Mysterious Psychic Forces Part 22

While these phenomena were taking place, Eusapia seemed to be suffering. It seemed as if out of her own physiological fund or stock she were furnishing all the force required to put the objects in motion.

After the seance, while she was still very much prostrated, we saw an easy-chair which was behind the curtain come rolling up behind her, as if to say, "Hold on there! you've forgotten me!"

My conviction is that I witnessed phenomena which I cannot relate to any ordinary physical law. My impression is that fraud, in any case, is more than improbable,--at least so far as concerns the displacement at a distance of heavy articles of furniture arranged by my companions and myself. That is all that I can say about it. For my part, I call "natural" that which is scientifically proved. So that the word "mysterious" means that which still astonishes us because it cannot be explained. I believe that the scientific spirit consists in verifying facts, in not denying _a priori_ any fact which is not in contradiction with known laws, and in accepting none which has not been determined by safe and verifiable conditions.

_Seance of September 26._--A dark bust moves forward upon the table, coming from where Eusapia sits; then another, and still another. "They look like Chinese ghosts," says M. Mangin, with this difference, that I, who am better placed, owing to the light from the window, am able to perceive the dimensions of these singular images, and above all their _thickness_. All these black busts are busts of women, of life size; but, although vague, they do not look like Eusapia. The last of them, of fine shape, is that of a woman who seems young and pretty.

These half-lengths, which seem to emanate from the medium, glide along between us; and, when they have gone as far as the middle of the table or two-thirds of its length, they sink down altogether (all of a piece, as it were), and vanish. This rigidity makes me think of the reproductions, or fac-similes, of a bust escaped from a sculptor's atelier, and I murmur, "One would think he was looking at busts moulded in papier-mache." Eusapia heard me. "No, not papier-mache,"

she says indignantly. She does not give any other explanation, but says (this time in Italian), "In order to prove to you that it is not the body of the medium, I am going to show you a man with a beard.

Attention!" I do not see anything, but Dr. Dariex feels his face rubbed against for quite a while by a beard.

New experiments made at Genoa in 1901, at which Eurico Morselli, professor of psychology at the University of Genoa, was present, were reported by my learned friend the astronomer Porro, successively director of the observatories of Genoa and Turin, to-day director of the national observatory of the Argentine Republic at La Plata. Here are some extracts from this report:[38]

Nearly ten years have pa.s.sed since Eusapia Paladino made her first appearance in the memorable seances at Milan during the course of her mediumistic tours through Europe. The object of shrewd investigations on the part of experienced and learned observers; the b.u.t.t of jokes, accusations, sarcasms; exalted by certain fanatics as a personification of supernatural powers and scoffed at by others as a mountebank,--the humble haberdasher of Naples has made so much stir in the world that she is herself bored and displeased by it.

I had good proof of this when I took leave of her, after I had listened with much curiosity to the anecdotes which she related to me of her seances and of the well-known men with whom she has been a.s.sociated,--Ch. Richet, Schiaparelli, Lombroso, Flammarion, Sardou, Aksakof, et al. She then very emphatically asked me not to speak in the journals of her presence at Genoa and of the experiments in which she should figure there. Happily, she has good reasons herself for not reading the journals.[39]

Why was an astronomer chosen to give an account of the experiments at Genoa? Because astronomers are occupied with researches into the unknown.[40]

If a man absorbed in his own private studies and attached to an austere and laborious manner of life, such as my venerated master M.

Schiaparelli, has not hesitated to defy the irreverent jests of the comic journals, it behooves us to conclude that the bond between the science of the heavens and that of the human soul is more intimate than appears. The following is the most probable explanation. We have to do in these studies with phenomena which are manifested under wholly special and still undetermined conditions, in conformity with laws almost unknown and, in any case, of such a character that the will of the experimenter has but little influence upon the unshackled, self-regulating, and often adverse volitions which betray themselves at every moment in the study of these psychical marvels. n.o.body is better prepared to study these things than an astronomer, possessing, as he does, a scientific education precisely adapting him to the investigation of such conditions. In fact, by the systematic observation of the movements of the heavenly bodies, the astronomer contracts the habit of being a vigilant and patient spectator of phenomena, without attempting either to arrest or to accelerate their irresistible development. In other words, the study of the stars belongs to the science of _observation_ rather than to that of _experiment_.

Professor Porro then sets forth the actual state of the question relating to mediumistic phenomena.

The explanation that everything is fraud, conscious or unconscious [says he], is to-day almost entirely abandoned, as much so as that which supposes that all is hallucination. In fact, neither one nor the other of these hypotheses is sufficient to throw light upon the observed facts. The hypothesis of unconscious automatic action on the part of the medium has not obtained any better fate; for the most rigorous controls have only proved that the medium finds it impossible to excite a direct dynamic effect. Physio-psychology has therefore been obliged, in these latter years, to have recourse to a supreme hypothesis, by accepting the theories of M. de Rochas, against which they had heretofore directed the fire of their heaviest guns. It has become resigned to the admission that a medium whose limbs are held motionless by a rigorous control may, under certain conditions, project outside of herself, to a distance of several yards, a force sufficient to produce certain phenomena of movement in inanimate bodies.

