Fact and Fable in Psychology

by Joseph Jastrow

IV

There is, however, one important factor lacking in the conjurer's performance to illustrate completely the psychology of deception; it is that the mental attitude of the observer is too definite. He knows that he is being deceived by skill and adroitness, and rather enjoys it the more, the more he is deceived. He has nothing at stake; his mind rests easy without any detailed or complete explanation of how it was done. Quite different must have been the feeling of the spectator before the necromancer of old, in whose performance was seen the evidence of secret powers that could at a moment's notice be turned against any one to take away good luck, to bring on disease, or even to transform one into a beast. When magic spells and wonder-working potions were believed in, what we would now speak of as a trick was surrounded with a halo of awe and mystery by the sympathetic attitude of the spectators. The most complete parallel to this in modern times is presented by the physical phenomena of Spiritualism; and so many of the manifestations presented by performing mediums in evidence of Spiritualism have been exposed and proven to be conjuring tricks, that it is no longer an assumption to consider them in this connection. Spiritualistic phenomena present a perfect mine for illustrations of the psychology of deception, and it is these that I shall consider as the final topic in this cursory view.

The first general principle to be borne in mind is that the medium performs to spectators in doubt as to the interpretation to be placed upon what they see, or more or less prepared or determined to see in everything the evidence of the supernatural. This mental attitude on the part of the spectators is worth more to the medium than any single factor in the performance. The difference between such a presentation and one addressed to persons cognizant of the conjuring element in the performance and interested in its detection, cannot be exaggerated. It is this that makes all the difference between the séance swarming with miracles, any one of which completely revolutionizes the principles of science, and the tedious dreariness of a blank sitting varied only by childish utterances and amateurish sleight-of-hand. Careful observers often report that the very same phenomena that were utterly beyond suspicion in the eyes of believers are to unprejudiced eyes so apparent "that there was really no need of any elaborate method of investigation"; close observation was all that was required, and Mr. Davey, who conducted an admirable investigation of the reliability of accounts of sleight-of-hand performances, has experimentally shown that of equally good observers, the one who is informed of the general modus operandi by which such a phenomenon as "slate-writing" is produced will make much less of a marvel of it than one who is left in doubt in this regard.

With these all-powerful magicians—an expected result and the willingness to credit a marvel—clearly in mind, let us proceed from those instances in which they have least effect up to the point where they form the chief factor. First come a host of conjuring tricks performed on the stage in slightly modified forms, but which are presented as "spiritualistic." So simple a trick as scratching a name on one's hand with a clean pen dipped in water, then writing the name on a slip of paper, burning the slip and rubbing the part with the ashes, thus causing the ashes to cling to the letters formed on the hand and reveal the name, has been offered as a proof of spirit agency. Whenever an article disappears or rapidly changes its place, the spiritualist is apt to see the workings of hidden spirits; and over and over again have the performances of professional conjurers been declared to be spiritual in origin in spite of all protest from the conjurers themselves. Here everything depends upon the possession of certain technical knowledge; judging without such knowledge is apt to be mere prejudice. Another very large class of phenomena consists of those in which the performer is placed in a position apparently inconsistent with his taking any active part in their production; rope-tying tests, cabinet séances, the appearance of a "spirit-hand" from behind a screen, locking the performer in a cage, sewing him in a bag, and so on. The psychologist has very little interest in these; their solution depends upon the skill with which knots may be picked, locks unfastened, and the other devices by which security may be simulated. The chief interest in such performances is the historical one, for these have done perhaps more than anything else to convince believers of the truth of Spiritualism. Here, where everything depends upon the security of the fastenings (for once free, the medium can produce messages from the spirit-land limited only by his ingenuity and boldness), upon the particular moment when the examination was permitted or the light turned down, upon the success with which an appearance of security and intactness of seals and knots may be simulated, it might be supposed that all possible precautions had been taken to control and eliminate these possibilities; while, as a matter of fact, the laxity of most investigators in this regard is well known. These performances deceive because people overlook the technical acquisitions needed to pronounce upon the possibility or impossibility of a fastening having been tampered with and apparently restored without detection. If manufacturers of safes were equally credulous, and gave equally little time to the study of the security of locks, "safe" would be an ironical expression indeed.

