouija - Wikipedia). In any case, the Ouija board
remains iconic in the realm of future-telling and spirit communication. A person
might ask it questions like “Who will I marry?” or “Is there anyone here with a message
for me?” and watch the planchette glide to form responses. Whether one views it as a
party trick or a portal, the Ouija board illustrates our enduring desire to get answers from
beyond the veil, and the ease with which our minds can conjure those answers under
the guise of an outside force.
Crystal Ball Gazing (Scrying)
Crystal ball gazing, or crystallomancy, is the practice of peering into a crystal (often a
clear glass or quartz sphere) to receive visions or impressions about distant events or
the future (Crystal gazing - Wikipedia). The crystal ball is perhaps the most stereotypical
image of a fortune teller – a Romani gypsy seer with a crystal globe on the table, hands
hovering over it as a misty vision appears within. In practice, scrying with a crystal ball
requires the gazer to enter a relaxed, trance-like state. Under dim light (sometimes by
candle or moonlight), the scryer stares into the depths of the ball and lets their mind
become receptive. After a while, they may start “seeing” pictures or scenes in the
reflections or simply in their mind’s eye (Crystal gazing - Wikipedia). Traditionally, these
visions are then interpreted as messages – they could be symbolic (e.g. seeing a rose
might mean love is coming) or literal (a vision of an accident may be a warning). Crystal
gazing has been used to seek answers to specific questions or to get general
prophecies. For example, a scryer might attempt to locate a missing person by gazing
and describing the surroundings that appear in the vision.
The use of reflective surfaces for divination is ancient. Stories suggest the Druids used
crystals or water for scrying (A Brief History of the Crystal Ball), and throughout history
there are accounts of “seer stones.” The crystal ball as we know it became popular in
the late medieval period and especially the 19th-century Spiritualist era – fortune tellers
and stage psychics adopted it because it was dramatic and suggestive of mystical
insight. One well-known crystal gazer was John Dee, advisor to Queen Elizabeth I; he
used a polished obsidian mirror (not exactly a ball, but a similar idea) to commune with
angels. In modern psychic practice, crystal balls are still employed, though some seers
prefer black mirrors or bowls of ink (anything with depth for the mind to project onto).
Does anything truly appear in the crystal? From a psychological perspective, staring
fixedly can induce mild hallucinations or bring subconscious images to the fore (Crystal
gazing - Wikipedia) (Crystal gazing - Wikipedia). Research suggests the visions are
often the gazer’s own mind responding to suggestions (Crystal gazing - Wikipedia)
(Crystal gazing - Wikipedia). Believers, however, consider it a genuine clairvoyant ability
– that the crystal is a focus tool allowing the seer’s spirit to perceive distant times and
places. In readings today, a crystal ball is often used in conjunction with giving general
advice; the reader might say they “see” an opportunity or a dark cloud in one’s future,
essentially providing a psychic reading in a storied format. Crystal gazing, while less
quantifiable than card-reading or astrology, remains a enduring image of fortune-
telling. Its allure lies in the idea that one can simply look and see destiny reveal itself
in the shining depths of a crystal. (Crystal gazing - Wikipedia) (Crystal gazing -
Wikipedia)
Fortune Cookies
(File:Fortune Cookie (15043983530).jpg - Wikimedia Commons) Fortune cookies are a
modern and light-hearted form of divination – crisp cookie shells containing a strip of
paper with a short fortune or aphorism printed on it. Though served almost ubiquitously
in Chinese restaurants in North America, fortune cookies are actually an American
invention, likely inspired by 19th-century Japanese crackers with paper fortunes (The
Surprising Origins of the Fortune Cookie | HISTORY) (The Surprising Origins of the
Fortune Cookie | HISTORY). At the end of a meal, each diner cracks open their cookie
to read a message such as “A thrilling time is in your near future” or “You will be
successful in business and love.” These messages are typically generic, positive,
and often accompanied by “lucky numbers” or a Chinese vocabulary word. Fortune
cookies rose to prominence in the early 20th century in California; multiple immigrant
entrepreneurs (Chinese and Japanese-American) have claimed credit for their creation,
with one popular story pointing to Makoto Hagiwara serving them in San Francisco’s
Japanese Tea Garden around 1914 (The Surprising Origins of the Fortune Cookie |
HISTORY). By the mid-20th century, they had become a staple in Chinese-American
cuisine, even though they were virtually unknown in China itself.
The “fortunes” inside are usually written en masse by staff or freelancers at fortune
cookie companies, not by mystics. They range from predictive (“You will travel to a
new place”) to advisory (“Never fear shadows – that always means there is a light
nearby”) to the downright absurd or humorous. As a form of divination, fortune cookies
are not taken seriously – they are meant in fun. Many people enjoy reading them
aloud at the table, sometimes adding tongue-in-cheek phrases (like the custom of
appending “in bed” as a joke). Occasionally, however, reality and fortune cookie collide
curiously: there have been instances of lottery players winning by using the lucky
numbers from their cookies, lending a moment of eerie credibility to the otherwise
whimsical practice. Fortune cookies exemplify our penchant for seeking meaning even
in randomness. While no one visits a fortune cookie oracle for life guidance, these treats
offer a tiny moment of anticipation and reflection (“Hmm, what does my fortune say?”)
that ties back, in an ultra-simplified way, to the ancient human habit of consulting fate. In
fact, their cultural role has evolved – they’re seen as a symbol of good luck and a fun
way to end a meal. Importantly, fortune cookies also highlight cultural cross-pollination:
an American novelty based on an Asian concept of fortune-drawing, now re-exported
globally as part of “Chinese” dining. In summary, they are fortunes for the masses,
meant to amuse more than enlighten, yet still a beloved tradition that adds a dash of
prophecy to everyday life. (The Surprising Origins of the Fortune Cookie | HISTORY)
(The Surprising Origins of the Fortune Cookie | HISTORY)
Horoscopes
Horoscopes are astrological forecasts based on the positions of celestial bodies at a
given time, often tailored to each person’s zodiac sign. In common usage, “horoscope”
usually refers to the daily or weekly predictions one finds in newspapers, magazines, or
websites for the 12 sun signs (Aries, Taurus, Gemini, etc.). For example, a horoscope
might say: “Libra: With Venus favoring your chart this week you may find
harmony in relationships and a surprise career opportunity.” These general
horoscopes are a simplified offshoot of astrology – they assume everyone born roughly
within a month span (all Libras, all Scorpios, etc.) will have similar influences that day.
