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rom all sourcesPlease send if you find something of psychic or spiritual interest or perhaps religious, possibly philosophy [BUT NONE EXTREME, BUT BETTER; THOUGHT STIMULATING] please send it to me by Email, and I could post it on here, with or without your name on it, BUT with source reference and date if known.
Continued from Articles page 8. I personally do not agree with some of what is said.
Glimpses into Automatic Literature.
The claims of discarnate authorship present a delicate problem. Brofferio,
knew a writing medium "to whom Boccaccio, Bruno and Galileo dictated replies
that for the elevation of thought were assuredly more worthy of the greatness of
that trio than on the level of the medium; I could cite competent testimony to
the fact." According to Lombroso "' Dante, or one who stood for him, dictated to
Scaramuzza three Cantos in terza rima. I read only a few strophes of this
but so far as I could judge they were very beautiful." Many famous writers wrote
in a semi-trance, having but an imperfect recollection of the work afterwards.
Mrs. H. B. Stowe, the author of "Uncle Tom's Cabin"said"that she did not write
it: it was given to her it passed before her." In the preface of his famous poem
Jerusalem, Blake says that it was dictated to him. "The grandest poem
that this world contains; I may praise it, since I dare not pretend to be other
than the Secretary; the authors are in eternity." Again: "I have written this
poem from immediate dictation, twelve or sometimes twenty or thirty lines at a
time without premeditation and even against my will." Parts of the Old Testament
were received through automatic writing. "And there came a writing to him from
Elijah the prophet saying . ." (2 Chronicles XXI. 12). In 1833 the book of the
German Augustinian nun, Anna Catherine Emmerich, The Lowly Life and Bitter
Passion of Our Lord Jesus Christ and His Blessed Mother, was accepted by
Catholics as divinely inspired. The remarkable contents of the book came to her
in visions and were noted and edited by the poet Clement Brentano.
In America one of the earliest automatically-written books was the Rev.
C. Hammond's The Pilgrimage of Thomas Payne and Others to the Seventh Circle,
New York, 1852. The book contains 250 octavo pages. It was begun at the end
of December 1851 and completed February 1st next year. The following year Judge
Edmond's and Dexter's Spiritualism was published, which also contains
many spirit messages. The same year saw the appearance of John Murray Spear's
Messages from the Spirit Life, which was followed in 1857 by a big connected
work, the Educator. A year after, Charles Linton, a book-keeper of
limited education produced a remarkable book of 100,000 words, The Healing of
the Nation, which was printed with Governor Talmadge's preface. Next year
Twelve Messages from John Quincey Adams through Joseph D. Stiles was
published. But all these books pale into insignificance by Hudson Tuttle's
Arcana of Nature, a profound scientific book with which, in sweep and scope,
only the trance writings of Andrew Jackson Davis compare. Two astonishing cases
of automatic writing should yet be mentioned. The first dates from 1874. It is
The Mystery of Edwin Drood. Dickens, when he died, left this novel
unfinished. T. P. James, an American mechanic of very slight education,
completed it automatically. According to many critics the script is
characteristic of Dickens in style and is worthy of his talent. The second is
Oahspe, 1882, a new cosmic Bible which Dr. John Ballou Newbrough received in
automatic type-writing.
In France, Hermance Dufeaux, a girl of 14, produced in the early days of
French spiritualism, two surprising books: a Life of Jeanne d'Arc,
dictated by the Maid, and Confessions of Louis XL Allen Kardec vouched
for the honesty of the girl. On the other hand, the Divine Revelations of
Geneva in 1854, obtained by a little group of ministers and professors by
means of the table from Christ and his angels, is-according to Prof.
Flournoy-insipid and foolish enough to give one nausea.
In England Dr. J. Garth Wilkinson published in 1857 an octavo volume of
impressional poetry. The first continued series of automatically received
messages deserving serious attention was produced by William Stainton Moses
between 1870 and 1880. His scripts contained many evidential messages but their
main purpose was the delivery of high religious teaching. Nothing, except the
writings of the Rev. George Vale Owen and the present-day communications of Miss
Geraldine Cummins has equalled these scripts in interest. The Scripts of
Cleophas, Paul in Athens, and The Chronicle of Ephesus produced by
Miss Cummins under the alleged influence of Philip, the Evangelist and Cleophas,
bear signs of close acquaintanceship with the Apostolic Circle. It is very
curious that Cleophas describes the Pentecost meeting and declares that the
Apostles sat round in a circle with hands clasped, as the Master had taught
them. As to the inspiration of The Road to Immortality, Miss Cummins'
fourth book, by F. W. H. Myers, Sir Oliver Lodge claims to have received
independent evidence.
