| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Lair of the White Worm by Bram Stoker: him if she might make a request. Permission having been accorded,
she explained that before she finally left Diana's Grove, where she
had lived so long, she had a desire to know the depth of the well-
hole. Adam was really happy to meet her wishes, not from any
sentiment, but because he wished to give some valid and ostensible
reason for examining the passage of the Worm, which would obviate
any suspicion resulting from his being on the premises. He brought
from London a Kelvin sounding apparatus, with a sufficient length of
piano-wire for testing any probable depth. The wire passed easily
over the running wheel, and when this was once fixed over the hole,
he was satisfied to wait till the most advantageous time for his
Lair of the White Worm |
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Narrative of the Life of Frederick Douglass: An American Slave by Frederick Douglass: causing the blood to run where I touched him with
the ends of my fingers. Mr. Covey soon called out
to Hughes for help. Hughes came, and, while Covey
held me, attempted to tie my right hand. While he
was in the act of doing so, I watched my chance,
and gave him a heavy kick close under the ribs.
This kick fairly sickened Hughes, so that he left
me in the hands of Mr. Covey. This kick had the
effect of not only weakening Hughes, but Covey also.
When he saw Hughes bending over with pain, his
courage quailed. He asked me if I meant to persist
The Narrative of the Life of Frederick Douglass: An American Slave |
| The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from 20,000 Leagues Under the Sea by Jules Verne: "But do they know, at least, how to act circumspectly? There is an island;
on that island there are trees; under those trees, terrestrial animals,
bearers of cutlets and roast beef, to which I would willingly give a trial."
"In this, friend Ned is right," said Conseil, "and I agree with him.
Could not master obtain permission from his friend Captain Nemo to put us
on land, if only so as not to lose the habit of treading on the solid parts
of our planet?"
"I can ask him, but he will refuse."
"Will master risk it?" asked Conseil, "and we shall know how to rely
upon the Captain's amiability."
To my great surprise, Captain Nemo gave me the permission I asked for,
20,000 Leagues Under the Sea |
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 The Call of the Canyon by Zane Grey: descending he made the queer jump again, coming up to meet her. The jolt
she got seemed to dislocate every bone in her body. Likewise it hurt.
Moreover, along with her idea of what a spectacle she must have presented,
it quickly decided Carley that Spillbeans was a horse that was not to be
opposed. Whenever he wanted a mouthful of grass he stopped to get it.
Therefore Carley was always in the rear, a fact which in itself did not
displease her. Despite his contrariness, however, Spillbeans had apparently
no intention of allowing the other horses to get completely out of sight.
Several times Flo waited for Carley to catch up. "He's loafing on you,
Carley. You ought to have on a spur. Break off a switch and beat him some."
Then she whipped the mustang across the flank with her bridle rein, which
The Call of the Canyon |
