CHAPTER XIV
VARIOUS PSYCHO-PHYSICAL METHODS
"If man, then, shall attempt to sound and fathom the depths that lie not without him, but within, analogy may surely warn him that the first attempts of his rude psychoscopes to give precision and actuality to thought will grope among 'beggarly elements'—will be concerned with things grotesque, or trivial, or obscure. Yet here also one handsbreadth of reality gives better footing than all the castles of our dream; here also by beginning with the least things we shall best learn how great things may remain to do."—F. W. H. M., Introduction to Phantasms of the Living
I MUST not shirk a rather queer subject which yet needs touching upon, though it bristles with theoretical difficulties; and that is the rationale of one of the most elementary methods of ultra-normal communication, a method which many find practically the easiest to begin with.
It is possible to get communication of a kind, not by holding a pencil in the fingers, but by placing the hand on a larger piece of wood not at all adapted for writing with. The movements are then coarser, and the code more elementary; but in principle, when the procedure is analysed, it is seen not to be essentially different. It may be more akin to semaphore-arm signalling or flag-wagging; but any device whereby mental activity can translate itself into movements of matter will serve for subliminal as well as for conscious action; and messages by tilting of a table, though crude and elementary, are not really so surprising or absurd as at first sight they seem. The tilts of a telegraphic operator's key are still more restricted; but they serve. A pen or pencil is an inanimate piece of matter guided by the fingers. A planchette is a mere piece of wood, and when touched it must be presumed to be guided by the muscles,—though there is often an illusion, as with the twig of the dowser, that the inanimate object is moved directly, and not by muscular intervention. So also we may assume that a table or other piece of furniture is tilted or moved by regular muscular force: certainly it can only move at the expense of the energy of the medium or of people present. And yet in all these cases the substance of the message may be foreign to the mind of anyone touching the instrument, and the guidance necessary for sense and relevance need not be exercised by their own consciousness.
When a table or similar rough instrument is employed, the ostensible communicators say that they feel more directly in touch with the sitters than when they operate through an intermediary or 'control' on their side,—as they appear to find it necessary to do for actual speech or writing,—and accordingly they find themselves able to give more private messages, and also to reproduce names and technicalities with greater facility and precision. The process of spelling out words in this way is a slow one, much slower than writing, and therefore the method labours under disadvantages, but it seems to possess advantages which to some extent counterbalance them.
Whether it sounds credible or not, and it is certainly surprising, I must testify that when a thing of any mobility is controlled in this more direct way, it is able to convey touches of emotion and phases of intonation, so to speak, in a most successful manner. A telegraph key could hardly do it, its range of movement is too restricted, it operates only in a discontinuous manner, by make and break; but a light table, under these conditions, seems no longer inert, it behaves as if animated. For the time it is animated—somewhat perhaps as a violin or piano is animated by a skilled musician and schooled to his will,—and the dramatic action thus attained is very remarkable. It can exhibit hesitation, it can exhibit certainty; it can seek for information, it can convey it; it can apparently ponder before giving a reply; it can welcome a new-comer; it can indicate joy or sorrow, fun or gravity; it can keep time with a song as if joining in the chorus; and, most notable of all, it can exhibit affection in an unmistakable manner.
The hand of a writing medium can do these things too; and that the whole body of a normal person can display these emotions is a commonplace. Yet they are all pieces of matter, though some are more permanently animated than others. But all are animated temporarily,—not one of them permanently,—and there appears to be no sharp line of demarcation. What we have to realise is that matter in any form is able to act as agent to the soul, and that by aid of matter various emotions as well as intelligence can be temporarily incarnated and displayed.
The extraction of elementary music from all manner of unlikely objects—kitchen utensils, for instance—is a known stage-performance. The utilisation of unlikely objects for purposes of communication, though it would not have been expected, may have to be included in the same general category.
With things made for the purpose, from a violin to the puppets of a marionette show, we know that simple human passions can be shown and can be roused. With things made for quiet other purposes it turns out that the same sort of possibility exists.
Table-tilting is an old and despised form of amusement, known to many families and often wisely discarded; but with care and sobriety and seriousness even this can be used as a means of communication; and the amount of mediumistic power necessary for this elementary form of psychic activity appears to be distinctly less than would be required for more elaborate methods.