|The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Critias by Plato:
themselves temples and instituted sacrifices. And Poseidon, receiving for
his lot the island of Atlantis, begat children by a mortal woman, and
settled them in a part of the island, which I will describe. Looking
towards the sea, but in the centre of the whole island, there was a plain
which is said to have been the fairest of all plains and very fertile.
Near the plain again, and also in the centre of the island at a distance of
about fifty stadia, there was a mountain not very high on any side. In
this mountain there dwelt one of the earth-born primeval men of that
country, whose name was Evenor, and he had a wife named Leucippe, and they
had an only daughter who was called Cleito. The maiden had already reached
womanhood, when her father and mother died; Poseidon fell in love with her
|The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Tono Bungay by H. G. Wells:
still ornate; it has never been over thrown, never disavowed,
only the tall warehouses and all the roar of traffic have
forgotten it, every one has forgotten it; the steamships, the
barges, go heedlessly by regardless of it, intricacies of
telephone wires and poles cut blackly into its thin mysteries,
and presently, when in a moment the traffic permits you and you
look round for it, it has dissolved like a cloud into the grey
blues of the London sky.
And then the traditional and ostensible England falls from you
altogether. The third movement begins, the last great movement
in the London symphony, in which the trim scheme of the old order
|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:
contrary, seek to materialise it in a form that gives joy to the
soul through the senses. We want to create it, not to define it.
The definition should follow the work: the work should not adapt
itself to the definition.
Nothing, indeed, is more dangerous to the young artist than any
conception of ideal beauty: he is constantly led by it either into
weak prettiness or lifeless abstraction: whereas to touch the
ideal at all you must not strip it of vitality. You must find it
in life and re-create it in art.
While, then, on the one hand I do not desire to give you any
philosophy of beauty - for, what I want to-night is to investigate
|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 Crito by Plato:
ensue on my remaining here must not be allowed to enter into the
CRITO: I think that you are right, Socrates; how then shall we proceed?
SOCRATES: Let us consider the matter together, and do you either refute me
if you can, and I will be convinced; or else cease, my dear friend, from
repeating to me that I ought to escape against the wishes of the Athenians:
for I highly value your attempts to persuade me to do so, but I may not be
persuaded against my own better judgment. And now please to consider my
first position, and try how you can best answer me.
CRITO: I will.
SOCRATES: Are we to say that we are never intentionally to do wrong, or