Fiends, Ghosts, and Sprites Part 10

This gentleman has for many years been free from any spectral apparition; but hard study, mental emotion, a disordered state of the health, or pressure with the finger on the eyeball, is apt to occasion a brilliant evolution of coloured light in the field of vision.

The spontaneous appearance of light in the visual field, in this case, formed the substratum upon which the mind moulded the spectres; and it is interesting to remark the influence which the perusal of a volume of legends and ghost-stories, and subsequent cla.s.sical studies, had in determining the form of the phantasma.

To the same cause--the subjective phenomena of vision--are due the various coloured lights or luminous appearances which, in the experiments of Reichenbach, the believers in animal magnetism, mesmerism, and electro-biology, are supposed to have been seen issue, by the "susceptible," from the poles of magnets placed in darkened apartments, from so-called magnetised bodies, or from bodies placed in the conditions which the respective theories demand.

All the sensations of light that are experienced under these circ.u.mstances, and which have been sought to be explained by the a.s.sumption of the "od" force, or by the influence of magnetism, &c., are dependent on that excitation of a sensation of light in the eye when plunged into darkness, or when under certain mental emotions which we have fully explained.

This has been demonstrated by positive experiment; for if we take any of the "susceptibles," and, indeed, others, and place them in a darkened apartment, we may by simple suggestions excite all the luminous sensations attributed to the supposit.i.tious "od" force, or to "animal magnetism."

The luminous appearances which certain "sensitives" have averred that they witnessed over graves, were due also to the subjective phenomena of vision, excited by an expectant idea.

A young clergyman named Billing, who acted as an amanuensis to Pfeffer, the blind poet, a.s.serted that he constantly saw, at night, a luminous cloud resting in one position in the poet's garden; and on search being made beneath the surface of the ground, at the spot occupied by this phantasm, the remains of a skeleton were found.

Reichenbach concluded from this that the process of decomposition of a corpse going on in the grave, probably like what is observed in other forms of chemical action, gave rise to luminous appearances which were visible to highly "sensitive" persons.

"It appeared possible," he writes, "that such a person might see over graves in which mouldering bodies lie, something similar to that which Billing had seen. Mademoiselle Reichel had the courage, rare in her s.e.x, to gratify this wish of the author. On two very dark nights she allowed herself to be taken from the Castle of Reisenberg, where she was living with the author's family, to the neighbouring churchyard of Grunzing.

The result justified his antic.i.p.ation in the most beautiful manner. She very soon saw a light, and observed on one of the graves, along its length, a delicate breathing flame; she also saw the same thing, only weaker, on a second grave. But she saw neither witches nor ghosts. She described the fiery appearance as a s.h.i.+ning vapour, one to two spans high, extending as far as the grave, and floating near its surface.

Sometime afterwards she was taken to two large cemeteries near Vienna, where several burials occur daily, and graves lie about by thousands.

Here she saw numerous graves provided with similar lights. Wherever she looked she saw luminous ma.s.ses scattered about. But this appearance was most vivid over the newest graves, while on the oldest it could not be perceived. She described the appearance less as a clear flame than as a dense vaporous ma.s.s of fire, intermediate between fog and flame. On many graves the flame was four feet high, so that when she stood on them it surrounded her up to the neck. If she thrust her hand into it, it was like putting it into a dense fiery cloud. She betrayed no uneasiness, because she had all her life been accustomed to such emanations, and had seen the same, in the author's experiments, often produced by natural causes."[61]

The total neglect of those precautions which are requisite to obviate the influence of expectant ideas and the subjective phenomena of vision in this experiment is most strange, and it is painful to witness men like Reichenbach, Gregory, and others, thus stumbling over some of the simplest facts of physiology and psychology, and utterly prost.i.tuting the name and calling of science.

Singular and fallacious as are the pseudo-scientific doctrines just mentioned, they are exceeded by the extraordinary speculations of other writers, who also appear to hold in utter contempt the ordinary laws of action of the senses. For example, Mrs. Crowe writes of the sensation of light perceived by somnambules and dreamers, and of the still more simple phenomenon of the sensation of light induced by the inhalation of ether, in the following manner:--

"All somnambules of the highest order,--and when I make use of this expression, I repeat that I do not allude to the subjects of mesmeric experiments, but to those extraordinary cases of disease, the particulars of which have been recorded by various continental physicians of eminence,--all persons in that condition describe themselves as hearing and seeing, not by the ordinary organs, but by some means the idea of which they cannot convey further than that they are pervaded by light; and that this is not the _ordinary_ physical light is evident, inasmuch as they generally see best in the dark,--a remarkable instance of which I myself witnessed.