The boldest partisans of this hypothesis go so far as to accept the temporary creation of pseudo-human limbs,--arms, legs, heads,--in the formation of which the energies of other persons present probably co-operate with those of the medium. The theory is that as soon as the energizing power of the medium is withdrawn these phantom dynamic limbs at once dissolve and disappear.

For all that, we do not yet go so far as to admit the existence of free and independent beings who would be able to exercise their powers only through the human organism; and still less do we admit the existence of spirits who once animated the forms of human beings....

M. Porro openly declares that, for his part, he is neither a materialist nor a Spiritualist: He says that he is not ready to accept, _a priori_, either the negations of psycho-physiology or the faith of Spiritualists.

He adds that the nine persons who were present with him at the seances represented the greatest variety of opinions on the subject, from the most firmly persuaded Spiritualists to the most incorrigible sceptics.

Moreover, his task was not that of writing an official report, approved by all the experimenters, but solely that of faithfully relating his own impressions.

The following are the _most important_ of these, selected from his reports on the different seances:

I saw, and plainly saw, the rough deal table (a table a yard long and nearly two feet wide and resting on four feet) rise up several times from the floor and, without any contact with visible objects, remain suspended in the air, several inches above the floor, during the s.p.a.ce of two, three, and even four seconds.

This experiment was renewed _in full light_ without the hands of the medium and of the five persons who formed the chain about the table touching the latter in any way. Eusapia's hands were looked after by her neighbors, who controlled also her legs and her feet in such a way that no part of her body was able to exercise the least pressure for the lifting or maintaining in the air of the rather heavy article of furniture used in the experiments.

It was under such absolutely trustworthy conditions as these that I was able to see inflated _a very thick piece of black cloth_ and the red curtains which were behind the medium, and which served to close the embrasure of the window. The cas.e.m.e.nt was carefully closed, there was no current of air in the room, and it is absurd to suppose that persons were hidden in the embrasure of the window. I believe, then, that I can affirm with the utmost confidence that _a force_, a.n.a.logous to that which had produced the levitation of the table, was manifested in the curtains, _inflated them, shook them, and pushed them_ out in such a way that they touched now one and now another of the company.

During the sitting an event took place which deserves to be mentioned as a proof, or at least as an indication, of the _intelligent_ character of the force in question.

Being face to face with Mme. Paladino, at a point in the table the most removed from her, I complained that I had not been touched as had the four other persons who formed the company. No sooner had I said this than I saw the heavy curtain sweep out and come and hit me in the face with its lower edge, at the same time that I felt a light blow upon the knuckles of my fingers, as if from a very fragile and light piece of wood.

Next a formidable blow, like the stroke of the fist of an athlete, is struck in the middle of the table. The person seated at the right of the medium feels that he is grasped in the side; the chair in which he was seated is taken away and placed upon the table, from which it then returns to its place without having been touched by anybody. The experimenter in question, who has remained standing, is able to take his seat in the chair again. The control of this phenomenon left nothing to desire.

The blows are now redoubled, and are so terrific that it seems as if they would split the table. We begin to perceive hands lifting and inflating the curtains and advancing so far as to touch first one, then the other, of the company, caressing them, pressing their hands, daintily pulling their ears or clapping hands merrily in the air above their heads.

It seems to me very singular and perhaps intentional,--this contrast between the touches (sometimes nervous and energetic, and again delicate and gentle, but always friendly) and the deafening, violent, brutal blows struck upon the table.

A single one of these fist-blows, planted in the back, would suffice to break the vertebral column.

The hands that perform these feats are the strong and brawny hands of a man, the daintier hands are those of a woman, the very small hands those of children.

The darkness is rendered a little less dense, and at once the chair of No. 5 (Professor Morselli), which had already made a jump to one side, is slipped from under him, while a hand is placed on his back and on his shoulder. The chair gets up on the table, comes down again to the floor, and, after different horizontal and vertical oscillations, soars up and rests upon the head of the professor, who has remained standing. It remains there for some minutes in a state of very unstable equilibrium.

The loud blows and the delicate touches of hands, large and small, succeed each other uninterruptedly in such a way that, without our being able mathematically to prove the simultaneousness of different phenomena, it is yet almost certain in several cases.

While our opportunities for obtaining so valuable a subject of demonstration increase, the simultaneity which we ask for is at last granted; for the table raps, the bell sounds, and the tambourine is carried tinkling over our heads all about the room, rests for a moment on the table, and then resumes its flight in the air....

A bouquet of flowers, placed in a carafe on the larger table, comes over onto ours, preceded by an agreeable perfume. Stems of flowers are placed in the mouth of No. 5; and No. 8 is. .h.i.t by a rubber ball, which rebounds upon the table. The carafe comes over to join the flowers on our table; it is then immediately lifted and put to the mouth of the medium, and she is made to drink from it twice; between the two times it sinks down to the table and stands there for a moment right side up. We distinctly hear the swallowing of the water, after which Mme.

