| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Perfect Wagnerite: A Commentary on the Niblung's Ring by George Bernard Shaw: succeeded in escaping from the conditions of our modern
civilization any more than the Grand Opera in Paris or London.
Within these conditions, however, it effected a new departure in
that excellent German institution, the summer theatre. Unlike our
opera houses, which are constructed so that the audience may
present a splendid pageant to the delighted manager, it is
designed to secure an uninterrupted view of the stage, and an
undisturbed hearing of the music, to the audience. The dramatic
purpose of the performances is taken with entire and elaborate
seriousness as the sole purpose of them; and the management is
jealous for the reputation of Wagner. The commercial success
|
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Euthydemus by Plato: given with blushing and hesitation. 'And yet when you learned you did not
know and were not wise.' Then Dionysodorus takes up the ball: 'Who are
they who learn dictation of the grammar-master; the wise or the foolish
boys?' 'The wise.' 'Then, after all, the wise learn.' 'And do they
learn,' said Euthydemus, 'what they know or what they do not know?' 'The
latter.' 'And dictation is a dictation of letters?' 'Yes.' 'And you know
letters?' 'Yes.' 'Then you learn what you know.' 'But,' retorts
Dionysodorus, 'is not learning acquiring knowledge?' 'Yes.' 'And you
acquire that which you have not got already?' 'Yes.' 'Then you learn that
which you do not know.'
Socrates is afraid that the youth Cleinias may be discouraged at these
|
| The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Glimpses of the Moon by Edith Wharton: habitually managed among people of their kind. It seemed
grotesque to introduce melodrama into their little world of
unruffled Sybarites, and he felt inclined, now, to smile at the
incongruity of his gesture .... But suddenly his eyes filled
with tears. The future without Susy was unbearable,
inconceivable. Why, after all, should they separate? At the
question, her soft face seemed close to his, and that slight
lift of the upper lip that made her smile so exquisite. Well-
he would go back. But not with any presence of going to talk
things over, come to an agreement, wind up their joint life like
a business association. No--if he went back he would go without
|
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 The Taming of the Shrew by William Shakespeare: You have but jested with me all this while:
I prithee, sister Kate, untie my hands.
KATHERINA.
If that be jest, then an the rest was so.
[Strikes her.]
[Enter BAPTISTA.]
BAPTISTA.
Why, how now, dame! Whence grows this insolence?
Bianca, stand aside. Poor girl! she weeps.
Go ply thy needle; meddle not with her.
For shame, thou hilding of a devilish spirit,
The Taming of the Shrew |