"I never had the slightest idea of this internal light till, in the way of experiment, I inhaled the sulphuric ether; but I am now very well able to conceive it; for, after first feeling an agreeable warmth pervading my limbs, my next sensation was to find myself--I cannot say in this heavenly light, for the light was in _me_--I was pervaded by it; it was not perceived by my eyes, which were closed, but perceived internally, I cannot tell how. Of what nature this heavenly light was--I cannot forbear calling it _heavenly_, for it was like nothing on earth--I know not,"[62] &c.

The sense of _hearing_, like that of sight, in whatever manner it may be excited, only gives rise to the sensation of sound; _e.g._, when an electric current is pa.s.sed through it, or a severe blow is struck upon it, and causes it "to ring," as it is expressed in common parlance. The rus.h.i.+ng and other sounds--as of the ringing of bells, rustling of leaves, &c.--caused by a disordered state of the circulation in the head, are other examples; and there are perhaps few persons who have not at some time or other, started, and responded to their name, or to calls which they suppose they have heard, in the voice of persons who were at a distance, or who had not spoken.

A similar excitation of the nerves of _taste_ and _smell_ will also give rise to their special sensations; but disorder of these nerves and their centres will rarely excite hallucinations, except in connection with a disturbed condition of the senses of sight and hearing.

Such are the simplest forms of hallucination of the senses of sight, hearing, taste, and smell; and we have seen that all the phenomena of light, colour, sound, taste, and smell, can occur in man without the presence of natural or artificial light, sonorous undulations of the air, sapid or odorous substances.

We are now in a position to comprehend more fully that, by the action of the imagination and emotions alone, the changes going on in the nervous centres may be so far disturbed that the whole of those sensations which are generally excited by agents external to the body may be called into play, and the mental idea a.s.sume, in light, colour and shade, sound, taste and touch, all the distinctness and definitiveness which appertains to an actual object within the sphere of the respective senses, and be considered as such.

If the mind revert to any of the varied sensations which are stored up in the memory, and are within the power of the will to recall, an image is conjured up before the "mind's eye," such that we can describe it as though a real object stood before us; and if it be that of a person--a parent, a friend, or one bound by even still stronger ties--every lineament, every peculiarity, is depicted with a fidelity but little less than that we should be capable of were the individual actually present before us; or should it be a scene which has been treasured up for its grandeur, its loveliness, or for its being endeared to us by still stronger feelings, every characteristic feature, every object, is minutely and truly described; and did we possess the power of limning, not unfrequently we should find little difficulty in transferring the mental image to the canva.s.s. "I think I see him now"--"She might be before me"--"I can call to mind every tree and stone, so vivid is the memory"--are forms of expression in constant use, and they contain the germ of the simplest form of ideal hallucination to which we are subject.

Under the influence of love, grief, remorse, or other powerful and protracted emotion, the ideas upon which the mind is concentrated a.s.sume a vividness, in many persons little short of the reality; and when Victorian, addressing Preciosa in the "Spanish Student" (Act I, Scene 3), is represented as saying:--

"Thou comest between me and those books too often; I see thy face in everything I see; The paintings on the chapel wear thy looks, The canticles are changed to sarabands; And with the learned doctors of the schools, I see thee dance cachucas;"

he makes use of no exaggerated poetical tropes or figures, but speaks the simple fact.[63]

A painful ill.u.s.tration of the vividness of the mental image under powerful emotion is afforded by a pa.s.sage in "The Dream" of Lord Byron, in which he describes the images of the object and scenes of his youthful and only love, that occupied his mind, and rendered him insensible to the ceremony of his marriage until he was aroused from his abstraction by the congratulations of the bystanders.

"He spoke The fitting vows, but heard not his own words, And all things reel'd around him; he could see Not that which was, nor that which should have been,-- But the old mansion, and the accustom'd hall, And the remember'd chambers, and the place, The day, the hour, the suns.h.i.+ne, and the shade, All things pertaining to that place and hour, And her who was his destiny, came back, And thrust themselves between him and the light."

The protracted devotion of the thoughts to the memory of those whom the grave has severed from us, or from whom we are separated by distance, and which is induced by grief, gives also to the mental image great vividness. Exquisitely beautiful and true is the sentence placed in the mouth of Constance, when blamed for the grief she entertained on being separated from Prince Arthur:--

"Grief fills the room up of my absent child, Lies in his bed, walks up and down with me; Puts on his pretty looks, repeats his words, Remembers me of all his gracious parts, Stuffs out his vacant garments with his form: Then have I reason to be fond of grief."

