The Problems of Psychical Research by Hereward Carrington (english novels to improve english .TXT) 📖

the forces and the mentalities behind the movement of the board are exceedingly complex, and but little understood. As the author of The Planchette Mystery said: "A wonderful jumble of mental and moral possibilities is this little piece of dead matter, now giving utterance to childish drivel, now bandying jokes and badinage, now stirring the conscience by unexceptionable Christian admonitions, and now uttering the baldest infidelity or the most shocking profanity; and often discoursing gravely on science, philosophy, or theology." Any theory that is advanced to explain the facts must take all this into consideration, and much more. Let us turn for a few minutes to consider the automatic script, as frequently obtained.

There are, very frequently, answers to mental questions—questions, too, the answer to which none of those having their hands on the board could possibly know. Often, again, remarks are volunteered conveying information not possessed by any one of the writers. The distinct characterization of a personality is frequently seen,—and a personality of a very detestable sort. The language employed, frequently, is quite unprintable. The "ouija" lies as coolly and confidently as it tells the truth; in fact, it is dogmatically positive that its statements are correct in every case, even when they are glaringly incorrect at the very time they are written. This spirit of dogmatism is shown in many passages, and suggests to us the attempt at domineering on the part of an intelligence unused to such a position, and rejoicing in its supremacy.

I wish to insist primarily upon the action of the board itself, and its apparently human characteristics—quite apart from any information which it volunteers; and this will be of the greater interest, I fancy, for the reason that such observations have, to the best of my knowledge, rarely been made. I can perhaps best illustrate my point by giving a few concrete examples.

There can be no question that the board has moods. It gets angry on occasion, for example, and at such times will tear round the table like a living thing, pointing first to one letter and then to another, and accentuating its meaning or calling attention to certain letters that are important, or that have been omitted in the rapid spelling, by rapping impatiently on the latter with the point—the point being lifted off the board at such times half an inch or so, and the board remaining planted on its two hind legs. I have seen the front leg of the board rap a dozen or so times on a letter that had been omitted; and sometimes the board would get so violent that it had to be quieted—just as the hand in automatic writing has to be quieted. Then, again, the board gets a certain "technique" of its own, acting in certain ways on certain occasions, and in other ways on other occasions; and frequently assuming a perfectly definite form of movement with certain persons—a certain sweep or an erratic manner of pointing to letters which it maintains uniformly so long as that person has his or her hands on the board. Occasionally the ouija will assume a different personality, according to the communicating intelligence, and not according to the person having his hands on the board. Just as raps or tables assume distinct personalities (see Dr. Maxwell's book for examples of this), so the ouija board assumes a perfectly definite personality, on occasion, and moves and writes according to that personality's idiosyncrasies. And this becomes all the more marked when we take into account certain peculiarities of the board—for example, its unwillingness to give names and dates, or to furnish any definite information about itself. I have observed over and over again that, whenever the intelligence doing the writing is closely questioned about itself, it will become angry, and refuse to give this information—either sulking or swearing at the writers. On the other hand, the board has some good points. It refused to disclose secrets about other persons, and got angry in the same way when pressed. Another exceedingly interesting and suggestive thing is that the intelligence operating the board occasionally gets tired. "Give me a rest now" is an expression frequently observed, and would seem to indicate that the "intelligence" gets confused and fatigued by the very process of communicating its thoughts—just as the "controls" do in the Piper case.

The very movements of the board frequently showed great skill and intelligence also; for instance, if the ouija encountered a rough or uneven place in the paper on one occasion it would always avoid crossing that spot in the future, and would go carefully round it, so as to avoid catching its legs in the hole or rough place in the paper. Still more striking was the manner in which the board pointed to certain letters on occasion. Many times the board was unable to point to a certain letter because the point of the ouija was in an awkward position, or on the edge of the table, or for some other reason. On such occasions the board backed one of its hind legs around until one of these legs pointed to the desired letter! Those having their hands on the board had many a hearty laugh over these antics, and particularly this one, which always reminded them of a horse backing itself round in this ludicrous way. It was always entirely unexpected, and was the source of great amusement. But what was the intelligence guiding the board when the only person having her hands upon it was not looking at its antics, or paying attention to what it was spelling out? Was it a spirit? If so, how did it manage to move the board? Did it act directly upon the matter of the board, and push it with its hands, as a material being would push it, or did it act in some more mysterious manner? Granting, for the sake of argument, that a spirit of some sort was involved in the production of the writing, how are we to assume its interaction with the matter of the board and its movements?

Two theories will at once present themselves to the reader: (1) that the spirit acts directly upon the matter of the ouija board, and pushes it as any mortal would push it; and (2) that the spirit acts only through the brain and nervous and muscular system of the person or persons having their hands on the board. I leave these for the present, because they have been discussed so often before. The following is the ouija board's own theory of such action—so we can at least listen to it with interest. In the course of some writing obtained, the following explanation of the action of the board was given by the "spirits" controlling it. I quote from the record: