| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from A Collection of Beatrix Potter by Beatrix Potter: was not there.
At last Jemima told him
that she intended to begin to
sit next day--"and I will bring
a bag of corn with me, so that
I need never leave my nest
until the eggs are hatched.
They might catch cold," said
the conscientious Jemima.
"MADAM, I beg you not
to trouble yourself with
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The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Memoir of Fleeming Jenkin by Robert Louis Stevenson: fear and excitement, yet do injustice, in their boyishness of tone,
to the profound effect produced. At the sound of these songs and
shot of cannon, the boy's mind awoke. He dated his own
appreciation of the art of acting from the day when he saw and
heard Rachel recite the 'MARSEILLAISE' at the Francais, the
tricolour in her arms. What is still more strange, he had been up
to then invincibly indifferent to music, insomuch that he could not
distinguish 'God save the Queen' from 'Bonnie Dundee'; and now, to
the chanting of the mob, he amazed his family by learning and
singing 'MOURIR POUR LA PATRIE.' But the letters, though they
prepare the mind for no such revolution in the boy's tastes and
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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 King James Bible: were twelve:
CH1 25:26 The nineteenth to Mallothi, he, his sons, and his brethren,
were twelve:
CH1 25:27 The twentieth to Eliathah, he, his sons, and his brethren,
were twelve:
CH1 25:28 The one and twentieth to Hothir, he, his sons, and his
brethren, were twelve:
CH1 25:29 The two and twentieth to Giddalti, he, his sons, and his
brethren, were twelve:
CH1 25:30 The three and twentieth to Mahazioth, he, his sons, and his
brethren, were twelve:
King James Bible |
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 Passion in the Desert by Honore de Balzac: sleep.
Fatigued by the heat and his work, he fell asleep under the red
curtains of his wet cave.
In the middle of the night his sleep was troubled by an extraordinary
noise; he sat up, and the deep silence around allowed him to
distinguish the alternative accents of a respiration whose savage
energy could not belong to a human creature.
A profound terror, increased still further by the darkness, the
silence, and his waking images, froze his heart within him. He almost
felt his hair stand on end, when by straining his eyes to their utmost
he perceived through the shadow two faint yellow lights. At first he
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