|The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Contrast by Royall Tyler:
might admire, because they would not understand
you. But, however, I must, I believe, introduce you
to two or three ladies of my acquaintance.
And that will make him acquainted with thirty or
Oh! brother, you don't know what a fund of happi-
ness you have in store.
I fear, sister, I have not refinement sufficient to
|The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Augsburg Confession by Philip Melanchthon:
matter of religion the opinions and judgments of the parties
might be heard in each other's presence; and considered and
weighed among ourselves in mutual charity, leniency, and
kindness, in order that, after the removal and correction of such
things as have been treated and understood in a different manner
in the writings on either side, these matters may be settled and
brought back to one simple truth and Christian concord, that for
the future one pure and true religion may be embraced and
maintained by us, that as we all are under one Christ and do
battle under Him, so we may be able also to live in unity and
concord in the one Christian Church.
|The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from A Midsummer Night's Dream by William Shakespeare:
How answere you that?
Snout. Berlaken, a parlous feare
Star. I beleeue we must leaue the killing out, when
all is done
Bot. Not a whit, I haue a deuice to make all well.
Write me a Prologue, and let the Prologue seeme to say,
we will do no harme with our swords, and that Pyramus
is not kill'd indeede: and for the more better assurance,
tell them, that I Piramus am not Piramus, but Bottome the
Weauer; this will put them out of feare
Quin. Well, we will haue such a Prologue, and it shall
A Midsummer Night's Dream
|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 The Secret Agent by Joseph Conrad:
me. Hide me. Don't let them have me. You must kill me first. I
couldn't do it myself - I couldn't, I couldn't - not even for what
I am afraid of."
She was confoundedly bizarre, he thought. She was beginning to
inspire him with an indefinite uneasiness. He said surlily, for he
was busy with important thoughts:
"What the devil ARE you afraid of?"
"Haven't you guessed what I was driven to do!" cried the woman.
Distracted by the vividness of her dreadful apprehensions, her head
ringing with forceful words, that kept the horror of her position
before her mind, she had imagined her incoherence to be clearness
The Secret Agent