| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from St. Ives by Robert Louis Stevenson: gaped at us as if we had been baboons, sought to evangelise us to
their rustic, northern religion, as though we had been savages, or
tortured us with intelligence of disasters to the arms of France.
Good, bad, and indifferent, there was one alleviation to the
annoyance of these visitors; for it was the practice of almost all
to purchase some specimen of our rude handiwork. This led, amongst
the prisoners, to a strong spirit of competition. Some were neat
of hand, and (the genius of the French being always distinguished)
could place upon sale little miracles of dexterity and taste. Some
had a more engaging appearance; fine features were found to do as
well as fine merchandise, and an air of youth in particular (as it
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The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Little Women by Louisa May Alcott: full blast, with a black pot on it and an old witch bending over
it. The stage was dark and the glow of the furnace had a fine
effect, especially as real steam issued from the kettle when the
witch took off the cover. A moment was allowed for the first
thrill to subside, then Hugo, the villain, stalked in with a
clanking sword at his side, a slouching hat, black beard,
mysterious cloak, and the boots. After pacing to and fro in much
agitation, he struck his forehead, and burst out in a wild
strain, singing of his hatred to Roderigo, his love for Zara,
and his pleasing resolution to kill the one and win the other.
The gruff tones of Hugo's voice, with an occasional shout when
Little Women |
| The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Sanitary and Social Lectures by Charles Kingsley: suffering, who must die nevertheless. Let him slip into his grave
at least as painlessly as you can. And so you must use these
charitable societies, remembering all along what a fearful and
humbling sign the necessity for them is of the diseased state of
this England, as the sportula and universal almsgiving was of the
decadence of Rome.
However, the work has to be done; and such as it is, it is
especially fitted for young unmarried ladies. It requires no deep
knowledge of human nature. It makes them aware of the amount of
suffering and struggling which lies around them, without bringing
them in that most undesirable contact with the coarser forms of
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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 Cratylus by Plato: SOCRATES: We call her Pallas.
HERMOGENES: To be sure.
SOCRATES: And we cannot be wrong in supposing that this is derived from
armed dances. For the elevation of oneself or anything else above the
earth, or by the use of the hands, we call shaking (pallein), or dancing.
HERMOGENES: That is quite true.
SOCRATES: Then that is the explanation of the name Pallas?
HERMOGENES: Yes; but what do you say of the other name?
SOCRATES: Athene?
HERMOGENES: Yes.
SOCRATES: That is a graver matter, and there, my friend, the modern
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