The practice of publishing sun-sign horoscopes took off in the 20th century (the first
newspaper horoscope column is credited to astrologer R.H. Naylor in 1930, in Britain,
after he successfully predicted events around the birth of Princess Margaret) and
quickly became wildly popular. By mid-century, horoscope columns were standard in
newspapers worldwide, and millions began their mornings by checking what “the stars”
had in store for them.
On a more technical level, a horoscope is actually a detailed chart (the word comes
from Greek hōroskopos, “observer of the hour”) mapping the exact positions of the sun,
moon, planets, and zodiac signs at someone’s birth or at the current moment.
Astrologers interpret this chart to comment on personality and timing of events. Casting
and reading individual horoscopes is complex – it’s the job of professional astrologers
who consider aspects (angles) between planets, house placements, transits, and so on.
The sun-sign forecasts we read for entertainment are a pared-down version using
primarily the sun’s position. Despite their general nature, many people find them fun or
occasionally spot-on. Psychologists often attribute this to the Barnum effect – the
tendency to find personal meaning in vague, general statements. Indeed, scientific
studies of horoscope accuracy consistently find no causal power; astrology is deemed a
pseudoscience (Hindu astrology - Wikipedia). Yet belief in or curiosity about
horoscopes endures. Surveys show a significant percentage of people (even if they
don’t “believe” fully) at least read their horoscope regularly. Culturally, zodiac signs have
become a way to categorize personality (“She’s such a Scorpio!”) and share a common
vernacular about fate and traits. In society today, horoscopes play a role similar to
fortune cookies – mostly light entertainment – but also serve as an entry point for
deeper astrological interest. They give people a framework, however arbitrary, to reflect
on their lives (“Mars is in my sign; maybe that’s why I feel energetic”). In essence,
horoscopes persist because humans enjoy narratives about our future, and astrology
provides a cosmic narrative that has persisted across thousands of years, repackaged
in daily snippets for our modern consumption.
Prompt: While those predicting the future cast their gaze forward to tomorrow and the
days after, some artists cast their gaze (and occasionally their glaze) toward those
making the predictions. Review the following artworks with your team, then discuss with
your team: what are they trying to tell us?
Artworks
Caravaggio – The Fortune Teller (c. 1595)
(File:The Fortune Teller-Caravaggio (Louvre).jpg - Wikimedia Commons) Caravaggio’s
Technique: Caravaggio pioneered Baroque realism with dramatic chiaroscuro
(contrast of light and shadow) and lifelike detail. In The Fortune Teller, he stages an
everyday street scene: a young dandy has his palm read by a sly Romani girl. The
lighting is strong and directional, highlighting the figures against a plain background and
drawing our eye to their faces and hands. This realistic, theatrical illumination (a
hallmark of Caravaggio’s style (Fortune-tellers: Art of Superstition | DailyArt Magazine)
(The Fortune Teller)) creates psychological tension – we sense something is amiss
despite the calm setting. Caravaggio painted from live models rather than idealized
templates, which gives the scene a candid, natural feel (The Fortune Teller).
Symbolic Meaning: The painting is a visual narrative about deception and fate. As
the boy gazes naively into the fortune-teller’s eyes, she gently slides a ring off his finger
– a detail Caravaggio cleverly includes to reveal her trickery (The Fortune Teller) (The
Fortune Teller (Caravaggio) - Wikipedia). This subtle drama foreshadows the youth’s
unlucky fate: he sought his future and is instead being fortune-fooled. Contemporary
viewers saw a metaphor here – just as the boy is duped by false promises, so too can
art beguile the viewer. A 1603 madrigal even compared Caravaggio to the sorceress,
suggesting the artist’s illusionism seduces our eyes the way the gypsy seduces her
victim (The Fortune Teller (Caravaggio) - Wikipedia) (The Fortune Teller (Caravaggio) -
Wikipedia). Thus, through vivid realism and a tense vignette, Caravaggio links the act of
fortune-telling to themes of vanity gullibility and the capriciousness of fate.
Georges de La Tour – The Fortune Teller (c. 1630)
(Georges de La Tour | The Fortune-Teller | The Metropolitan Museum of Art) La Tour’s
Technique: Georges de La Tour, known as a “master of light,” gives this scene a
sharply lit, almost stage-like clarity. Unlike his famous candlelit nocturnes, The Fortune
Teller is a daylight picture with even lighting that still produces sculptural shadows
(see the figures’ forms against the flat background) (Georges de La Tour | The Fortune-
Teller | The Metropolitan Museum of Art) (The Mystery of ‘The Fortune Teller’ by
Georges de la Tour | A R T L▼R K). The composition is theatrical: five figures – a
wealthy young man and four women – crowd the canvas like actors in a play, their
gestures and gazes choreographed to guide our attention (The Fortune Teller (La Tour)
- Wikipedia) (The Fortune Teller (La Tour) - Wikipedia). La Tour’s brushwork is smooth
and meticulous, rendering rich fabrics and facial expressions in fine detail (Georges
de La Tour | The Fortune-Teller | The Metropolitan Museum of Art). Note the darting
eyes and busy hands – each character’s subtle expression and movement adds to the
narrative tension (Georges de La Tour | The Fortune-Teller | The Metropolitan
Museum of Art). This controlled, balanced arrangement creates suspense, as if the
drama is unfolding in real time before us.
