_Q._ But how does wife's brain know (certain) secrets? _A._ Wife's spirit unconsciously guides." At a subsequent séance the following dialogue occurred: "_Q._ By what means are (unknown) secrets conveyed to wife's brain? _A._ What you call mesmeric influence. _Q._ What do you mean by 'what you call'? What do _you_ call it? _A._ Electro-biology. _Q._ By whom, or by what, is the electro-biologic force set in motion? _A._ I told you you could not know more than you did. _Q._ Can wife answer a question the reply to which I do not know? _A._ Why do you try to make me say what I won't? _Q._ Simply because I desire knowledge. _Why_ will you not tell? _A._ Wife could tell if some one else, with a very strong will, in the room knew." These two cases clearly demonstrate the proposition that where an operator can be found who is not dominated by the suggestion embraced in the spiritistic hypothesis, he will not assume to be a spirit. If he does entertain the spirit hypothesis, he _will_ assume that he is a spirit, and answer accordingly. The mental and physical phenomena are the same in the one case as in the other. The logical conclusion is this: the fact that the intelligence which operates the pencil in the one case claims that it is a disembodied spirit does not constitute valid evidence that it is a spirit. We must look, therefore, to other sources for evidence of spirit origin of the phenomena. Obviously the only test by which that question can be settled is by the character of the communications. When that test is applied, it is found that all that is mysterious about them can be explained on the hypothesis of telepathy or clairvoyance. In the mean time, the fact that the power that writes is always amenable to control by suggestion, constitutes the strongest presumptive evidence that it is the subjective mind of the operator. This is the explanation which is afforded by a knowledge of some of the laws governing the action of the subjective mind. The _onus probandi_ rests with those who claim a supernatural origin for the phenomenon. TRANCE.