W. T. Stead's Letters from Julia is widely known, and Mrs. Hester
Travers, Smith's Psychic Messages from Oscar Wilde offers great
intellectual thrill. The Glastonbury Scripts have an importance of their
own. The quantity of automatically-written books is such that it is difficult to
mention more than a few as, for instance, Elsa Barker's Letters from a Living
Dead Man, War Letters from a Living Dead Man, Last Letters from a Living Dead
Man (the probable communicator being David P. Hutch, a magistrate of Los
Angeles), the remarkable books of Patience Worth produced through Mrs. John H.
Curran of St. Louis, The Book of Truth, claimed to have been written
under the divine guidance of Osiris, Submerged Atlantis Restored: or Links
and Cycles, Rochester, N.Y., 1911, inspired by "atlantean spirits" through
Mrs. C. C. Van-Duzee, Meslom's Messages from the Life Beyond and To
Woman: from Meslom, by Mary McEvilly, New York, 1920, The Seven
Purposes, by Margaret Cameron, New York, 1918, J. S. Ward's Gone West
and A Subaltern in the Spirit Lands, the anonymous Private Dowding
(by W. Tudor Pole), the Revelations of Louise, Claude's Book, 1918,
Claude's Second Book, 1919, and Claude's Third Book, 1920 by Mrs.
Kelway Bamber, The Twentieth Plane, by Albert Durrant Watson,
Philadelphia, 1919, Oscar Wilde in Purgatory and the curious and highly
intellectual automatic scripts of Mme. Juliette Hervey of France which Dr. Eugen
Osty studied.
Communications obtained through the planchette, ouija board or table
tipping are modifications of automatic writing and may be obtained by an
interchange of methods. The Oscar Wilde scripts came partly through the
planchette, partly through automatic writing.
AUTOMATIC DRAWING AND PAINTING, attempts at artistic expression
without control of the conscious self. The phenomenon belongs to the same
category as automatic writing but neither necessarily involves the other. Mrs.
William Wilkinson, the wife of one of the pioneer English spiritualists, could
draw, paint and play music automatically, but she could not produce automatic
writing. Her husband developed both gifts. An interpretation of the flowers of
joy, love, humility, faith and the architectural designs emanating from under
his wife's hand, was forthcoming in his automatic scripts. The power of
automatic drawing burst, after many weeks of vain trial., on William Wilkinson
in the following way: "After waiting less than five minutes it began to move, at
first slowly, but presently with increased speed, till in less than a
quarter-of-an-hour it moved with such velocity as I had never seen in a hand and
arm before, or since. It literally ran away in spiral forms; and I can compare
it to nothing else than the fly-wheel of an engine when it was "run away." This
lasted until a gentleman present touched my arm, when suddenly it fell like an
infant's as it goes to sleep, and the pencil dropped out of my hand. I had,
however, acquired the power. The consequences of the violent motion of the
muscles of the arm were so apparent that I could not for several days lift it
without pain."
In most cases visions are being presented to the automatist and the idea
to sketch then comes to him naturally. Miss Houghton in Evenings at Home in
Spiritual Seance writes of a Mrs. Puget who saw upon a blank paper "a lovely
little face, just like a photograph, which gradually disappeared; then another
became visible on another part of the sheet, and they arrested her attention so
much that she thought she would like to catch the fleeting image, which she did
with a piece of burnt cork, thinking that a piece of pencil would be too trying
for her sight." William Blake sketched his spiritual visitants as if they were
posing. He drew them with the utmost alacrity and composure looking up from time
to time as though he had a real sitter before him. If the vision disappeared he
stopped working until it returned. "I am really intoxicated with vision every
time I hold a pencil or pen in my hand "-he wrote.