Passing next to the most interesting of spiritualistic manifestations, those in which self-deception comes to the foreground, I need hardly dwell at length upon the tilting of tables, the production of raps by movements of which the sitters are unconscious; for these have been so often and so ably presented that they must now be well understood. Suffice it to say that it has been objectively proven that it is almost impossible not to give some indication of one's thoughts, when put upon the strain; and that under excitement, these indications may become palpably plain and yet remain unperceived by the individual who gives them. The extreme subtlety of these indications is met by the unusual skill of the professional mind-reader, who takes his clue from indications which his subject is "absolutely confident he did not give." The assurances of sitters that they know they did not move the table are equally valueless; and nothing but objective tests will suffice. The most wholesome lesson to be derived from the study of these phenomena is the proof that not all our intentions and actions are under the control of consciousness, and that, under emotional or other excitement, the value of the testimony of consciousness is very much weakened. Again, it is almost impossible to realize the difficulty of accurately describing a phenomenon lying outside the common range of observation. Not alone that the knowledge necessary to pronounce such and such a phenomenon impossible of performance by conjuring methods is absent, but with due modesty and most sincere intentions the readiness with which the observing powers and the memory play one false is overlooked. In the investigation of Mr. Davey, above referred to, the sitters prepared accounts of the "slate-writing" manifestations they had witnessed, and described marvels that had not occurred, but which they were convinced they had seen—messages written on slates utterly inaccessible to Mr. Davey, and upon slates which they had noticed a moment before were clean. The witnesses are honest; how do these mistakes arise? Simply a detail omitted here, an event out of place there, an unconscious insertion in one place, an undue importance given to a certain point in another place—nothing of which any one needs feel ashamed, something which it requires unusual training and natural gifts to avoid. The mistake lies in not recognizing our liability to such error.

If, however, the spectator is once convinced that he has evidence of the supernatural, he soon sees it in every accident and incident of the performance. Not only that he overlooks natural physical explanations, but he is led to create marvels by the very ardor of his sincerity. At a materializing séance the believer recognizes a dear friend in a carelessly arranged drapery seen in a dim light. Conclusive evidence of the subjective character of such perceptions is furnished by the fact that the same appearance is frequently recognized by different sitters as the spiritual counterpart of entirely different and totally dissimilar persons. A "spirit-photograph" is declared to be the precise image of entirely unlike individuals. In the "Revelations of a Spirit Medium," we read that a wire gauze mask placed in front of a handkerchief, made luminous by phosphorus, and projected through the opening of the cabinet, was "recognized by dozens of persons as fathers, mothers, sisters, brothers, cousins, sweethearts, wives, husbands, and various other relatives and friends." Each one sees what he expects to see, what appeals to his interests the most intensely. What the unprejudiced observer recognizes as the flimsily disguised form of the medium, the believer transforms into the object of his thoughts and longings. Only let the form be vague enough, the light dim enough, the emotions upon a sufficient strain, and that part of perception in which the external image is deficient will be readily supplied by the subjective tendencies of each individual. In the presence of such a mental attitude the possibilities of deception are endless; the performer grows bolder as his victim passes from a watchful, critical attitude to one of easy conviction, and we get scientific proofs of the fourth dimension of space, of the possibility of matter passing through matter, of the levitation or elongation of the medium's body, of the transcendence of the laws of gravity. And the same performance that convinced Professor Zoellner of the reality of the fourth dimension of space would prove to the spiritualist the intercourse with deceased friends, would convince the theosophist of the flight of the performer's astral body; and, it may not be irrelevant to add, it was the same type of performance that served and yet serves to terrify the minds of uncultivated and superstitious savages. All depends not upon what is done, but upon the mental disposition of the spectator. Little by little, through neglect, through mal-observation and lapses of memory, through an unwillingness to mistrust the reports of an excited consciousness, caution is abandoned and credulity enters. Mediums are actually seen flying out of one window and in through another. The wildest and most far-fetched fantastic explanation is preferred above a simple one; the bounds of the normal are passed; real hallucinations set in; conduct becomes irrational, and a state hardly distinguishable from insanity ensues. If this seems improbable, turn to the records of witchcraft persecutions and read upon what trifling and wholly imaginary evidence thousands of innocent lives were sacrificed; and this not by ignorant, bloodthirsty men, but by earnest, eminent, and religious leaders. A child is taken sick, is remembered to have been fondled by an old woman; therefore the woman has put the child under a spell and must be burned. A man sees an old woman in the woods, and, on turning about, the old woman is gone and a hare flies across his track; he concludes that she turned herself into a hare, and the witch test is applied. When the personal devil was believed in, he was seen daily clothed in the garments that imagination had given him, and engaged in mischief and villainy of all kinds. When witchery was the dominant superstition, all things gave evidence of that. So long as Spiritualism forms a prominent cult with a real hold upon the beliefs of its adherents, the number of mediums and manifestations will be correspondingly abundant. Create a belief in the theory, and the facts will create themselves.