| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Lock and Key Library by Julian Hawthorne, Ed.: least mature my plans for an adequate discharge of just
retributions on her. It reveals the impotence resulting from the
trammels of modern civilization, that while the possibilities of
wrong are infinite, the openings for vengeance are few and
contemptible. Only when a man is thrown upon the necessities of
this 'wild justice' does he discover how difficult vengeance really
is. Had Agalma been my wife, I could have wreaked my wrath upon
her, with assurance that some of the torture she inflicted on me
was to fall on her. Not having this power what was I to do? Kill
her? That would have afforded one moment of exquisite
satisfaction--but to her it would have been simply death--and I
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The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Octopus by Frank Norris: steadily towards the Mission of San Juan. The man was hardly
more than a dot, but there was something unmistakably familiar in
his gait; and besides this, Presley could fancy that he was
hatless. He touched his pony with his spur. The man was Vanamee
beyond all doubt, and a little later Presley, descending the maze
of cow-paths and cattle-trails that led down towards the
Broderson Creek, overtook his friend.
Instantly Presley was aware of an immense change. Vanamee's face
was still that of an ascetic, still glowed with the rarefied
intelligence of a young seer, a half-inspired shepherd-prophet of
Hebraic legends; but the shadow of that great sadness which for
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| The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Anna Karenina by Leo Tolstoy: for writing a review, but a month passed, and a second, and still
there was silence.
Only in the Northern Beetle, in a comic article on the singer
Drabanti, who had lost his voice, there was a contemptuous
allusion to Koznishev's book, suggesting that the book had been
long ago seen through by every one, and was a subject of general
ridicule.
At last in the third month a critical article appeared in a
serious review. Sergey Ivanovitch knew the author of the article.
He had met him once at Golubtsov's.
The author of the article was a young man, an invalid, very bold
Anna Karenina |
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 On Horsemanship by Xenophon: then, we would insist, the corselet must be made to fit the person;
since, if it fits well, its weight will be distributed over the whole
body; whereas, if too loose, the shoulders will have all the weight to
bear, while, if too tight, the corselet is no longer a defensive arm,
but a "strait jacket."[1] Again, the neck, as being a vital part,[2]
ought to have, as we maintain, a covering, appended to the corselet
and close-fitting. This will serve as an ornament, and if made as it
ought to be, will conceal the rider's face--if so he chooses--up to
the nose.
[1] Cf. "Mem." III. x.
[2] L. Dind. cf. Hom. "Il." viii. 326:
On Horsemanship |