Helen Smith painted in trance a series of tableaus on Biblical subjects
in colors. Her fingers moved incoherently over the canvas, executing different
details, in different parts which later merged into harmonious whole. She was
very slow. The execution of a big picture took more than a year. The vision
always returned.
Mme. d'Esperance saw a luminous cloud concentrate itself in the darkest
corner of the room, become substantial and form itself into the figure of a
child. Nobody else saw the figure but she could sketch it in the dark, being
unconscious of the extraordinary circumstances that she could see the paper and
pencil perfectly well. Spirit sketching became a regular phase of her mediumship
for a considerable time but the power waned, the luminosity of the apparitions
decreased as soon as she began to study sketching and became more self conscious
of her work.
Dr. John Ballou Newbrough, the automatist of Oahspe could paint
with both hands at once in total darkness. Susannah Harris, being blindfolded on
the platform, executed in two hours an oil painting upside down.
There are various degrees of such automatic activity from inspiration to
obsession. The fantastic designs of Victorien Sardou: scenes on the planet
Jupiter, The House of Mozart, The House of Zoroaster were inspired, as he felt
it, by Bernard Palissy. In the celebrated Thompson-Gifford case the impulse
amounted to
obsession.
Heinrich Nusslein, a contemporary German automatist developed his curious powers
of painting under the effect of the suggestion of a friend. In approximately two
years he had painted 2,000 pictures. He paints small pictures in three or four
minutes. No work takes more than thirty or forty minutes. Many of them are
painted from visions and in complete darkness. He makes portraits of distant
sitters by psychometric rapport or by concentrating on a name. His paintings
have considerable artistic merits. Augustine Lesage, the French miner painter
produced his first work in 1918, at the age of 35, after attending some seances.
In ten years he produced 57 canvases the conceptions of which are harmonious and
suggest an innate genius for color. He always begins at the top of the canvas
and works, as it were, story by story. He believes himself to be the
reincarnation of an old Egyptian painter. In 1926 the Society of French artists
exhibited some of his works. He feels an inner prompting before he begins to
paint.
Marjan Gruzewski, the Polish painting medium has a peculiar history. His
subconscious life was in preponderance from early childhood. When he went to
school his hand would write something else than what was dictated to him. If he
tried to write what he was told to do the pen dropped out of his hand. When he
first came into contact with spiritualism he was discovered to be a medium for
telekinesis, ectoplasmic phenomena and trance mediumship in general. His gifts
of automatic painting were discovered at the age of 18-19 after the end of the
war. In a state of trance and in full daylight he could produce pictorial
representations of anything suggested: scenes from the spirit world, historical
events, strangely interwoven with phantasies, striking portraits of dead people
whom he did not know in life; and the composition was often set with grinning
demons and weird faces. In Paris, at the Institut Metapsychique he drew designs
and painted portraits in complete darkness. But these pictures were inferior to
those produced in light. The quality improved with red light, even if it never
reached the table where he was working. He could also paint a portrait under
psychometric influence. Before his automatic activity developed he knew nothing
of designing or painting.
If talented painters, like Ferdinand Desmoulin and Hugo d'Alesi produce
automatic pictures, subconscious activity may well explain the case. But that
the explanation is not always satisfactory is well proved by the case of Mme.
Marguerite Burnat-Provins, a very able author and painter. At the time of the
outbreak of the war, when the church-bells tolled out the mobilization order,
she was seized by a great emotion and sudden voices impelled her to write. At a
later stage the hearing of the voice was accompanied by a vision which she drew
with lightning-like quickness. The visions represented symbolical character
pictures, they were sometimes felt subjectively, but were often seen objectively
in natural colors in space, developing on some occasions from a cloud-like
formation and leaving an indelible impression on her brain. They assumed a great
variety in shapes and contents, over a thousand pictures having been produced by
the Summer of 1930, when Dr. Osty published in the Revue Metapsychique
the result of his study. Mme. Burnat-Provins feels anguished if she tries to
resist the temptation to draw the visions as soon as they present themselves and
an exhaustion follows or sometimes precedes the phenomenon. The style and
character of the pictures is entirely different from Mme. Burnat-Provins'
ordinary work, most of them resemble caricatures, and she attributes the results
to an extraneous influence.
