The Arena | Page 9

a medium he wrote descriptions of divers planets in our system, principally of Jupiter, and drew very odd pictures, representing the habitations of that planet. One of these pictures depicted the house of Mozart, while others represented the dwellings of Zoroaster and of Bernard Palissy, who seemed to be country neighbors in that immense planet. These habitations appeared to be a?rial and of marvellous lightness. The first of them, Mozart's, was essentially formed of musical instruments and indications, such as the staff, notes, and clefs. The second was principally bucolic. There were to be seen flowers, hammocks, swings, flying men; while underneath were intelligent animals, engaged in playing a novel game of tenpins, in which the sport did not lie in bowling the pins over, but in crowning their heads, as in the childish game of cup-and-ball. I reproduced this last design in the work entitled, Les Terres du Ciel (Heavenly Globes), page 180.
These curious drawings prove, beyond a peradventure, that the signature, Bernard Palissy in Jupiter, is apocryphal, and that it was not a spirit inhabitant of Jupiter who guided Victorien Sardou's hand. Neither did the gifted author conceive these sketches beforehand, and execute them in pursuance of a deliberate purpose; but at that time he found himself in a mental condition similar to that above described. We may neither be magnetized nor hypnotized, nor put to sleep in any fashion, and yet the brain may remain alien to our mechanical productions. Its cells are functionally agitated, and doubtless act by a reflex impulsion on the motor nerves. We all then believed that Jupiter was inhabited by a superior race. These communications were the reflections of opinions generally held. In these days, however, nobody imagines anything of the kind about Jupiter. Moreover, spirit séances have never taught us the least thing in astronomy. Such manifestations in nowise prove the intervention of spirits. Have writing-mediums given us other proofs, more convincing? This question we will examine later.
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The second method, planchette, is more independent. This little wooden writer became the fashion chiefly through Madame de Girardin. Its communications soothed her last days, and prepared her for a death fragrant with hope. She believed she was in communication with the spirits of Sappho, Shakespeare, Madame de Sévigné, and Molière; and amidst these convictions she died, without disquietude, without rebellion, without regret. She had introduced a taste for such experiments into the home of Victor Hugo, in Jersey. Nine years later, Auguste Vacquerie, in Les Miettes de l'Histoire (Crumbs of History), wrote as follows:
Madame de Girardin's departure [from Jersey] did not abate my desire for experimenting with the tables. I pressed eagerly forward into this great marvel,--the half-opened door of death.
No longer did I wait for the evening. At midday I began my investigations, and forsook them only with the dawn. If I interrupted myself at all during that time, it was only to dine. Personally I had no effect upon the table, and did not touch it; but I asked questions. The mode of communication was always the same, and I had accustomed myself to it. Madame de Girardin sent me two tablets from Paris,--a little tablet, one of whose legs was a pencil, for writing and drawing. A few trials proved that this tablet designed poorly and wrote badly. The other was larger, and consisted of a disk, or dial, whereon was inscribed the alphabet, the letters being designated by a movable pointer. This apparatus also was rejected after an unsuccessful trial, and I finally resumed the primitive process, which--simplified by familiarity and sundry convenient abbreviations--soon afforded all desirable rapidity. I talked fluently with the table, the murmur of the sea mingling with our conversation, whose mysteriousness was increased by the winter, at night, amidst storms, and through isolation. The table no longer responded by a few words merely, but by sentences and pages. It was usually grave and magisterial, but at times it would be witty and even comical. Sometimes it had an access of choler. More than once I was insolently reproved for speaking to it irreverently, and I confess to not feeling at ease until I had obtained forgiveness. The table made certain exactions. It chose the interlocutors it preferred. It wished sometimes to be questioned in verse, and was obeyed; and then it would answer in verse. All these dialogues were collected, not at the close of the séance, but at the moment, and under the dictation of the table. They will some day be published, and will propound an imperious problem to all intelligent minds thirsting for new truths.
If now asked for my explanation of all this, I hesitate to reply. I should not have hesitated in Jersey. I should have unhesitatingly affirmed the presence of spirits. It is not the opinion of Paris which now