The Humbugs of the World Part 9

She has, however, previous to his taking her hands, put one arm and head through the frame she uses; so that of course he does not feel it when she pa.s.ses his hand down one side of her neck and over one of her arms, as it is under that arm. Her husband pulls the tambourine from under the investigator's elbow; then the medium gets her head back through the frame, leaving it on her arm, or sliding it on to his, and the work is done!

She has also two iron rings. One of them she puts over her arm and the point of her shoulder, where it snugly remains, covered with a cape which she persists in wearing on these occasions, till the investigator takes her hands (in the dark) and feels the other ring under his elbows; then the husband disposes of the ring on the table, and the medium works the other one down on to her arm. The audience saw but one ring, and the person sitting with the medium thought he had that under his elbow till it was pulled away and put on the arm!

Some years ago, a man by the name of Dexter, who kept an oyster and liquor saloon on Bleecker street, devised a somewhat novel exhibition for the purpose of attracting custom. A number of hats, placed on the floor of his saloon, danced (or bobbed up and down) in time to music.

His place was visited by a number of the leading spiritualists of New York, several of whom were heard to express a belief that the hats were moved by spirits! Dexter, however, did not claim to be a medium, though he talked vaguely of "the power of electricity," when questioned with regard to his exhibition. Besides making the hats dance, he would (apparently) cause a violin placed in a box on the floor to sound, by waving his hands over it.

The hats were moved by a somewhat complicated arrangement of wires, worked by a confederate, out of sight. These wires were attached to levers, and finally came up through the floor, through small holes hidden from observation by the sawdust strewn there, as is common in such places.

The violin in the box did not sound at all. It was another violin, under the floor, that was heard. It is not easy for a person to exactly locate a sound when the cause is not apparent. In short, Mr. Dexter's operations may be described as only consisting of a little well-managed Dexterity!

A young man "out West," claiming to be influenced by spirits, astonished people by reading names, telling time by watches, etc., in a dark room.

He sat at a centre-table, which was covered with a cloth, in the middle of the room. Investigators sat next the walls. The name of a spirit, for instance, would be written and laid on a table, when in a short time he p.r.o.nounced it. To tell the time by a watch, he required it to be placed on the table, or in his hand. With the tablecloth over his head, a bottle of phosphorated oil enabled him to see, when not the least glimmer of light was visible to others in the room.

If any of the "spiritualist" philosophers were to be asked what is the philosophy of these proceedings, he would probably reply with a mess of balderdash pretty much like the following:

"There is an infinitesimal influence of sympathy between mind and matter, which permeates all beings, and pervades all the delicate niches and interstices of human intelligence. This sympathetic influence working upon the affined intelligence of an affinity, coagulates itself into a corporiety, approximating closely to the adumbration of mortality in its highest admensuration, at last acc.u.minating in an acc.u.mination."

On these great philosophic principles it will not be difficult to comprehend the following actual quotation from the Spiritual Telegraph:

"In the twelfth hour, the holy procedure shall crown the Triune Creator with the most perfect disclosive illumination. Then shall the creation in the effulgence above the divine seraphemal, arise into the dome of the disclosure in one comprehensive revolving galaxy of supreme created beat.i.tudes."

That those not surcharged with the divine afflatus may be able to get at the meaning of the above paragraph, it is translated thus:

"Then shall all the blockheads in the nincomp.o.o.pdome of disclosive procedure above the all-fired leather-fungus of Peter Nephninnygo, the gooseberry grinder, rise into the dome of the disclosure until coequaled and coexistensive and conglomerate lumuxes in one comprehensive mux shall a.s.similate into nothing, and revolve like a bob-tailed p.u.s.s.y cat after the s.p.a.ce where the tail was."

What power there is in spiritualism!

I shall be glad to receive, for publication, authentic information, from all parts of the world in regard to the doings of pretended spiritualists, especially those who perform for money. It is high time that the credulous portion of our community should be saved from the deceptions, delusions, and swindles of these blasphemous mountebanks and impostors.

CHAPTER XIII.

DEMONSTRATIONS BY "SAMPSON" UNDER A TABLE.--A MEDIUM WHO IS HANDY WITH HER FEET.--EXPOSe OF ANOTHER OPERATOR IN DARK CIRCLES.

