| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Twenty Years After by Alexandre Dumas: side, do the same. That will be four killed. We shall then
be matched, four against the remaining five. If these five
men give themselves up we gag them; if they resist, we kill
them. If by chance our Amphitryon changes his mind and
receives only Porthos and myself, why, then, we must resort
to heroic measures and each give two strokes instead of one.
It will take a little longer time and may make a greater
disturbance, but you will be outside with swords and will
rush in at the proper time."
"But if you yourselves should be struck?" said Athos.
"Impossible!" said D'Artagnan; "those beer drinkers are too
 Twenty Years After |
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Aesop's Fables by Aesop: scanning machines, OCR software, public domain etexts, royalty
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AESOP'S FABLES (82 Fables)
 Aesop's Fables |
| The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Grimm's Fairy Tales by Brothers Grimm: face. The boy one day asked what was the matter, but his father would
not tell for some time; at last, however, he said that he had, without
knowing it, sold him for gold to a little, ugly-looking, black dwarf,
and that the twelve years were coming round when he must keep his
word. Then Heinel said, 'Father, give yourself very little trouble
about that; I shall be too much for the little man.'
When the time came, the father and son went out together to the place
agreed upon: and the son drew a circle on the ground, and set himself
and his father in the middle of it. The little black dwarf soon came,
and walked round and round about the circle, but could not find any
way to get into it, and he either could not, or dared not, jump over
 Grimm's Fairy Tales |
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 Essays of Travel by Robert Louis Stevenson: hand. Mighty oaks stand to the ankles in a fine tracery of
underwood; thence the tall shaft climbs upwards, and the great forest
of stalwart boughs spreads out into the golden evening sky, where the
rooks are flying and calling. On the sward of the Bois d'Hyver the
firs stand well asunder with outspread arms, like fencers saluting;
and the air smells of resin all around, and the sound of the axe is
rarely still. But strangest of all, and in appearance oldest of all,
are the dim and wizard upland districts of young wood. The ground is
carpeted with fir-tassel, and strewn with fir-apples and flakes of
fallen bark. Rocks lie crouching in the thicket, guttered with rain,
tufted with lichen, white with years and the rigours of the changeful
|