|The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Virginian by Owen Wister:
made a step, and would have put his arm round her, but she backed
against the wall, staring speechless at him.
"I am not going to let him shoot me," he said quietly.
"You mean--you mean--but you can come away!" she cried. "It's not
too late yet. You can take yourself out of his reach. Everybody
knows that you are brave. What is he to you? You can leave him in
this place. I'll go with you anywhere. To any house, to the
mountains, to anywhere away. We'll leave this horrible place
together and--and--oh, won't you listen to me?" She stretched her
hands to him. "Won't you listen?"
He took her hands. "I must stay here."
|The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from House of Seven Gables by Nathaniel Hawthorne:
and soiled, here and there, with the touch of fingers. The other
was a portrait of a stern old man, in a Puritan garb, painted
roughly, but with a bold effect, and a remarkably strong
expression of character.
At a small table, before a fire of English sea-coal, sat Mr.
Pyncheon, sipping coffee, which had grown to be a very favorite
beverage with him in France. He was a middle-aged and really
handsome man, with a wig flowing down upon his shoulders; his coat
was of blue velvet, with lace on the borders and at the button-holes;
and the firelight glistened on the spacious breadth of his waistcoat,
which was flowered all over with gold. On the entrance of Scipio,
House of Seven Gables
|The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Bickerstaff-Partridge Papers by Jonathan Swift:
I intend in a short time to publish a large and rational defence
of this art, and therefore shall say no more in its justification
at present, than that it hath been in all ages defended by many
learned men, and among the rest by Socrates himself, whom I look
upon as undoubtedly the wisest of uninspir'd mortals: To which if
we add, that those who have condemned this art, though otherwise
learned, having been such as either did not apply their studies
this way, or at least did not succeed in their applications;
their testimony will not be of much weight to its disadvantage,
since they are liable to the common objection of condemning what
|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 House of Seven Gables by Nathaniel Hawthorne:
elephant against the window, but with so tremulous a touch that it
tumbles upon the floor, with the dismemberment of three legs and its
trunk; it has ceased to be an elephant, and has become a few bits of
musty gingerbread. There, again, she has upset a tumbler of marbles,
all of which roll different ways, and each individual marble,
devil-directed, into the most difficult obscurity that it can find.
Heaven help our poor old Hepzibah, and forgive us for taking a ludicrous
view of her position! As her rigid and rusty frame goes down upon its
hands and knees, in quest of the absconding marbles, we positively
feel so much the more inclined to shed tears of sympathy, from the
very fact that we must needs turn aside and laugh at her. For
House of Seven Gables