| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from On the Origin of Species by Charles Darwin: leaves in some degree fleshy, though not elsewhere fleshy. Several other
such cases could be given.
The fact of varieties of one species, when they range into the zone of
habitation of other species, often acquiring in a very slight degree some
of the characters of such species, accords with our view that species of
all kinds are only well-marked and permanent varieties. Thus the species
of shells which are confined to tropical and shallow seas are generally
brighter-coloured than those confined to cold and deeper seas. The birds
which are confined to continents are, according to Mr. Gould,
brighter-coloured than those of islands. The insect-species confined to
sea-coasts, as every collector knows, are often brassy or lurid. Plants
On the Origin of Species |
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Ancient Regime by Charles Kingsley: probably inherit it, at least in part; and over and above, will have
it developed in them by an education worthy of their parents and
themselves. If man were--what he is not--a healthy and normal
species, a permanent hereditary caste might go on intermarrying, and
so perpetuate itself. But the same moral reason which would make
such a caste dangerous--indeed, fatal to the liberty and development
of mankind, makes it happily impossible. Crimes and follies are
certain, after a few generations, to weaken the powers of any human
caste; and unless it supplements its own weakness by mingling again
with the common stock of humanity, it must sink under that weakness,
as the ancient noblesse sank by its own vice. Of course there were
|
| The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Symposium by Xenophon: cross-examine people[3] at a banquet, what kind of piping[4] should he
have?
[3] Or, "a poor body," in reference to the elentic onslaught made on
himself by Antisthenes above.
[4] {to aulema}, a composition for reed instruments, "music for the
flute." Cf. Aristoph. "Frogs," 1302.
Ant. The person in the witness-box would best be suited with a
serpent-hissing theme.[5]
[5] Or, "motif on a scrannel pipe." See L. & S. s.v. {puthaules}. Cf.
Poll. iv. 81, {puthikon aulema}, an air ({nomos}) played on the
{puthois aulos}, expressing the battle between Apollo and the
The Symposium |
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 Men of Iron by Howard Pyle: opponent rushing nearer, nearer, nearer. He centred, with a
straining intensity, every faculty of soul, mind, and body upon
one point--the cross of the occularium, the mark he was to
strike. He braced himself for the tremendous shock which he knew
must meet him, and then in a flash dropped lance point straight
and true. The next instant there was a deafening stunning
crash--a crash like the stroke of a thunder-bolt. There was a
dazzling blaze of blinding light, and a myriad sparks danced and
flickered and sparkled before his eyes. He felt his horse stagger
under him with the recoil, and hardly knowing what he did, he
drove his spurs deep into its sides with a shout. At the same
Men of Iron |
