|The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Bucky O'Connor by William MacLeod Raine:
muttering threats of what the company would do.
"Now, if I had only known it was against the law. My thick haid's
always roping trouble for me," the plainsman confided to the
Pullman conductor, with twinkling eyes.
That official unbent. "Talking about thick heads, I'm glad my
porter has one. If it weren't iron-plated and copper-riveted he'd
be needing a doctor now, the way you stood him on it."
"No, did I? Ce'tainly an accident. The nigger must have been in
my way as I climbed into the car. Took the kink out of his hair,
you say? Here, Sam!" He tossed a bill to the porter, who was
rolling affronted eyes at him. "Do you reckon this is big enough
|The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Dark Lady of the Sonnets by George Bernard Shaw:
never "saw himself," as actors say, in Romeo or Orsino or Antonio. In
Mr Harris's own play Shakespear is presented with the most pathetic
tenderness. He is tragic, bitter, pitiable, wretched and broken among
a robust crowd of Jonsons and Elizabeths; but to me he is not
Shakespear because I miss the Shakespearian irony and the
Shakespearian gaiety. Take these away and Shakespear is no longer
Shakespear: all the bite, the impetus, the strength, the grim delight
in his own power of looking terrible facts in the face with a chuckle,
is gone; and you have nothing left but that most depressing of all
things: a victim. Now who can think of Shakespear as a man with a
grievance? Even in that most thoroughgoing and inspired of all