initial commit of ebook 29151HEADmain

37 files changed, 7893 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/29151-8.txt b/29151-8.txt
new file mode 100644
index 0000000..059cdfd
--- /dev/null
+++ b/29151-8.txt
@@ -0,0 +1,2479 @@
+The Project Gutenberg EBook of Telepathy, by W. W. Baggally
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Telepathy
+       Genuine and Fraudulent
+
+Author: W. W. Baggally
+
+Release Date: June 17, 2009 [EBook #29151]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK TELEPATHY ***
+
+
+
+
+Produced by Bryan Ness, S.D., and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+[Illustration: THE PAD THAT "BLINDFOLDS" THE YOGI
+
+The above is a photograph of the actual porous plaster and pads produced
+by YOGA RAMA as a means of "blindfolding." The plaster is seen exactly
+as it was when taken off by Mr. WILLIAM MARRIOTT. It will be seen that
+the pads have shifted, allowing comparatively clear vision with one eye.
+The tissue paper, making the plaster non-adhesive, will also be noticed.
+
+                                                           [_Page 52_]
+
+
+
+
+                       TELEPATHY
+
+                 GENUINE AND FRAUDULENT
+
+                           BY
+
+                     W. W. BAGGALLY
+
+  MEMBER OF THE COUNCIL OF THE SOCIETY FOR PSYCHICAL RESEARCH
+
+
+                    WITH A PREFACE BY
+
+                 SIR OLIVER LODGE, F.R.S.
+
+
+                    METHUEN & CO. LTD.
+                   36 ESSEX STREET W.C.
+                         LONDON
+
+
+
+
+_First Published in 1917_
+
+
+
+
+PREFATORY NOTE
+
+
+My friend, Mr. W. W. Baggally, an experienced investigator of
+supernormal phenomena, has set down some of his experiences in connexion
+with the subject of Telepathy, and I heartily commend his book to the
+public as the record of a careful, conscientious, and exceptionally
+skilled and critical investigator. It would be difficult to find anyone
+more competent by training and capacity to examine into the genuineness
+of these subtle and elusive phenomena, which yet are of the utmost
+importance in the development of psychological science. Telepathy, or
+the direct action of mind on mind apart from the ordinary channels of
+sense, opens a new chapter; it is not a coping-stone completing an
+erection, but a foundation-stone on which to build.
+
+                                             OLIVER J. LODGE
+
+
+
+
+CONTENTS
+
+
+PART I
+
+GENUINE TELEPATHY
+
+                                                   PAGE
+
+  Experimental Telepathy                              1
+
+  Spontaneous Telepathy                              18
+
+  Telepathy between Human Beings and Animals         30
+
+
+PART II
+
+FRAUDULENT TELEPATHY
+
+  Accounts of Cases                                  35
+
+  Description of Various Methods used by Public
+     Performers for effecting their So-called
+     Transmission of Thought                         57
+
+
+PART III
+
+THE ZANCIGS
+
+  Public Experiments                                 68
+
+  Private Experiments                                70
+
+  Experiments before Committees                      82
+
+  Importance of establishing Genuine Telepathy
+     as a Scientific Fact                            92
+
+
+
+
+TELEPATHY
+
+
+
+
+PART I
+
+GENUINE TELEPATHY
+
+
+Sir William F. Barrett, one of the founders of the Society for Psychical
+Research, more than forty years ago tried some experiments which led him
+to believe that something then new to science, which he provisionally
+called "thought transference" and which is now known as "telepathy,"
+really existed.
+
+At the first general meeting of the Society, on the 17th July 1882, he
+read a paper entitled "First Report on Mind Reading."
+
+Since that date the Society has carried out a great number of
+experiments which tend to show that telepathy is a scientific fact. The
+evidence for its existence is twofold--that which can be gathered
+experimentally, and that which arises spontaneously. To the first
+category belong those experiments in the transmission of the images of
+drawings or diagrams by means of an effort of the will of a person known
+as the _agent_ to the mind of another person designated the
+_percipient_, when the transmission is carried out otherwise than
+through the ordinary channel of the senses. To the second category
+belong those hallucinations of seeing a person at the moment of death or
+at a crisis, evidence for which has been obtained abundantly by the
+Society for Psychical Research and has been embodied in the work
+_Phantasms of the Living_, and in the _Census of Hallucinations_--a
+report on which appeared in the _Proceedings_ of the Society in 1894.
+
+There are several theories to explain the action of telepathy. The first
+compares it to wireless telegraphy. On this hypothesis it is supposed
+that it is due to ethereal wave action:--Thought causes motion in the
+brain cells of the agent, the cells then impart motion to the
+surrounding ether in the form of waves which impinge on the brain cells
+of the percipient and give rise to a corresponding thought to that which
+started the ethereal wave motion.
+
+This theory offers great difficulties. An opponent to it points out that
+"A wireless message is transmitted by a succession of single ethereal
+wave impulses produced by the electric sparks at the starting station
+and received by the coherer at the receiving station, whereas a diagram
+to be transmitted would require a number of brain-waves produced
+simultaneously and arranged in the form of the diagram."
+
+Another mode of putting the matter recently advanced is that the agent
+does not transmit his thought, but that the percipient reads
+clairvoyantly what is in the agent's mind.
+
+There is also the spiritualistic theory. It is asserted that an external
+entity, or spirit, conveys the images or thoughts from one mind to
+another.
+
+Another theory is that telepathy takes place in the subconscious mind,
+and that the subconscious mind of the agent is in communication with
+the subconscious mind of the percipient by means of the universal mind
+underlying all things and of which individual subconscious minds form
+part.
+
+Not one of these theories has been accepted as proved by the Society for
+Psychical Research. In cases of spontaneous telepathy it is now
+generally believed that the appearance of a person at the time of death
+or at a crisis is not caused by an objective bodily ghost, but arises
+from a telepathic impact from the agent formulating itself into his
+image in the mind of the percipient.
+
+In the case of two persons seeing an apparition at the same time, this
+may be due to the two percipients receiving each, separately, a
+telepathic impression, or there may be only one percipient who
+telepathically impresses the hallucination on the mind of the second
+person.
+
+I will now proceed to relate some cases of telepathy which have come
+under my personal observation. My first experiment in the transmission
+of images of drawings and diagrams took place in the rooms of the
+Society for Psychical Research in May 1902. A private lady, Miss M.
+Telbin, acted as percipient, and I acted as agent. There were present at
+the time Mr. J. G. Piddington, Honorary Secretary of the Society, and
+Mr. Thomas, the then Acting Secretary.
+
+During the first experiment Miss Telbin, who was a stranger to me, sat
+with her back towards a large opaque screen. In front of her stood a
+small table upon which rested a crystal ball. She was asked to gaze at
+the crystal and to describe any vision that might appear to form itself
+therein. I may parenthetically remark that the object of crystal-gazing
+is to concentrate the mind and to withdraw it from outward influences.
+The vision seen in the crystal does not exist objectively, but only in
+the mind of the seer. On the other side of the screen, entirely hidden
+from the view of Miss Telbin, sat Mr. Piddington and myself. This
+gentleman proceeded to take from a box, which was behind the screen and
+on the floor between his and my chairs, various articles, and to hand
+them silently, one at a time, to me. I then concentrated my thoughts
+successively on each article. Miss Telbin gave an account of what she
+saw in the crystal, and Mr. Thomas, who sat in such a position that both
+Mr. Piddington and myself were hidden from his view, took notes of what
+occurred.
+
+The first article handed me was a _Windsor Magazine_, on the cover of
+which there was an engraving of Windsor Castle. I concentrated my
+thoughts on this engraving, and Miss Telbin then gave a description of
+the vision that presented itself to her mental view.
+
+She first observed that she could see trees on the left side of the
+picture, and cottages also on the left, and that there was water.
+
+These details were correct so far as they went, but the subsequent
+details that she gave were incorrect, and the experiment was abandoned
+as a failure. I then replaced the magazine in the box from which it had
+been taken, so that Miss Telbin had no opportunity of seeing the
+magazine during the experiment nor after.
+
+Other experiments were being tried when Miss Telbin spontaneously said
+that she had had a vision of Windsor Castle.
+
+This experiment may be regarded as a case of deferred telepathy.
+
+Another experiment with the same lady, in which simultaneous double
+telepathy occurred, is of better evidential value.
+
+Miss Telbin again sat with her back to the screen, and instead of the
+crystal a piece of paper and a pencil were placed on the table in front
+of her.
+
+This time Mr. Thomas and I sat behind the screen hidden from her view,
+and Mr. J. G. Piddington took notes. Mr. Thomas and I acted as
+simultaneous agents. We each held a small piece of cardboard with a
+diagram on it known to the agent viewing it, but not to the other agent.
+These diagrams belonged to the Society for Psychical Research and had
+not been seen by Mr. Thomas nor by me previous to the experiment. They
+were in a box which was at our feet behind the screen. We each took a
+diagram from the box, taking care that we did not see each other's
+diagram.
+
+We concentrated our minds on our respective diagrams, and Miss Telbin
+drew her impressions on the piece of paper in front of her. The
+following drawings show the results:--
+
+[Illustration:
+
+  MR. BAGGALLY'S
+    DIAGRAM.
+
+  MISS TELBIN'S
+    DRAWING.
+
+  MR. THOMAS'S
+    DIAGRAM.
+
+  MISS TELBIN'S
+    DRAWING.]
+
+At the time that Miss Telbin got the impression of the diagram with
+three sections, she made the remark that it looked like three leaves.
+
+The correspondence between the drawings and the diagrams is very great,
+and difficult to account for by chance.
+
+The following points have to be considered. First, that Miss Telbin only
+made two drawings and not many from which two might have been selected
+in which there was a resemblance to the diagrams. Secondly, that Mr.
+Thomas's diagram was correctly reproduced although in a reversed
+position (the reversal of a figure sometimes happens in experiments in
+telepathy). Thirdly, that my diagram of three triangles, although not
+reproduced in the form of triangles, was drawn correctly as regards
+there being three sections, and that the relative position of the
+sections was given correctly. Fourthly, that Miss Telbin had not
+previously seen any of the diagrams, and therefore the chances against
+her being able to hit upon any diagram which was then being used were
+very great. Fifthly, that the chances against her being able to hit upon
+two diagrams simultaneously were even greater.
+
+The explanation that the result might have been due to collusion between
+the persons experimenting of course cannot be entertained, at least by
+myself, who was one of the experimenters.
+
+It was not possible for the percipient to see through the large screen
+which was behind her, and there were no mirrors in the room in which the
+small diagrams could have been reflected. No word was spoken to give her
+the slightest clue. These two successful telepathic experiments led to
+further ones at a distance between this lady and myself.
+
+It will be of interest to insert here an account of an experiment in
+telepathy, similar to the one I have just described, between two agents
+and one percipient, which Sir Oliver Lodge carried out in the year 1884.
+
+When the experiment was tried with Miss Telbin, Mr. Thomas, and myself I
+was not aware that Sir Oliver Lodge had already tried an experiment of a
+like nature.
+
+
+     SIR OLIVER LODGE'S ACCOUNT
+
+     "My own first actual experience of thought transference, or
+     experimental telepathy, was obtained in the years 1883 and
+     1884 at Liverpool, when I was invited by Mr. Malcolm Guthrie
+     of that city to join in an investigation which he was
+     conducting with the aid of one or two persons who had turned
+     out to be sensitive, from among the employees of the large
+     drapery firm of George Henry Lee & Co.
+
+     "A large number of these experiments had been conducted
+     before I was asked to join, throughout the spring and autumn
+     of 1883, but it is better for me to adhere strictly to my own
+     experience and to relate only those experiments over which I
+     had control.
+
+     "Most of these experiments were confirmations of the kind of
+     thing that had been observed by other experimenters. But one
+     experiment which I tried was definitely novel, and, as it
+     seems to me, important; since it clearly showed that when two
+     agents are acting, each contributes to the effect, and that
+     the result is due, not to one alone, but to both combined.
+     The experiment is thus described by me in the columns of
+     _Nature_, vol. xxx., page 145, for 12th June 1884:--
+
+          "_An Experiment in Thought Transference_
+
+          "Those of your readers who are interested in the
+          subject of thought transference, now being
+          investigated, may be glad to hear of a little
+          experiment which I recently tried here. The series
+          of experiments was originated and carried on in
+          this city by Mr. Malcolm Guthrie, and he has
+          prevailed on me, on Dr. Herdman, and on one or two
+          other more or less scientific witnesses, to be
+          present on several occasions, critically to examine
+          the conditions, and to impose any fresh ones that
+          we thought desirable. I need not enter into
+          particulars, but I will just say that the
+          conditions under which apparent transference of
+          thought occurs from one or more persons,
+          steadfastly thinking, to another in the same room
+          blindfold and wholly disconnected from the others,
+          seem to me absolutely satisfactory, and such as to
+          preclude the possibility of conscious collusion on
+          the one hand or unconscious muscular indication on
+          the other.
+
+          "One evening last week--after two thinkers, or
+          agents, had been several times successful in
+          instilling the idea of some object or drawing, at
+          which they were looking, into the mind of the
+          blindfold person, or percipient--I brought into the
+          room a double opaque sheet of thick paper with a
+          square drawn on one side and a St. Andrew's cross
+          or X on the other, and silently arranged it between
+          the two agents so that each looked on one side
+          without any notion of what was on the other. The
+          percipient was not informed in any way that a novel
+          modification was being made; and, as usual, there
+          was no contact of any sort or kind--a clear space
+          of several feet existing between each of the three
+          people. I thought that by this variation I should
+          decide whether one of the two agents was more
+          active than the other; or, supposing them about
+          equal, whether two ideas in two separate minds
+          could be fused into one by the percipient.
+
+          "In a very short time the percipient made the
+          following remarks, every one else being silent:
+          'The thing won't keep still.' 'I seem to see things
+          moving about.' 'First I see a thing up there, and
+          then one down there.' 'I can't see either
+          distinctly.' The object was then hidden, and the
+          percipient was told to take off the bandage and to
+          draw the impression in her mind on a sheet of
+          paper. She drew a square, and then said, 'There was
+          the other thing as well,' and drew a cross inside
+          the square from corner to corner, saying
+          afterwards, 'I don't know what made me put it
+          inside.'
+
+          [Illustration: ORIGINALS.]
+
+          [Illustration: REPRODUCTION.]
+
+          "The experiment is no more conclusive as evidence
+          than fifty others that I have seen at Mr.
+          Guthrie's, but it seems to me somewhat interesting
+          that two minds should produce a disconnected sort
+          of impression on the mind of the percipient, quite
+          different from the single impression which we had
+          usually obtained when two agents were both looking
+          at the same thing. Once, for instance (to take a
+          nearly corresponding case under those conditions),
+          when the object was a rude drawing of the main
+          lines in a Union Jack, the figure was reproduced by
+          the percipient as a whole without misgiving;
+          except, indeed, that she expressed a doubt as to
+          whether its middle horizontal line were present or
+          not, and ultimately omitted it."
