| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Call of Cthulhu by H. P. Lovecraft: covered with undecipherable characters. The tips of the wings
touched the back edge of the block, the seat occupied the centre,
whilst the long, curved claws of the doubled-up, crouching hind
legs gripped the front edge and extended a quarter of the way
clown toward the bottom of the pedestal. The cephalopod head was
bent forward, so that the ends of the facial feelers brushed the
backs of huge fore paws which clasped the croucher's elevated
knees. The aspect of the whole was abnormally life-like, and the
more subtly fearful because its source was so totally unknown.
Its vast, awesome, and incalculable age was unmistakable; yet
not one link did it shew with any known type of art belonging
Call of Cthulhu |
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Amazing Interlude by Mary Roberts Rinehart: her hand. He was not well. He ate nothing, and at night he lay awake
and drank a great deal of water. Once or twice he found her looking at
him anxiously, but he disclaimed all illness.
He had known from the beginning what he was doing. But he did not touch
her, because in his heart he knew that where once he had been worthy he
was no longer worthy. He had left his work for a woman.
It is true that he had expected to go back at once. But the Philadelphia,
which had been listed to sail the next day, was held up by a strike in
Liverpool, and he waited on, taking such hours as she could give him,
feverishly anxious to make her happy, buying her little gifts mostly
flowers, which she wore tucked in her belt and smiled over, because she
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