While in this state of mind, he heard of Corinna, the quadroon girl. Unattractive in person, slow of apprehension, and rarely uttering a word, she had hitherto excited only his pity. But now she fell into trances during which she seemed to be a new and entirely different being. At his first interview with her when she fell into one of these inexplicable states, she seized his hand, and imitating the look, actions, and very tone of his dying mother, poured forth such a flood of exhortations, comfortings, warnings, and encouragements, that he was bewildered and confounded. What could it all mean? The power that spoke through Corinna claimed to be his mother, and seemed to identify itself, as far as revelations to the understanding could go. It recalled the little incidents that had passed between them in the presence of no other witness. It pierced to his inmost secrets,—secrets which he well knew he had communicated to no human being. And yet Peek saw upon reflection that, though a preternatural faculty was plainly at work,—a faculty that took possession of his mind as a photographer does of all the stones, flaws, and stains in the wall of a building,—there was no sufficient identification of that faculty with the individual he knew as his mother. Little that might not already have been in his own mind, long hidden, perhaps, and forgotten, was revealed to him. He also concluded that the intelligence, whatever it might be, was a fallible one, and that it would be folly to give up to its guidance his own free judgment. He renewed his interviews daily as long as the quadroon girl lived. Skeptical, cautious, and meditative, he must test all these phenomena over and over again. And he did test them. He established conditions. He made records on the spot. He removed all possibilities of collusion and deception. And still the same phenomena! Nor were they confined to the imperfect wonders of clairvoyance and prophecy. Once in the broad daylight, when he was alone with the invalid girl in her hut, and no other human being within a distance of a quarter of a mile, she was lifted horizontally before his eyes into the air, and kept there swaying about at least a third of a minute, while the drapery of her dress clung to her person as if held by an invisible hand.[5] A bandore—a stringed musical instrument the name of which has been converted by the negroes into _banjo_—hung on a nail in the wall. One moonlight evening, when no third person was present, this African lute was detached by some invisible force and carried by it through the room from one end to the other! It would touch Peek on the head, then float away through the air, visible to sight, and sending forth from its chords, smitten by no mortal fingers, delectable strains. The same invisible power would tune the instrument, tightening the strings and trying them with a delicate skill; and then it would hang the banjo on its nail.