Symbolic Meaning: La Tour’s painting is both a genre scene and a moral allegory. It
shows a naive youth having his fortune told by an old gypsy woman while her
accomplices rob him blind – one cuts a medallion from his neck, another lifts his purse
(The Fortune Teller (La Tour) - Wikipedia) (The Fortune Teller (La Tour) - Wikipedia).
The act of fortune-telling is a ruse, a lesson on the dangers of temptation and
credulity. Art historians note the women’s varying social costumes and suggest they
might symbolize different fates or temptations surrounding the man (The Mystery of
‘The Fortune Teller’ by Georges de la Tour | A R T L▼R K). In one reading, the tableau
is a metaphor for the man’s future romantic misadventures – each thieving woman
representing a lover who will exploit him for his wealth (The Mystery of ‘The Fortune
Teller’ by Georges de la Tour | A R T L▼R K). At the very least, the painting warns that
seeking to know one’s destiny can be perilous: while the young man looks to the
fortuneteller for guidance, he is oblivious to present reality (his imminent loss). La
Tour thus uses a dramatic, almost humorous scene of trickery to comment on human
folly and the unforeseen costs of trusting in prophecy.
Mikhail Vrubel – The Fortune Teller (1895)
Vrubel’s Technique: Mikhail Vrubel’s take on the fortune-teller is steeped in Symbolist
mysticism. He employs a moody palette of deep reds, earthy browns, and lustrous
highlights to evoke an otherworldly atmosphere. His brushwork is bold and textured –
Vrubel often painted in faceted strokes or patches of color, almost like a mosaic, to
create a dreamlike, half-real image (Fortune-tellers: Art of Superstition | DailyArt
Magazine). The fortune-teller (a seated Romani woman) is rendered with exaggerated
features and stylized forms: Vrubel gives her a wild, predatory look and strong hands,
conveying an almost spiritual strength (vrubel fortune-teller 1895 — Mikhail Vrubel)
(vrubel fortune-teller 1895 — Mikhail Vrubel). The setting is exotic and intimate – rich
patterned carpets beneath her and a few cryptic props – but much of the background
dissolves into decorative abstraction. This flattening of detail and emphasis on pattern
aligns with Art Nouveau and Symbolist aesthetics, which Vrubel was associated with
(Fortune-tellers: Art of Superstition | DailyArt Magazine).
Symbolic Meaning: Vrubel’s painting vibrates with mysticism and ambiguity. The
fortune-teller holds a spread of playing cards, notably displaying the Ace of Spades, a
card often linked to destiny or ill omen (vrubel fortune-teller 1895 — Mikhail Vrubel).
Tellingly, she isn’t looking at the cards at all – her dark, unfocused gaze suggests she
intuits fate by inner sight, testing the seeker’s resolve (vrubel fortune-teller 1895 —
Mikhail Vrubel). The details around her brim with symbolic import: a pink scarf, usually a
token of innocence, here signifies “the cunning and guile of [an] unpredictable stranger,”
as one analysis notes (vrubel fortune-teller 1895 — Mikhail Vrubel). Through color and
pose, Vrubel casts the fortune-teller as a kind of sorceress figure – confident, untamed,
and full of secret knowledge. The painting doesn’t illustrate a specific trick or story;
instead it creates an aura of enchantment. Viewers are drawn into the woman’s
enigmatic presence and the sense that fate itself hangs in the balance of her cards. In
this way, Vrubel uses Symbolist style to convey the mystical allure of prophecy – its
seductive danger and the unknowable “otherness” of the one who foretells our fortune.
Julio Romero de Torres – The Fortune-Teller (La Buenaventura) (1922)
Romero de Torres’s Technique: This Spanish painter infuses La Buenaventura with
regional character and symbolism. He sets the scene on a window ledge in his
native Córdoba: two women sit in profile against a backdrop of recognizable local
landmarks (a whitewashed house, a cross and fountain of the city) (Museoteca - The
Fortune teller, Romero de Torres, Julio) ( The Fortune-telling - Museo Carmen Thyssen
Málaga). The style is a blend of traditional realism and modernist simplification – the
forms are solid and gently contoured, with a muted, earthy color palette dominated by
ochres, olive greens, and dusky blues. There is a poster-like clarity to the composition;
Romero de Torres often painted in a regionalist style that celebrated Andalusian
culture with broad, flat areas of color and folkloric details. Here one woman wears
simple traje popular (working-class attire) with a red shawl nearby, while the other is
dressed in more refined fashion (Museoteca - The Fortune teller, Romero de Torres,
Julio). The painting’s smooth brushwork and balanced arrangement of figures reflect
the academic training of the artist, even as he imbues the work with symbolic layers.
Symbolic Meaning: La Buenaventura (Spanish for “good fortune” or “fortune-telling”) is
rich in narrative symbolism about destiny and love. The woman at right is the fortune-
teller, holding up a Spanish playing card (Five of Oros) as she performs a card
reading ( The Fortune-telling - Museo Carmen Thyssen Málaga) ( The Fortune-telling -
Museo Carmen Thyssen Málaga). Her client is the young woman on the left, who leans
back with a melancholy, distant expression. The dual women often symbolize sacred
vs. profane love in Romero’s work ( The Fortune-telling - Museo Carmen Thyssen
Málaga), and here they enact a drama of heartbreak: through the cards, the fortune-
teller warns the girl of the “risks involved” in her love – specifically that she loves a
married man ( The Fortune-telling - Museo Carmen Thyssen Málaga). In the middle
distance, the prophecy comes to life: we see a vignette of a wife in a red shawl trying to
hold back her husband (the lover) from leaving ( The Fortune-telling - Museo Carmen
Thyssen Málaga) ( The Fortune-telling - Museo Carmen Thyssen Málaga). Ultimately
the wife is left alone in a doorway, and the young woman’s fate is sealed as one of
sorrow ( The Fortune-telling - Museo Carmen Thyssen Málaga). This intricate multi-
layered composition – foreground reading, mid-ground struggle, background cityscape –
gives the painting an almost literary allegory. It portrays destiny as something
inextricably tied to personal choices and social realities (love triangles, honor, and loss)
while Spanish cultural motifs (the card deck, shawls, local architecture) ground the
scene in a familiar world. In sum, Romero de Torres uses a distinctly Spanish visual
language to explore how fortune-telling entwines with themes of love betrayal and
the acceptance of one’s fate.
