One of the most curious facts revealed by the observation of raps, is their relation with what I call the personification. Each personified individuality manifests its presence by special raps. In a series of experiments which have now lasted for more than two years, I have had frequent opportunity of studying raps personifying diverse entities. One of these entities called itself ‘John,’ Eusapia’s control, who has retained a friendly feeling for me, it appears, ever since my first experiments with the Neapolitan medium. ‘John’ manifests by short, sharp raps, so very like the manipulation of the Morse telegraph, that my co-experimenters and I wondered whether we were not actually listening to the usual Morse signals. Unfortunately none of us knew how to recognise letters by rhythm as exercised telegraphists can. A group, of four individualities, who call themselves the ‘Fairies,’ manifest their presence by raps resembling high, clear notes. These personifications are particularly interesting, and, further on, I will have occasion of relating how one of them showed herself to me. The four fairies are fond of mingling in the conversation, approving or disapproving of the ideas expressed by the experimenters. They appear to take considerable interest in the experiments, and I have often noticed that it sufficed—when the raps delayed in making themselves heard—to turn the conversation upon psychical phenomena, their probable explanation, their conditions of realisation, etc., in order to receive approving or disapproving raps at once. Sometimes the raps imitate a burst of laughter—this coincides either with an amusing story related by one of the sitters, or with some mild teasing. Another entity personifies a man for whom I had the deepest affection: these raps are graver in character. This personality seems to have the clairvoyant perspicacity and the kindheartedness of the man I knew. His intervention manifested itself under very curious circumstances, but of too private a nature to be made public. I will cite another personification of more recent appearance. It gives itself out to be the astronomer, Chappe d’Auteroche, and has related most accurately the details of his life and death in California. As a biographical notice concerning this learned man appears in several dictionaries, notably in Larousse, it is impossible to affirm that the irruption of this personification is supernormal. The raps which announce his presence are dull-sounding, and are given with a certain amount of force. In conclusion, light precipitated raps, weak but abundant, are the signals of certain personifications which we might call mar-joys—troublesome guests, whose unwelcome intervention spoils the experience.

Let it not be forgotten, that if I point out the connection existing between the personifications and the raps, it does not follow that I accept the reality of those personifications. I am making a statement, and I fill in all the details, so that experimenters, tempted to resume my observations, may know exactly what I have observed. So far, the personifications have not convinced me of their identity. It is true I act somewhat indifferently the rôle of listener to their fatiguing and rambling conversations, and that I do all I can to bring them back to material phenomena, so much more important to me in that they are so much easier to verify. Were I, however, not to point out the rôle which the raps play in relation to the personification, I would be omitting one of their most significant features, and would not be giving their exact physiognomy.

They manifest themselves, then, as the expression of a will and activity distinct from those of the observers. Such is the appearance of the phenomenon. A curious fact is the result—not only do the raps reveal themselves as the productions of intelligent action, they also manifest intelligence in response to any particular rhythm or code which might be demanded.

Often the different raps reply to one another; and one of the most interesting experiences one can have is to hear these raps clear and resonant, or soft and muffled, sounding simultaneously on the floor, table, furniture, etc.

I have had exceptionally good opportunities of studying very closely this curious phenomenon of raps, and I think I have arrived at some conclusions. The first and most certain is their undoubtedly close connection with the muscular movements of the sitters. I may sum up my observations on this point in the three following propositions:—

The following are the facts upon which I build my conclusions:—

I. I have frequently found that when the raps were feeble or interspersed, an excellent way of producing them was to form a chain of the sitters’ hands round the table. One of the sitters, without breaking the chain—which he avoids doing by taking in the same hand his neighbours’ right and left hands—makes, with his freed hand, circular sweeps or passes a little distance above the circle formed by the sitters’ outstretched hands. Having done this, the experimenter draws his hand towards the centre of the circle to a variable height, and makes a slight, downward movement with his hand; then he abruptly arrests the movement at about five or six inches away from the table, when a rap invariably follows, corresponding with the sudden cessation of the movement. It is exceptional when this process does not give a rap as soon as there is a medium in the circle who is capable, in however feeble a degree, of producing raps.

The same experiment can be made without touching the table, i.e. by forming the chain above the table. One of the sitters then experiments as in the preceding case.

This is not the only observation I have made. I have noticed that with mediums of decided power, it was unnecessary to adopt any special method for the production of raps, as they were forthcoming as soon as any sort of movement with hands or feet was executed. With strong mediums, it often suffices to move the hand above the table, to shake the fingers, to gently press the foot upon the ground, in order to determine the production of a rap.