+
+          [Illustration: ORIGINAL.]
+
+          [Illustration: REPRODUCTION.]
+
+As I have said, the two successful telepathic experiments which I have
+described, and which took place in the rooms of the Society for
+Psychical Research, led to further experiments at a distance between
+Miss Telbin and myself.
+
+  AT 7 P.M.
+
+  I drew the following diagram
+
+  [Illustration]
+
+  AT 7 P.M.
+
+  Miss TELBIN'S drawings
+
+  [Illustration]
+
+  AT 7:10 P.M.
+
+  I fixed my attention on a
+  flower
+
+  [Illustration]
+
+  AT 7:10 P.M.
+
+  Miss TELBIN obtained several
+  incorrect scrawls, but amongst
+  them one under which
+  she had written the
+  words
+
+  [Illustration]
+
+  "First impression"
+
+  AT 7:20 P.M.
+
+  I looked at a pair of opera
+  glasses, at which I gazed first
+  lengthwise
+
+  [Illustration]
+
+  then sideways
+
+  [Illustration]
+
+  AT 7:20 P.M.
+
+  Miss TELBIN'S drawings
+  were--
+
+  First impression [Illustration]
+
+  A series of crescents [Illustration]
+
+  And this drawing [Illustration]
+
+  Also four drawings
+
+  [Illustration]
+
+It was arranged that we should sit on certain days in the week, and that
+at a fixed hour I should act as agent and transmit to her my thoughts,
+she being at the time in her residence in West Hampstead, and I in
+Kensington. The distance between these localities as the crow flies is
+four miles. The result of our first sitting, which took place on 20th
+May 1902, is shown on the preceding page.
+
+There was no possibility that the agent or the percipient could have
+copied the drawings, as the letters embodying them that we wrote to each
+other were posted on the evening of the same day and received by the
+first post the following morning, having crossed in the post.
+
+Telepathy was clearly indicated in this experiment.
+
+We continued trying experiments for some months after, but did not get
+such good results as at the beginning. On one occasion, however, we
+obtained a successful negative result. I was not feeling well, and did
+not fix my attention on any object. On the following morning Miss
+Telbin's letter said, "I could get nothing from you last night." It
+was, to say the least, curious that she should not have received an
+impression on the only night that I had not attempted to experiment.
+
+On another occasion, when Miss Telbin was in London and I in Folkestone,
+I arranged to transmit to her the impression of a diagram on a certain
+day at 8 p.m. It chanced that on that evening there was a performance at
+the theatre, at which my wife wished to be present. I therefore decided
+to telegraph to Miss Telbin that I would be unable to try the experiment
+that night, but after a good deal of hesitation I changed my mind, and
+thought that I would endeavour to transmit the impression of the diagram
+on my way to the theatre. The letter that I received from Miss Telbin
+the next day was to this effect:--
+
+     "I got a good deal of writing last night which was
+     illegible, but amongst it I read the words 'going out' and
+     'rain.'"
+
+Now this may be a mere coincidence, but it was strange that the words
+"going out" should correctly represent the idea that was in my mind
+during a great part of the preceding day. I had much worried,
+hesitating whether I should telegraph or not.
+
+The result appears to indicate the transmission of my mental state. The
+word "rain" represented correctly the state of the weather at
+Folkestone, but, as it often rains in England, this was of no evidential
+value.
+
+In regard to spontaneous telepathy I may bring before the reader two
+cases which I personally investigated, the percipient in the first case
+being a gentleman who belonged to a circle which regularly met for the
+study of psychic phenomena, and of which circle I was a member.
+
+The percipient, Mr. John Polley, gave me an account of his vision as
+follows:--
+
+     "At a séance held within sound of Big Ben on 8th May 1901,
+     there were present Mrs. E. V. M., Mr. Thomas Atwood, and
+     myself. As Mr. Atwood resumed his seat after delivering an
+     address (about 8.30 p.m.) I became aware of a vision which
+     presented itself as being some five feet distant from me,
+     and displayed part of the interior of a room, namely, that
+     part where the stove stood. The fire in the stove was small
+     and dull, and close beside it was an overturned chair. In
+     front of the fire was something that looked like a
+     fire-guard or clothes-horse, but this was not clear to me.
+     Playing, or climbing over this article, was a child, who
+     fell forward, and when it regained its feet I noticed that
+     its dress was on fire. I made no reference to the matter at
+     the time, as I had an impression that the vision might be
+     connected with some occurrence in the family of Mrs. M., and
+     I was averse to mentioning it for fear of awakening sad
+     memories. Shortly afterwards the whole vision was repeated,
+     and this time I had an uncontrollable impulse to speak. Upon
+     describing what I had seen for the second time, I was much
+     relieved to hear that the matter was not recognized as being
+     connected in any way with the sitters. I may mention here
+     that the child appeared to be about three years old, and,
+     judging from the style of dress, I described it as a girl,
+     although the vision would apply equally to a boy, as at that
+     early age the short clothes worn by both sexes would be very
+     similar.
+
+     "Next Thursday morning, 9th May 1901, upon awakening, I
+     described to my wife the events of the previous evening's
+     séance. On the evening of the same day, namely, Thursday,
+     9th May, I was out with a friend, and upon my return home at
+     11.50 p.m., my sister, Mary Louisa Polley, who resided with
+     me at the time, made the remark, 'I have a piece of bad news
+     for you.' 'Well,' I replied, 'what is it? Let me know.' And
+     she answered, 'Brother George's little son, Jacky, has been
+     burned to death.' Like a flash I realized the connexion of
+     the sad event with my vision of the previous night. I then
+     asked my sister, 'How did you know this, and when?' She
+     replied, 'Mr. Fred Sinnett told me when he came over to see
+     us this evening.'
+
+                                      (Signed) "JOHN POLLEY"
+
+I obtained from the other sitters at the séance the following
+statement:--
+
+     "At the séance held on the evening of Wednesday, 8th May
+     1901, at which were present Mrs. E. V. M., Mr. Thomas
+     Atwood, and Mr. John Polley, we, the undersigned, testify
+     that Mr. John Polley gave to us a description of a vision of
+     the burning of a child which he saw at this séance.
+
+                            (Signed in full) "E. V. M.
+
+                                             "THOMAS ATWOOD"
+
+I personally interviewed Mr. John Polley's wife and sister and received
+a written statement from each confirming Mr. Polley's account.
+
+A local paper containing an account of the inquest on the child states
+that the accident took place on Tuesday, 7th May, and the child was
+taken to a hospital immediately and there died. The father of the child
+wrote to me as follows:--
+
+     "DEAR SIR,--In reply to your inquiry respecting my late son,
+     John Frederick, I beg to say that on Tuesday, 7th May, my
+     wife went out to do some shopping, leaving my son, aged two
+     years and two months, in a bedroom with another brother aged
+     seven. Whilst the elder brother was getting some toys to
+     play with, the deceased thrust some paper in the fire,
+     pulled it out again, and set fire to his clothes. Some
+     neighbours took him to the Children's Hospital, Paddington
+     Green, where he passed away on Wednesday, 8th May, at 11.45
+     a.m. No intimation of this was given by myself or any member
+     of our family to my brother, Mr. John Polley, until a friend
+     of the family called at my address on Thursday, 9th May,
+     between 1 and 2 p.m., when we informed him of the sad loss
+     that we had sustained, and he told us that he intended
+     calling on my brother that evening, and we asked him if he
+     would communicate the news to my brother and sister who
+     reside at Church Street, Stoke Newington. Of course, Sir,
+     you know I am antagonistic to your views, but my brother has
+     told me it is for the interests of science. If this is so, I
+     take great pleasure in its furtherance.--Yours sincerely,
+
+                          (Signed) "FREDERICK GEORGE POLLEY"
+
+In the above case it appears to me that the vision of the burning child
+which Mr. John Polley saw arose out of a spontaneous telepathic
+impression, either from the mind of the father of the child to his
+brother's (Mr. John Polley's mind), or from the mind of one of the
+persons who was cognizant of the sad event.
+
+In regard to the second case of spontaneous telepathy to which I have
+referred, I cannot do better than to give the account of same as it
+appeared in the _Journal of the Society for Psychical Research_ of June
+1912:--
+
+     "The following case of a reciprocal telepathic impression
+     occurring to two persons at the same time has been
+     communicated to us by Mr. W. W. Baggally. Both Miss Emma
+     Steele and Mr. Claude Burgess, the lady and gentleman
+     concerned in the case, are known personally to Mr. Baggally.
+
+     "Miss Steele writes as follows:--
+
+                           "'16 and 17 SILLWOOD PLACE,
+                               "'BRIGHTON, _13th March 1912_
+
+          "'Mr. Claude Burgess, who is an invalid, had been
+          staying at my private hotel, at the above address,
+          for some months. He left on 15th February to take
+          up his residence at No. 10 Belgrave Place, Kemp
+          Town, Brighton. In the interval between the date
+          of his leaving and the night of the 5th inst.,
+          when I had the remarkable dream (if it can be
+          called a dream) which I am about to relate, I had
+          not seen Mr. Burgess, and nothing had occurred to
+          cause me to think particularly about him.
+
+          "'On the above night I retired to rest at my usual
+          time. I awoke finding myself standing in the
+          middle of my room and answering, "All right, I'm
+          coming," to Mr. Burgess, who, I thought, called
+          three times: "Miss Steele! Miss Steele! Miss
+          Steele!"
+
+          "'By the time I had put on my dressing-gown and
+          lighted the gas I was fully awake. I then
+          remembered Mr. Burgess was no longer in the house.
+          I looked at the clock and noticed it was exactly 3
+          a.m. When I came downstairs next morning I told my
+          cook my dream, and remarked I hoped nothing had
+          happened to Mr. Burgess. During the next day,
+          Wednesday, 6th March, in the afternoon, a man
+          called while I was out and left a note from Mr.
+          Burgess, which I enclose. I was much surprised by
+          its contents. It struck me most forcibly getting
+          it from him, as he is paralysed and has to write
+          with great difficulty with his left hand. He very
+          seldom writes now, so it must have made a great
+          impression on him seeing me as he relates in his
+          letter.
+
+                                          "'EMMA M. STEELE'
+
+     "The letter from Mr. Burgess to Miss Steele referred to
+     above, which is now in our possession, was as follows:--
+
+                               "'10 BELGRAVE PLACE, BRIGHTON
+
+          "'MY DEAR EMMA,--I had a funny dream about you
+          last night. I dreamed that you appeared at about 3
+          a.m. Just a glimpse of you. It's funny, isn't
+          it?--Yours,
+
+                                           "'CLAUDE BURGESS'
+
+     "Miss Steele's cook made the following statement to Mr.
+     Baggally:--
+
+                                         "'_13th March 1912_
+
+          "'On Wednesday morning, the 6th March last, Miss
+          Emma Steele came down from her bedroom at 8.30. I
+          saw she was looking pale. I asked her if she were
+          not well. She replied that she had had a strange
+          dream. She heard Mr. Burgess call her three times.
+          She told me that she suddenly jumped up and put
+          her dressing-gown on. By the time she had put on
+          her dressing-gown and lit the gas she remembered
+          Mr. Burgess had left the house. She said it was
+          about 3 o'clock a.m. when she heard Mr. Burgess
+          call.
+
+                                   (Signed) "'SARAH POLLARD'
+
+     "The following statement was written by Mr. Baggally on 13th
+     March 1912, from Mr. Claude Burgess's dictation:--
+
+          "'On Tuesday night, 5th March 1912, I woke up at
+          about 3 a.m. with a start. I saw Miss Emma Steele
+          standing at the door of my bedroom. I had closed
+          the door, but she appeared to have opened it. She
+          was attired in her ordinary dress.
+
+          "'I was much surprised. It was an absolutely
+          distinct apparition. I had not been thinking of
+          her the previous day, and I cannot tell why she
+          appeared to me.
+
+          "'The apparition lasted about five seconds. I was
+          not at all frightened, and went to sleep
+          immediately after.
+
+          "'I was so struck by what I had seen that, next
+          morning, the 6th March, at about 11 o'clock, I
+          wrote a letter to Miss Steele which I handed to
+          Mr. William Watkins, the proprietor of the
+          establishment where I now reside, for him to send
+          to Miss Steele. In this letter I told Miss Steele
+          that I had dreamed that she had appeared to me on
+          the previous night.
+
+                                  (Signed) "'CLAUDE BURGESS'
+
+     "In reply to Mr. Baggally's personal inquiries, Mr. Claude
+     Burgess stated that it was the first time that he had had a
+     hallucination of this kind, and he had not had one since.
+
+          _Statement by Mr. William Watkins_
+
+
+                                  "'10 BELGRAVE PLACE,
+                               "'BRIGHTON, _13th March 1912_
+
+          "'Mr. Claude Burgess delivered to me a letter
+          which he had written to Miss Steele, at about 11
+          a.m. on 6th March, which I handed to a man of the
+          Church Army Labour Home to take to Miss Steele.
+          The same morning at 8 a.m. Mr. Burgess told me he
+          had dreamt of Miss Steele.
+
+                                          "'WILLIAM WATKINS'
+
+          _Statement by Mr. Baggally_
+
+          "'I called on the afternoon of the 13th March 1912
+          at the offices of the Church Army Labour Home, St.
+          James Street, Brighton, and saw the Secretary, who
+          showed me an entry in their books confirming the
+          fact that, at the request of Mr. William Watkins,
+          a man in their employ had delivered a letter to
+          Miss Emma Steele of 16 Sillwood Place, Brighton,
+          in the afternoon of 6th March 1912.
+
+          "'I have interviewed all the persons connected
+          with this case, and they confirmed their
+          respective statements.
+
+                                           "'W. W. BAGGALLY'
+
+     "In reply to our further questions as to whether Mr.
+     Burgess's experience was a dream or a waking hallucination,
+     Mr. Baggally wrote to us on 1st April 1912:--
+
+          "'I had an interview with Mr. Burgess to-day, and
+          the following is the information I received from
+          him respecting the points you raise. He said to
+          me:--
+
+          "'"(1) I used the word 'dream' in my letter to
+          Miss Steele for want of a better word. (2) I woke
+          up and then had the vision of Miss Steele. (3) I
+          did not notice anything in the room at the time I
+          had the vision. The room appeared dark. (4) Miss
+          Steele appeared to me in a bright light, not
+          self-luminous or phosphorescent, but just as she
+          would have appeared in daylight. She appeared to
+          me in the part of the room where the door was."'
+
+     "Mrs. Baggally sends us the following statement enclosed in
+     a letter dated 27th April 1912:--
+
+          "'I was in the drawing-room of Miss E. Steele's
+          sister on the evening of Wednesday, 6th March,
+          when Miss Emma Steele came in, saying in an
+          excited manner, "Where is Mr. Baggally? He will be
+          so interested in this."