Helene Sofia Schjerfbeck – The Fortune Teller (Woman in a Yellow Dress) (1926)
(The Fortune-Teller (Woman In Yellow Dress) by Helene Schjerfbeck - Artvee)
Schjerfbeck’s Technique: Finnish artist Helene Schjerfbeck presents the fortune-teller
as a solitary, introspective figure, rendered in a modernist abstracted style. The
painting is pared down to essentials: a half-length portrait of a woman in three-quarter
view, with simplified features and a flat, undefined background. Schjerfbeck uses a
muted palette of mustard yellow, soft brown, and grayish beige. The woman’s dress is
a plain yellow with circular patterns, and the background is a warm brown ochre – all
painted in thin washes that let the canvas texture show through, creating a subdued,
matte effect. Her forms are outlined in decisive, dark strokes (note the bold contour of
the nose and eye sockets), almost as if echoing woodblock print or charcoal drawing
techniques (Fortune-tellers: Art of Superstition | DailyArt Magazine). This minimal detail
and deliberate distortion (the eyes are mere slits, the shoulders broadly rounded) are
hallmarks of Schjerfbeck’s late expressionist style, focusing on mood over realism.
Symbolic Meaning: Schjerfbeck’s fortune-teller is portrayed with downcast eyes and
a faintly sad, enigmatic smile – there are no cards, crystal balls or overt props, only her
pensive face. This abstraction directs all attention to the woman’s emotional state. The
painting conveys a profound sense of fate’s weight through the fortune-teller’s
expression and posture. Her closed eyes might suggest inward sight (she “sees” the
future internally) or perhaps a weary acceptance of what destiny holds. The overall
atmosphere is “gloomy” and introspective (Fortune-tellers: Art of Superstition | DailyArt
Magazine). Viewers have noted that Schjerfbeck’s portrait-like approach “renders the
psychic” depth of the subject (Fortune-tellers: Art of Superstition | DailyArt Magazine). In
other words, the painting isn’t illustrating a fortune-telling scene so much as it is
meditating on the concept of foresight. The yellow dress could be symbolic: yellow
can suggest enlightenment or treachery – here it’s muted, possibly reflecting the
ambiguous nature of knowing the future (is it a gift or a burden?). The emptiness around
the figure creates a feeling of isolation, implying that foreknowledge separates the
fortune-teller (or the querent) from everyday life. Schjerfbeck thus uses sparse poetic
imagery to explore fate in a philosophical way, inviting us to sense the quiet resignation
and mystery that come with peering into the future.
José Luis Cuevas – Dreams of Rasputin (1968)
Cuevas’s Technique: José Luis Cuevas, a Mexican expressionist, delivers a
nightmarish vision in Dreams of Rasputin. As an expressionist and surrealist work, it
features distorted, grotesque figures and a jumbled composition that feels like a fever
dream. Cuevas worked often in ink, pencil, and lithography, emphasizing line and form
over color – Dreams of Rasputin is a lithograph, so it’s in monochrome or limited tones,
with bold cross-hatching and sharp contrasts. His drawing style is raw and unflinching:
human bodies morph into caricatures, faces contorted or fragmented. Cuevas himself
said his drawings represent “the isolation of man and [man’s] inability to communicate,”
often using distorted human figures to convey inner turmoil (Shop Original Art by Jose
Luis Cuevas - Mourlot Editions Est. 1852). In this print, we can imagine Rasputin (the
infamous Russian mystic) depicted with exaggerated, hypnotic eyes and elongated
fingers, surrounded by phantasmagoric imagery – perhaps imperial Russian eagles,
slithering shapes, or dreamlike apparitions. The composition likely lacks a clear focal
point, adding to the disorienting, surreal quality, as if we are literally inside Rasputin’s
feverish dream.
Symbolic Meaning: Titled “Dreams of Rasputin,” the piece symbolically explores
prophecy and influence through the persona of Grigori Rasputin – a figure who was
said to have prophetic visions and held sway over the last Russian Tsar’s family.
Cuevas blends mysticism and the supernatural with psychological depth ( World
Scholars' Cup - Futurity Practice Questions PDF | Quizgecko ). The surreal, chaotic
imagery can be seen as Rasputin’s twisted nightmares or even the dark forebodings he
brings to others. Faces and forms in the print may represent historical characters (like
the Tsarina, or assassins) or abstract concepts (like Death or Fate) swirling around
Rasputin. The distortions convey a sense of moral corruption and anxiety – hallmarks
of Cuevas’s social commentary on “degraded humanity” (AIE - José Luis Cuevas - U.S.
Embassy & Consulates in Mexico). In a broader sense, the artwork comments on the
unpredictable, sinister nature of prophecy. Rasputin’s real-life prophecies famously
foretold the fall of the Romanovs and his own violent end. Cuevas’s surreal style
captures that ominous unpredictability: the dream-like scene suggests that foresight is
as much a curse as a gift, steeped in madness and dread. By blending expressionism
(emotional distortion) with surrealism (dream imagery), Cuevas creates an image of
prophecy as something nightmarish – a chaotic force that haunts the prophet and those
who listen to him ( World Scholars' Cup - Futurity Practice Questions PDF |
Quizgecko ).
