|The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Myths and Myth-Makers by John Fiske:
giants who attempted to scale Olympos, and like the impious
Efreets of Arabian legend who revolted against the beneficent
rule of Solomon. As the serpent prince of the outer darkness,
he retains the old characteristics of Vritra, Ahi, Typhon, and
Echidna. As the black dog which appears behind the stove in
Dr. Faust's study, he is the classic hell-hound Kerberos, the
Vedic Carvara. From the sylvan deity Pan he gets his goat-like
body, his horns and cloven hoofs. Like the wind-god Orpheus,
to whose music the trees bent their heads to listen, he is an
unrivalled player on the bagpipes. Like those other wind-gods
the psychopomp Hermes and the wild huntsman Odin, he is the
Myths and Myth-Makers
|The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Emma McChesney & Co. by Edna Ferber:
"It's a bargain. For three months I shall do nothing more
militant than to pick imaginary threads off your coat lapel and
pout when you mention business. At the end of those three months
we'll go into private session, compare notes, and determine
whether the plan shall cease or become permanent. Shake hands on
They shook hands solemnly. As they did so, a faint shadow of
doubt hovered far, far back in the depths of T. A. Buck's fine
eyes. And a faint, inscrutable smile lurked in the corners of
Emma McChesney & Co.
|The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from A Daughter of Eve by Honore de Balzac:
he turned his golden eyes on Schmucke.
The piano, decrepit on its legs, though made of good wood painted
black and gilded, was dirty, defaced, and scratched; and its keys,
worn like the teeth of old horses, were yellowed with the fuliginous
colors of the pipe. On the desk, a little heap of ashes showed that
the night before Schmucke had bestrode the old instrument to some
musical Walhalla. The floor, covered with dried mud, torn papers,
tobacco-dust, fragments indescribable, was like that of a boy's
school-room, unswept for a week, on which a mound of things
accumulate, half rags, half filth.
A more practised eye than that of the countess would have seen certain
|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 Kreutzer Sonata by Leo Tolstoy:
house regardless of the danger to his own. At present everything
is dry, and as the wind is so high he may sneak from the back of
his own building, start a fire, and get away unseen by any of us.
He may burn and steal without being found out, and thus go
unpunished. I wish I could catch him."
This thought so worried Ivan that he decided not to return to his
house, but went out and stood on the street-corner.
"I guess," thought Ivan to himself, "I will take a walk around
the premises and examine everything carefully, for who knows what
he may be tempted to do?"
Ivan moved very cautiously round to the back of his buildings,
The Kreutzer Sonata