+
+          "'She held in her hand a letter from Mr. Burgess,
+          and proceeded to tell me that the previous night
+          she had heard, as she thought, Mr. Burgess fall
+          on the floor of the bedroom over her own. She
+          sprang out of bed.
+
+          "'Finding herself in the middle of the room, she
+          heard him call "Miss Steele!" three times. She
+          then suddenly remembered that Mr. Burgess was no
+          longer living in her hotel. She struck a light,
+          looked at the clock, and found it was 3 o'clock.
+          The following morning she felt so tired that when
+          giving orders to her cook, the latter noticed her
+          fatigue and commented upon it. She told the cook
+          the reason was that she heard Mr. Burgess
+          apparently calling her at 3 o'clock.
+
+          "'Miss Steele proceeded to say that Mr. Burgess
+          had, curiously enough, sent her that afternoon the
+          note which at that moment she held in her hand,
+          and in which he told her that he dreamt she had
+          appeared to him at 3 a.m. the previous night.
+
+          "'Miss Steele appeared much impressed and wondered
+          if anything had happened to Mr. Burgess. I
+          informed my husband that same night, on his return
+          home, of what Miss E. Steele had told me.
+
+                                        "'LAURA E. BAGGALLY'
+
+          "'On my return home on the evening of 6th March
+          my wife related to me what appears in her
+          statement above.
+
+                                          "'W. W. BAGGALLY'"
+
+The above case is evidentially a good one, inasmuch as both Miss Emma
+Steele and Mr. Burgess each reported on the morning of 6th March (the
+one to her cook and the other to his landlord) their experiences of the
+previous night before either of them was aware that a reciprocal
+telepathic impression had occurred between them.
+
+There appears to be evidence that telepathy can also occur between the
+mind of a human being and that of an animal. The reader will doubtless
+recollect Mr. H. Rider Haggard's case which appeared in the public
+press. This gentleman, on the night of Saturday, 9th July 1904, dreamed
+that a favourite dog of his eldest daughter was lying on its side among
+brushwood by water, and that it was trying to transmit in an undefined
+fashion the knowledge that it was dying. Next day the dog was missing.
+The body of the dog was subsequently found floating in the water near a
+bridge. An examination of the attendant circumstances pointed to the
+dog having met its death on the night of Mr. Rider Haggard's dream. As a
+result of this gentleman having made public this experience, he received
+from numerous correspondents accounts of telepathy between the minds of
+the writers of the letters and the minds of animals. These accounts were
+sent by Mr. Rider Haggard to the Secretary of the S.P.R., who handed
+them to me for investigation.
+
+A very good case was that communicated by Lady C. The following is the
+account of her experience:--
+
+     "On one hot Sunday afternoon in the summer of 1900 I went,
+     after luncheon, to pay my customary visit to the stables to
+     give sugar and carrots to the horses, among the number being
+     a favourite mare named Kitty. She was a shy, nervous,
+     well-bred animal, and there existed between us a great and
+     unusual sympathy. I used to ride her every morning before
+     breakfast (whatever the weather might be)--quiet, solitary
+     rides on the cliffs which overhung the sea at Castle F., and
+     it always seemed to me that Kitty enjoyed that hour in the
+     freshness of the day as much as I did. On this particular
+     afternoon I left the stables, and walked along to the
+     garden, a distance of a quarter of a mile, and established
+     myself under a tree with an interesting book, fully
+     intending to remain there for a couple of hours. After about
+     twenty minutes an uncomfortable sensation came between me
+     and my reading, and at once I felt sure that there was
+     something the matter with Kitty. I tried to put the feeling
+     from me, and to go on with my book, but the impression grew
+     stronger, and I felt compelled to hasten back to the
+     stables. I went straight to Kitty's box and found her
+     'cast,' and in urgent need of help. The stablemen were in a
+     distant part of the stables, whence I fetched them to have
+     the mare up. Their surprise was great to find me in the
+     stables for the second time that afternoon."
+
+I wrote to Lady C., and received the following reply:--
+
+                                       "_27th December 1904_
+
+     "Lady C. would be glad indeed to have the case investigated,
+     as it always seemed to her to be of the greatest possible
+     interest. At the same time, it may be difficult at this date
+     to get a statement from the stablemen, one of whom is
+     somewhere in England, but Lady C. will try to do so. She is
+     absolutely convinced that no one entered the stable. Had the
+     stablemen done so they would at once have helped the mare to
+     get up, and anyone else would have given the alarm. It seems
+     a direct case of telepathy from animal mind to human."
+
+Lady C. afterwards sent me a statement from a former coachman; it is
+this:--
+
+                                       "_31st December 1904_
+
+     "I was coachman at Castle F. at the time. Lady C. came to
+     the stables after luncheon as usual on a Sunday afternoon
+     with carrots and sugar for the horses. Kitty was then loose
+     in her box and quite well. I then went to my room over the
+     stables, the other stablemen being also upstairs, and to my
+     surprise, after half an hour or three-quarters of an hour
+     later, her ladyship, who had been to the garden, called me
+     and the other stablemen to come and help Kitty up, as she
+     was lying 'cast'[1] in her box. No one had gone into the
+     stable in the interval.
+
+                                          (Signed)   "E. N."
+
+[Footnote 1: This word is used by veterinary surgeons to describe the
+state of a horse that has fallen down in its box in a stable and cannot
+rise.]
+
+Telepathy may possibly exist between the mind of an animal and that of a
+human being and _vice versa_, but a sufficient number of cases have not
+been collected to establish this as a fact.
+
+
+
+
+PART II
+
+FRAUDULENT TELEPATHY
+
+
+I now come to another class of so-called thought transference--that
+exhibited at public entertainments in which genuine telepathy plays no
+part.
+
+On the 25th November 1912 Miss Isabel Newton, the Secretary of the
+Society for Psychical Research, and I attended the demonstration given
+by Yoga [_sic_] Rama of his alleged occult powers at the "Little
+Theatre," Adelphi.
+
+Accounts had appeared in the public press of a previous private
+performance given by this so-called Abyssinian Mystic, at which Sir John
+Simon, the Solicitor-General, Mr. Bernard Shaw, and Mr. Anthony Hope had
+assisted, and it was stated that Yoga Rama had been able to read the
+thoughts of the Solicitor-General by supernormal means.
+
+In order to demonstrate, in a public manner, the alleged occult power of
+this "psychic," a stage performance was given at the "Little Theatre" on
+the afternoon of the above-mentioned date. A large audience was present,
+and their expectations of witnessing manifestations of an occult nature
+were raised by the contents of the programme, wherein it appeared that
+Yoga Rama was to give a demonstration of "The power of mind over mind"
+by means of--
+
+     "1. Clairaudience.
+
+     "2. The possibility of the interpretation of vibrations
+     without the aid of sound.
+
+     "3. Psychometry by sense of touch.
+
+     "4. Telepathy. The disclosure of names thought of by persons
+     in the audience.
+
+     "5. Disclosure of personalities by subconscious means.
+
+     "6. Revelations by a circumstantial chain of mind pictures.
+
+     "7. Various demonstrations of ideas silently conveyed to the
+     spectator by suggestion.
+
+     "8. Descriptions of cities and places by mind pictures.
+
+     "9. Messages."
+
+Before Yoga Rama made his appearance a gentleman (a Mr. Fletcher)
+delivered a short speech from the stage. He stated that the "Yoga" had
+acquired his occult powers by contemplation after many years' study. He
+went on to say that in the Eastern World the occult powers of the mind
+had been more studied than in the Western World, but at the present day
+the Western World looked upon these powers with much less prejudice than
+formerly.
+
+After Mr. Fletcher had retired, Yoga Rama made his appearance from
+between the centre of two curtains which hung at the back of the stage.
+He was attired in a long loose black gown and wore a large crimson
+turban. He advanced to the front of the stage and made a speech which
+had a smattering of a theosophical discourse. He described four kinds of
+Yogi. The first kind, he said, was frequently met in India. These Yogi
+worked on the physical plane and produced effects resembling the feats
+of a conjurer. The second kind worked in the mental plane (to this
+class he implied that he belonged). The third dealt with the spiritual
+problems of life. The fourth was absorbed in meditation.
+
+He continued his speech by saying that he required the sympathy of the
+persons with whom he would experiment. If they mentally opposed him he
+could do nothing, but if their minds were sympathetic and not
+antagonistic he would succeed.
+
+The speeches of Mr. Fletcher and of Yoga Rama still further raised the
+expectations of the audience that they were about to witness that
+afternoon a demonstration of the power of mind over mind by supernormal
+means.
+
+Yoga Rama, after the conclusion of his speech, called for thirty persons
+(ladies and gentlemen) to come upon the stage and form a Committee. A
+gentleman and I first answered the call. We were soon followed by a rush
+of ladies and gentlemen who rather inconveniently filled the stage, but
+this did not interfere with the performance, as the majority of the
+ladies and gentlemen kept at the back of the stage while Yoga Rama
+carried out his experiments with a limited number of the members of the
+Committee. In order to be more at his ease, Yoga Rama removed his
+turban. I placed it under a table which stood on the stage. I then had a
+good look at him. I found he was a black man with short crisp curly
+hair. From his appearance and the fluency with which he speaks English,
+I came to the conclusion that he is not an Abyssinian, but an American
+or West Indian negro.
+
+Amongst the members of the Committee were Mr. Zancig and Mr. William
+Marriott. Both of these gentlemen I have had the pleasure of knowing for
+some years. They, together with Mr. Charles Guttwoch (a friend of Mr.
+Marriott), three or four other gentlemen, and myself, were the only
+members of the Committee who actively endeavoured to ascertain whether
+Yoga Rama's experiments depended for their success on trickery or on
+other causes. The other members of the Committee remained passive
+spectators. As regards the lady members with whom Yoga Rama tried a few
+experiments, they declared themselves, at the conclusion of the
+performance, to be believers in his alleged supernormal claims.
+
+Before the experiments commenced, Yoga Rama asked that some one should
+blindfold him with some articles which lay on a small table in the
+centre of the stage. These consisted of two pieces of folded paper just
+large enough to cover the eyebrows and eyes, a piece of porous plaster
+perforated with holes, a thin white cotton handkerchief, two gloves, and
+a long red silk scarf. Mr. Marriott offered to blindfold him. I stood
+close to him while this was being done. Mr. Marriott placed the pieces
+of paper first on Yoga Rama's eyes, then the porous plaster, then the
+cotton handkerchief, after this the two gloves, and finally the red
+scarf which he wound several times round his head. The tip of Yoga
+Rama's nose could be seen under the plaster, the white cotton
+handkerchief, and the scarf. Yoga Rama, who remained standing, then
+requested some one to sit on a chair in front of him, to think of a
+name, then to hold his left hand (_i.e._ the sitter's left hand) in
+front of the sitter's face, and to trace on the palm of the left hand
+with the forefinger of the right the first letter of the name thought
+of. The sitter was then asked to give taps on his left hand or make
+movements in the air with his right hand corresponding to the number of
+letters of which the name thought of consisted. When Yoga Rama suggested
+(as he subsequently did) that the name of a flower or of a city should
+be thought of, he requested that the same procedure of tracing the first
+letter of the name and giving a number of taps or making movements with
+the right hand corresponding to the number of letters should be
+followed, but when he suggested that a play of Shakespeare should be
+thought of he only asked that the first one or two letters of the title
+should be traced on the palm of the left hand of the sitter with the
+forefinger of the other hand. He did not then ask that taps or movements
+of the right hand should be given or made. About an hour and a half of
+the first part of the performance was taken up by experiments of the
+above nature. These were varied only by one experiment of telling the
+title of a hymn which a lady thought of, one of reading the thoughts of
+a young lady, and one experiment with playing cards.
+
+Yoga Rama then made a long speech about happiness depending on our own
+selves and our being what we willed ourselves to be. He asserted that he
+had overcome in himself the passion of anger. He laboured these points
+so much and repeated himself so often that it became manifest he was
+making the speech solely with the object of filling up the time.
+
+The patience of the Acting Committee became exhausted, and one of the
+members advanced to the front of the stage, interrupted Yoga Rama, and,
+appealing to the audience, said he had no doubt but that he had their
+support when he asserted that they had come to the theatre not to hear
+speeches but to witness experiments. Yoga Rama brought his speech
+abruptly to a close after saying he would now demonstrate the power he
+had acquired of controlling the functions of his body and of rendering
+it insensible to pain. To show the control over his body he asked two
+members of the Committee to stand by his side and to look at their
+watches and note the length of time he was able to cease from breathing.
+To show his insensibility to pain he said he would stand barefooted on a
+board studded with long nails, and also stand on broken glass.
+
+I have given an account of the nature of the performance with which Yoga
+Rama favoured us. I will now proceed to describe the experiments more in
+detail and to comment upon them.
+
+Mr. Marriott was the first person to sit on the chair in front of Yoga
+Rama. He was told to hold his left hand in front of his face, to trace
+the first letter of the name thought of on the palm of his left hand
+with the forefinger of the right, and give the taps or make the
+movements in the air with his right hand in the manner already
+described. Mr. Marriott, instead of holding his left hand up, held his
+right hand. Yoga Rama immediately said, "Not your right hand but your
+left." This was a suspicious circumstance, as it indicated that Yoga
+Rama could see notwithstanding he was blindfolded. Now conjurers know
+that blindfolding in the manner above described is not a precaution
+against seeing, as at the time of blindfolding what the conjurer does is
+to shut his eyes tightly and bring his eyebrows well down. When the
+blindfolding is finished, the conjurer opens his eyes and draws his
+eyebrows up; the bandages will then be displaced and drawn up from their
+original position and he will be able to see under the bandages through
+the spaces between the bridge of his nose and his cheeks. This, in the
+joint opinion of Mr. Zancig, Mr. Marriott, and myself, is what Yoga Rama
+did, and our opinion was confirmed when we examined the bandages at the
+time they were removed from the performer's eyes, as will be described
+later.
+
+Yoga Rama's method of telling the name thought of is to watch the
+movement of the finger of the sitter's right hand while he traces the
+first letter of the name on the palm of the left. This indicates to him
+the first letter of the name, then he counts the number of taps or
+movements given by the sitter's right hand. Thus, if the first letter
+were W and the number of taps or movements seven, the name in all
+likelihood would be William, or, if the first letter were W and the
+number of taps or movements six, the name would probably be Walter.