Musical Pieces
Georges Bizet – “Trio des cartes” (Card Trio 1875) from Carmen
Musical Technique: In Act III of Bizet’s Carmen, the heroine and her two friends read
their fortunes with a deck of cards, and Bizet masterfully composes the scene as the
“Trio des cartes.” The music itself is structured as an ensemble piece for three female
voices (Carmen, Frasquita, Mercédès) plus the orchestra, and it brilliantly mirrors the
dramatic tension of fortune-telling. At first, as the friends gleefully draw cards foretelling
dances and new lovers, the music is light and lilting – playful arpeggios and fluttering
woodwinds accompany their girlish excitement. But when Carmen turns her cards, the
tone shifts dramatically. Bizet drops the accompaniment to a lower register; the
harmonies turn ominous and minor-key. Carmen’s voice takes on a grave, mezzo-
soprano richness as she slowly intones the fate she sees: first the ace of spades
(signifying death for her), then another ace (death for her lover Don José). The
orchestra underpins this with a sparse, foreboding motif – often a repeated note or
chord that sounds like the fatal tolling of a bell. The contrast in dynamics is striking: the
flirtatious music of the friends (in a higher, brighter key) alternates with Carmen’s solo
lines, which are hushed and eerie, creating a chilling suspense (29. Carmen (Bizet) –
The Opera Scribe) (29. Carmen (Bizet) – The Opera Scribe). By the end of the trio, all
three women join in softly chanting “Mort!… Mort!” (“Death… Death…”), and the
orchestration swells in a dark crescendo, confirming that fate has spoken.
Symbolic Meaning: This musical episode conveys fate and prophecy perhaps more
vividly than any words could. Through the Trio des cartes, Bizet uses sound to
foreshadow the opera’s tragic outcome. The cheerful motifs for Frasquita and Mercédès
reflect their innocent hopes – for them, the fortune-telling is just a game yielding
“handsome lover” and “rich husband” cards (29. Carmen (Bizet) – The Opera Scribe).
But Carmen’s music within the trio is almost an aria of destiny: it embodies the
inexorable approach of doom. The death motive that accompanies her card reading is
actually a recurrence of Carmen’s fate theme (some analyses note that the foreboding
music recalls the ominous motif first heard in the opera’s prelude). Thus, musically,
Bizet links the act of fortune-telling to Carmen’s personal fate – it’s as if the orchestra
itself is prophesying. The dramatic tension is palpable: the audience hears the shift and
knows this is serious. When Carmen calmly concludes there’s “No escape” from what
the cards decree (29. Carmen (Bizet) – The Opera Scribe), the music drives that point
home with chilling finality. In summary, the “Trio des cartes” uses changes in tempo
key and texture to differentiate false hope from true doom, making the theme of fate
visceral. It’s a scene where music and narrative fuse, showing how prophecy (here in
the form of a card game) can seal the characters’ destinies – a powerful reminder that in
Carmen, as in life, fortune can be as merciless as the turn of a card.
Carl Orff – “O Fortuna” (1935) from Carmina Burana
Musical Technique: “O Fortuna” is the thunderous opening (and closing) chorus of
Carl Orff’s cantata Carmina Burana, and it is renowned for its powerful orchestration
and choral intensity. Orff’s approach here is deliberately primal and emphatic. The
piece begins fortissimo with the full chorus in unison, backed by pounding bass drum
and brass, on the exclamation “O Fortuna”. Immediately, the music establishes a
monumental, almost ritualistic atmosphere. Orff uses a full orchestra plus large
chorus – strings, brass, percussion, and even extra instruments like pianos – to create
a wall of sound that feels like the onslaught of fate itself (Carl Orff 'O Fortuna':
Unpredictable Forces - Classicalexburns). Interestingly, the structure is very simple
(reflecting Orff’s interest in medieval music and folk-rhythms): O Fortuna consists of two
main sections and a reprise. In the first section, the choir sings in block chords
(homophony) with a heavy, accented rhythm – this gives a feeling of a unified crowd
shouting to the heavens. Then, in a sudden contrast, the second section becomes soft
(pianissimo) and faster (Carl Orff 'O Fortuna': Unpredictable Forces -
Classicalexburns). Here the chorus sings more quietly, almost in a whispering staccato,
over tense, suspenseful strings and woodwinds. This dynamic shift is like the wheel of
fortune turning: one moment loud, the next moment hushed. Gradually the music builds
again; the rhythm is insistent (lots of syncopation and driving ostinato patterns) (Carl
Orff 'O Fortuna': Unpredictable Forces - Classicalexburns). By the final repetition of the
grand “O Fortuna” theme, the chorus and orchestra reach an even higher peak of
volume and intensity, ending on a resounding chord. Notably, Orff caps the piece with a
Picardy third – the choir’s last syllable lands on a major chord rather than the minor
key we expect (Carl Orff 'O Fortuna': Unpredictable Forces - Classicalexburns). This
sudden major resolution amid a minor, dark piece is startling, a musical symbol of
Fortune’s caprice.
