|The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from On the Origin of Species by Charles Darwin:
that there has consequently been less destruction of the old and young, and
that nearly all the young have been enabled to breed. In such cases the
geometrical ratio of increase, the result of which never fails to be
surprising, simply explains the extraordinarily rapid increase and wide
diffusion of naturalised productions in their new homes.
In a state of nature almost every plant produces seed, and amongst animals
there are very few which do not annually pair. Hence we may confidently
assert, that all plants and animals are tending to increase at a
geometrical ratio, that all would most rapidly stock every station in which
they could any how exist, and that the geometrical tendency to increase
must be checked by destruction at some period of life. Our familiarity
On the Origin of Species
|The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from On the Origin of Species by Charles Darwin:
their native country; but not one has ever become wild or feral, though the
dovecot-pigeon, which is the rock-pigeon in a very slightly altered state,
has become feral in several places. Again, all recent experience shows
that it is most difficult to get any wild animal to breed freely under
domestication; yet on the hypothesis of the multiple origin of our pigeons,
it must be assumed that at least seven or eight species were so thoroughly
domesticated in ancient times by half-civilized man, as to be quite
prolific under confinement.
An argument, as it seems to me, of great weight, and applicable in several
other cases, is, that the above-specified breeds, though agreeing generally
in constitution, habits, voice, colouring, and in most parts of their
On the Origin of Species
|The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from A House of Pomegranates by Oscar Wilde:
would pray they make mouths at me. They are lost, I tell thee,
they are lost. For them there is no heaven nor hell, and in
neither shall they praise God's name.'
'Father,' cried the young Fisherman, 'thou knowest not what thou
sayest. Once in my net I snared the daughter of a King. She is
fairer than the morning star, and whiter than the moon. For her
body I would give my soul, and for her love I would surrender
heaven. Tell me what I ask of thee, and let me go in peace.'
'Away! Away!' cried the Priest: 'thy leman is lost, and thou
shalt be lost with her.'
And he gave him no blessing, but drove him from his door.
|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 A Midsummer Night's Dream by William Shakespeare:
Then slip I from her bum, downe topples she,
And tailour cries, and fals into a coffe.
And then the whole quire hold their hips, and loffe,
And waxen in their mirth, and neeze, and sweare,
A merrier houre was neuer wasted there.
But roome Fairy, heere comes Oberon
Fair. And heere my Mistris:
Would that he were gone.
Enter the King of Fairies at one doore with his traine, and the
another with hers.
A Midsummer Night's Dream