Considerable excitement has been created in various parts of the West by a young woman, whose name need not here be given, who pretends to be a "medium for physical manifestations." She is rather tall and quite muscular, her general manner and expression indicating innocence and simplicity.

The "manifestations" exhibited by her purport to be produced by Samson, the Hebrew champion and anti-philistine.

In preparing for her exhibition, she has a table placed sideways against the wall of the room, and covered with a thick blanket that reaches to the floor. A large tin dishpan, with handles (or ears,) a German accordeon, and a tea-bell are placed under the table, at the end of which she seats herself in such a way that her body is against the top, and her lower limbs underneath, her skirts being so adjusted as to fill the s.p.a.ce between the end legs of the table, and at the same time allow free play for her pedal extremities. The blanket, at the end where she sits, comes to her waist and hangs down to the floor on each side of her chair. The s.p.a.ce under the table is thus made dark--a necessary condition, it is claimed--and all therein concealed from view. The "medium" then folds her arms, looks careless, and the "manifestations"

commence. The accordeon is sounded, no music being executed upon it, and the bell rung at the same time. Then the dishpan receives such treatment that it makes a terrible noise. Some one is requested to go to the end of the table opposite the "medium," put his hand under the blanket, take hold of the dishpan, and pull. He does so, and finds that some power is opposing him, holding the dishpan to one place. Not being rude, he forbears to jerk with all his force, but retires to his seat. The table rises several inches and comes down "kerslap," then it tips forward a number of times; then one end jumps up and down in time to music, if there is any one present to play; loud raps are heard upon it, and the hypothetical Samson has quite a lively time generally. Some of the mortals present, one at a time, put their fingers, by request, against the blankets, through which those members are gingerly squeezed by what might be a hand, if there was one under the table. A person being told to take hold of the top of the table at the ends, he does so, and finds it so heavy that he can barely lift it. Setting it down, he is told to raise it again several inches; and at the second lifting it is no heavier than one would naturally judge such a piece of furniture to be.

Another person is asked to lift the end furthest from the medium; having done so, it suddenly becomes quite weighty, and, relaxing his hold, it comes down with much force upon the floor. Thus, by the power--exercised beneath the table--of an a.s.sumed spirit, that piece of cabinet-ware becomes heavy or light, and is moved in various ways, the medium not appearing to do it.

In addition to her other "fixins," this medium has a spirit-dial, so called, on which are letters of the alphabet, the numerals, and such words as "Yes," "No," and "Don't know." The whole thing is so arranged that the pulling of a string makes an index hand go the circuit of the dial-face, and it can be made to stop at any of the characters or words thereon. This "spirit-dial" is placed on the table, near the end furthest from the medium, the string pa.s.sing through a hole and hanging beneath. In the end of the string there is a knot. While the medium remains in the same position in which she sat when the other "manifestations" were produced, communications are spelled out through the dial, the index being moved by some power under the table that pulls the string. A coil-spring makes the index fly back to the starting-point, when the power is relaxed at each indication of a character or word. The orthography of these "spirits" is "bad if not worse."

Now for an explanation of the various "manifestations" that I have enumerated.

The medium is simply handy with her feet. To sound the accordeon and ring the bell at the same time, she has to take off one of her shoes or slippers, the latter being generally worn by her on these occasions.

That done, she gets the handle of the tea-bell between the toes of her right foot, through a hole in the stocking, then putting the heel of the same foot on the keys of the accordeon, and the other foot into the strap on the bellows part of that instrument, she easily sounds it, the motion necessary to do this also causing the bell to ring. She can readily pa.s.s her heels over the keys to produce different notes. She is thus able to make sounds on the accordeon that approximate to the very simple tune of "Bounding Billows," and that is the extent of her musical ability when only using her "pedals."

To get a congress-gaiter off the foot without using the hands is quite easy; but how to get one on again, those members not being employed to do it, would puzzle most people. It is not difficult to do, however, if a cord has been attached to the strap of the gaiter and tied to the leg above the calf. The cord should be slack, and that will admit of the gaiter coming off. To get it on, the toe has to be worked into the top of it, and then pulling on the cord with the toe of the other foot will accomplish the rest.