Symbolic Meaning: The text of O Fortuna, taken from a medieval Latin poem, is an
outright lament on the unpredictability of fate – Fortuna, the goddess of luck, is
likened to a moon that endlessly waxes and wanes. Orff’s musical setting amplifies this
theme on a visceral level. The sheer force of the chorus and orchestra evokes
Fortune’s overwhelming power over human lives (Carl Orff 'O Fortuna': Unpredictable
Forces - Classicalexburns). When the choir roars “O Fortune, velut luna, statu variabilis”
(“O Fortune, like the moon, ever-changing”), the music itself variates – loud to soft,
minor to major – embodying that changeable nature. The relentless percussion beats
and the repetition of the simple melodic phrases create a feeling of inescapable
destiny; there is a crushing inevitability to the music, as if the wheel of fortune is
grinding forward (Carl Orff 'O Fortuna': Unpredictable Forces - Classicalexburns). Yet
the piece also has a cathartic, ritual quality – the singers sound like they are invoking or
challenging Fate. This dual nature is symbolized at the end: the unexpected major
chord (Picardy third) on the word “plangite!” (“weep with me”) is often interpreted as
representing Fortune’s fickle smile – just when you think darkness triumphs, it twists to
a major key, signifying the caprice of luck (Carl Orff 'O Fortuna': Unpredictable Forces -
Classicalexburns). Ultimately, O Fortuna has become the quintessential musical
representation of fate’s volatility. Its dramatic shifts and colossal soundscape mirror
the poem’s message: that Fortune is an ever-turning wheel, sometimes granting victory
(bright major chord) and next crushing us underfoot (dissonant, pounding minor) (Carl
Orff 'O Fortuna': Unpredictable Forces - Classicalexburns) (Carl Orff 'O Fortuna':
Unpredictable Forces - Classicalexburns). Orff’s piece leaves the listener awed and
unsettled – a reminder of humankind’s subjection to the thundering whims of fate.
Benny Spellman – “Fortune Teller” (1962)
Musical Technique: “Fortune Teller” by Benny Spellman is a classic New Orleans R&B
track, and its infectious rhythm and catchy groove belie the clever storytelling in the
lyrics. Musically, it’s built on a mid-tempo rhumba-rock beat – a syncopated rhythm
with a slight Latin shuffle, common in New Orleans R&B of that era (Benny Spellman -
Toppermost). You can hear a swampy bass line and piano laying down a rolling
foundation (Allen Toussaint’s hallmark piano style is likely present, given he
wrote/produced the song). Over this, Spellman sings in a rich baritone with a relaxed,
conversational delivery. The arrangement features “snorty” New Orleans horns and
playful backing vocals responding to Spellman’s lines, giving the song a jovial call-and-
response feel (Benny Spellman - Toppermost). Notably, Spellman was the deep bass
voice on Ernie K-Doe’s hit “Mother-in-Law,” and here he carries the lead – his warm,
resonant timbre adds a charming deadpan humor to the song. The melody is simple
and hooky; the chorus (where he sings “I fell in love with the fortune teller”) is upbeat
and easy to sing along. Overall, the production is sparse but effective: tight drums,
rolling piano triplets, and maybe a touch of tremolo guitar. The music sets a
lighthearted, almost comic tone – you could dance a leisurely twist or shuffle to it.
Lyrical Storytelling & Symbolism: Lyrically, “Fortune Teller” is a whimsical narrative
with a fun twist. In the song, the narrator (Spellman) visits a gypsy fortune teller hoping
to find out when he’ll meet love. She reads his palm and cards and foretells, “Soon
you’ll be looking into her eyes.” Days pass and he meets no one, so feeling duped, he
returns angrily to confront the fortune teller – only for fate to kick in at that moment:
“While looking at the fortune teller, I fell in love,” he realizes (Benny Spellman R.I.P.)
(Benny Spellman R.I.P.). In the final verse, he gleefully reports “Now I’m a happy
fellow, ’cause I’m married to the fortune teller, and now I get my fortune told for free!”
(Benny Spellman R.I.P.). This punchline gives the song a tongue-in-cheek take on
prophecy – the prophecy did come true, though not in the way he expected. The
symbolic charm here is that love itself was foretold and found in the most meta way (he
falls for the seer of the fortune). The fortune teller character in the song is portrayed
positively (a contrast to more ominous depictions in other works): she ends up being the
agent of love rather than deceit. Spellman’s easygoing vocals and the upbeat tune
reinforce that this is a playful story, not meant to be taken seriously. Yet, wrapped in the
humor is a clever nod to fate’s irony: the very act of seeking a prophecy can itself fulfill
it. Culturally, as a New Orleans song, there’s a bit of local color in the idea of a
gypsy/voodoo fortune teller. But rather than warning of curses, she sparks a romance.
In sum, “Fortune Teller” uses a bouncy R&B style and witty lyrics to present
prophecy in a light, romantic-comedy way – love is the ultimate fate, and destiny has a
sense of humor.
Al Stewart – “Nostradamus” (1973)
Musical Style: Al Stewart’s “Nostradamus” is an epic folk-rock ballad running nearly 10
minutes, blending acoustic storytelling with progressive rock elements. The song is
structured in multiple sections, almost like a mini-suite. It opens quietly with a lone
acoustic guitar picking a modal melody – a somber, medieval-sounding tune that
evokes the 16th-century setting. Stewart’s gentle tenor voice comes in, narrative and
clear, setting an introspective tone. As the song progresses, the arrangement gradually
builds: soft folk-rock instrumentation (fingerpicked guitars, a subtle bass, maybe a
harpsichord or lute-like effect for Renaissance flavor) gives way to more driving sections
with drums and electric guitar solos. There is likely a lengthy instrumental break in the
middle – typical of Stewart’s long-form songs – where lead guitar and perhaps
synthesizer weave melodies that carry the historical atmosphere forward. By the later
verses, the music swells, supporting the dramatic weight of the prophecies being
described. The overall vibe remains melodic and accessible (Stewart’s work is often
described as having “prog-lite” arrangements – complex but still rooted in folk-pop). He
often uses recurring musical motifs for cohesion; for example, a certain chord
progression might repeat whenever he intones Nostradamus’s own words. There is a
refrain or chorus line – “I am the eyes of Nostradamus” – that has a memorable hook,
delivered in a slightly ominous chant by Stewart (Nostradamus [Al Stewart]). This refrain
might be accompanied by harmony vocals or a fuller sound, marking it as the song’s
thematic anchor. In essence, “Nostradamus” marries 70s folk-rock storytelling (think
acoustic Bob Dylan or Fairport Convention balladry) with a touch of art-rock grandeur,
appropriate for its sweeping historical subject.
