| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Enoch Arden, &c. by Alfred Tennyson: She blush'd a rosy red,
When Ringlet, O Ringlet,
She clipt you from her head,
And Ringlet, O Ringlet,
She gave you me, and said,
`Come, kiss it, love, and put it by
If this can change, why so can I.'
O fie, you golden nothing, fie
You golden lie.
3.
O Ringlet, O Ringlet,
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The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from A Kidnapped Santa Claus by L. Frank Baum: came to a halt.
Peter and Nuter and Kilter all jumped upon the seat and looked back
over the track made by the sleigh. But Santa Claus had been left
miles and miles behind.
"What shall we do?" asked Wisk anxiously, all the mirth and mischief
banished from his wee face by this great calamity.
"We must go back at once and find our master," said Nuter the Ryl, who
thought and spoke with much deliberation.
"No, no!" exclaimed Peter the Knook, who, cross and crabbed though he
was, might always be depended upon in an emergency. "If we delay, or
go back, there will not be time to get the toys to the children before
A Kidnapped Santa Claus |
| The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Othello by William Shakespeare: Rod. Oh wretched Villaine
Lod. Two or three groane. 'Tis heauy night;
These may be counterfeits: Let's think't vnsafe
To come into the cry, without more helpe
Rod. Nobody come: then shall I bleed to death.
Enter Iago.
Lod. Hearke
Gra. Here's one comes in his shirt, with Light, and
Weapons
Iago. Who's there?
Who's noyse is this that cries on murther?
Othello |
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 The Secrets of the Princesse de Cadignan by Honore de Balzac: marvellous preservatives. But when ease with his inherited fortune
came to him, he formed a vulgar and most incomprehensible connection
with a rather handsome woman, belonging to the lower classes, without
education or manners, whom he carefully concealed from every eye.
Michel Chrestien attributed to men of genius the power of transforming
the most massive creatures into sylphs, fools into clever women,
peasants into countesses; the more accomplished a woman was, the more
she lost her value in their eyes, for, according to Michel, their
imagination had the less to do. In his opinion love, a mere matter of
the senses to inferior beings, was to great souls the most immense of
all moral creations and the most binding. To justify d'Arthez, he
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