| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from My Antonia by Willa Cather: so natural to be walking along a barbed-wire fence beside the sunset,
toward a red pond, and to see my shadow moving along at my right,
over the close-cropped grass.
`Has mother shown you the pictures you sent her from the old country?'
Ambrosch asked. `We've had them framed and they're hung up in the parlour.
She was so glad to get them. I don't believe I ever saw her so pleased
about anything.' There was a note of simple gratitude in his voice that made
me wish I had given more occasion for it.
I put my hand on his shoulder. `Your mother, you know,
was very much loved by all of us. She was a beautiful girl.'
`Oh, we know!' They both spoke together; seemed a little
My Antonia |
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Prince by Nicolo Machiavelli: refuge from a first attack. I praise this system because it has been
made use of formerly. Notwithstanding that, Messer Nicolo Vitelli in
our times has been seen to demolish two fortresses in Citta di
Castello so that he might keep that state; Guido Ubaldo, Duke of
Urbino, on returning to his dominion, whence he had been driven by
Cesare Borgia, razed to the foundations all the fortresses in that
province, and considered that without them it would be more difficult
to lose it; the Bentivogli returning to Bologna came to a similar
decision. Fortresses, therefore, are useful or not according to
circumstances; if they do you good in one way they injure you in
another. And this question can be reasoned thus: the prince who has
The Prince |
| The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Pierre Grassou by Honore de Balzac: hundred.
At the Exhibition of 1829, Leon de Lora, Schinner, and Bridau, who all
three occupied a great position and were, in fact, at the head of the
art movement, were filled with pity for the perseverance and the
poverty of their old friend; and they caused to be admitted into the
grand salon of the Exhibition, a picture by Fougeres. This picture,
powerful in interest but derived from Vigneron as to sentiment and
from Dubufe's first manner as to execution, represented a young man in
prison, whose hair was being cut around the nape of the neck. On one
side was a priest, on the other two women, one old, one young, in
tears. A sheriff's clerk was reading aloud a document. On a wretched
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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 Edingburgh Picturesque Notes by Robert Louis Stevenson: of the Established and Free Churches, and how they can
hear each other singing psalms across the street. There
is but a street between them in space, but a shadow
between them in principle; and yet there they sit,
enchanted, and in damnatory accents pray for each other's
growth in grace. It would be well if there were no more
than two; but the sects in Scotland form a large family
of sisters, and the chalk lines are thickly drawn, and
run through the midst of many private homes. Edinburgh
is a city of churches, as though it were a place of
pilgrimage. You will see four within a stone-cast at the
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