Lyrical Content & Meaning: Stewart’s lyrics are richly packed with references to the
famous prophecies of Michel de Nostredame (Nostradamus). Across the song’s
verses, he quotes or paraphrases several of Nostradamus’s quatrains, then links them
to historical events. For instance, he sings of “A king shall fall” by Parliament’s hand,
referencing Charles I’s execution in 1649 (Nostradamus [Al Stewart]); “Fire and flame to
London in nineteen-sixty-six” (or actually 1666) depicting the Great Fire of London
(Nostradamus – A Box Of Chocolates); “Napoleon, his name shall be” for the rise of a
French emperor born near Italy (Nostradamus [Al Stewart]). These specific predictions
show up in the lyrics sequentially, effectively validating Nostradamus’s vision by
matching prophecy to event (Nostradamus – A Box Of Chocolates). As the song moves
into the 20th century, Stewart mentions “From Castile shall Franco come” (the rise of
Franco in Spain) and “the two brothers (Kennedys) shall fall” (Nostradamus – A Box Of
Chocolates). Impressively, Stewart didn’t stop at the then-present: he invokes
predictions that in 1973 were yet unfulfilled, such as the suspicious death of a pope
named “Pol” (Pope John Paul I in 1978) (Nostradamus – A Box Of Chocolates)
(Nostradamus – A Box Of Chocolates), and even the fall of a great wall – which in
hindsight aligns with the Berlin Wall’s demolition in 1989 (Nostradamus – A Box Of
Chocolates). By doing this, Stewart puts the listener in the eerie position of seeing
prophecy from Nostradamus’s perspective looking forward. The chorus “Man, your time
is sand… I am the eyes of Nostradamus, all your ways are known to me” is a chilling
personification of the prophet addressing humanity (Nostradamus [Al Stewart]). It
emphasizes Nostradamus’s legacy: the notion that our lives may be predetermined,
with even our greatest upheavals foreseen.
Symbolically, the song portrays Nostradamus as a figure of awe and ambiguity. On one
hand, Stewart validates him – the accurate foresight of Napoleon and Hitler is lauded as
beyond coincidence (Nostradamus [Al Stewart]). The song’s latter verses (which
mention “weapons of living fire” and destruction in the West) point to apocalyptic events
that Nostradamus supposedly predicted and that we fear still to come (Nostradamus [Al
Stewart]). The mood grows ominous as it catalogs the signs of doom. On the other
hand, Stewart is aware of skepticism; he hints at how people retrofit prophecies to
events (“retroactive clairvoyance” is even referenced in liner notes or related
commentary (Nostradamus [Al Stewart])). The very act of including future events that
did occur (like the pope’s death) might have been Stewart playing prophet himself, or
simply drawing from Nostradamus’s published predictions. In any case, the song’s
philosophical take is that history has a pattern knowable to those with “eyes to see.”
It’s both a tribute to Nostradamus’s enduring mystique and a reflection on humanity’s
fascination with knowing the future. Musically and lyrically, “Nostradamus” feels like
chronicle and prophecy intertwined – it engages the listener in a dramatic timeline of
fate, ultimately leaving us with the chorus’s haunting assertion that someone out there
might already know how our story ends (Nostradamus [Al Stewart]) (Nostradamus [Al
Stewart]).
Suzanne Vega – “Predictions” (1990)
Musical Style: “Predictions” by Suzanne Vega is a quiet, hypnotic song with
minimalist instrumentation that lets Vega’s voice and words shine. The arrangement
is built around a “smoky, hand-drummed coil of rhythm,” as one reviewer aptly
described (Ordinary Magic: Suzanne Vega's 'Days of Open Hand' » PopMatters).
Indeed, the percussion stands out: likely a Middle Eastern dumbek (hand drum) or
similar instrument tapping out a soft, looped beat. This gives the song an earthy, slightly
exotic texture. The rest of the instrumentation is sparse – perhaps a double bass or
synth drone holding low notes, and delicate accents like droplets of piano or plucked
guitar echoing in the background. The harmonic progression is understated; Vega often
uses modal or repetitive chord patterns to create a trance-like feel. Her vocal melody is
subtly syncopated, sometimes speaking on pitch more than singing, which adds to the
incantation-like mood. Throughout the track, there is a lot of “space” – Vega’s
production favors dryness and intimacy, meaning you can hear the grain of her voice
and the raw thump of the hand drum in a near-empty sonic room (Days of Open Hand)
(Ordinary Magic: Suzanne Vega's 'Days of Open Hand' » PopMatters). This sparse
soundscape mirrors the act of divination – quiet, deliberate, and full of anticipation.
Lyrical Content & Meaning: Vega’s lyrics in “Predictions” read like a poetic catalog of
fortune-telling methods through the ages. In the song, she invites, “Let’s tell the future
– let’s see how it’s been done.” She then enumerates a litany of traditional techniques:
“By numbers. By mirrors. By water. / By dots made at random on paper. / By salt. By
dice. / By meal. By mice. / By dough of cakes. By sacrificial fire.” (Days of Open Hand).