Another curious case is presented by the automatic sketches of Capt.
Bartlett, of Glastonbury Abbey, as it was in ancient days. He began at the left
hand top corner and worked downwards, bringing out archeologically verified
details with an amazing precision.
The tremendous speed with which the automatic execution takes place is
one of the most puzzling features of this psychic activity. The Seeress of
Prevorst drew complicated geometrical designs. "She threw off the whole drawing"
-writes Dr. Kerner - in an incredibly short time, and employed, in marking the
more than a hundred points into which this circle was divided, no compasses or
instruments whatever. She made the whole with her hand alone, and failed not in
a single point. She seemed to work as a spider works its geometric diagrams,
without a visible instrument. I recommended her to use a pair of compasses to
strike the circles; she tried, and made immediate blunders." William Howitt, who
had the gift of automatic drawing for five years, writes on this point: "Having
myself, who never received a single lesson in drawing, and never could draw in a
normal condition, had a great number of circles struck through my hand under
spirit-influence, and these filled up with tracing of ever-new invention,
without a thought of my own, I at once recognized the truth of Kerner's
statement."
Myers observed that independent drawings often exhibit a fusion of
arabesque with ideography, that is to say, they partly resemble the forms of
ornamentation into which the artistic hand strays when, as it were, dreaming on
the paper without definite plan; and partly they afford a parallel to the early
attempts at symbolic self-expression of savages who have not yet learnt an
alphabet. Like savage writing, they pass by insensible transitions from direct
pictorial symbolism to an abbreviated ideography, mingled in its turn with
writing of a fantastic or of an ordinary kind. He often showed to experts
strange hieroglyphics obtained automatically, but he found that at the best they
appeared to resemble scrawls seen on Chinese plates.
The curious water-color pictures of Catherine Berry, exhibited in
Brighton in 1874 disclosed such vagaries of mind to which Myers alludes. In
Catherine Berry's own words: "by any ordinary observer they would be pronounced
as chaotic, but a more minute survey of them reveals a wonderful design in
construction and purpose whatever it may be." She was told by her guide that
they were illustrative of the origin of species. Baroness Guldenstubbe
attributed them to the inspiration of a planetary spirit.
Insane patients often exhibit an impulse to decorative and symbolical
drawings. Some of their products, like those of Vaslav Nijinsky, are of decided
art merit. The automatist, however, is as a rule of sound mind. Learning and
erudition has nothing to do with the gift. Fabre, a French blacksmith, produced
an almost faultless copy of Raphael's Bataille de Constantin, the
original of which is now in the Vatican. The symbolic ideas often disclose a
high moral purpose. "Never has anything proceeded from these drawings "-writes
William Wilkinson in Spirit Drawings, A personal Narrative- "nor from
their descriptions, but what has been to us an incentive to a better and holier
life." It is, indeed, in the Bible that we find the first record of the
phenomenon in the following: "Then David gave to Solomon his son the pattern of
the porch, and of the houses thereof, and of the treasuries thereof, and of the
upper chambers thereof, and of the inner parlors thereof, and of the place of
the mercy seat and the pattern of all that he had by the Spirit, of the courts
of the house of the Lord, and of all the chambers round about it, of the
treasuries of the house of God, and of the treasuries of the dedicated things...
All this, said David, the Lord made me understand in writing by his hand upon
me, even all the works of this pattern." (Chronicles, ch. XXVIII).
AUTOMATIC SPEAKING--excitation of the vocal chords without the
volition of the conscious self. The speech bursts forth impulsively whether the
medium is in trance or in the waking state. In the latter case, and in partial
trance, the medium may understand the contents of the communication even if it
comes in a language unknown to him. But the retention of consciousness during
automatic speaking is exceptional. It is known to be so in the case of the
medium Horace Leaf; it was so with Florence Morse, and it was also observed by
Dr. Eugen Osty with Mme. Fraya and M. de Fleuriere. The curious case which
Professor William James has recorded in Proceedings S.P.R. Vol. XII, pp.
