|The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Lock and Key Library by Julian Hawthorne, Ed.:
blazing, disturbed him every moment. He turned and turned, but
still there was the same red light glaring on, but not
illuminating, the dusky furniture of the apartment. The wind was
high that night, and as the creaking door swung on its hinges,
every noise seemed like the sound of a hand struggling with the
lock, or of a foot pausing on the threshold. But (for Melmoth
never could decide) was it in a dream or not, that he saw the
figure of his ancestor appear at the door?--hesitatingly as he saw
him at first on the night of his uncle's death,--saw him enter the
room, approach his bed, and heard him whisper, "You have burned me,
then; but those are flames I can survive.--I am alive,--I am beside
|The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Island of Doctor Moreau by H. G. Wells:
I turned and saw that the launch had now been unloaded, run out again,
and was being beached, and the white-haired man was walking towards us.
He addressed Montgomery.
"And now comes the problem of this uninvited guest. What are we
to do with him?"
"He knows something of science," said Montgomery.
"I'm itching to get to work again--with this new stuff,"
said the white-haired man, noddding towards the enclosure.
His eyes grew brighter.
"I daresay you are," said Montgomery, in anything but a cordial tone.
"We can't send him over there, and we can't spare the time to build
The Island of Doctor Moreau
|The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw:
at the dinner table or between the acts.
THE OLD AND THE NEW MUSIC
In the old-fashioned opera every separate number involved the
composition of a fresh melody; but it is quite a mistake to
suppose that this creative-effort extended continuously
throughout the number from the first to the last bar. When a
musician composes according to a set metrical pattern, the
selection of the pattern and the composition of the first stave
(a stave in music corresponds to a line in verse) generally
completes the creative effort. All the rest follows more or less
mechanically to fill up the pattern, an air being very like a
|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 Malbone: An Oldport Romance by Thomas Wentworth Higginson:
compared with Kate, Hope showed a more abundant physical life;
there was more blood in her; she had ampler outlines, and
health more absolutely unvaried, for she had yet to know the
experience of a day's illness. Kate seemed born to tread upon a
Brussels carpet, and Hope on the softer luxury of the forest
floor. Out of doors her vigor became a sort of ecstasy, and
she walked the earth with a jubilee of the senses, such as
Browning attributes to his Saul.
This inexhaustible freshness of physical organization seemed to
open the windows of her soul, and make for her a new heaven and
earth every day. It gave also a peculiar and almost