+Ordinary Christian names are limited in number, and Yoga Rama took care
+to know beforehand whether the sitter were thinking of a female name or
+of a male name. It was therefore not a difficult matter for him to hit
+upon the name. Moreover, when he was in doubt, as was often the case, he
+not only asked that the first letter should be traced, but the second
+and the third and the fourth, etc. Before hazarding a guess Yoga Rama
+often asked whether the second or third or fourth, etc., letter of the
+name were a letter that he mentioned. Thus, if he were not quite sure
+that W had been traced, but he had noticed that seven taps or movements
+had been given, he would say is not the fourth letter of the name L. If
+the sitter answered in the affirmative, he would be pretty sure that
+William was the name, but if the sitter's answer were a negative one,
+Yoga Rama asked that the letters should be traced again and the taps,
+etc., repeated. Yoga Rama resorted to the above-described method when he
+asked the sitter to think of the name of a flower or of a city, but he
+only tried one or two experiments with the names of flowers or cities,
+the reason being, obviously, that as the names of flowers or cities are
+not so limited in number as Christian names, he fought shy of them. The
+reason he gave for not being able to guess readily the name of a flower
+was, he said, that he was not a botanist.
+
+As regards the titles of Shakespeare's plays he only asked that one or
+two of the first letters of the title should be traced on the left hand,
+and did not require any taps or movements of the right hand. Any person
+acquainted with Shakespeare's plays and knowing the first one or two
+letters of the title could have guessed with equal facility which play
+was in the mind of the sitter. After getting the name of the play, Yoga
+Rama asked the sitter to think of a personage in that play. He only
+requested that this should be done once or twice, and was not successful
+in getting the name of the personage at the first guess, but only after
+making two or three guesses.
+
+In the experiment of telling the title of a hymn which a lady had in her
+mind, Yoga Rama resorted to the same method of asking her to trace the
+first letter of the title of the hymn on the palm of her left hand. She
+traced the letter L, and he hazarded the guess that it was "Lead,
+kindly light," which proved to be correct. Apparently the most
+successful experiments were one carried out with a young lady and one
+with myself. Yoga Rama asked the young lady to think of something. He
+then, without asking her to trace any letter or make movements with her
+right hand, told her that she wished to get married. She acknowledged
+that that was the thought in her mind. This caused a good deal of
+amusement amongst the audience. The young lady left the stage
+immediately after the experiment. This step on her part gave rise in the
+minds of some of the members of the Committee that she was an
+accomplice, and that, as the experiment had been carried out, she was no
+longer required by Yoga Rama. These members of the Committee may be
+doing an injustice to the young lady, but it was unfortunate she should
+have left the stage at that moment.
+
+As regards the experiment with myself, I stood in front of Yoga Rama and
+did not sit down, neither did I place my left hand in front of my face
+as other experimenters had done, but close against my body when tracing
+the letters of my second name, which was the one I had in my mind.
+
+My object in standing up was to have my hands out of the line of his
+vision. I took care that the movement of the forefinger of my right hand
+when tracing the letters should not be seen by him.
+
+Yoga Rama repeatedly asked me to trace and retrace all the letters of
+the name. He then gave the name correctly. Although this experiment
+appeared to indicate that the performer possessed telepathic powers, it
+must be borne in mind that he might have known who I was, as he had been
+practising his so-called occult powers for some time in London under the
+name of Professor Pickens before he assumed that of Yoga Rama. It was
+not necessary that he should see my face in order to know with whom he
+was experimenting. It was observed that he took a very careful stock of
+the dresses of the Acting Committee before he was blindfolded. It was
+only necessary, therefore, that he should see the lower part of the
+dress for him to know which member of the Committee stood in front of
+him. As one member after the other experimented with him he described
+their dress. He asserted that he was able to do this by a sort of
+telepathic vision.
+
+The experiment with the playing cards was a simple conjuring trick. Yoga
+Rama produced a pack of cards and asked the Committee to see that it was
+unopened. I opened the pack, shuffled the cards, and handed them to Mr.
+Marriott, who had been asked by the Professor to retire to a corner of
+the stage and choose a card which he was to show to two members of the
+Committee. Mr. Guttwoch and I accompanied Mr. Marriott to the corner of
+the stage and saw which card Mr. Marriott had chosen. Mr. Marriott then
+shuffled the pack again and handed it to Yoga Rama, who put it in his
+pocket. Yoga Rama then asked Mr. Marriott what card he had chosen. Mr.
+Marriott informed him. He then wrote something on a piece of paper which
+he folded and handed to one of the members of the Committee to hold. He
+then drew from his pocket another pack of cards similar in appearance to
+the original pack (that it was not the original pack was evidenced by
+the fact that the bottom card of the pack which Yoga Rama drew from his
+pocket was not the same as the bottom card of the original pack), but
+which had the cards arranged in an order known to Yoga Rama. He
+proceeded to pass the cards one after the other before Mr. Marriott's
+eyes, asking him to tell him when he came to the card he had chosen.
+When Yoga Rama came to the card, Mr. Marriott told him. Yoga Rama then
+said, "What is the card in front of the one you chose and the one behind
+it?" He was informed which they were. He then asked that the piece of
+paper should be opened, and it was found that the names of the cards had
+been written by him on the piece of paper. What occult power Yoga Rama
+intended to demonstrate by this simple conjuring trick I fail to see. It
+could not have been telepathy, as the two cards (the names of which Yoga
+Rama had written) had not been chosen nor thought of by Mr. Marriott.
+
+A few words will suffice to describe the experiments which Yoga Rama
+carried out to show (1) the control he had acquired over the functions
+of his body, and (2) his insensibility to pain. As has already been
+stated, he asked two members of the Committee to stand by him and note
+by their watches the length of time that he was able to cease breathing.
+He retained his breath for fifty seconds. A member of the Committee at
+the back of the stage called out, when the length of time was announced,
+"That is nothing. I can stop breathing for a full minute." This
+exclamation appeared to disconcert Yoga Rama a good deal. The standing
+barefooted on a board studded with nails and on broken glass are common
+tricks which can be seen performed by negroes at country fairs. I felt
+the points of the nails and found they had been filed down and were
+blunt. Mr. Marriott sat on the nails to the amusement of the audience
+while Yoga Rama had gone off the stage to remove his boots. When Yoga
+Rama returned he stood barefooted on these nails only for about half a
+minute. He then proceeded to break some bottles on a piece of felt. He
+pounded away on the glass with a hammer till he had reduced the greater
+part to nearly a powder. He carefully pushed the larger pieces of glass
+on one side and stood on the powdered portion.
+
+I will now proceed to state the reasons which lead me to the conclusion
+that Yoga Rama was able to see, although apparently blindfolded.
+
+1. The bandages were removed from his eyes by Mr. Marriott, who had
+blindfolded him at the commencement of the performance. While this was
+being done I had my face about two feet away from Yoga Rama's face and I
+carefully noted the position of each article as it was being removed.
+The lower edge of the porous plaster was above the tip of the
+performer's nose, and the edge of the white handkerchief above the edge
+of the plaster, and above the edge of the handkerchief was the edge of
+the crimson scarf. The edges of the handkerchief and scarf were
+sufficiently high up, so that, had the blindfolding depended only on
+these, he could have seen under them. The gloves which had been placed
+on the handkerchief need not be taken into account, as the folded pieces
+of paper on his eyes prevented them from pressing into the sockets of
+Yoga Rama's eyes, and he, by merely closing the eyes and bringing the
+eyebrows well down when he was being blindfolded and then opening his
+eyes and lifting the eyebrows well up, could displace the gloves from
+their original position and cause them to rise, as a conjurer well
+knows; therefore the blindfolding really depended on the position of the
+porous plaster. Now when Mr. Marriott placed the plaster over the pieces
+of paper he took care that the lower edges of both pieces should be on
+one of the lines of holes which existed in the plaster as shown in the
+accompanying engraving (which is taken from a photograph).
+
+He also took care that the lower edge of the plaster should stick
+against Yoga Rama's cheeks. On examining the plaster just before it was
+removed we found that the lower edge no longer stuck against the
+performer's cheeks. There were hollow spaces between the bridge of his
+nose and his cheeks through which he could have seen with a downward
+glance. The point now arises whether he used both his eyes or only one.
+I noticed that Yoga Rama always kept the right side of his face towards
+the sitters when trying the experiments. If the reader will look at the
+engraving, which shows the exact position of the folded pieces of paper
+at the time of the removal of the plaster from Yoga Rama's face, he will
+see that the piece of paper which covered his right eye is no longer on
+the same line of holes as the left piece, but is higher up, and, what is
+most suspicious, he will note some pieces of tissue paper which were
+stuck on the plaster by Yoga Rama and were under the pieces of folded
+paper, which prevented these from adhering to the plaster; thus by an
+upper movement of the eyebrows Yoga Rama succeeded in raising the folded
+piece of paper which covered his right eye, and with this eye he glanced
+under the plaster and watched the movements of the sitter's hands, etc.
+
+2. As I have stated above, Yoga Rama always kept the right side of his
+head towards the person with whom he was experimenting. He tried one
+experiment with a gentleman who sat in the second row of the stalls. He
+then turned his body round so that the right side of his face was in the
+same position relatively to this gentleman as it had been to the sitters
+on the stage. Moreover, the lights in the body of the theatre were not
+alight when Yoga Rama was trying his alleged thought-readings with the
+members of the Committee on the stage, but when he experimented with the
+gentleman in the stalls, one of the electric chandeliers in the body of
+the theatre, not far from the gentleman, was immediately lit, thus
+enabling Yoga Rama to watch the movements of the gentleman's right hand
+when tracing the letters of the name he had chosen on the palm of his
+left hand, and giving the taps corresponding to the number of the
+letters.
+
+3. At the conclusion of the performance, after the bulk of the audience
+had left, some persons remained in the foyer of the theatre, and a
+discussion arose, during which some of the persons present asserted that
+Yoga Rama had brought about his results by supernormal means. Mr.
+Marriott, Mr. Guttwoch, and I denied this. At that moment Yoga Rama came
+into the foyer, and he was accused by us of having been able to see. He
+asserted that he had not seen, and to prove it offered to try some
+experiments while a handkerchief was held tightly against his eyes. Mr.
+Guttwoch held a handkerchief against his eyes. As Yoga Rama was not now
+able to see, he resorted to a different method from the one he used on
+the stage. He held the wrist of the left hand of a lady with the thumb
+and three fingers of his right hand, while his forefinger rested against
+the back of the lady's hand. He then asked her to trace the letters of
+the name thought of with the forefinger of her right hand on the palm of
+her left hand, which was being held by him. He was able to tell the
+name, but only after repeated tracing of the letters by the lady. Yoga
+Rama not being able to be guided by sight as in his stage performances,
+now guided himself by the sense of touch. Although I have never before
+carried out an experiment of this nature myself, when Miss Newton and I
+returned to the rooms of the Society for Psychical Research I tried the
+experiment with her. I closed my eyes and held her wrist, and was able
+to feel the letter which she traced on the palm of her hand. Manifestly
+this is a difficult trick to perform, and requires great practice. I
+noticed that Yoga Rama chose the hand of a lady in preference to that of
+a gentleman, obviously because a lady's hand is thinner than that of a
+man, and the motion of her finger would be more easily felt.
+
+What convinced me more than any of the above reasons that Yoga Rama was
+able to see during his performance is the following fact. I placed the
+sticking plaster over my eyes after it had been taken from Yoga Rama's
+eyes and, to my surprise, I found I could perfectly well see through it.
+The numerous small holes with which it was perforated allowed me to do
+this.
+
+The audience at the "Little Theatre" had had their expectations raised
+that they were to witness manifestations of the occult powers of the
+mind through the mediumship of an Abyssinian Yogi, instead of which they
+witnessed an ordinary conjuring entertainment by a man who previously to
+assuming the name of "Yoga [_sic_] Rama" was known as Professor A. D.
+Pickens of Conduit Street, London.
+
+Besides the method used by Yoga Rama for producing his so-called thought
+transference, there are others resorted to by public entertainers. The
+one most in use is by means of a verbal code. The letters of the
+alphabet are substituted and a word can be conveyed by the agent asking
+a series of questions, each question beginning with a substituted
+letter. The percipient has to remember what letters the substituted ones
+represent; he takes note of the first letter only of each question, puts
+them together in his mind, and thus gets the word that it is the
+intention of the agent to convey.
+
+I have made a table (shown opposite) which shows one of these systems.
+
+If the name "Alfred" is to be conveyed, it can be done by the following
+questions:--
+
+  Here is a name          = A
+  Can you see it?         = L
+  Endeavour to do so      = F
+  Mind what you are doing = R
+  Go on                   = D
+    The letter E is understood.
+
+TABLE
+
+  +-----------------------------------++------------------------------+
+  |   SUBSTITUTED LETTERS TABLE       ||      NUMBERS TABLE           |
+  +--------+----------+---------------++------------------------------+
+  | A is H | J is L   | S is N        ||    No. 1 is Say              |
+  | B " T  | K " Pray | T " P         ||    "   2 "  Be               |
+  | C " S  | L " C    | V " Look      ||    "   3 "  Can              |
+  | D " G  | M " O    | W " R         ||    "   4 "  Do               |
+  | E " F  | N " D    | X " See this  ||    "   5 "  Will             |
+  | F " E  | O " V    | Y " Q         ||    "   6 "  What             |
+  | G " A  | P " J    | Z " Hurry     ||    "   7 "  Please           |
+  | H " I  | Q " W    |               ||    "   8 "  Are              |
+  | I " B  | R " M    |               ||    "   9 "  Now              |
+  |        |          |               ||    "  10 "  Tell             |
+  +========+==========+===============++==============================+
+  |                                 SETS                              |
+  +----------------+---------------------+-------------+--------------+
+  |     SET A      |       SET B         |     SET C   |     SET D    |
+  +----------------+---------------------+-------------+--------------+
+  |   _What is     |   _What article     | _What is it |   _What      |
+  |   this?_       |    is this?_        |  made of?_  |    colour?_  |
+  |                |                     |             |              |
+  | No. 1. Watch   | No. 1. Handkerchief | No. 1. Gold | No. 1. White |
+  | " 2. Bracelet  | " 2. Necktie        | " 2. Silver | " 2. Black   |
+  | " 3. Guard     | " 3. Bag            | " 3. Copper | " 3. Blue    |
+  | " 4. Chain     | " 4. Glove          | " 4. Lead   | " 4. Brown   |
+  | " 5. Breastpin | " 5. Purse          | " 5. Zinc   | " 5. Red     |
+  | " 6. Necklace  | " 6. Basket         | " 6. Wood   | " 6. Green   |
+  | " 7. Ring      | " 7. Book           | " 7. Brass  | " 7. Yellow  |
+  | " 8. Rosary    | " 8. Head-dress     | " 8. Paper  | " 8. Grey    |
+  | " 9. Cross     | " 9. Fan            | " 9. Silk   | "  9. Purple |
+  | " 10. Charm    | " 10. Key           | " 10. Glass | " 10. Violet |
+  +----------------+---------------------+-------------+--------------+
+
+The transmission of the nature of an article is by dividing articles
+that would be likely to be brought to a public entertainment into sets
+of ten, each set being indicated by a different question. These sets
+have to be learned by heart by the agent and the percipient. I give in
+the table four sets to illustrate my meaning. After asking the question
+which conveys the set to which the article belongs, a second question is
+asked, beginning with the word corresponding to the number on the number
+table. This will indicate what number in the set the article corresponds
+to. As an example: when the question "What is this?" is asked, it means
+that the article corresponds to SET A. If the second question begins
+with "Do," such as "Do you know?", this question on referring to the
+number table would mean No. 4; therefore the article would be a chain.
