| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Island Nights' Entertainments by Robert Louis Stevenson: "Well, is that all?" I asked, when a pause came.
"Come along," says he, mopping his face; "I'll tell you outside."
"Do you mean they won't take the taboo off?" I cried.
"It's something queer," said he. "I'll tell you outside. Better
come away."
"I won't take it at their hands," cried I. "I ain't that kind of a
man. You don't find me turn my back on a parcel of Kanakas."
"You'd better," said Case.
He looked at me with a signal in his eye; and the five chiefs
looked at me civilly enough, but kind of pointed; and the people
looked at me and craned and jostled. I remembered the folks that
|
The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from The Art of War by Sun Tzu: where high roads intersect, join hands with your allies. Do not
linger in dangerously isolated positions.
[The last situation is not one of the Nine Situations as
given in the beginning of chap. XI, but occurs later on (ibid.
ss. 43. q.v.). Chang Yu defines this situation as being situated
across the frontier, in hostile territory. Li Ch`uan says it is
"country in which there are no springs or wells, flocks or herds,
vegetables or firewood;" Chia Lin, "one of gorges, chasms and
precipices, without a road by which to advance."]
In hemmed-in situations, you must resort to stratagem. In
desperate position, you must fight.
The Art of War |
