Strange Visitors Part 29

The plays which are enacted are generally composed by persons in the spiritual condition. We have many good farces; and an unending source of material for amusing plays is found in the relationship between the spirit world and earth, and the eccentric conditions growing out of that relationship. For instance, there is a laughable comedy being enacted at my theatre, depicting the adventures of a pious merchant, who, after the toils and cares of life, becomes a resident of the spirit world.

The graces and beauties of the angelic women whom he meets on every side enamour him; he forgets his past life, forgets the wife who has ruled him on earth, and in a moment of ecstasy chooses another mate.

While in the enjoyment of his bliss, and surrounded by bands of immortals, the news runs through the electric wire that his earth-wife is deceased, and has come in search of him. The consternation and fear of the poor man furnishes ample occasion for amus.e.m.e.nt, hilarity, and fellow-sympathy.

Our tragedies are cast in a higher mould; many of them are more sublime than those of earth, representing the catastrophes of worlds. We also have dramas which awaken the affections, representing the condition of those from earth who are neglected, or who, in consequence of a long career of vice and misery, cannot be approached by friends.

These brief hints will give a slight idea of the source and character of our dramatic representations.

Some men are born actors, as others are born painters, poets or preachers; and in the spirit world they can no more lay aside those powers which have become a part of them, than they can lay aside the gifts of observation or reflection. Understanding this fact, it will not surprise you to learn that those most famous in the histrionic art exercise their talents to listening thousands in the spirit world.

Garrick, Kemble, Kean, Booth, Cooke, also Rachel, Mrs. Siddons, and a host of ill.u.s.trious actors of different nations, are now "treading the boards" of spiritual theatres.

Their time, however, is not exclusively devoted to the exercise of these gifts, as on earth. A considerable portion is spent in the study of the arts and sciences; and many a noted actor becomes an able painter or musician, and many a low comedian a philosopher. Our life is one round of pleasant progression.

What I have said about our attractive theatre and my enjoyable condition, I hope will not induce any of you, my fellow-players, to emigrate to these sh.o.r.es before you are sent for; but, like good Jack Falstaff, I trust you will live in your own world as long as you can, and when Dame Nature is done with you, we will give you a hearty welcome and _a free pa.s.s to the dress circle_.

CHARLES L. ELLIOTT.

_PAINTING IN SPIRIT LIFE_.

My friends know that I was not much given to writing or speaking, and I reluctantly answer the call that has been made for me to give my views on art in the spirit existence.

The old masters whom we have worshipped from boyhood, Raphael, t.i.tian, Michael Angelo, Da Vinci, and all the ill.u.s.trious names of the Bolognese and Venetian schools of art, have pa.s.sed away from this sphere of spirit life, and no longer walk the streets of these wonderful cities which they have adorned with their works.

Reynolds, however, is with us still, and most of the army of painters who have been born on earth since his day, here live in bodily shape; and I have had the pleasure of meeting many admirable geniuses of the French, German, and English schools, and have seen some of their extraordinary works, which, for diversity of subject and majesty of conception, seem to rival omnipotence itself!

The great majority of American artists are secretly spiritualistic in their faith, and believe that they can be inspired by departed painters.

Innes, Page, Church, and Powers, have each felt and acknowledged the inspiration of the spirit of some great master in art.

I must confess that these masters are not existing in the sphere occupied by spirits who visit earth, and will explain the manner in which they impress persons congenial and partaking of like sympathies with themselves.

I am informed that it is not material to what sublimated sphere they may have ascended; it is merely a mesmeric influence which they exert over their disciples, and this influence can penetrate through all degrees of matter.

The reason why all artists are not alike inspired by the great masters is that they are not all subject to mesmeric influence, or on the same plane of thought.

Every disciple of high art, I have no doubt, has observed the magnetic quality which seems to pour forth from the canvas of any great master.

This arises from the brain effluvia which they have left upon the canvas, which is more powerful in its quality than a grain of musk, which will impart its odor for a hundred years.

The colors which the artists here use are formed upon the same model as those they have been in the habit of using on earth. They are more brilliant pigments, but color has always the same origin. Some paint with the brush and some paint with their fingers.

I had heard it remarked that the spirit had only to breathe on the canvas, and his thought would be represented, painted, and shaded in a second of time.

The substance of this statement is correct, but there is a slight misapplication of the facts.

'Tis true we have the power which we had on earth to a modified degree, of projecting the desired form upon the canvas. I remember always, after looking at my sitter, I could trace in imagination on the canvas the outline and expression of his countenance. This is what we do: the power of execution is so rapid that the time required for painting a picture might with you pa.s.s for a moment; but it is only a trained artist whose thoughts and comprehension are skilful enough to produce an effect so rapidly.

Those who have not learned to give form and shape to their ideas while on earth have to pursue a more painful and laborious process.

The modern school of color differs widely from the Venetian, being crude, cold, and sharp in comparison; and, in accounting for this difference, I can simply state that one can only represent what one sees.

The poetic, dreamy age, when men saw nature as through a veil, is past; the matter-of-fact, investigating mind has lifted that veil, and now sees objects as if in mid-day; but, as no condition is stationary, I am told that the mind is gradually moving on in the world of art to a point where it will again see nature in a more subdued and generalized light, as under the declining sun.

The past represented the morning, the present exhibits the noonday, and the future will indicate the evening.

Such is the constant revolution of mind, and its revolution though slow is certain.

In our works of art, sentiment is the prevailing characteristic.

Portraits are in great demand.

Spirits send portrait-painters to earth to obtain likenesses of their friends; and those spirit-artists who have the power of seeing the lineaments of these friends and portraying them are constantly engaged.

Leutze has been employed by Lincoln and others to represent scenes in the American rebellion; and Colonel Trumbull, also, has executed some magnificent pictures of the battles of Seven Pines, Fair Oaks, and a skirmish at Hampton Roads.

Stuart has completed a splendid portrait of General Grant, and is now engaged by John Jacob Astor on a likeness of a beautiful lady dwelling on earth. I have received a commission from Mr. James Harper to paint a portrait of his daughter, who occupied the carriage with him when he lost his life. I am at present engaged on a likeness of a lady residing at Albany.

COMEDIAN'S POETRY.

_ROLLICKING SONG_.

Hurrah! hurrah I my boys so bright, For merry ghosts meet here to-night.

We'll sing and dance till dawn of day, Then up we'll mount, away! away!

Then up, up, and away!

We live in spirit land so gay, And with grim Satan's fires we play.

You need not fear the future state, For we will meet you at the gate.

Then up, up, and away!

Come, friends of earth, and read our bill, 'Tis called the "sugar-coated pill;"

'Twill sweeten all life's bitter care, And lead you up, the saints know where, Then up, up, and away!

Come laugh with us each man and wife; A player's stage is earthly life; The sting of death is only a p.r.i.c.k, And _h.e.l.l_ the parson's "_trap-door trick_,"

Then up, up, and away!

Here's Garrick, Booth, and Kean so bright, They shine like stars to give you light.

So haste and join the merry throng, And loudly swell our happy song.

Then up, up, and away!