+Now, if the question "What is it made of?" is asked, it would refer to
+SET C, and if this question is followed by "Can you tell me?", on
+referring to the number table it will be found to correspond to No. 3;
+therefore the article would be a chain made of copper. When an article
+is not in any one of the sets the substituted letter code is used. Of
+course public entertainers learn by heart a number of sets, not only
+four.
+
+For silent thought transference occasionally electrical contrivances
+are resorted to. These are placed in different parts of the hall, and
+when being pressed by the foot or hand of the agent will convey a
+message to a certain part of the stage upon which the percipient (who
+may be blindfolded) rests his foot.
+
+There is another silent method which can be worked by a confederate who
+is placed behind a curtain close to the chair on the stage upon which
+the blindfolded percipient sits. The confederate watches the performer
+who stands amongst the audience and reads through a spyglass what he is
+writing on his tablet when putting down what members of the audience
+wish to be done. The confederate then communicates the contents of the
+writing to the percipient on the stage by whispering or by an electrical
+apparatus. The position of the performer or agent while he is writing in
+a clear hand on his tablets with his back to the stage easily enables a
+confederate to read the writing.
+
+Then there is the silent method of a French conjurer, some of whose
+performances I have witnessed, which consists of suggesting or "forcing"
+the spectators to do certain things, each action having a corresponding
+number which he conveys to his lady assistant, who is blindfolded, by
+touching her foot with his after she has come down from the stage and
+stands by his side amongst the audience.
+
+The "time-coding" method consists of silently counting by the agent and
+percipient at the same rate, starting from a preconcerted signal and
+ending at another preconcerted signal. The performer amongst the
+audience has in his hand a piece of paper on which is written the number
+that he wishes to silently convey to the other blindfolded performer on
+the stage. At the moment that he bends his head to look at the number he
+begins silently counting at a certain rate; a confederate behind the
+scenes begins counting at the same rate from the moment that the
+performer bends his head. When the performer lifts his head he ceases
+counting, so does the confederate. Each number written on the paper is
+thus conveyed, and the confederate communicates the total to the
+blindfolded performer by means of an electrical apparatus or otherwise.
+
+I have attended several performances in public halls in London at which
+thought transference--so-called--was carried out by the above trick
+methods.
+
+Sir Oliver Lodge was present with me at one of the performances at which
+the time-coding method was used. He has sent me the following note:--
+
+     "I was with Mr. Baggally on one of these occasions, and took
+     note of the fact that he could often guess what was being
+     transmitted by the performers quite as well as they could
+     themselves. We sat in a box looking at them, and he often
+     told me before they had spoken what they were going to say
+     (or words to that effect).
+
+     "I perceived even without his assistance that the
+     performance, which was stimulated by the success of the
+     Zancigs, was an exceedingly inferior imitation of what they
+     had achieved, and was manifestly done by a code of some
+     kind.
+
+                                                  "O. J. L."
+
+Some of the methods resorted to by public entertainers are so ingenious
+that the spectator is led to believe that genuine thought transference
+has taken place. The following correspondence, which appeared in the
+spiritualistic weekly paper called _Light_, illustrates a case in point.
+In the number of _Light_ of the 25th October 1902 there appeared this
+letter headed "Thought Transference":--
+
+     "SIR,--A few years ago Mr. and Mrs. Baldwin gave the
+     following entertainment in almost every large town in the
+     three kingdoms. The public were invited to write any
+     question or questions they desired to have answered on a
+     piece of paper, to place it in their pockets, and keep it
+     there without communicating its contents to anyone, and then
+     when they went to the hall their names were called out and
+     their question answered without the papers leaving their
+     possession. About fifty such inquiries were answered each
+     evening without a single failure by Mrs. Baldwin, who sat
+     blindfolded with her back to the audience. From my
+     experience and that of my friends, collusion was impossible,
+     and the only way of accounting for the performance was by
+     thought transference or telepathy between Mrs. Baldwin and
+     those of the audience with whom she was in mental sympathy.
+
+                                         (Signed) "C. A. M."
+
+Commenting on this letter, I wrote to _Light_, and my communication
+appeared the following week. It was to this effect:--
+
+     "Under the heading of 'Thought Transference,' your
+     correspondent, C. A. M., gives an account of some
+     entertainments by Mr. and Mrs. Baldwin, at which he says" (I
+     here quoted from C. A. M.'s letter, and then continued as
+     follows):--"I never was present at entertainments given by
+     Mr. and Mrs. Baldwin, and therefore cannot express an
+     opinion as to the _modus operandi_ in their particular case,
+     but I would point out that their entertainments bear a close
+     resemblance to those given by conjurers. The explanation of
+     the mystery in a conjurer's case is as follows:--The
+     conjurer asks members of the audience to write their
+     questions secretly, to sign their names at the bottom of the
+     question, and then to fold the pieces of paper on which the
+     questions are written and place them in their pockets. To
+     facilitate the writing he hands pencils round and tablets
+     upon which to rest the pieces of paper during the writing of
+     the questions, or the members of the audience, if they so
+     wish, can retire into an adjoining room and write their
+     questions on a table. The tablets and pencils are then
+     collected by an assistant who is a confederate, who then
+     retires from the hall to the room where the table is. The
+     tablets and table have false surfaces of leather or other
+     material, which, on being removed by the confederate,
+     disclose a layer of carbon paper resting on another of white
+     paper upon which the questions have been recorded unknown to
+     the inquirers. The confederate then proceeds to read the
+     questions with their respective attached signatures, and to
+     communicate them to the blindfolded medium by an electrical
+     apparatus upon which the medium's foot rests, or by other
+     mechanical means."
+
+I signed my letter W. W. B. A fortnight after, the following letter
+appeared in _Light_:--
+
+     "SIR,--With reference to the communication by W. W. B.
+     referring to the supposed thought transference, and
+     mentioned by another correspondent, C. A. M., in connection
+     with the entertainments of Professor Baldwin (an American
+     conjurer and brother mason), whom I met in Cape Town on two
+     separate occasions, permit me to state that (1) if it is the
+     same Baldwin, he is one of the cleverest illusionists in
+     his special line of trick thought transference, and W. W. B.
+     is quite right. (2) I know that Mr. and Mrs. Baldwin did
+     most of their experiments by trick, because, being one of
+     the chosen committee to test the so-called thought reading,
+     I fixed it absolutely as trickery on the lines indicated by
+     W. W. B.
+
+                                 (Signed) "BERKS HUTCHINSON"
+
+I was gratified to read this letter and to find that my conjecture was
+correct that the Baldwin performance was a mere exhibition of
+conjuring.
+
+
+
+
+PART III
+
+THE ZANCIGS
+
+
+Some years ago there appeared at the Alhambra Theatre, London, two
+entertainers--Mr. and Mrs. Zancig--whose performances were of so
+puzzling a nature that to many who had witnessed them the only
+explanation of the results obtained appeared to be that genuine
+telepathy was at play. The _Daily Mail_ newspaper arranged that Mr. and
+Mrs. Zancig should be subjected to a series of severe tests at its
+office, and on the 30th November 1906 these were carried out.
+
+On the 1st December the _Daily Mail_ published a full account of these
+experiments. The publication of this and of other accounts by persons
+who had witnessed the remarkable performances of the Zancigs led to a
+heated controversy between the correspondents of the _Daily Mail_ and
+the _Daily Chronicle_. Those of the first paper mostly asserted that the
+performance was an exhibition of true telepathy, while those of the
+second paper declared that codes--visual and verbal--would account for
+the phenomena. Previously to the experiment carried out by the _Daily
+Mail_ I had obtained a letter of introduction to the Zancigs from a
+friend of mine who had had private tests with them, but as it was
+necessary to have the permission of the manager of the Alhambra before
+an interview with the Zancigs could be arranged, I called at the offices
+of that theatre, and saw Mr. Scott, the manager. I informed him that I
+was a member of the Society for Psychical Research, which body I told
+him took the deepest interest in telepathy. I handed him a letter that I
+had written to Mr. Zancig, and on the 29th November 1906 I received the
+following communication from the last-named gentleman:--
+
+     "DEAR SIR,--I received a letter from Miss H. A. Dallas,
+     telling me that you would like to meet us. Now, my dear sir,
+     we would be pleased to make your acquaintance, and have you
+     call for a visit, but if it is for any private show and to
+     be tried and judged if our work is, as we represent, 'two
+     minds with but a single thought,' I will have to say No. We
+     have done nothing since we arrived in London but have
+     callers to test and try us every day, from three to four
+     ladies and gentlemen. My wife and I agreed to all tests they
+     put to us, and all was quite satisfactory. Personally I do
+     not care, but it has been quite a strain on my wife. Should
+     you care to witness our show, you would be able to see us at
+     ten p.m. on the Alhambra stage, but if you care to call and
+     see us, and have a little talk, we both would be pleased to
+     meet you.--Trusting that I am understood, I remain, yours
+     sincerely,
+
+                                    (Signed) "JULIUS ZANCIG"
+
+Although the contents of the above letter were of a discouraging nature,
+I determined to strike the iron while it was hot; therefore, on the
+evening of the same day I called, accompanied by my wife, at the flat
+where the Zancigs resided. They were at the time partaking of their
+evening meal. We apologized for our intrusion, but by the kind way that
+they received us we were soon put at our ease. I informed Mr. Zancig
+that I was much interested in telepathy, and that I had personally
+carried out experiments in this branch of psychical research, and that I
+was assured of the truth of its existence through the successes that I
+had obtained.
+
+Mr. and Mrs. Zancig impressed my wife and myself most favourably by
+their unaffected and simple manner. After a conversation which lasted
+about ten minutes, Mr. Zancig very kindly spontaneously offered to try
+some experiments. I will now describe these. Madame Zancig went to the
+other end of the room farthest away from where Mr. Zancig, my wife, and
+I sat. She faced the wall with her back to us; Mr. Zancig then wrote
+with a chalk a line of figures on a slate which he held in his left
+hand, and called out the word "Ready." Madame Zancig immediately named
+the figures correctly and in their proper order. The same kind of
+experiment was tried successfully three times. The results might have
+been due to telepathy, but I was not satisfied, as it could have been
+possible that the figures were prearranged, or that Madame Zancig could
+tell by the sound of the chalk what figures were being written. I also
+had in my mind the fact that there is a method of communicating figures
+by time-coding.
+
+Mr. Zancig then asked me to write a double line of figures. I handed the
+slate to him, and after he had called out "Ready" Madame Zancig
+proceeded to cast them up correctly.
+
+As Madame Zancig named all my figures aloud as she was summing them up,
+this experiment was of a more complicated nature than the previous ones;
+nevertheless, I was not entirely satisfied, as time-coding in putting
+down the resultant figures by Mr. Zancig, and the hearing of the sound
+of the chalk by Madame Zancig when I was writing my own figures, might
+have accounted for the favourable result.
+
+To prevent the possibility of communicating by an electrical or other
+apparatus concealed under the carpet, I requested Mr. Zancig to raise
+his feet from the floor. He immediately complied by sitting on the
+table, where he remained to the last experiment.
+
+Madame Zancig then retired into an adjoining bedroom with a slate in her
+hand; the door was closed, but not entirely. My wife wrote down two
+lines of figures, the slate was handed by her to Mr. Zancig, who called
+out "Ready," and he then proceeded without speaking to add them up.
+Madame Zancig then came into the room with the correct result written by
+herself on her slate. This was a more crucial test than the last, but
+still, although visual-coding was excluded, sound-coding while Mr.
+Zancig was writing the resultant sum was not entirely so.
+
+Then followed the experiment of transmitting a selected line in a book.
+Mr. Zancig handed me a book and asked me to open it at any page and to
+point out a line. After I had done so I handed the book to him. He
+called out "Ready." Then his wife opened a duplicate book at the proper
+page, and read the line which I had selected. Doubtless the words of the
+line were not communicated telepathically or otherwise by Mr. Zancig,
+but only the number of the page and the number of the line counting from
+the top of the page. Nevertheless, it was difficult to discover by what
+method this was done, as Mr. Zancig simply called out "Ready." There did
+not appear to be time for the numbers of the page and line to be
+transmitted by time-coding. The reader will observe that as the
+experiments proceeded they appeared to present increasing evidence that
+true telepathy was at work.
+
+The following and last experiment that I tried on this occasion was the
+most crucial. I requested Mr. Zancig to go out with me on to the landing
+outside the door of the flat. I did not previously inform Madame Zancig
+nor Mr. Zancig of the nature of the test that I was about to put. Madame
+Zancig remained in the room with my wife. The door was closed, but not
+completely. When we were on the landing I suddenly drew my cheque-book
+out of my pocket, tore out a cheque, and handed it to Mr. Zancig,
+requesting him to transmit the number. Mr. Zancig observed to me in a
+whisper that the noise of the traffic in the street was very disturbing.
+This was true, as the hall door to the street was open. He then remained
+silent while he looked at the cheque. My wife then came out on to the
+landing, and handed me a slate upon which Madame Zancig had during the
+experiment written the words, "In the year 1875." Mr. Zancig then said
+aloud, "This is not what we want; it is the number." My wife returned
+into the room with the slate, and the door was closed, but not
+completely. It was impossible, however, for Madame Zancig to see her
+husband. The suspicion arose in my mind that the number on the cheque
+might have been communicated to Madame Zancig by the words that Mr.
+Zancig had spoken aloud. I therefore took the cheque that he had in his
+hand and substituted another one with a different number that I tore
+from the bottom of my cheque-book. Mr. Zancig remained absolutely silent
+during the whole time that this second experiment lasted. My wife again
+came out of the room with the slate, upon which Madame Zancig had
+written quite correctly, in their proper order, four of the five numbers
+of the second cheque, with the exception of the last figure, which was
+wanting, but just as we were returning to the room Madame Zancig said,
+"There was another figure; it was four"--which was correct. This
+impressed me as a good test, with regard to the three last numbers of
+this cheque, which were different from the corresponding ones of the
+first cheque. Madame Zancig could not see her husband, and he remained
+absolutely silent while the experiment was being carried out.
+
+I insert here a note by Sir Oliver Lodge in which he gives an account of
+an experiment of a similar nature, and also of other experiments which
+he tried with the Zancigs.
+
+     "Independently of the more thorough investigations of Mr.
