| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Ferragus by Honore de Balzac: Paris, has been taken possession of by bowl-players; it is, in fact, a
sort of bowling green frequented by old gray faces, belonging to
kindly, worthy men, who seem to continue the race of our ancestors,
whose countenances must only be compared with those of their
surroundings.
The man who had become, during the last few days, an inhabitant of
this desert region, proved an assiduous attendant at these games of
bowls; and must, undoubtedly, be considered the most striking creature
of these various groups, who (if it is permissible to liken Parisians
to the different orders of zoology) belonged to the genus mollusk. The
new-comer kept sympathetic step with the /cochonnet/,--the little bowl
Ferragus |
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Sesame and Lilies by John Ruskin: the English public, at this moment, to understand any thoughtful
writing,--so incapable of thought has it become in its insanity of
avarice. Happily, our disease is, as yet, little worse than this
incapacity of thought; it is not corruption of the inner nature; we
ring true still, when anything strikes home to us; and though the
idea that everything should "pay" has infected our every purpose so
deeply, that even when we would play the good Samaritan, we never
take out our two pence and give them to the host, without saying,
"When I come again, thou shalt give me fourpence," there is a
capacity of noble passion left in our hearts' core. We show it in
our work--in our war,--even in those unjust domestic affections
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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 Essays & Lectures by Oscar Wilde: column erected by Zeus, and detailing the incidents of his reign on
earth, this shallow thinker attempted to show that the gods and
heroes of ancient Greece were 'mere ordinary mortals, whose
achievements had been a good deal exaggerated and misrepresented,'
and that the proper canon of historical criticism as regards the
treatment of myths was to rationalise the incredible, and to
present the plausible residuum as actual truth.
To him and his school, the centaurs, for instance, those mythical
sons of the storm, strange links between the lives of men and
animals, were merely some youths from the village of Nephele in
Thessaly, distinguished for their sporting tastes; the 'living
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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 Rasselas, Prince of Abyssinia by Samuel Johnson: I had long observed from my window that you and Imlac directed your
walk every day towards the same point, but I did not suppose you
had any better reason for the preference than a cooler shade or
more fragrant bank, nor followed you with any other design than to
partake of your conversation. Since, then, not suspicion, but
fondness, has detected you, let me not lose the advantage of my
discovery. I am equally weary of confinement with yourself, and
not less desirous of knowing what is done or suffered in the world.
Permit me to fly with you from this tasteless tranquillity, which
will yet grow more loathsome when you have left me. You may deny
me to accompany you, but cannot hinder me from following."
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