Warren was well informed on surgical landmarks and had evidently been a close student of Sir Astley Cooper's classical illustrations of dislocations. He was able so to contract his abdominal muscles that the aorta could be distinctly felt with the fingers. In this feat nearly all the abdominal contents were crowded beneath the diaphragm. On the other hand, he could produce a phantom abdominal tumor by driving the coils of the intestine within a peculiar grasp of the rectus and oblique muscles. The "growth" was rounded, dull on percussion, and looked as if an exploratory incision or puncture would be advisable for diagnosis.
By extraordinary muscular power and extreme laxity of his ligaments, he simulated all the dislocations about the hip joint. Sometimes he produced actual dislocation, but usually he said he could so distort his muscles as to imitate in the closest degree the dislocations. He could imitate the various forms of talipes, in such a way as to deceive an expert. He dislocated nearly every joint in the body with great facility. It was said that he could contract at will both pillars of the fauces. He could contract his chest to 34 inches and expand it to 41 inches.
Warren weighed 150 pounds, was a total abstainer, and was the father of two children, both of whom could readily dislocate their hips.
In France in 1886 there was shown a man who was called "l'homme protee," or protean man. He had an exceptional power over his muscles. Even those muscles ordinarily involuntary he could exercise at will. He could produce such rigidity of stature that a blow by a hammer on his body fell as though on a block of stone. By his power over his abdominal muscles he could give himself different shapes, from the portly alderman to the lean and haggard student, and he was even accredited with assuming the shape of a "living skeleton." Quatrefages, the celebrated French scientist, examined him, and said that he could shut off the blood from the right side and then from the left side of the body, which feat he ascribed to unilateral muscular action.
In 1893 there appeared in Washington, giving exhibitions at the colleges there and at the Emergency Hospital, a man named Fitzgerald, claiming to reside in Harrisburg, Pa., who made his living by exhibiting at medical colleges over the country. He simulated all the dislocations, claiming that they were complete, using manual force to produce and reduce them. He exhibited a thorough knowledge of the pathology of dislocations and of the anatomy of the articulations. He produced the different forms of talipes, as well as all the major hip-dislocations. When interrogated as to the cause of his enormous saphenous veins, which stood out like huge twisted cords under the skin and were associated with venous varicosity on the leg, he said he presumed they were caused by his constantly compressing the saphenous vein at the hip in giving his exhibitions, which in some large cities were repeated several times a day.
Endurance of Pain.—The question of the endurance of pain is, necessarily, one of comparison. There is little doubt that in the lower classes the sensation of pain is felt in a much less degree than in those of a highly intellectual and nervous temperament. If we eliminate the element of fear, which always predominates in the lower classes, the result of general hospital observation will show this distinction. There are many circumstances which have a marked influence on pain. Patriotism, enthusiasm, and general excitement, together with pride and natural obstinacy, prove the power of the mind over the body. The tortures endured by prisoners of war, religious martyrs and victims, exemplify the power of a strong will excited by deep emotion over the sensation of pain. The flagellants, persons who expiated their sins by voluntarily flaying themselves to the point of exhaustion, are modern examples of persons who in religious enthusiasm inflict pain on themselves. In the ancient times in India the frenzied zealots struggled for positions from which they could throw themselves under the car of the Juggernaut, and their intense emotions turned the pains of their wounds into a pleasure. According to the reports of her Majesty's surgeons, there are at the present time in India native Brahmins who hang themselves on sharp hooks placed in the flesh between the scapulae, and remain in this position without the least visible show of pain. In a similar manner they pierce the lips and cheeks with long pins and bore the tongue with a hot iron. From a reliable source the authors have an account of a man in Northern India who as a means of self-inflicted penance held his arm aloft for the greater part of each day, bending the fingers tightly on the palms. After a considerable time the nails had grown or been forced through the palms of the hands, making their exit on the dorsal surfaces. There are many savage rites and ceremonies calling for the severe infliction of pain on the participants which have been described from time to time by travelers. The Aztecs willingly sacrificed even their lives in the worship of their Sun-god.
By means of singing and dancing the Aissaoui, in the Algerian town of Constantine, throw themselves into an ecstatic state in which their bodies seem to be insensible even to severe wounds. Hellwald says they run sharp-pointed irons into their heads, eyes, necks, and breasts without apparent pain or injury to themselves. Some observers claim they are rendered insensible to pain by self-induced hypnotism.
An account by Carpenter of the Algerian Aissaoui contained the following lucid description of the performances of these people:—
"The center of the court was given up to the Aissaoui. These were 12 hollow-checked men, some old and some young, who sat cross-legged in an irregular semicircle on the floor. Six of them had immense flat drums or tambours, which they presently began to beat noisily. In front of them a charcoal fire burned in a brazier, and into it one of them from time to time threw bits of some sort of incense, which gradually filled the place with a thin smoke and a mildly pungent odor.
"For a long time—it seemed a long time—this went on with nothing to break the silence but the rhythmical beat of the drums. Gradually, however, this had become quicker, and now grew wild and almost deafening, and the men began a monotonous chant which soon was increased to shouting. Suddenly one of the men threw himself with a howl to the ground, when he was seized by another, who stripped him of part of his garments and led him in front of the fire. Here, while the pounding of the drums and the shouts of the men became more and more frantic, he stood swaying his body backward and forward, almost touching the ground in his fearful contortions, and wagging his head until it seemed as if he must dislocate it from his shoulders. All at once he drew from the fire a red-hot bar of iron, and with a yell of horror, which sent a shiver down one's back, held it up before his eyes. More violently than ever he swayed his body and wagged his head, until he had worked himself up to a climax of excitement, when he passed the glowing iron several times over the palm of each hand and then licked it repeatedly with his tongue. He next took a burning coal from the fire, and, placing it between his teeth, fanned it by his breath into a white heat. He ended his part of the performance by treading on red-hot coals scattered on the floor after which he resumed his place with the rest. Then the next performer with a yell as before, suddenly sprang to his feet and began again the same frantic contortions, in the midst of which he snatched from the fire an iron rod with a ball on one end, and after winding one of his eyelids around it until the eyeball was completely exposed, he thrust its point in behind the eye, which was forced far out on his cheek. It was held there for a moment when it was withdrawn, the eye released, and then rubbed vigorously a few times with the balled end of the rod.