Method Used by Eusapia to Surreptitiously Free her Hand.
It is infinitely to be regretted that we cannot trust the loyalty of the mediums. They almost all cheat. This is extremely discouraging to the investigator, and the constant perplexity of mind we feel during our investigations renders them altogether painful. When we have passed several days in these inexplicable researches and then return to scientific work,—to an observation or to an astromical calculation, for example, or to the examination of a problem in pure science,—we experience a sensation of freshness, calmness, relief, and serenity which give us, by contrast, the most lively satisfaction. We feel that we are walking on solid ground and that we have not got to distrust anybody. Indeed, all the intrinsic interest of psychic problems is needed, sometimes, to give us the courage to renounce the pleasure of scientific study in order to give ourselves to investigations so laborious and perplexed.
I believe that there is only one way to assure ourselves of the reality of the phenomena, and that is to put the medium under conditions in which trickery is impossible. To catch her in the very act of deceit would be extremely easy. It would only be necessary to give her free rein. And then one can very easily aid her to cheat and to get caught. All that is necessary is that we be convinced of her dishonesty. Eusapia, especially, very easily takes suggestion. While going one day in an open carriage to dine at his residence, Colonel de Rochas said to her, in my presence, "You can't lift your right hand any more. Try it!" She did try, but in vain. "Non posso, non posso!" ("I can't do it, I can't do it!"). The mere suggestion had been sufficient.
In the phenomena concerned with the movements of objects without contact she always makes a gesture corresponding to the phenomenon. A force darts forth from her and performs the deed. Thus, for example, she strikes with her fist three or four strokes in the air at a distance of ten or twelve inches from the table: the same strokes are heard in the table. And it is positively in the wood of the table. It is not beneath it, nor upon the floor. Her legs are held and she does not move them. She strikes five strokes with the middle finger upon my hand in the air: the five strokes are rapped upon the table (November 19).
Nay more, this force can be transmitted by another. I hold her legs with my left hand spread out upon them; M. Sardou holds her left hand; she takes my right wrist in her right hand and says to me, "Strike in the direction of M. Sardou." I do so three or four times. M. Sardou feels upon his body my blows tallying my gesture, with the difference of about a second between my motion and his sensation. The experiment is tried again with the same success.
That same evening, not only did we not let go for a single instant of Eusapia's hands, separated from each other by the width of her body and placed near our own, but we did not allow them to be moved from the side of the objects to be displaced. It took considerable time to obtain results. But, all the same, they were wholly successful.
She has a tendency to go and take hold of the objects; she must be stopped in a good time. However, she herself does take hold of them, in fact, through the prolongation of her muscular force, and she says so: "I am grasping it, I have hold of it." It is our part to carefully retain her normal hands in ours.
We sometimes have good reason to suspect that Eusapia seizes the objects to be moved (such as musical instruments) with one of her hands which she has freed. But there is plenty of proof that she does not always do so. Here is a case, for example. The scene is Naples, 1902, at a séance with Professor von Schrenck-Notzing:
Fig. 2.