277-98 of Mr. Le Baron's (pseudonym) experiences in 1894 in an American
Spiritualist camp meeting, is specially instructive on this score. Le Baron, who
was a journalist, at one of these meetings 'felt his head drawn back until he
was forced flat on the ground.' Then "the force produced a motor disturbance of
my head and jaws. My mouth made automatic movements, till in a few seconds I was
distinctly conscious of another's voice-unearthly, awful, loud, weird-bursting
through the woodland from my own lips, with the despairing words 'Oh, my
people.' Mutterings of semi-purposive prophecy followed."
Professor James also speaks, as a curious thing, of the generic
similarity of trance utterances in different individuals. "It seems exactly" -he
said- "as if one author composed more than half of the trance messages, no
matter by whom they are uttered. Whether all subconscious selves are peculiarly
susceptible to a certain stratum of the Zeitgeist, and get their inspirations
from it, I know not."
The remark does not apply to the higher grade trance utterances and
inspirational oratory of which there is abundant proof. Nature's Divine
Revelations was dictated by the Poughkeepsie Seer in trance. Thomas Lake
Harris produced two big poems in a similar manner. An Epic of the Starry
Heavens, a poem containing nearly 4,000 lines, and A Lyric of the Morning
Land, another impressive poetic composition of over 5,000 words, were
dictated in a remarkably short time. David Duguid's curious historic romance
Hafed, Prince of Persia and its sequel Hermes, a Disciple of Jesus,
were also taken down from trance dictations. The revelations of Catherine
Emmerich, the Seeress of Westphalia about the house where Mary, the mother of
Jesus died, as taken down and published by Clement Brentano in a work of several
volumes have been confirmed by discoveries made near Ephesus towards the end of
the last century. The seeress who lived at the beginning of the XIX century told
the story of the life of Jesus day by day as if she had been an eye witness of
it all. Telka, Patience Worth's poem of 60-70,000 words in Anglo-Saxon
language, was dictated through Mrs. Curran as rapidly as it could be written
down by a secretary, and the medium was so independent of that which came
through her that she was free to smoke a cigarette, to interrupt herself by
taking part in the conversation of those present, or go into the next room to
answer the telephone. The whole poem, a masterpiece, took a total of 35 hours.
The case of Miss Florence Morse is extremely interesting. She was not only
conscious of her inspirational delivery but one of her controls who had a fund
of dry humour frequently kept her amused by his droll remarks on some feature of
the proceedings, especially when it was a case of answering questions.
Trance-singing is a kindred manifestation to automatic speaking. Jesse Shepard
was the most notable example. In the case of Mrs. A. M. Gage, a New York soprano
singer, who lost her voice through an attack of haemorrhage of the lungs, it was
accompanied by a complete alteration of personality.
BOOK TESTS, experiments to exclude the working of telepathy in mediumistic
communications. In answer to questions or for reasons of personal relevance the
communicator indicates a certain book upon a certain shelf in the home of the
sitter and gives the text on a certain page. In such experiments far more
successes were registered than chance would justify. The books selected are
usually those of which the communicator was fond in his lifetime, thus offering
another suggestion of personal identity. Many excellent cases of book tests are
recorded in Lady Glenconner's The Earthen Vessel and in Some New
Evidence for Human Survival, 1922, by the Rev. Drayton Thomas. Sir William
Barrett, in his preface to this book, quotes the following communication which
purported to come from Myers to him: "There were some books on the right-hand
side of a room upstairs in your house in Devonshire Place. On the second shelf,
four feet from the ground, in the fourth book counting from the left, at the top
of page 78, are some words which you should take as direct answer from him
(Myers) to so much of the work you have been doing since he passed over." Asked
if the name of the book could be given, the reply was - "No," but that whilst
feeling on the cover of the book he got a sense of "progression." Two or three
books from this test book are one or two books on matters in which Sir William
used to be very interested, but not of late years. It is connected with studies
of his youth."
