Put to sleep and subjected to certain influences, A—— and B—— forget their identity; their age, their clothing, their sex, their social position, their nationality, the place and the time of their life—all this has entirely disappeared. Only a single idea remains—a single consciousness—it is the consciousness of the idea and of the new being that dawns upon their imagination.
They have lost the idea of their late existence. They live, talk, and think exactly like the type that is suggested to them. With what tremendous intensity of life these types are realized, only those who have been present at these experiments can know. Description can only give a weak and imperfect idea of it.
Instead of imagining a character simply, they realize it, objectify it. It is not like a hallucination, of which one witnesses the images unfolding before him, as a spectator would. He is rather like an actor who is seized with passion, imagines that the drama he plays is a reality, not a fiction, and that he has been transformed, body and soul, into the personality that he sets himself to play.
In order to have this transformation of personality work it is sufficient to pronounce a word with some authority. I say to A——, "You are an old woman," she considers herself changed into an old woman, and her countenance, her bearing, her feelings, become those of an old woman. I say to B——, "You are a little girl," and she immediately assumes the language, games, and tastes of a little girl.
Although the account of these scenes is quite dull and colorless compared with the sight of the astonishing and sudden transformations themselves, I shall attempt, nevertheless, to describe some of them. I quote some of M——'s objectivations:
As a peasant.—She rubs her eyes and stretches herself. "What time is it? Four o'clock in the morning!" She walks as if she were dragging sabots. "Now, then, I must get up. Let us go to the stable. Come up, red one! come up, get about!" She seems to be milking a cow. "Let me alone, Gros-Jean, let me alone, I tell you. When I am through my work. You know well enough that I have not finished my work. Oh! yes, yes, later."
As an actress.—Her face took a smiling aspect instead of the dull and listless manner which she had just had. "You see my skirt? Well, my manager makes me wear it so long. These managers are too tiresome. As for me, the shorter the skirt the better I like it. There is always too much of it. A simple fig leaf! Mon Dieu, that is enough! You agree with me, don't you, my dear, that it is not necessary to have more than a fig leaf? Look then at this great dowdy Lucie—where are her legs, eh?"
As a priest.—She imagines that she is the Archbishop of Paris. Her face becomes very grave. Her voice is mildly sweet and drawling, which forms a great contrast with the harsh, blunt tone she had as a general. (Aside.) "But I must accomplish my charge." She leans her head on her hand and reflects. (Aloud.) "Ah! it is you, Monsieur Grand Vicar; what is your business with me? I do not wish to be disturbed. Yes, today is the first of January, and I must go to the cathedral. This throng of people is very respectful, don't you think so, monsieur? There is a great deal of religion in the people, whatever one does. Ah! a child! let him come to me to be blessed. There, my child." She holds out to him her imaginary bishop's ring to kiss. During this whole scene she is making gestures of benediction with her right hand on all sides. "Now I have a duty to perform. I must go and pay my respects to the president of the Republic. Ah! Mr. President, I come to offer you my allegiance. It is the wish of the church that you may have many years of life. She knows that she has nothing to fear, notwithstanding cruel attacks, while such an honorable man is at the head of the Republic." She is silent and seems to listen attentively. (Aside.) "Yes, fair promises. Now let us pray!" She kneels down.
As a religious sister.—She immediately kneels down and begins to say her prayers, making a great many signs of the cross; then she arises. "Now to the hospital. There is a wounded man in this ward. Well, my friend, you are a little better this morning, aren't you? Now, then, let me take off your bandage." She gestures as if she were unrolling a bandage. "I shall do it very gently; doesn't that relieve you? There! my poor friend, be as courageous before pain as you were before the enemy."
I might cite other objectivations from A——'s case, in the character of old woman, little girl, young man, gay woman, etc. But the examples given seem sufficient to give some idea of the entire transformation of the personality into this or that imaginary type. It is not a simple dream, it is a living dream.