+     Baggally, I myself was favoured with a private interview
+     with the Zancigs, who were friendly and considerate and
+     helpful; and I tried the experiment of having Mrs. Zancig
+     outside the room, though with door open, and Mr. Zancig with
+     me and quite silent. I wrote five or six figures on a slate,
+     taking care to make no noise, and Mrs. Zancig failed to get
+     them correctly. Zancig seemed distressed at that, and after
+     a little time groaned out, 'Oh, surely you can do this';
+     almost immediately after which Mrs. Zancig came into the
+     room with the correct figures written on her slate. It was
+     difficult to see how the sentence had conveyed the figures,
+     but it was instructive to find that utterance of some kind
+     seemed necessary. It was partly this, and partly the
+     manifest difficulty of eliminating all possibilities of code
+     between a pair of performers accustomed to go about
+     together, with years of experience behind them, that
+     prevented me from doing what I probably ought to have done,
+     though circumstances did not render it very easy, namely, to
+     make a serious study of the Zancig phenomena.
+
+     "Moreover, I questioned Mr. Zancig about codes, and found
+     that he was familiar with a great many. He was quite frank
+     about it, and rather implied, as I thought, that at times he
+     was ready to use any code or other normal kind of assistance
+     that might be helpful, though he assured me that he found
+     that he and his wife did possess a faculty which they did
+     not in the least understand, but which was more efficient
+     and quicker than anything they could get by codes. On the
+     whole, I think this extremely likely, but the rapidity and
+     the certainty and dependableness of the power went far
+     beyond anything that I could imagine as possible between
+     people who depended on supernormal faculty alone. But if
+     there was a mixture of devices between people so skilled, I
+     despaired of bringing the genuine part of the phenomenon to
+     a definite issue.
+
+     "I do not think that either this or the weight of my other
+     avocations are a sufficient excuse for this neglect, but it
+     certainly was not easy to get opportunities for careful
+     investigation. One of the main difficulties was that they
+     were not free agents, having entered into contracts with
+     managers whose financial interests partly depended upon the
+     continued uncertainty of the public as to the causes
+     underlying their very remarkable performance. Moreover, I
+     knew that so skilled an investigator as Mr. Baggally was
+     more favourably impressed with them than I was myself, and
+     was able to give to them some considerable time and
+     attention.
+
+     "The extraordinary and rapid success with which Mrs. Zancig
+     named one thing after another, handled or seen by her
+     husband as he went through the hall in their public
+     performances, is familiar to everybody who attended those
+     exhibitions; but one episode which I have not put on record
+     did impress me as rather exceptionally good, though entirely
+     unsensational and unnoticeable at the time. I relate it
+     here:--
+
+     "The Zancigs happened to come to Birmingham for a week
+     during the University Vacation when I was away. On the last
+     day of their performance I happened unexpectedly to return
+     to Birmingham, and was dining at the club with some other
+     men. Some one remarked that the Zancigs were performing, and
+     suggested that we should cut dessert and go and see them; so
+     we went in the middle of the performance and sat at the back
+     of the gallery. Everything went on as usual. Mrs. Zancig was
+     on the stage, blindfolded, I think, though I attach no
+     importance to that. Mr. Zancig had been through the body of
+     the hall, and was coming along the side gallery, taking
+     objects from members of the audience as he went, and having
+     them described quickly one after the other as usual, when he
+     caught sight of me at the back of the gallery, and indicated
+     recognition by a little start. The next object that he took
+     in hand (a purse or what not) he said, 'What is this?' and
+     Madame Zancig on the stage said 'Oliver.' Zancig shook his
+     head and muttered, 'No, that's what I was thinking of, but
+     what's this?' On which she said whatever it was correctly,
+     and the performance went on as usual; my friends in due time
+     getting their tests efficiently done. Nobody noticed the
+     incident in particular; it was over in a second. It
+     conveyed no impression of anything except of a slight
+     confusion,--an error, in fact, immediately corrected,--but I
+     could not fail to notice that the very unimportant incident
+     tended in favour of the view that a power of sympathy or
+     communication between them was genuine, since she got an
+     undesired and unintended impression which certainly was at
+     the moment in Mr. Zancig's mind.
+
+                                                  "O. J. L."
+
+Later, on the same evening of the experiment with the numbers on my
+cheque-book which I have described above, my wife and I attended the
+public performance at the Alhambra. We were seated at a distance from
+the stage. When Mr. Zancig came amongst the audience my wife handed him
+a piece of something black, the nature of which it was difficult to tell
+at first sight. He stooped down and asked in a whisper, "What is that?"
+My wife answered, also in a whisper, "Liquorice." Madame Zancig
+immediately called out from the stage, "Liquorice." No word had been
+spoken by Mr. Zancig after my wife had whispered the word "Liquorice." I
+then handed a visiting-card with a double name. Zancig read to himself
+in a low voice the last name, which was Hutchinson, and said, "What is
+the first name?" Madame Zancig called out "Berks"; this was correct. It
+appeared to me suspicious, however, that the question, "What is the
+first name?" although appropriate and natural, should contain the same
+number of words as there are letters in the name Berks--namely, five.
+Therefore some months after, at another performance, I wrote the same
+name, Berks Hutchinson, on a piece of paper and handed it to Mr. Zancig.
+This time he asked, "What is this?" Madame Zancig replied, "A piece of
+paper with a name." Mr. Zancig said, "Give the name." She replied,
+"Berks Hutchinson."
+
+I attended a series of performances at the Alhambra, and took down the
+questions and answers in order, if possible, to discover the code. On
+witnessing a first performance the spectator might be led to believe
+that word-coding alone is at the bottom of the mystery, but if notes are
+taken at a number of performances he will find that the same question
+is answered differently time after time.
+
+From my experiments with the Zancigs I came to the conclusion that
+although the alleged transmission of thought might possibly depend on a
+code or codes which I was unable to unravel, yet their performance was
+of such a nature that it was worthy of serious scientific examination.
+On the assumption that they possessed genuine telepathic powers it would
+be a pity that the opportunity of investigating their claim should be
+missed. I therefore set myself to work to arrange with Mr. Alfred Moul,
+managing director of the Alhambra, and Mr. Zancig for some experiments
+to be tried before a Committee of the members of the Society for
+Psychical Research.
+
+An article appeared in the _Daily Mail_, inspired evidently by Mr. Moul,
+from which I now quote:--
+
+     "We have suggested to Mr. Zancig that in preference to
+     inquiries into telepathy by unskilled persons he should
+     place himself in the hands of the Society for Psychical
+     Research, of which Mr. Gerald Balfour is the President, and
+     of which Sir Oliver Lodge, Sir William Crookes, and other
+     distinguished scientists are leading members. Mr. Zancig has
+     informed us that he has already received a communication
+     from that Society, and that he was entirely willing to place
+     himself and Madame Zancig at the disposal of the Society for
+     a thoroughly scientific series of tests."
+
+The investigation by the Society for Psychical Research, at which I was
+present, took place on the 18th January 1907. I regret that I cannot
+give an account of what took place at this meeting, as it was mutually
+arranged between Mr. Moul and the S.P.R. that the results should not be
+divulged. They appeared, however, sufficiently favourable to some of the
+members present (though not to all) to induce them to subsequently form
+an unofficial Committee to carry out further tests. These unofficial
+experiments did not take place till 26th July 1907.
+
+In the meantime I continued my own private experiments. A striking one
+is the following. I was in the balcony of the Alhambra on the 19th
+January 1907, and when Mr. Zancig came to that part of the house I
+handed him a piece of paper on which I had written the word
+"Istapalapan." I took care that he should not see the word previously to
+my giving him the paper. Zancig remarked to me in a whisper, "This is a
+long word." Owing to the distance from his wife it could not have been
+possible for her to overhear these words. Then Mr. Zancig called out,
+"Spell this." Madame Zancig immediately wrote on the blackboard which
+was on the stage "Istapala," and when she came to the second "p" she
+wrote "f" and then "san." I have often noticed that when Madame Zancig
+makes a mistake in a letter or number there is a similarity in the form
+of the letter or number to that which was to be transmitted; thus, she
+would put down "f" for "p," "7" for "9." "fsan" in this case is very
+like "pan," and Mr. Zancig may have mistaken the letters. I fail to
+understand how in this experiment he was able to code such a long word
+as "Istapalafsan" by the simple words "Spell this." It would appear as
+if Madame Zancig really saw what Mr. Zancig was looking at. The reader
+will recollect that in his preliminary remarks at each of his
+performances Zancig says, "What I see, Madame Zancig sees."
+
+I have several times observed this alleged peculiarity, notably so on
+the occasion of the tests at the Gramophone offices, which took place on
+the 22nd February 1907, and at which I was one of the members of the
+Committee. Mr. and Mrs. Zancig were divided by a large screen. They
+could not see each other. A recording trumpet was placed near each, into
+which they spoke. A table was placed by the side of Mr. Zancig on which
+a great number of articles had been placed by the members of the
+Committee. Madame Zancig with great rapidity named the articles as Mr.
+Zancig took them up in answer to his "What is this? and this?" etc. An
+incident which struck me as remarkable was the following. Mr. Zancig
+raised a pencil, saying, "What is this?" and after Madame Zancig had
+correctly stated what it was, he took up immediately (not in the
+vicinity of the pencil, but some distance from it) a case, and said,
+"And this?" Instead of naming the article Madame Zancig proceeded to
+enumerate in their proper order the articles that lay between the two
+articles which Mr. Zancig had taken up. Thus, a pencil, a seal, a
+penknife, a case. It appeared as if Madame Zancig had actually seen the
+articles over which her husband had passed his hand.
+
+An excellent test was the following. Dr. W. M'Dougall, a member of the
+Council of the S.P.R., who was present at these tests, borrowed a book
+from one of the members of the Committee. He came to the side of the
+screen where Mr. Zancig stood, opened the book at a certain page, then
+pointed to the middle of a line in the centre of the page. Mr. Zancig,
+without taking the book in his hand, glanced at the line, then Dr.
+M'Dougall shut the book, took it to the other side of the screen, and
+handed it closed to Madame Zancig. Mr. Zancig remained absolutely
+silent, placed his hand against his forehead, and appeared to make a
+strong mental effort. Madame Zancig, after the lapse of a minute, opened
+the book at the proper page and began reading at the word in the middle
+of the line that had been chosen by Dr. M'Dougall. Some members of the
+Committee and I stood quite close to Mr. Zancig. We did not hear him
+utter a sound. He could not be seen by Madame Zancig owing to the
+screen.
+
+I was present at the _matinée_ performance given under the auspices of
+the _Daily Mirror_ newspaper at the Alhambra. Dr. H., principal surgeon
+of a well-known hospital, handed to Mr. Zancig a set of skeins of silk
+of different colours. These were then passed on to Madame Zancig, who
+was on the stage. Dr. H. pointed silently to a skein of silk of a
+corresponding set which he had retained, and which he took care Madame
+Zancig could not see. Mr. Zancig, who preserved absolute silence, and
+remained motionless, looked at the colour of the skein, and in the space
+of half a minute his wife picked out a skein of the corresponding colour
+from the set that she had in her possession. This test was tried
+successfully three times. I particularly took note that Mr. Zancig
+remained silent and motionless, retaining the same position of his body
+during the course of the three experiments.
+
+I have tried tests with Mr. and Madame Zancig in the transmission of
+diagrams. I took with me to a private house to which I was invited an
+envelope containing cards with diagrams on them. Madame Zancig sat
+behind a large screen at the end of the room. By her side sat a lady, a
+friend of mine, who watched Madame Zancig and saw that she did not move
+from her chair. Mr. Zancig stood close to me near the other end of the
+room. I presented the envelope to him, retaining it in my hand. He drew
+out one of the cards on which was a diagram not known either to him or
+to me till he looked at it. He fixed his gaze intently on it, remained
+motionless, and in a whisper said to me, "Please say ready." I called
+out, "Ready," and his wife then drew a diagram on a piece of paper, at
+the same time saying, "Something like half a moon."
+
+[Illustration: MR. ZANCIG'S DIAGRAM]
+
+[Illustration: MADAME ZANCIG'S DRAWING]
+
+Mr. Zancig then drew another card from the envelope. This time he did
+not speak, but nodded his head once, and I called out, "Ready." Madame
+Zancig thereupon observed, "It is a square within a square." The diagram
+that Mr. Zancig was looking at was this:
+
+[Illustration]
+
+his wife drew this:
+
+[Illustration]
+
+Two more cards were then drawn, but Madame Zancig did not succeed; she
+got absolutely wrong drawings.
+
+At a public performance at Eastbourne I handed Mr. Zancig this diagram:
+
+[Illustration]
+
+He called out, "Draw this." Madame Zancig, who was on the platform,
+said, "It is something like this." She made a motion with her right arm
+like drawing a capital V; she then drew it on the blackboard. After
+this she slowly drew a horizontal line through the V, thus:
+
+[Illustration]
+
+Mr. Zancig said, "Give the number." She then placed a 2 in the proper
+position. He then called out, "Give the rest." She thereupon placed the
+_a_ under the line, thus:
+
+[Illustration]
+
+Mr. Zancig said, "What more?" His wife placed the sign of + correctly,
+but she rubbed it out several times as if in doubt. Finally she put down
+the sign of + and a capital X, so that her drawing appeared like this:
+
+[Illustration]
+
+I have had many other experiments with this gifted couple, but have not
+yet obtained the crucial test of getting Mr. Zancig to be in a distant
+room with closed doors, while his wife was in another room. The
+possibility of their using a sound code at one time and a visual code at
+another is therefore not entirely precluded.
+
+Although I have been quite unable to discover the methods by which they
+can possibly communicate when a visual and a sound code are not
+detected, yet I will reserve my ultimate opinion until I obtain tests
+under the crucial conditions that I have named.
+
+Not only did I personally meet with difficulties in endeavouring to
+explain the performances of Mr. and Madame Zancig, but also the members
+of the unofficial Committee that I have referred to. I now give an
+extract from our unofficial report.
+
+     "... It must be remembered that the antecedent probabilities
+     in favour of a code to explain all performances of this kind
+     are enormous.
+
+     "While we are of opinion that the records of experiments in
+     telepathy made by the Society for Psychical Research and
+     others raise a presumption for the existence of such a
+     faculty at least strong enough to entitle it to serious
+     scientific attention, the most hopeful results hitherto
+     obtained have not been in any way comparable as regards
+     accuracy and precision with those produced by Mr. and Madame
+     Zancig. Further, there is, so far as we are aware, no case
+     of any public performers (including certain recent examples)
+     where the use of a code or apparatus has not been more or
+     less readily discoverable or clearly to be inferred. In
+     considering, therefore, the claim of Mr. and Madame Zancig
+     to the possession of a genuine telepathic faculty, one is
+     faced by the initial difficulty that such a faculty must be
+     regarded as unique in quality, and Mr. and Madame Zancig
+     themselves as unique in kind, a difficulty on the force of
+     which it is not necessary to insist. On the other hand, the
+     difficulty of suggesting by what method, if not by
+     telepathy, they communicate is considerable. Those who have
+     only witnessed the public theatre performances, clever and
+     perplexing as these are, will not appreciate how hard it is
+     to offer any plausible explanation of their _modus
+     operandi_."