The racket with the dishpan is made by putting the toe of the foot into one of the handles or ears, and beating the pan about. By keeping the toe in this handle and putting the other foot into the pan, the operator can "stand a pull" from an investigator, who reaches under the blanket and takes hold of the other handle.

To raise the table, the "medium" puts her knees under and against the frame of it, then lifts her heels, pressing the toes against the floor, at the same time bearing with her arms on the end. To make the table tip forward, one knee only is pressed against the frame at the back side.

The raps are made with the toe of the medium's shoe against the leg, frame, or top of the table.

What feels like a hand pressing the investigator's fingers when he puts them against the blanket, is nothing more than the medium's feet, the big toe of one foot doing duty for a thumb, and all the toes of the other foot being used to imitate fingers. The pressure of these, through a thick blanket, cannot well be distinguished from that of a hand. When this experiment is to be made, the medium wears slippers that she can readily get off her feet.

To make the table heavy, the operator presses her knees outwardly against the legs of the table, and then presses down in opposition to the party who is lifting, or she presses her knees against that surface of the legs of the table that is toward her, while her feet are hooked around the lower part of the legs; that gives her a leverage, by means of which she can make the whole table or the end furthest from her seem quite heavy, and if the person lifting it suddenly relaxes his hold, it will come down with a forcible bang to the floor.

To work the "spirit-dial," the medium has only to press the string with the toe of her foot against the top of the table, and slide it (the string) along till the index points at the letter or word she wishes to indicate. The frame of the dial is beveled, the face declining toward the medium, so that she has no difficulty in observing where the index points.

After concluding her performances under the table, this medium sometimes moves her chair about two feet back and sits with her side toward the end of the table, with one leg of which, however, the skirt of her dress comes in contact. Under cover of the skirt she then hooks her foot around the leg of the table and draws it toward her. This is done without apparent muscular exertion, while she is engaged in conversation; and parties present are humbugged into the belief that the table was moved without "mortal contact"--so they report to outsiders.

This medium has a "manager," and he does his best in managing the matter, to prevent "Samson being caught" in the act of cheating. The medium, too, is vigilant, notwithstanding her appearance of carelessness and innocent simplicity. A sudden rising of the blanket once exposed to view her pedal extremities in active operation.

Another of the "Dark Circle" mediums gets a good deal of sympathy on account of her "delicate health." Her health is not so delicate, however, as to prevent her from laboring hard to humbug people with "physical demonstrations." She operates only in private, in presence of a limited number of people.

A circle being formed, the hands of all the members are joined except at one place where a table intervenes. Those sitting next to this table place a hand upon it, the other hand of each of these parties being joined with the circle. The medium takes a position close by the table, and during the manifestations is supposed to momentarily touch with her two hands the hands of those parties sitting next to the table. Of course, she could accomplish little or nothing if she allowed her hands to be constantly held by investigators; so she hit upon the plan mentioned above, to make the people present believe that the musical instruments are not sounded by her. These instruments are within her reach; and instead of touching the hands of those next the table with both her hands, as supposed, she touches, alternately, their hands with but one of hers, the other she expertly uses in sounding the instruments.

Several years ago, at one of the circles of this medium, in St. John's, Mich., a light was suddenly introduced, and she was seen in the act of doing what she had a.s.serted to be done by the "spirits." She has also been exposed as an impostor in other places.

As I have said before, the mediums always insist on having such "conditions" as will best enable them to deceive the senses and mislead the judgment.

If there were a few more "detectives" like Doctor Von Vleck, the whole mediumistic fraternity would soon "come to grief."

CHAPTER XIV.

SPIRITUAL PHOTOGRAPHING.--COLORADO JEWETT AND THE SPIRIT-PHOTOGRAPHS OF GENERAL JACKSON, HENRY CLAY, DANIEL WEBSTER, STEPHEN A. DOUGLAS, NAPOLEON BONAPARTE, ETC.--A LADY OF DISTINCTION SEEKS AND FINDS A SPIRITUAL PHOTOGRAPH OF HER DECEASED INFANT, AND HER DEAD BROTHER WHO WAS YET ALIVE.--HOW IT WAS DONE.