Each method she lists (numerology, scrying, hydromancy, random dot picking perhaps
referring to geomancy, casting salt or dice, reading grain or observing mice, baking
omens into cakes, and fire sacrifices) comes straight out of the lexicon of old-world
superstition. This verse is delivered in a rhythmic, almost chant-like manner,
emphasizing the ritualistic feel. Vega’s “flickering play of meaning, sound, and rhythm”
in these lines is striking (Days of Open Hand) – the alliteration and assonance make the
recitation musical. But beyond the catalog, Vega uses these images to delve into a
philosophical reflection on why we seek predictions. The song doesn’t have a
straightforward narrative; instead, it poses questions and muses about the desire to
know what comes next. In the second half, she subtly shifts from listing tools of foresight
to examining the present: mundane objects and daily life. According to a critique, “it isn’t
so much about the apparatus of fortune-telling as it is about the reassessment and re-
envisioning of a woman’s life” (Ordinary Magic: Suzanne Vega's 'Days of Open Hand' »
PopMatters). This suggests that Vega is using the concept of prediction to scrutinize
how a person (perhaps herself or a character) might break free from routine or
“platitudes that have come to define [an] existence” (Ordinary Magic: Suzanne
Vega's 'Days of Open Hand' » PopMatters). In essence, the song implies: after all the
tea leaves and tarot, what do these predictions mean for how we live?
Symbolically, “Predictions” treats the act of fortune-telling as a metaphor for human
longing and agency. The array of antique methods she lists shows how universal and
timeless our urge to know the future is – it’s practically part of the human condition. The
minimalist music creates a meditative space, as if we too are sitting in a dim room with
only our thoughts and some tokens of divination. By the end of the song, Vega isn’t
delivering a prophecy; instead, she leaves us with questions – which in itself is telling.
It’s as if she suggests that the value of fortune-telling lies not in the answer (which may
be false or subject to interpretation) but in the act of examining our lives and desires. As
one writer noted, Vega “judiciously examines [the future] in a series of questions,”
finding “a sort of domestic magic in the ordinariness of everyday objects” (Ordinary
Magic: Suzanne Vega's 'Days of Open Hand' » PopMatters). This means she’s locating
the miraculous (or the potential for change) not in supernatural signs but in our
perspective on the mundane. Philosophically, “Predictions” has a gentle irony: it
enumerates all the magical ways to see the future, only to hint that perhaps the real
“magic” is in embracing uncertainty and imagining possibilities beyond the safe, known
routine (Ordinary Magic: Suzanne Vega's 'Days of Open Hand' » PopMatters). By
pairing haunting minimalist music with evocative ambiguous lyrics, Vega invites
the listener to ponder the very impulse behind predictions – our fear of the unknown and
our hope that, by naming it, we might tame it. The song itself becomes a quiet spell, not
to foretell what will be, but to make us mindful of what is and what could be.
Sources: Caravaggio’s chiaroscuro and deception theme (Fortune-tellers: Art of
Superstition | DailyArt Magazine) (The Fortune Teller) (The Fortune Teller (Caravaggio)
- Wikipedia); La Tour’s composition and allegory (Georges de La Tour | The Fortune-
Teller | The Metropolitan Museum of Art) (The Fortune Teller (La Tour) - Wikipedia)
(The Mystery of ‘The Fortune Teller’ by Georges de la Tour | A R T L▼R K); Vrubel’s
mysticism and Symbolist details (Fortune-tellers: Art of Superstition | DailyArt Magazine)
(vrubel fortune-teller 1895 — Mikhail Vrubel); Romero de Torres’s symbolism of love
and fate ( The Fortune-telling - Museo Carmen Thyssen Málaga) ( The Fortune-telling -
Museo Carmen Thyssen Málaga); Schjerfbeck’s expressionist style and mood (Fortune-
tellers: Art of Superstition | DailyArt Magazine); Cuevas’s surreal expressionism and
themes ( World Scholars' Cup - Futurity Practice Questions PDF | Quizgecko ) (Shop
Original Art by Jose Luis Cuevas - Mourlot Editions Est. 1852); Bizet’s musical
storytelling in Carmen (29. Carmen (Bizet) – The Opera Scribe); Orff’s orchestration
symbolizing fate (Carl Orff 'O Fortuna': Unpredictable Forces - Classicalexburns) (Carl
Orff 'O Fortuna': Unpredictable Forces - Classicalexburns); Benny Spellman’s lyrical
twist (Benny Spellman R.I.P.) (Benny Spellman R.I.P.); Al Stewart’s historical
prophecies in “Nostradamus” (Nostradamus [Al Stewart]) (Nostradamus [Al Stewart]);
Suzanne Vega’s poetic lyrics in “Predictions” (Days of Open Hand) (Ordinary Magic:
Suzanne Vega's 'Days of Open Hand' » PopMatters).
Prompt: Certain methods of divination seem more reliable than they are. Explore the
following examples and terms, then discuss with your team: why is divination enjoying a
resurgence amongst young people today? Is the future trending?
Prompt: Not all methods of foretelling the future are rooted in superstition or ritual; some
stem from long-term observations and lived experiences. For example, the Chinese
agricultural calendar is based on centuries observing the weather and the movement of
celestial bodies. The result is a calendar that reliably predicts the movements of the sun
and moon, ocean tides, astronomical events, and the turning of the seasons—one still
referenced by farmers today. Research the following and explore with your team: are
there any other reliable not-quite scientific methods of predicting the future that merit
continued study?
Prompt: A butterfly flaps its wings and a hurricane (eventually) pops to life on the other
side of the world. Small changes can have large impacts that may not be as random (or
unpredictable) as they seem. Explore the field of chaos theory, which attempts to
understand how complex systems are built up from simple parts, then discuss with your
team: are there examples of such systems in society, and can they help us tell the
future? Be sure to explore the following terms:
Prompt: “Ripped jeans will be back in fashion in 20 years”, says one pundit. “We’ve
been in a decade-long bull market, but just you wait for the bear market”, says another.
Research the following popular “cycles” in public discourse today and explore with your
team: what do they purport to predict, and how accurate are their predictions? Can a
popular “cycle” ever become a scientific model?