In direct proportion to the concentration of the mind in the contemplation of its own actions, is the brilliancy and distinctness of the ideas which pa.s.s athwart it; and in the state of abstraction or of reverie, when from intense meditation, or from mere inactivity, the sensations derived from surrounding objects are not attended to, the ideas are so defined that they differ but little from actual objects in the sensations they excite. So also in sleep, if, from any cause, physical or mental, we are roused into a state of semi-consciousness, as in dreaming, the phantasms of former events, stored up in the memory, and by certain sensations or trains of thought thrown to the surface, differ in no respect--light, colour, shade, or sound--from the sensations derived from the objects represented.

Should, therefore, the concentration of the mind upon any subject be such as to disturb the natural functions of the brain, the mental image is liable to excite sensations, and to be pourtrayed with a distinctness and "outness" which approximates to, or equals, that of a real object, and it is regarded as such.

In the majority of individuals the concentration and intensity of feeling necessary for the production of hallucinations is of rare occurrence, and it is found only under such conditions as profound grief caused by death under painful or peculiar circ.u.mstances; from terror, excited by causes bringing powerful superst.i.tious feelings into play--under which circ.u.mstances the hallucinations induced are generally transitory--or by emotions inordinately protracted; hence it is that we find visions of the dead among the most common of the temporary hallucinations. In the studious, and men of powerful thought, the mind being habituated to absorption in its own ideas, it not unfrequently happens that hallucinations occur from a disordered state of the brain induced by continued mental labour. These hallucinations are generally very vivid, and may arise either voluntarily or involuntarily, and may become habitual without the health being seriously disturbed.

It will be seen, therefore, that the action of the mental powers alone is sufficient to give rise to sensations which are regarded as resulting from actual objects; and that from the simple vividness of the mental image, which is common to most persons, we may trace their effects, in a gradually ascending scale, in inducing mental conditions in which the brilliancy of the image is such that, for the time, it completely occupies the attention, and shuts out, as it were, the sensations derived from objects before the field of vision,--and in the formation of ideas so vivid and defined, that they take their position among surrounding, and excite the sensations proper to external, objects.

We have thus far spoken of the effects of the imagination on the healthy frame, but in certain disordered conditions of the nervous system, occurring either alone, or in connection with other and more general morbid alterations in the economy, hallucinations are more apt to occur than in health. The system in this state is more susceptible of the effects of emotion, and the images arising in the mind are more vivid than would happen from the same degree of excitement in health, and are readily converted into hallucinations. This is witnessed in certain forms of hysteria, febrile diseases, &c.; hence, in these disordered conditions of the system, the hallucinations are not to be attributed to the action of the mind, so much as to a morbid susceptibility to undergo those changes requisite to the production of hallucinations; and these are, consequently, induced by grades of emotion and by influences which would not have caused that in ordinary health.

On the other hand, the action of the mind in the development of hallucinations equally induces certain diseased states, either special or general. Even simple and temporary hallucination, in whatever manner caused, must be regarded as an indication that the changes going on in the nervous centres have pa.s.sed the bounds of health; and according as the causes inducing hallucinations are more or less protracted, or the hallucinations are more or less persistent or frequent, so we may mark a greater or less deterioration in the mental powers, the nervous or the general system, or indications of more acute disease, to progress along with them, until the acme is reached in insanity, idiocy, or some more rapidly progressive and equally formidable disease.

To ill.u.s.trate these remarks: Blake, the artist, who, after the death of Sir Joshua Reynolds, enjoyed great fame as a portrait-painter, owed his celebrity, in great part, to the singular fact that he required but one or, at the most, two sittings, from those whose portraits he painted. He was accustomed to regard the person who sat to him attentively for about half an hour, sketching from time to time on the canvas, and he would then pa.s.s on to another subject. When he wished to continue the first portrait, on placing the canvas before him, he had the power of calling up so vivid a mental image of the personage, the outline of whose face was depicted upon it, that it a.s.sumed all the appearance of reality, and he perceived it in the position in which he required it to be. From this phantasm he painted, turning from the canvas and regarding it as he would have done had the representative of the phantom been there in person. By degrees he began to lose the distinction between the real and the imaginary objects, and at length a complete confusion of the mind occurred, rendering it necessary for him to be confined in an asylum.

