|The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Magic of Oz by L. Frank Baum:
beach and propel it slowly to where the Wizard stood on the river bank.
"Good!" exclaimed the little man, well pleased.
"May I go across with you?" asked Dorothy.
The Wizard hesitated.
"If you'll take care not to leave the raft or step foot on the
island, you'll be quite safe," he decided. So the Wizard told the
Hungry Tiger and the Cowardly Lion to guard the cage of monkeys until
he returned, and then he and Dorothy got upon the raft. The paddle
which Cap'n Bill had made was still there, so the little Wizard paddled
the clumsy raft across the water and ran it upon the beach of the
Magic Isle as close to the place where Cap'n Bill and Trot were
The Magic of Oz
|The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Woman and Labour by Olive Schreiner:
himself, and with endless fatigue, his ancestors supplied the race with its
meat and defended it from destruction by wild beasts) that he finds his
greatest satisfaction; it serves to render the degradation and uselessness
of his existence less obvious to himself and to others than if he passed
his life reclining in an armchair.
On Yorkshire moors today may be seen walls of sod, behind which hide
certain human males, while hard-labouring men are employed from early dawn
in driving birds towards them. As the birds are driven up to him, the
hunter behind his wall raises his deadly weapon, and the bird, which it had
taken so much human labour to rear and provide, falls dead at his feet;
thereby greatly to the increase of the hunter's glory, when, the toils of
|The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Cratylus by Plato:
found in the analysis of their elements. But why does he admit etymologies
which are absurd, based on Heracleitean fancies, fourfold interpretations
of words, impossible unions and separations of syllables and letters?
1. The answer to this difficulty has been already anticipated in part:
Socrates is not a dogmatic teacher, and therefore he puts on this wild and
fanciful disguise, in order that the truth may be permitted to appear: 2.
as Benfey remarks, an erroneous example may illustrate a principle of
language as well as a true one: 3. many of these etymologies, as, for
example, that of dikaion, are indicated, by the manner in which Socrates
speaks of them, to have been current in his own age: 4. the philosophy of
language had not made such progress as would have justified Plato in
|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 Pierre Grassou by Honore de Balzac:
But for all this, Grassou gave excellent counsel, like those
feuilletonists incapable of writing a book who know very well where a
book is wanting. There was this difference, however, between literary
critics and Fougeres; he was eminently sensitive to beauties; he felt
them, he acknowledged them, and his advice was instinct with a spirit
of justice that made the justness of his remarks acceptable. After the
revolution of July, Fougeres sent about ten pictures a year to the
Salon, of which the jury admitted four or five. He lived with the most
rigid economy, his household being managed solely by an old charwoman.
For all amusement he visited his friends, he went to see works of art,