In answer to numerous inquiries and several threats of prosecution for libel in consequence of what I have written in regard to impostors who (for money) perform tricks of legerdemain and attribute them to the spirits of deceased persons, I have only to say, I have no malice or antipathies to gratify in these expositions. In undertaking to show up the "Ancient and Modern Humbugs of the World," I am determined so far as in me lies, to publish nothing but the truth. This I shall do, "with good motives and for justifiable ends," and I shall do it fearlessly and conscientiously. No threats will intimidate, no fawnings will flatter me from publis.h.i.+ng everything that is true which I think will contribute to the information or to the amus.e.m.e.nt of my readers.

Some correspondents ask me if I believe that all pretensions to intercourse with departed spirits are impositions. I reply, that if people declare that they privately communicate with or are influenced to write or speak by invisible spirits, I cannot prove that they are deceived or are attempting to deceive me--although I believe that one or the other of these propositions is true. But when they pretend to give me communications from departed spirits, to tie or untie ropes--to read sealed letters, or to answer test-questions through spiritual agencies, I p.r.o.nounce all such pretensions ridiculous impositions, and I stand ready at any time to prove them so, or to forfeit five hundred dollars, whenever these pretended mediums will succeed in producing their "wonderful manifestations" in a room of my selecting, and with apparatus of my providing; they not being permitted to handle the sealed letters or folded ballots which they are to answer, nor to make conditions in regard to the manner of rope tying, etc. If they can answer my test-questions relevantly and truly, without touching the envelopes in which they are sealed--or even when given to them by my word of mouth, I will hand over the $500. If they can cause invisible agencies to perform in open daylight many of the things which they pretend to accomplish by spirits in the dark, I will promptly pay $500 for the sight. In the mean time, I think I can reasonably account for and explain all pretended spiritual gymnastic performances--throwings of hair-brushes--dancing pianos--spirit-rapping--table-tipping--playing of musical instruments, and flying through the air (in the dark,) and a thousand other "wonderful manifestations" which, like most of the performances of modern "magicians," are "pa.s.sing strange" until explained, and then they are as flat as dish-water. Dr. Von Vleck publicly produces all of these pretended "manifestations" in open daylight, without claiming spiritual aid.

Among the number of humbugs that owe their existence to various combinations of circ.u.mstances and the extreme gullibility of the human race, the following was related to me by a gentleman whose position and character warrant me in announcing that it may be implicitly relied upon as correct in every particular.

Some time before the Presidential election, a photographer residing in one of our cities (an ingenious man and a scientific chemist,) was engaged in making experiments with his camera, hoping to discover some new combination whereby to increase the facility of "picturing the human form divine," etc. One morning, his apparatus being in excellent order, he determined to photograph himself. No sooner thought of, than he set about making his arrangements. All being ready, he placed himself in a position, remained a second or two, and then instantly closing his camera, surveyed the result of his operation. On bringing the picture out upon the plate, he was surprised to find a shadowy representation of a human being, so remarkably ghostlike and supernatural, that he became amused at the discovery he had made. The operation was repeated, until he could produce similar pictures by a suitable arrangement of his lenses and reflectors known to no other than himself. About this time he became acquainted with one of the most famous spiritualist-writers, and in conversation with him, showed him confidentially one of those photographs, with also the shadow of another person, with the remark, mysteriously whispered:

"I a.s.sure you, Sir, upon my word as a gentleman, and by all my hopes of a hereafter, that this picture was produced upon the plate as you see it, at a time when I had locked myself in my gallery, and no other person was in the room. It appeared instantly, as you see it there; and I have long wished to obtain the opinion of some man, like yourself, who has investigated these mysteries."

The spiritualist listened attentively, looked upon the picture, heard other explanations, examined other pictures, and sagely gave it as his opinion that the inhabitants of the unknown sphere had taken this mode of re-appearing to the view of mortal eyes, that this operator must be a "medium" of especial power. The New York Herald of Progress, a spiritualist paper, printed the first article upon this man's spiritual photograph.