| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from The Insidious Dr. Fu-Manchu by Sax Rohmer: Smith drew one sharp breath, and was silent. Together, chained to the wall,
two mediaeval captives, living mockeries of our boasted modern security,
we crouched before Dr. Fu-Manchu.
He came forward with an indescribable gait, cat-like yet awkward,
carrying his high shoulders almost hunched. He placed the lantern
in a niche in the wall, never turning away the reptilian gaze
of those eyes which must haunt my dreams forever. They possessed
a viridescence which hitherto I had supposed possible only in the eye
of the cat--and the film intermittently clouded their brightness--
but I can speak of them no more.
I had never supposed, prior to meeting Dr. Fu-Manchu, that so intense
The Insidious Dr. Fu-Manchu |
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Research Magnificent by H. G. Wells: likely that Prothero, getting it heaven knows where, had spluttered
it out and forgotten it, leaving it to germinate in the mind of his
friend. . . .
This lordly, this kingly dream became more and more essential to
Benham as his life went on. When Benham walked the Bisse he was
just a youngster resolved to be individually brave; when he prowled
in the jungle by night he was there for all mankind. With every
year he became more and more definitely to himself a consecrated man
as kings are consecrated. Only that he was self-consecrated, and
anointed only in his heart. At last he was, so to speak, Haroun al
Raschid again, going unsuspected about the world, because the palace
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| The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from The Count of Monte Cristo by Alexandre Dumas: hand of the massive time-piece, representing Endymion
asleep, pointed to nine on its golden face, and the hammer,
the faithful type of mechanical thought, struck nine times,
the name of the Count of Monte Cristo resounded in its turn,
and as if by an electric shock all the assembly turned
towards the door.
The count was dressed in black and with his habitual
simplicity; his white waistcoat displayed his expansive
noble chest and his black stock was singularly noticeable
because of its contrast with the deadly paleness of his
face. His only jewellery was a chain, so fine that the
The Count of Monte Cristo |
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 Les Miserables by Victor Hugo: the mysterious balance of light and darkness.
Should he impose his galleys on those two dazzling children,
or should he consummate his irremediable engulfment by himself?
On one side lay the sacrifice of Cosette, on the other that of himself.
At what solution should he arrive? What decision did he come to?
What resolution did he take? What was his own inward definitive
response to the unbribable interrogatory of fatality? What door
did he decide to open? Which side of his life did he resolve upon
closing and condemning? Among all the unfathomable precipices which
surrounded him, which was his choice? What extremity did he accept?
To which of the gulfs did he nod his head?
Les Miserables |