+
+In conclusion, I would wish to point out that the establishment of the
+fact that telepathy is a scientific truth would have bearings of the
+greatest importance.
+
+It would show that the transmission of thought could occasionally be
+effected otherwise than by the ordinary sense channels.
+
+It would change the materialistic conception that thought only acts
+within the limits of the brain.
+
+It would modify the materialistic scientific view of the relation of
+mind to matter.
+
+I trust that what I have written will act as an incentive to some of my
+readers to try experiments in this branch of psychical research.[2] It
+is not enough that a few individuals by patient inquiry and experiment
+should have been convinced of the reality of telepathy. What is wanted
+is that scientific men generally, by the record of an overwhelming
+number of experiments under the strictest test conditions, should be
+convinced of its truth. Once let them be so, then public conviction will
+in due time follow.
+
+Meanwhile I feel bound to state that, in spite of initial
+improbability, the experiences which I myself have had, as partly
+narrated in this book, especially those briefly summarized in Part I,
+have convinced me that the telepathic faculty does exist, and that its
+detection is a genuine extension of scientific knowledge; though much
+more will have to be done before the bare fact receives its explanation
+and is permanently incorporated in a coherent system of Science.
+
+[Footnote 2: Information relating to cases of genuine telepathy may be
+sent to the Secretary of the Society for Psychical Research, 20 Hanover
+Square, London, who will be pleased to investigate them.]
+
+
+
+
+PRINTED BY MORRISON AND GIBB LTD., EDINBURGH
+
+
+
+
+----------------------------------------------------------------------
+
+Transcriber's Note:
+
+
+Punctuation errors have been corrected without note. On p. 20, "11.5
+p.m." was corrected to "11.50 p.m."
+
+----------------------------------------------------------------------
+
+
+
+
+
+End of the Project Gutenberg EBook of Telepathy, by W. W. Baggally
+
+*** END OF THIS PROJECT GUTENBERG EBOOK TELEPATHY ***
+
+***** This file should be named 29151-8.txt or 29151-8.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/9/1/5/29151/
+
+Produced by Bryan Ness, S.D., and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/Canadian Libraries)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/29151-8.zip b/29151-8.zip
new file mode 100644
index 0000000..ab6c410
--- /dev/null
+++ b/29151-8.zip
diff --git a/29151-h.zip b/29151-h.zip
new file mode 100644
index 0000000..4524183
--- /dev/null
+++ b/29151-h.zip
diff --git a/29151-h/29151-h.htm b/29151-h/29151-h.htm
new file mode 100644
index 0000000..9cafa2a
--- /dev/null
+++ b/29151-h/29151-h.htm
@@ -0,0 +1,2916 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <meta http-equiv="Content-Style-Type" content="text/css" />
+    <title>
+      The Project Gutenberg eBook of Telepathy, Genuine and Fraudlent, by W. W. Baggally.
+    </title>
+    <style type="text/css">
+
+body {
+margin-left:10%;
+margin-right:10%;
+}
+
+h1,h2,h3 {
+clear:both;
+text-align:center;
+}
+
+h1,h2 {
+padding-top:4em;
+}
+
+h2 {
+font-size:135%;
+font-weight:lighter;
+}
+
+h3 {
+font-weight:400;
+}
+
+p {
+margin-bottom:.75em;
+margin-top:.75em;
+text-align:justify;
+}
+
+table {
+border-collapse:collapse;
+border-color:#000;
+margin-left:auto;
+margin-right:auto;
+}
+
+td,th {
+border-color:#000;
+} /* fix for grey internal borders in IE */
+
+th.b-bt {
+border:solid 1px;
+}
+
+tr.vert-b {
+vertical-align:bottom;
+}
+
+tr.vert-t {
+vertical-align:top;
+}
+
+td.pad-l2 {
+padding-left:2em;
+}
+
+table.toc {
+font-variant:small-caps;
+margin-left:auto;
+margin-right:auto;
+width:25em;
+}
+
+table.toc tr {
+margin-left:2em;
+text-indent:0em;
+}
+
+a.noline {
+text-decoration:none;
+}
+
+img.frontis {
+border:1px #000 solid;
+}
+
+p.ralign {
+margin-right:3em;
+text-align:right;
+}
+
+p.ind {
+text-indent: -3em;
+margin-left: 3em;
+padding-left: 3em;
+}
+
+p.footer {
+font-size:smaller;
+padding:4em 0;
+}
+
+p.pub {
+padding:4em 0 1em;
+}
+
+p.pad-l {
+padding-left:1em;
+}
+
+.pagenum {
+color:silver;
+font-size:smaller;
+left:92%;
+position:absolute;
+text-align:right;
+}
+
+div.blockquot {
+padding:1em 0;
+}
+
+div.figures {
+margin:auto;
+width:45%;
+}
+
+div.clear {
+clear:both;
+}
+
+div.tr {
+background-color:#CFC;
+border:dashed 1px;
+color:#000;
+font-size:80%;
+margin:4em;
+padding:1em;
+}
+
+span.rgap {
+padding-right:2em;
+}
+
+span.rgap2 {
+padding-right:4.5em;
+}
+
+span.subtitle {
+font-size:65%;
+}
+
+span.wee {
+font-size:75%;
+}
+
+span.sm {
+font-size:85%;
+}
+
+span.bigger {
+font-size:110%;
+}
+
+span.pad-lr {
+padding-left:.5em;
+padding-right:.75em;
+}
+
+span.pad-lr2 {
+padding-left:.5em;
+padding-right:.20em;
+}
+
+.center {
+text-align:center;
+}
+
+.smcap {
+font-variant:small-caps;
+}
+
+.u {
+text-decoration:underline;
+}
+
+.caption {
+font-size:105%;
+}
+
+.caption-nw {
+font-size:105%;
+white-space:nowrap;
+}
+
+.wide {
+letter-spacing:.25em;
+}
+
+.figcenter {
+margin:auto;
+padding:.5em 0;
+text-align:center;
+}
+
+.figcenter2 {
+margin:auto;
+padding:1em 0;
+text-align:center;
+}
+
+.figcenter3 {
+margin:auto;
+text-align:center;
+}
+
+.figleft {
+clear:left;
+float:left;
+margin:1em 1em 1em 0;
+padding:0;
+text-align:center;
+width:auto;
+}
+
+.figright {
+clear:right;
+float:right;
+margin:1em 0 1em 1em;
+padding:0;
+text-align:center;
+width:auto;
+}
+
+.footnotes {
+border:dashed 1px;
+}
+
+.footnote {
+font-size:.9em;
+margin-left:10%;
+margin-right:10%;
+}
+
+.footnote .label {
+position:absolute;
+right:84%;
+text-align:right;
+}
+
+.fnanchor {
+font-size:.8em;
+text-decoration:none;
+vertical-align:super;
+}
+
+table.toc th,p.tpgap {
+padding-top:2em;
+}
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Telepathy, by W. W. Baggally
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Telepathy
+       Genuine and Fraudulent
+
+Author: W. W. Baggally
+
+Release Date: June 17, 2009 [EBook #29151]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK TELEPATHY ***
+
+
+
+
+Produced by Bryan Ness, S.D., and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+</pre>
+
+
+<div class="figcenter" style="width: 500px;">
+<a href="images/frontis1.jpg" class="noline">
+<span class="caption u">THE PAD THAT &quot;BLINDFOLDS&quot; THE YOGI</span>
+<img src="images/frontis1-thumb.jpg" width="300" height="185" class="frontis" alt="" title="" />
+</a>
+<p class="caption">The above is a photograph of the actual porous plaster and pads produced
+by <span class="smcap">Yoga Rama</span> as a means of &quot;blindfolding.&quot; The plaster is seen exactly
+as it was when taken off by Mr. <span class="smcap">William Marriott</span>. It will be seen that
+the pads have shifted, allowing comparatively clear vision with one eye.
+The tissue paper, making the plaster non-adhesive, will also be noticed.</p>
+
+<p class="caption ralign">[<a href="#Page_52"><i>Page</i> 52</a></p>
+</div>
+
+<h1><span class="wide">TELEPATHY</span><br />
+
+<span class="subtitle">GENUINE AND FRAUDULENT</span></h1>
+
+<p class="center">
+<span class="sm">BY</span><br />
+<br />
+<span class="bigger">W. W. BAGGALLY</span><br />
+<span class="wee">MEMBER OF THE COUNCIL OF THE SOCIETY FOR PSYCHICAL RESEARCH</span></p>
+
+<p class="center tpgap"><span class="sm">WITH A PREFACE BY</span><br />
+<br />
+SIR OLIVER LODGE, F.R.S.</p>
+
+<p class="center pub">METHUEN &amp; CO. LTD.<br />
+36 ESSEX STREET W.C.<br />
+LONDON
+</p>
+
+<p class="center pub"><i>First Published in 1917</i></p>
+
+<p><!-- Page v --><span class='pagenum'><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+
+<h2>PREFATORY NOTE</h2>
+
+<p>My friend, Mr. W. W. Baggally, an experienced investigator of
+supernormal phenomena, has set down some of his experiences in connexion
+with the subject of Telepathy, and I heartily commend his book to the
+public as the record of a careful, conscientious, and exceptionally
+skilled and critical investigator. It would be difficult to find anyone
+more competent by training and capacity to examine into the genuineness
+of these subtle and elusive phenomena, which yet are of the utmost
+importance in the development of psychological science. Telepathy, or
+the direct action of mind on mind apart from the ordinary channels of
+sense, opens a new chapter; it is not a coping-stone completing an
+erection, but a foundation-stone on which to build.</p>
+
+<p class="ralign">OLIVER J. LODGE</p>
+
+<p><!-- Page vi --><span class='pagenum'><a name="Page_vi" id="Page_vi">[Pg vi]</a></span><br /></p>
+<p><!-- Page vii --><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+
+<h2>CONTENTS</h2>
+
+<table class="toc" summary="Table of Contents">
+
+<tr><th colspan="2"><a href="#PART_I">PART I</a><br />
+GENUINE TELEPATHY</th></tr>
+
+<tr><td></td><td><small>PAGE</small></td></tr>
+
+<tr><td>Experimental Telepathy</td>      <td align="right"><a href="#Page_1">1</a></td></tr>
+
+<tr><td>Spontaneous Telepathy</td>      <td align="right"><a href="#Page_18">18</a></td></tr>
+
+<tr> <td>Telepathy between Human Beings and Animals</td>      <td align="right"><a href="#Page_30">30</a></td></tr>
+
+<tr><th colspan="2"><a href="#PART_II">PART II</a><br />
+FRAUDULENT TELEPATHY</th></tr>
+
+<tr><td>Accounts of Cases</td>      <td align="right"><a href="#Page_35">35</a></td></tr>
+
+<tr><td>Description of Various Methods used by Public
+Performers for effecting their So-called
+Transmission of Thought</td>      <td align="right"><a href="#Page_57">57</a></td></tr>
+
+<tr><th colspan="2"><a href="#PART_III">PART III</a><br />
+THE ZANCIGS</th></tr>
+
+<tr><td>Public Experiments </td>     <td align="right"><a href="#Page_68">68</a></td></tr>
+
+<tr><td>Private Experiments</td>      <td align="right"><a href="#Page_70">70</a></td></tr>
+
+<tr><td>Experiments before Committees</td>      <td align="right"><a href="#Page_82">82</a></td></tr>
+
+<tr><td>Importance of establishing Genuine Telepathy
+as a Scientific Fact</td>      <td align="right"><a href="#Page_92">92</a></td></tr>
+</table>
+
+<p><!-- Page 1 --><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+
+<h1 class="wide">TELEPATHY</h1>
+
+<h2><a name="PART_I" id="PART_I"></a>PART I<br /><br />
+GENUINE TELEPATHY</h2>
+
+<p>Sir William F. Barrett, one of the founders of the Society for Psychical
+Research, more than forty years ago tried some experiments which led him
+to believe that something then new to science, which he provisionally
+called "thought transference" and which is now known as "telepathy,"
+really existed.</p>
+
+<p>At the first general meeting of the Society, on the 17th July 1882, he
+read a paper entitled "First Report on Mind Reading."</p>
+
+<p>Since that date the Society has carried out a great number of
+experiments which tend to show that telepathy is a scientific fact. The
+evidence for its existence is twofold<!-- Page 2 --><span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span>&mdash;that which can be gathered
+experimentally, and that which arises spontaneously. To the first
+category belong those experiments in the transmission of the images of
+drawings or diagrams by means of an effort of the will of a person known
+as the <dfn>agent</dfn> to the mind of another person designated the
+<dfn>percipient</dfn>, when the transmission is carried out otherwise than
+through the ordinary channel of the senses. To the second category
+belong those hallucinations of seeing a person at the moment of death or
+at a crisis, evidence for which has been obtained abundantly by the
+Society for Psychical Research and has been embodied in the work
+<cite>Phantasms of the Living</cite>, and in the <cite>Census of Hallucinations</cite>&mdash;a
+report on which appeared in the <cite>Proceedings</cite> of the Society in 1894.</p>
+
+<p>There are several theories to explain the action of telepathy. The first
+compares it to wireless telegraphy. On this hypothesis it is supposed
+that it is due to ethereal wave action:&mdash;Thought causes motion in the
+brain cells of the agent, the cells then impart motion to the
+surrounding ether in the form<!-- Page 3 --><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span> of waves which impinge on the brain cells
+of the percipient and give rise to a corresponding thought to that which
+started the ethereal wave motion.</p>
+
+<p>This theory offers great difficulties. An opponent to it points out that
+"A wireless message is transmitted by a succession of single ethereal
+wave impulses produced by the electric sparks at the starting station
+and received by the coherer at the receiving station, whereas a diagram
+to be transmitted would require a number of brain-waves produced
+simultaneously and arranged in the form of the diagram."</p>
+
+<p>Another mode of putting the matter recently advanced is that the agent
+does not transmit his thought, but that the percipient reads
+clairvoyantly what is in the agent's mind.</p>
+
+<p>There is also the spiritualistic theory. It is asserted that an external
+entity, or spirit, conveys the images or thoughts from one mind to
+another.</p>
+
+<p>Another theory is that telepathy takes place in the subconscious mind,
+and that the subconscious mind of the agent is in<!-- Page 4 --><span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> communication with
+the subconscious mind of the percipient by means of the universal mind
+underlying all things and of which individual subconscious minds form
+part.</p>
+
+<p>Not one of these theories has been accepted as proved by the Society for
+Psychical Research. In cases of spontaneous telepathy it is now
+generally believed that the appearance of a person at the time of death
+or at a crisis is not caused by an objective bodily ghost, but arises
+from a telepathic impact from the agent formulating itself into his
+image in the mind of the percipient.</p>
+
+<p>In the case of two persons seeing an apparition at the same time, this
+may be due to the two percipients receiving each, separately, a
+telepathic impression, or there may be only one percipient who
+telepathically impresses the hallucination on the mind of the second
+person.</p>
+
+<p>I will now proceed to relate some cases of telepathy which have come
+under my personal observation. My first experiment in the transmission
+of images of drawings and diagrams took place in the rooms of the
+Society for Psychical Research in May 1902.<!-- Page 5 --><span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span> A private lady, Miss M.
