|The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Through the Looking-Glass by Lewis Carroll:
`Do you spell "creature" with a double "e"?'
At this moment the Unicorn sauntered by them, with his hands in
his pockets. `I had the best of it this time?' he said to the
King, just glancing at him as he passed.
`A little--a little,' the King replied, rather nervously.
`You shouldn't have run him through with your horn, you know.'
`It didn't hurt him,' the Unicorn said carelessly, and he was
going on, when his eye happened to fall upon Alice: he turned
round rather instantly, and stood for some time looking at her
with an air of the deepest disgust.
`What--is--this?' he said at last.
Through the Looking-Glass
|The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Letters of Robert Louis Stevenson by Robert Louis Stevenson:
now at last beginning to think upon the problems of executive,
plastic art, for you are now for the first time attacking them.
Hitherto you have spoken and thought of two things - technique and
the ARS ARTIUM, or common background of all arts. Studio work is
the real touch. That is the genial error of the present French
teaching. Realism I regard as a mere question of method. The
'brown foreground,' 'old mastery,' and the like, ranking with
villanelles, as technical sports and pastimes. Real art, whether
ideal or realistic, addresses precisely the same feeling, and seeks
the same qualities - significance or charm. And the same - very
same - inspiration is only methodically differentiated according as
|The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Elixir of Life by Honore de Balzac:
darkness, and the silence was shattered as by a peal of thunder.
The voices floated up with the clouds of incense that had begun
to cast thin bluish veils over the fanciful marvels of the
architecture, and the aisles were filled with splendor and
perfume and light and melody. Even at the moment when that music
of love and thanksgiving soared up to the altar, Don Juan, too
well bred not to express his acknowledgments, too witty not to
understand how to take a jest, bridled up in his reliquary, and
responded with an appalling burst of laughter. Then the Devil
having put him in mind of the risk he was running of being taken
for an ordinary man, a saint, a Boniface, a Pantaleone, he
|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 Moll Flanders by Daniel Defoe:
simply honesty, that we agreed to go, and the Quaker himself
went with us.
Here we bought us two servants, viz. an English woman-servant
just come on shore from a ship of Liverpool, and a Negro
man-servant, things absolutely necessary for all people that
pretended to settle in that country. This honest Quaker was
very helpful to us, and when we came to the place that he
proposed to us, found us out a convenient storehouse for our
goods, and lodging for ourselves and our servants; and about
two months or thereabouts afterwards, by his direction, we
took up a large piece of land from the governor of that country,