| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Protagoras by Plato: He considers openness to be the best policy, and particularly mentions his
own liberal mode of dealing with his pupils, as if in answer to the
favourite accusation of the Sophists that they received pay. He is
remarkable for the good temper which he exhibits throughout the discussion
under the trying and often sophistical cross-examination of Socrates.
Although once or twice ruffled, and reluctant to continue the discussion,
he parts company on perfectly good terms, and appears to be, as he says of
himself, the 'least jealous of mankind.'
Nor is there anything in the sentiments of Protagoras which impairs this
pleasing impression of the grave and weighty old man. His real defect is
that he is inferior to Socrates in dialectics. The opposition between him
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The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from From London to Land's End by Daniel Defoe: order to pursue her voyage to London.
"About eight o'clock in the evening the commander, whose name was
Anthony Jenkins, went on board with his mate to see that everything
was safe, and to give orders, but went both on shore again, leaving
only a man and two boys on board, not apprehending any danger, they
being in safe harbour. However, he ordered them that if it should
blow hard they should carry out the small bower anchor, and so to
moor the ship by two anchors, and then giving what other orders he
thought to be needful, he went ashore, as above.
"About nine o'clock, the wind beginning to blow harder, they
carried out the anchor, according to the master's order; but the
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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 Merry Men by Robert Louis Stevenson: the bodily pleasure of the movement, I was driven to wonder at this
depth of passive sensuality. She lived in her body; and her
consciousness was all sunk into and disseminated through her
members, where it luxuriously dwelt. Lastly, I could not grow
accustomed to her eyes. Each time she turned on me these great
beautiful and meaningless orbs, wide open to the day, but closed
against human inquiry - each time I had occasion to observe the
lively changes of her pupils which expanded and contracted in a
breath - I know not what it was came over me, I can find no name
for the mingled feeling of disappointment, annoyance, and distaste
that jarred along my nerves. I tried her on a variety of subjects,
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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 To-morrow by Joseph Conrad: no longer "next week," "next month," or even
"next year." It was "to-morrow."
In their intimacy of back yard and front gar-
den he talked with her paternally, reasonably, and
dogmatically, with a touch of arbitrariness. They
met on the ground of unreserved confidence, which
was authenticated by an affectionate wink now and
then. Miss Carvil had come to look forward rather
to these winks. At first they had discomposed her:
the poor fellow was mad. Afterwards she had
learned to laugh at them: there was no harm in
To-morrow |
