| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Barlaam and Ioasaph by St. John of Damascus: in manifold ways, and knew that his intent was fixed, and that it
was no light passion that led him to ask for his daughter, but
love of godliness that constrained him to embrace a life of
poverty, preferring it to his own glory and noble birth, he took
him by the hand, and brought him into his treasure-house, where
he showed him much riches laid up, and a vast heap of money, such
as the young man had never beheld. And he said unto him, `Son,
all these things give I unto thee, forasmuch as thou hast chosen
to become the husband to my daughter, and also thereby the heir
of all my substance.' So the young man acquired the inheritance,
and surpassed all the famous and wealthy men of the land."
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The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Flatland: A Romance of Many Dimensions by Edwin A. Abbot: Neighbours remained neighbours till death did them part.
Such a life, with all vision limited to a Point, and all motion
to a Straight Line, seemed to me inexpressibly dreary; and I was
surprised to note the vivacity and cheerfulness of the King.
Wondering whether it was possible, amid circumstances so unfavourable
to domestic relations, to enjoy the pleasures of conjugal union,
I hesitated for some time to question his Royal Highness
on so delicate a subject; but at last I plunged into it
by abruptly inquiring as to the health of his family.
"My wives and children," he replied, "are well and happy."
Staggered at this answer -- for in the immediate proximity
Flatland: A Romance of Many Dimensions |
| The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from When the World Shook by H. Rider Haggard: comatose. The stone stopped and Yva sprang from it to a rock
platform level with which it lay. We followed, dragging Bastin
between us. As we did so something hit me gently on the head. It
was Bastin's lamp, which I seized.
"We are safe. Sit down and rest," said Yva, leading us a few
paces away.
We obeyed and presently by the dim light saw the stone begin to
stir again, this time upwards. In another twenty seconds it was
away on its never-ending journey.
"Does it always go on like that?" said Bastin, sitting up and
staring after it.
When the World Shook |
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 Art of Writing by Robert Louis Stevenson: the mouth; the task of weaving their argument into a texture
of committed phrases and of rounded periods - but this
particularly binding in the case of prose: and, again common
to both, the task of choosing apt, explicit, and
communicative words. We begin to see now what an intricate
affair is any perfect passage; how many faculties, whether of
taste or pure reason, must be held upon the stretch to make
it; and why, when it is made, it should afford us so complete
a pleasure. From the arrangement of according letters, which
is altogether arabesque and sensual, up to the architecture
of the elegant and pregnant sentence, which is a vigorous act
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