Paladino asks some one to wipe her mouth with a handkerchief. Finally, the carafe returns to the large table.

But a transfer of a totally different character is effected in the following way. I had complained several times that my position in the chain at a distance from the medium had hindered me from being touched during the seance. Suddenly, I hear a noise on the wall of the room, followed by the tinkling of the strings of the guitar, which vibrate as if some one were trying to take down the instrument from the wall on which it hung. At last the effort succeeds, and the guitar comes toward me in an oblique direction. I distinctly saw it come between me and No. 8, with a rapidity which rendered the impact of it rather unpleasant. Not being able at first to account to myself for this dim black object which was driving at me, I slipped to one side (No. 8 was seated at my left). Then the guitar, changing its route, struck forcibly with its handle three blows upon my forehead (which remained a little bruised for two or three days), after which it came to a rest with delicate precision upon the table. It did not remain there very long before it began to circle about the hall, with a rotation to the right, quite high above our heads, and at great speed.

It is proper to remark that, in this rotation of the guitar, the vibration of its own strings was added to the sound of the tambourine struck sometimes on one side, sometimes on the other, in the air; and the guitar, bulky as it was, never once struck the central supporting electric-light rod, nor the three gas lamps fixed on the walls of the chamber. When we take into consideration the contracted dimensions of the room, we see that it was very difficult to avoid these obstacles, since the s.p.a.ce remaining free was very limited.

The guitar took its flight twice around the room, coming to a stand-still (between the two times) in the middle of the table, where finally it came to a rest. In a final supreme effort, Eusapia turns toward the left, where upon a table is a typewriting machine weighing fifteen pounds. During the effort the medium falls exhausted and nervous upon the floor; but the machine rises from its place and betakes itself to the middle of our table, near the guitar.

In full light, Eusapia calls M. Morselli, and, controlled by the two persons next her, brings him with her toward the table, upon which is placed a ma.s.s of modelling-plaster. She takes his open hand and pushes it three times toward the plaster, as if to sink the hand into it and leave upon it an impression. M. Morselli's hand remains at a distance of more than four inches from the ma.s.s: nevertheless, at the end of the seance, the experimenters ascertain that the lump of plaster contains the impression of three fingers,--deeper prints than it is possible to obtain directly by means of voluntary pressure.

The medium lifts her two hands, all the time clasped in mine and in those of No. 5 (Morselli), and uttering groans, cries, exhortations, _she rises with her chair_, so far as to place its two feet and the ends of its two front cross-bars upon the top of the table. It was a moment of great anxiety. The levitation was accomplished rapidly, but without any jarring or jolting or jerking. In other words, if, in an effort of extreme distrust you insisted on supposing that she employed some artifice to obtain the result, you would rather have to think of a pulling up, by means of a cord and pulley, rather than of a pushing from beneath.

But neither of these hypotheses can stand the most elementary examination of the facts....

There is more to follow. Eusapia was lifted up still farther with her chair, from the upper part of the table, in such a way that No. 11 on one side and I on the other were able to pa.s.s our hands under her feet and under those of the chair.

Moreover, the fact that the posterior feet of the chair were entirely off of the table, without any visible support makes this levitation still more irreconcilable with the supposition that Eusapia could have made her body and the chair take an upward leap.

M. Porro judges that this phenomenon is one of those which are less easily explained if we decline to have recourse to the Spiritualistic hypothesis.

It is a little like the man who fell into the water and thought he could pull himself out by his own hair.

Eusapia [adds M. Porro] descended without any jolting, little by little, No. 5 and I never letting go her hands. The chair, having risen up a little higher, turned over and placed itself on my head, whence it spontaneously returned to the floor.

This thing was tried again. Eusapia and her chair were transported again to the top of the table, only, this time, the result of the fatigue undergone by her was such that the poor woman fell in a faint upon the table. We lifted her down with all due care.

The experimenters desired to know whether these phenomena, the success of which depends in so great measure upon the conditions of light, could not have better success in the white and quiet light of the moon.

They were obliged to admit that there was no appreciable difference between the lunar light and other kinds. But the table around which they had formed the chain quitted the veranda where the sitting was being held, and, in spite of the strongly expressed wishes of the sitters and of the medium herself, betook itself into the neighboring room, where the sitting then continued.

This room was a little salon crowded with elegant furniture and fragile objects, such as crystal chandeliers, porcelain vases, bric-a-brac, etc. The experimenters feared very much that these things would suffer damage in the bustle of the seance; but not the slightest object suffered any damage.

Mme. Paladino, who was now herself again, took the hand of No. 11 and placed it gently upon the back of a chair, at the same time placing her own hand upon his. Then, as she lifted her hand and that of No.

11, _the chair followed the same ascending movement_ several times in succession.

This thing was repeated in full light.