|The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from A Lover's Complaint by William Shakespeare:
And supplicant their sighs to your extend,
To leave the battery that you make 'gainst mine,
Lending soft audience to my sweet design,
And credent soul to that strong-bonded oath,
That shall prefer and undertake my troth.
'This said, his watery eyes he did dismount,
Whose sights till then were levell'd on my face;
Each cheek a river running from a fount
With brinish current downward flow'd apace:
O, how the channel to the stream gave grace!
Who, glaz'd with crystal, gate the glowing roses
|The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Jungle by Upton Sinclair:
a mountain streamlet--a group of maidens bathing in a forest
pool--all life-size, and so real that Jurgis thought that it was
some work of enchantment, that he was in a dream palace. Then
his eye passed to the long table in the center of the hall,
a table black as ebony, and gleaming with wrought silver and gold.
In the center of it was a huge carven bowl, with the glistening
gleam of ferns and the red and purple of rare orchids, glowing
from a light hidden somewhere in their midst.
"This's the dinin' room," observed Master Freddie. "How you like
it, hey, ole sport?"
He always insisted on having an answer to his remarks, leaning
|The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from On Horsemanship by Xenophon:
treatise any conclusions in which we happen to agree with that author;
on the contrary we shall hand them on with still greater pleasure to
our friends, in the belief that we shall only gain in authority from
the fact that so great an expert in horsemanship held similar views to
our own; whilst with regard to matters omitted in his treatise, we
shall endeavour to supply them.
 L. Dind. [in Athens]. The Eleusinion. For the position of this
sanctuary of Demeter and Kore see Leake, "Top. of Athens," i. p.
296 foll. For Simon see Sauppe, vol. v. Praef. to "de R. E." p.
230; L. Dind. Praef. "Xen. Opusc." p. xx.; Dr. Morris H. Morgan,
"The Art of Horsemanship by Xenophon," p. 119 foll. A fragment of
|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 Scaramouche by Rafael Sabatini:
into the enemy's camp, so completely to have adopted their own
methods, that his fellows scarcely felt the need to protect him
As he emerged, he scanned that hostile file, whose air and garments
marked them so clearly for what they were. He paused, seeking the
man he expected, the man he was most anxious to oblige. But M. de
La Tour d'Azyr was absent from those eager ranks. This seemed to
him odd. La Tour d'Azyr was Chabrillane's cousin and closest friend.
Surely he should have been among the first to-day. The fact was
that La Tour d'Azyr was too deeply overcome by amazement and grief
at the utterly unexpected event. Also his vindictiveness was held