Professor Barrett remarks that Mrs. Leonard, the medium of the
communication, never visited his house. He had no idea what books were referred
to, but on returning home found that in the exact position indicated, the test
book was George Eliot's Middlemarch. On the first line at the top of page
78 were the words .. "Ay, ay. I remember-you'll see I've remembered 'em all"
which quotation was singularly appropriate, as much of his work since Mr. Myers
passed over has been concerned with the question of survival after death and
whether the memories of friends on earth continued with the discarnate. But the
most remarkable part of the test was yet to be discovered. In dusting the
bookshelves the maidservant, unknown to the Professor, had replaced two of
George Eliot's novels by two volumes of Dr. Tyndall's books, viz., his Heat
and Sound, which were found exactly in the position indicated. In his youth
Prof. Barrett was, for some years, assistant to Prof. Tyndall, and these books
were written whilst he was with him.
By what process is the discarnate intelligence able to find a relevant
passage in closed books? One of the preliminary statements which the Rev.
Drayton Thomas received from his father was that he "sensed the appropriate
spirit of the passage rather than the letters composing it." After eighteen
months he appeared to acquire a power of occasionally seeing the words by some
sort of clairvoyance. The giving of the page is one of the greatest
difficulties. The impression left on the Rev. Drayton Thomas'mind was that when
a page had been fixed upon as containing a thought suitable for the test, the
operator counted the pages between that and the commencement. He usually starts
where the flow of thought commences and when it ceases and recommences higher up
he concludes that he passed from the bottom of one page to the top of another.
In this way, they say, it is found practicable to compute the number of pages
between the commencement and the passage fixed upon for the test. When
verifying, one usually counts from the commencement of the printed matter,
disregarding fly-leaves and the printer's numbering.
The experiments were just as successful when a sealed book, deposited by
a friend in the Rev. Drayton Thomas' house, was used; with an unseen bookshelf;
with a parcel in which an antiquarian at random packed in some books and which
was unopened; and with books placed in the dark in an iron deed-box. If these
results are to be explained by the medium's supernormal powers, she has to be
endowed, as the Rev. Drayton Thomas points out, with such a degree of
clairvoyance as would permit the making of minute observations in distant places
and retaining a memory of things there seen, with ability to extract the general
meaning from printed pages in distant houses, despite the fact that the books
concerned are not open at the time, with ability to obtain knowledge of
happenings in the sitter's home and private life relating both to the present
and to the distant past and with an intelligence which knows how to select from
among our host of memories the suitable items for association with the
book-passage, or conversely, of finding a suitable passage for the particular
memory fished from the depths of our mind. His own conclusion was that the book
tests were obtained by a spirit who gleaned impressions psychometrically and
obtained an exact glimpse now and again by clairvoyance.
The underlying idea of book tests goes back to the experiments of Sir
William Crookes. A lady was writing automatically with the planchette and he
tried to devise a means for the exclusion of "unconscious cerebration." He asked
the invisible intelligence if he could see the contents of the room, and on
receiving an affirmative answer he put his finger on a copy of The Times
which was on a table behind him, without looking at it, and asked that the
communicator should write down the word which was covered by his finger. The
planchette wrote the word "However." He turned round and saw that this was the
word covered by the tip of his finger. This experiment was first published in
January, 1874, in the Quarterly Yournal of Science.
The first plain book tests were recorded by Stainton Moses. He wrote
automatically, under the dictation of Rector: "Go to the book case and take the
last book but one on the second shelf, look at the last paragraph on page 94,
and you will find this sentence. . . ." The sentence was found as indicated. The
experiment was repeated a number of times.
Of other mediums William Eglinton was particularly successful in
direct-writing book-tests. Many cases are described in John S. Farmer's Twixt
Two Worlds. The page and line were selected by tossing coins and reading
the last numbers of the dates. In some cases they were still further complicated
by prescribing the use of colored chalk in a set order of the words. Book tests
combined with xenoglossis are described in judge Ludwig Dahl's We Are Here,
published in 1931. The Norwegian judge writes of the mediumship of his
daughter, Ingeborg, and describes how her two (deceased) brothers "were
represented as going into another room and reading aloud passages from a book
still on the shelves, the number of which was selected by one of the sitters-the
medium successfully repeating or transmitting what they read in a foreign
language and far beyond her comprehension."
Mrs. Henry Sidgwick, in her study of the problem of book tests in
Proceedings S.P.R., April, 1921, arrives at the conclusion: "On the whole, I
think, the evidence before us does constitute a reasonable prima facie
case for belief in the perception of external things not known to any one
present, but known to someone somewhere."
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