During his residence there, his insanity was marked by an exaggeration of that vivid power of imagination he had possessed previously; for he at will could summon before him the phantoms of any of the personages of history, and he held long and sensible conversations with Michael Angelo, Moses, Semiramis, Richard III, &c., all of whom appeared to him, when he desired, in the vivid hues and distinct outlines of reality.

Talma, the great French tragedian, had the power, when upon the stage, of causing the vestments of his audience to disappear, and of depicting them as skeletons. When the hallucination was complete, and he had filled the theatre with these ghastly auditors, he was enabled to give the fullest and most surprising force to his performance.

Examples of the influence of powerful and protracted emotions in inducing hallucinations are numerous. Dr. Conolly relates the case of a gentleman who, when at one time in great danger of being wrecked in a small boat on the Eddystone rocks, in the moment of greatest peril saw his family before him.

M. Boismont quotes the case of a world-known general who, when in a combat one day, was surrounded by the enemy, and in so great danger that escape seemed impossible. He, nevertheless, contrived to escape; but the impression made upon him was such, that afterwards, until a late period of life, he occasionally suffered from an hallucination in which the scene of danger was again presented before him and re-enacted; and when subsequently on a throne, sometimes the silence of the palace would be disturbed by his cries, as he struggled and fought with his phantom foes. The hallucination was momentary.

The intense emotion which Sir Richard Croft experienced on being summoned to attend the Princess Charlotte of Wales on her death-bed was such, that he saw her form, habited in white, glide along before his carriage.

A case is related by Boismont of a lady who, while suffering from the depression occasioned by receiving information that her daughter was seriously ill, heard a voice which addressed to her the words, "Lovest thou me?" The lady responded immediately, "Lord, thou knowest that I have placed all my confidence in thee, and that I love thee with all my soul." The voice then said, "Dost thou give her to me?" The lady trembled with fear, but summoning courage, she replied, "However painful the sacrifice may be, let Thy will be accomplished." This lady was deeply pious, and the hallucination arose from the powerful and painful emotion caused by the sudden news of her daughter's illness, inducing that disordered state of the nervous system, in which the thoughts naturally engendered in one who submitted everything to the Almighty, became audible.

The combined influence of love and sorrow has been a powerful source of hallucinations, and many of those wild and beautiful legends and tales which are scattered throughout the kingdom, recording the apparition of a deceased or distant lover to his betrothed, have been due to this cause.

Thus, as in the old ballad:--

"When it was grown to dark midnight, And all were fast asleep, In came Margaret's grimly ghost, And stood at William's feet."

Or in the story of "Isabella," by Boccacio, so beautifully rendered by Keats:--

"It was a vision. In the drowsy gloom, The dull of midnight, at her couch's foot Lorenzo stood, and wept: the forest tomb Had marr'd his glossy hair, which once could shoot l.u.s.tre into the sun, and put cold doom Upon his lips, and taken the soft lute From his lorn voice, and past his loamed ears Had made a miry channel for his tears.

Strange sound it was, when the pale shadow spoke; For there was striving in its piteous tongue, To speak as when on earth it was awake, And Isabella on its music hung: Languor there was in it, and tremulous shake, As in a palsied Druid's harp unstrung; And through it moaned a ghostly under-song, Like hoa.r.s.e night-gusts sepulchral briers among.

Its eyes, though wild, were still all dewy bright With love, and kept all phantom fear aloof From the poor girl by magic of their light, The while it did unthread the horrid woof Of the late darken'd time--the murd'rous spite Of pride and avarice--the dark pine roof In the forest--and the sodden turfed dell, When, without any word, from stabs it fell.

Saying moreover, "Isabel, my sweet!

Red whortle-berries droop above my head, And a large flint-stone weighs upon my feet; Around me beeches and high chesnuts shed Their leaves and p.r.i.c.kly nuts; a sheep-fold bleat Comes from beyond the river to my bed: Go shed one tear upon my heather-bloom, And it shall comfort me within the tomb.

"I am a shadow now, alas! alas!

Upon the skirts of human nature dwelling Alone: I chaunt alone the holy ma.s.s, While little sounds of life are round me knelling, And glossy bees at noon do fieldward pa.s.s, And many a chapel bell the hour is telling, Paining me through: those sounds grow strange to me, And thou art distant in humanity."

Some of these apparitions have, in all probability, been illusions caused by an object indistinctly seen in the pale moonlight, or by an accidental arrangement of the furniture of the apartment, transformed by an imagination devoted to the subject of its own sorrows, or influenced by a vivid dream, into the idea at the moment most prominent in the mind.