|The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Long Odds by H. Rider Haggard:
great white teeth of his had met in my thigh--I heard them grate against
the bone. I yelled out in agony, for I did not feel in the least
benumbed and happy, like Dr. Livingstone--whom, by the way, I knew very
well--and gave myself up for dead. But suddenly, at that moment, the
lion's grip on my thigh loosened, and he stood over me, swaying to and
fro, his huge mouth, from which the blood was gushing, wide opened.
Then he roared, and the sound shook the rocks.
"To and fro he swung, and then the great head dropped on me, knocking
all the breath from my body, and he was dead. My bullet had entered in
the centre of his chest and passed out on the right side of the spine
about half way down the back.
|The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Vendetta by Honore de Balzac:
the more open to condemnation because she made no secret of the grief
which the second Restoration caused to her family. The only tears she
had so far shed in life were drawn from her by the twofold news of
Napoleon's captivity on the "Bellerophon," and Labedoyere's arrest.
The girls of the aristocratic group of pupils belonged to the most
devoted royalist families in Paris. It would be difficult to give an
idea of the exaggerations prevalent at this epoch, and of the horror
inspired by the Bonapartists. However insignificant and petty Amelie's
action may now seem to be, it was at that time a very natural
expression of the prevailing hatred. Ginevra Piombo, one of Servin's
first pupils, had occupied the place that was now taken from her since
|The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Wheels of Chance by H. G. Wells:
a drooping expression, and making a kind of circular sweep,
invited you to "step this way," and so led you beyond his ken;
but under other and happier conditions,--huckaback, blankets,
dimity, cretonne, linen, calico, are cases in point,--he would
have requested you to take a seat, emphasising the hospitality by
leaning over the counter and gripping a chair back in a spasmodic
manner, and so proceeded to obtain, unfold, and exhibit his goods
for your consideration. Under which happier circumstances you
might--if of an observing turn of mind and not too much of a
housewife to be inhuman--have given the central figure of this
story less cursory attention.
|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 De Profundis by Oscar Wilde:
the penthouse of a great barn, provided I had love in my heart.
The external things of life seem to me now of no importance at all.
You can see to what intensity of individualism I have arrived - or
am arriving rather, for the journey is long, and 'where I walk
there are thorns.'
Of course I know that to ask alms on the highway is not to be my
lot, and that if ever I lie in the cool grass at night-time it will
be to write sonnets to the moon. When I go out of prison, R- will
be waiting for me on the other side of the big iron-studded gate,
and he is the symbol, not merely of his own affection, but of the
affection of many others besides. I believe I am to have enough to