| The first excerpt represents the element of Air. It speaks of mental influences and the process of thought, and is drawn from Scaramouche by Rafael Sabatini: cymbals intermittently. Pasquariel, as an apothecary in skull-cap
and white apron, excited the hilarity of the onlookers by his
enormous tin clyster, which emitted when pumped a dolorous squeak.
Within the chaise itself, but showing themselves freely at the
windows, and exchanging quips with the townsfolk, sat the three
ladies of the company. Climene, the amoureuse, beautifully gowned
in flowered satin, her own clustering ringlets concealed under a
pumpkin-shaped wig, looked so much the lady of fashion that you
might have wondered what she was dong in that fantastic rabble.
Madame, as the mother, was also dressed with splendour, but
exaggerated to achieve the ridiculous. Her headdress was a
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The second excerpt represents the element of Fire. It speaks of emotional influences and base passions, and is drawn from Crito by Plato: about spending all mine, here are strangers who will give you the use of
theirs; and one of them, Simmias the Theban, has brought a large sum of
money for this very purpose; and Cebes and many others are prepared to
spend their money in helping you to escape. I say, therefore, do not
hesitate on our account, and do not say, as you did in the court (compare
Apol.), that you will have a difficulty in knowing what to do with yourself
anywhere else. For men will love you in other places to which you may go,
and not in Athens only; there are friends of mine in Thessaly, if you like
to go to them, who will value and protect you, and no Thessalian will give
you any trouble. Nor can I think that you are at all justified, Socrates,
in betraying your own life when you might be saved; in acting thus you are
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| The third excerpt represents the element of Water. It speaks of pure spiritual influences and feelings of love, and is drawn from Lord Arthur Savile's Crime, etc. by Oscar Wilde: the door was opened by a rather rough-looking foreigner, who asked
him in very bad English what his business was. Lord Arthur handed
him the paper Count Rouvaloff had given him. When the man saw it
he bowed, and invited Lord Arthur into a very shabby front parlour
on the ground floor, and in a few moments Herr Winckelkopf, as he
was called in England, bustled into the room, with a very wine-
stained napkin round his neck, and a fork in his left hand.
'Count Rouvaloff has given me an introduction to you,' said Lord
Arthur, bowing, 'and I am anxious to have a short interview with
you on a matter of business. My name is Smith, Mr. Robert Smith,
and I want you to supply me with an explosive clock.'
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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 Herbert West: Reanimator by H. P. Lovecraft: abutted. When I slammed the door after them West came downstairs
and looked at the box. It was about two feet square, and bore
West’s correct name and present address. It also bore the inscription,
"From Eric Moreland Clapham-Lee, St. Eloi, Flanders." Six years
before, in Flanders, a shelled hospital had fallen upon the headless
reanimated trunk of Dr. Clapham-Lee, and upon the detached head
which -- perhaps -- had uttered articulate sounds.
West was
not even excited now. His condition was more ghastly. Quickly
he said, "It’s the finish -- but let’s incinerate -- this." We
carried the thing down to the laboratory -- listening. I do not
Herbert West: Reanimator |
