Mysterious Psychic Forces: An Account of the Author's Investigations in Psychical Research, Together with Those of Other European SavantsFlammarion, Camille
Philosophy
Mysterious Psychic Forces: An Account of the Author's Investigations in Psychical Research, Together with Those of Other European Savants
Flammarion, Camille
Parapsychology -- Investigation; Spiritualism
When her fingers were placed on black wool,--to be frank, upon the
trousers cloth of one of the company,--Eusapia called our attention to
the kind of diaphanous marks made upon them (the fingers), a
distorted, elongated second contour. She tells us that that is a sign
that she is going to be given great power to-day.
While we are talking some one puts a letter-weigher on the table.
Putting her hands down on each side of the letter-weigher, and at a
distance of four inches, she causes the needle to move to No. 35
engraved on the dial plate of the weigher. Eusapia herself asked us to
convince ourselves, by inspection, that she did _not_ have a hair
leading from one hand to the other, and with which she could
fraudulently press upon the tray of the letter-weigher. This little
by-play took place when all the lamps of the salon were fully lighted.
Then commenced the main series of experiments.
We sit around a rectangular table of white wood, the common kitchen
table. There are six of us. Close to the curtains, at one of the
narrow ends of the table, sits Eusapia; at her left, also near the
curtains, is M. Georges Mathieu, an agricultural engineer at the
observatory in Juvisy; next comes my wife; M. Flammarion is at the
other end, facing Eusapia; then Mme. Flammarion; finally myself. I am
thus placed at the right hand of Eusapia, and also against the
curtain. M. Mathieu and myself each hold a hand of the medium resting
upon his knee, and, furthermore, Eusapia places one of her feet upon
ours. Consequently, no movements of her legs or arms can escape our
attention. Note well, therefore, that this woman has the use only of
her head and of her bust, which latter is of course without the use of
the arms, and is in absolute contact with our shoulders.
We rest our hands on the table. In a few moments it begins to
oscillate, stands on one foot, strikes the floor, rears up, rises
wholly into the air,--sometimes twelve inches, sometimes eight inches,
from the ground. Eusapia utters a sharp cry, resembling a cry of joy,
of deliverance; the curtain behind her swells out, and, all inflated
as it is, comes forward upon the table. Other raps are heard in the
table, and simultaneously in the floor at a distance of about ten feet
from us. All this in full light.
Public-domain text, read in full here on John Shaqi.
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