+Telbin, acted as percipient, and I acted as agent. There were present at
+the time Mr. J. G. Piddington, Honorary Secretary of the Society, and
+Mr. Thomas, the then Acting Secretary.</p>
+
+<p>During the first experiment Miss Telbin, who was a stranger to me, sat
+with her back towards a large opaque screen. In front of her stood a
+small table upon which rested a crystal ball. She was asked to gaze at
+the crystal and to describe any vision that might appear to form itself
+therein. I may parenthetically remark that the object of crystal-gazing
+is to concentrate the mind and to withdraw it from outward influences.
+The vision seen in the crystal does not exist objectively, but only in
+the mind of the seer. On the other side of the screen, entirely hidden
+from the view of Miss Telbin, sat Mr. Piddington and myself. This
+gentleman proceeded to take from a box, which was behind the screen and
+on the floor between his and my chairs, various articles, and to hand
+them silently, one at a time, to me. I then concentrated my thoughts
+successively on each article. Miss Telbin gave an account<!-- Page 6 --><span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span> of what she
+saw in the crystal, and Mr. Thomas, who sat in such a position that both
+Mr. Piddington and myself were hidden from his view, took notes of what
+occurred.</p>
+
+<p>The first article handed me was a <cite>Windsor Magazine</cite>, on the cover of
+which there was an engraving of Windsor Castle. I concentrated my
+thoughts on this engraving, and Miss Telbin then gave a description of
+the vision that presented itself to her mental view.</p>
+
+<p>She first observed that she could see trees on the left side of the
+picture, and cottages also on the left, and that there was water.</p>
+
+<p>These details were correct so far as they went, but the subsequent
+details that she gave were incorrect, and the experiment was abandoned
+as a failure. I then replaced the magazine in the box from which it had
+been taken, so that Miss Telbin had no opportunity of seeing the
+magazine during the experiment nor after.</p>
+
+<p>Other experiments were being tried when Miss Telbin spontaneously said
+that she had had a vision of Windsor Castle.</p>
+
+<p><!-- Page 7 --><span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span></p><p>This experiment may be regarded as a case of deferred telepathy.</p>
+
+<p>Another experiment with the same lady, in which simultaneous double
+telepathy occurred, is of better evidential value.</p>
+
+<p>Miss Telbin again sat with her back to the screen, and instead of the
+crystal a piece of paper and a pencil were placed on the table in front
+of her.</p>
+
+<p>This time Mr. Thomas and I sat behind the screen hidden from her view,
+and Mr. J. G. Piddington took notes. Mr. Thomas and I acted as
+simultaneous agents. We each held a small piece of cardboard with a
+diagram on it known to the agent viewing it, but not to the other agent.
+These diagrams belonged to the Society for Psychical Research and had
+not been seen by Mr. Thomas nor by me previous to the experiment. They
+were in a box which was at our feet behind the screen. We each took a
+diagram from the box, taking care that we did not see each other's
+diagram.</p>
+
+<p>We concentrated our minds on our respective diagrams, and Miss Telbin
+drew her impressions on the piece of paper in front<!-- Page 8 --><span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span> of her. The
+following drawings show the results:&mdash;</p>
+
+<table border="0" cellpadding="2" cellspacing="10" width="60%" summary="Drawings produced from Baggally-Telbin telepathy experiment">
+
+<tr class="vert-b">
+<td>
+<div class="figcenter" style="width: 100px;">
+<img src="images/8a.png" width="100" height="83" alt="" title="" />
+<span class="caption smcap vert">Mr.&nbsp;Baggally's<br />
+Diagram.</span>
+</div>
+</td>
+
+<td>
+<div class="figcenter" style="width: 100px;">
+<img src="images/8b.png" width="100" height="112" alt="" title="" />
+<span class="caption smcap">Miss Telbin'<br />
+Drawing.</span></div>
+</td>
+</tr>
+
+<tr class="vert-b">
+<td>
+<div class="figcenter" style="width: 100px;">
+<img src="images/8c.png" width="100" height="78" alt="" title="" />
+<span class="caption smcap">Mr.&nbsp;Thomas's<br />
+Diagram.</span></div>
+</td>
+
+<td>
+<div class="figcenter" style="width: 100px;">
+<img src="images/8d.png" width="100" height="108" alt="" title="" />
+<span class="caption smcap">Miss Telbin's<br />
+Drawing.</span></div>
+</td>
+</tr>
+
+</table>
+
+<p>At the time that Miss Telbin got the impression of the diagram with
+three sections, she made the remark that it looked like three leaves.</p>
+
+<p>The correspondence between the drawings and the diagrams is very great,
+and difficult to account for by chance.</p>
+
+<p>The following points have to be considered. First, that Miss Telbin only
+made two drawings and not many from which two might have been selected
+in which there was a resemblance to the diagrams. Secondly, that Mr.
+Thomas's diagram was correctly reproduced although in a reversed
+position (the<!-- Page 9 --><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span> reversal of a figure sometimes happens in experiments in
+telepathy). Thirdly, that my diagram of three triangles, although not
+reproduced in the form of triangles, was drawn correctly as regards
+there being three sections, and that the relative position of the
+sections was given correctly. Fourthly, that Miss Telbin had not
+previously seen any of the diagrams, and therefore the chances against
+her being able to hit upon any diagram which was then being used were
+very great. Fifthly, that the chances against her being able to hit upon
+two diagrams simultaneously were even greater.</p>
+
+<p>The explanation that the result might have been due to collusion between
+the persons experimenting of course cannot be entertained, at least by
+myself, who was one of the experimenters.</p>
+
+<p>It was not possible for the percipient to see through the large screen
+which was behind her, and there were no mirrors in the room in which the
+small diagrams could have been reflected. No word was spoken to give her
+the slightest clue. These two successful telepathic experiments led to<!-- Page 10 --><span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span>
+further ones at a distance between this lady and myself.</p>
+
+<p>It will be of interest to insert here an account of an experiment in
+telepathy, similar to the one I have just described, between two agents
+and one percipient, which Sir Oliver Lodge carried out in the year 1884.</p>
+
+<p>When the experiment was tried with Miss Telbin, Mr. Thomas, and myself I
+was not aware that Sir Oliver Lodge had already tried an experiment of a
+like nature.</p>
+
+<div class="blockquot">
+<h3><span class="smcap">Sir Oliver Lodge's Account</span></h3>
+
+<p>"My own first actual experience of thought transference, or experimental
+telepathy, was obtained in the years 1883 and 1884 at Liverpool, when I
+was invited by Mr. Malcolm Guthrie of that city to join in an
+investigation which he was conducting with the aid of one or two persons
+who had turned out to be sensitive, from among the employees of the
+large drapery firm of George Henry Lee &amp; Co.</p>
+
+<p>"A large number of these experiments<!-- Page 11 --><span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> had been conducted before I was
+asked to join, throughout the spring and autumn of 1883, but it is
+better for me to adhere strictly to my own experience and to relate only
+those experiments over which I had control.</p>
+
+<p>"Most of these experiments were confirmations of the kind of thing that
+had been observed by other experimenters. But one experiment which I
+tried was definitely novel, and, as it seems to me, important; since it
+clearly showed that when two agents are acting, each contributes to the
+effect, and that the result is due, not to one alone, but to both
+combined. The experiment is thus described by me in the columns of
+<cite>Nature</cite>, vol. xxx., page 145, for 12th June 1884:&mdash;</p>
+
+<div class="blockquot">
+<h3>"<i>An Experiment in Thought Transference</i></h3>
+
+<p>"Those of your readers who are interested in the subject of thought
+transference, now being investigated, may be glad to hear of a little
+experiment which I recently tried here. The series of experiments was
+originated and carried on in this city by Mr. Malcolm Guthrie, and he
+has prevailed on me, on<!-- Page 12 --><span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> Dr. Herdman, and on one or two other more or
+less scientific witnesses, to be present on several occasions,
+critically to examine the conditions, and to impose any fresh ones that
+we thought desirable. I need not enter into particulars, but I will just
+say that the conditions under which apparent transference of thought
+occurs from one or more persons, steadfastly thinking, to another in the
+same room blindfold and wholly disconnected from the others, seem to me
+absolutely satisfactory, and such as to preclude the possibility of
+conscious collusion on the one hand or unconscious muscular indication
+on the other.</p>
+
+<p>"One evening last week&mdash;after two thinkers, or agents, had been several
+times successful in instilling the idea of some object or drawing, at
+which they were looking, into the mind of the blindfold person, or
+percipient&mdash;I brought into the room a double opaque sheet of thick paper
+with a square drawn on one side and a St. Andrew's cross or X on the
+other, and silently arranged it between the two agents so that each
+looked on one side without any notion of what was on the<!-- Page 13 --><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span> other. The
+percipient was not informed in any way that a novel modification was
+being made; and, as usual, there was no contact of any sort or kind&mdash;a
+clear space of several feet existing between each of the three people. I
+thought that by this variation I should decide whether one of the two
+agents was more active than the other; or, supposing them about equal,
+whether two ideas in two separate minds could be fused into one by the
+percipient.</p>
+
+<p>"In a very short time the percipient made the following remarks, every
+one else being silent: 'The thing won't keep still.' 'I seem to see
+things moving about.' 'First I see a thing up there, and then one down
+there.' 'I can't see either distinctly.' The object was then hidden, and
+the percipient was told to take off the bandage and to draw the
+impression in her mind on a sheet of paper. She drew a square, and then
+said, 'There was the other thing as well,' and drew a cross inside the
+square from corner to corner, saying afterwards, 'I don't know what made
+me put it inside.'</p>
+
+<p><!-- Page 14 --><span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span></p>
+
+<div class="figures">
+<div class="figleft" style="width: 100px;">
+<img src="images/13-orig.png" width="100" height="44" alt="" title="" />
+<span class="caption smcap">Originals.</span>
+</div>
+
+<div class="figright" style="width: 75px;">
+<img src="images/13-repro.png" width="75" height="65" alt="" title="" />
+<span class="caption smcap">Reproduction.</span>
+</div>
+</div>
+
+<div class="clear"></div>
+
+<p>"The experiment is no more conclusive as evidence than fifty others that
+I have seen at Mr. Guthrie's, but it seems to me somewhat interesting
+that two minds should produce a disconnected sort of impression on the
+mind of the percipient, quite different from the single impression which
+we had usually obtained when two agents were both looking at the same
+thing. Once, for instance (to take a nearly corresponding case under
+those conditions), when the object was a rude drawing of the main lines
+in a Union Jack, the figure was reproduced by the percipient as a whole
+without misgiving; except, indeed, that she expressed a doubt as to
+whether its middle horizontal line were present or not, and ultimately
+omitted it."</p>
+
+<div class="figures">
+<div class="figleft" style="width: 100px;">
+<img src="images/14-orig.png" width="100" height="61" alt="" title="" />
+<span class="caption smcap">Original.</span>
+</div>
+
+<div class="figright" style="width: 100px;">
+<img src="images/14-repro.png" width="100" height="60" alt="" title="" />
+<span class="caption smcap">Reproduction.</span>
+</div>
+
+</div>
+<div class="clear"></div>
+
+</div>
+</div>
+
+<p>As I have said, the two successful telepathic experiments which I have
+described,<!-- Page 15 --><span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span> and which took place in the rooms of the Society for
+Psychical Research, led to further experiments at a distance between
+Miss Telbin and myself.</p>
+
+<div class="figcenter">
+<table border="1" cellpadding="6" cellspacing="2" summary="Results of another telepathy experiment with Miss Telbin, including drawings">
+
+<tr align="left" class="vert-t">
+<td>
+<span class="smcap">At 7 P.M.</span><br />
+<p class="pad-l">I drew the following diagram</p>
+<div class="figcenter2" style="width: 29px;">
+<img src="images/15a.png" width="29" height="40" alt="" title="" />
+</div>
+</td>
+<td>
+<span class="smcap">At 7 P.M.</span><br />
+<p class="pad-l">Miss <span class="smcap">Telbin's</span> drawings</p>
+<div class="figcenter2" style="width: 175px;">
+<img src="images/15b.png" width="175" height="61" alt="" title="" />
+</div></td>
+</tr>
+
+<tr align="left" class="vert-t">
+<td>
+<span class="smcap">At 7:10 P.M.</span><br />
+<p class="pad-l">I fixed my attention on a<br />
+flower</p>
+<div class="figcenter2" style="width: 43px;">
+<img src="images/15c.png" width="43" height="70" alt="" title="" />
+</div></td>
+
+<td>
+<span class="smcap">At 7:10 P.M.</span><br />
+<p class="pad-l">Miss <span class="smcap">Telbin</span> obtained several<br />
+incorrect scrawls, but amongst<br />
+them one under which<br />
+she had written the<br />
+words</p>
+<div class="figcenter3" style="width: 38px;">
+<img src="images/15d.png" width="38" height="70" alt="" title="" />
+</div>
+<p class="center">"First impression"</p>
+</td>
+</tr>
+
+<tr align="left" class="vert-t">
+<td>
+<span class="smcap">At 7:20 P.M.</span><br />
+<p class="pad-l">I looked at a pair of opera<br />
+glasses, at which I gazed first<br />
+lengthwise</p>
+<div class="figcenter2" style="width: 75px;">
+<img src="images/15e.png" width="75" height="32" alt="" title="" />
+</div>
+<p class="pad-l">then sideways</p>
+<div class="figcenter2" style="width: 70px;">
+<img src="images/15f.png" width="70" height="56" alt="" title="" />
+</div>
+</td>
+
+<td>
+<span class="smcap">At 7:20 P.M.</span><br />
+<p class="pad-l">Miss <span class="smcap">Telbin's</span> drawings<br />
+were&mdash;</p>
+<p class="pad-l">First impression
+<img src="images/15g.png" width="41" height="40" alt="" title="" /></p>
+<p class="pad-l">A series of crescents
+<img src="images/15h.png" width="70" height="40" alt="" title="" /></p>
+<p class="pad-l">And this drawing
+<img src="images/15i.png" width="78" height="60" alt="" title="" /></p>
+<p class="pad-l">Also four drawings<br />
+<img src="images/15j.png" width="200" height="31" alt="" title="" /></p>
+</td>
+</tr>
+</table>
+
+</div>
+
+<p><!-- Page 16 --><span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+<p>It was arranged that we should sit on certain days in the week, and
+that at a fixed hour I should act as agent and transmit to her my
+thoughts, she being at the time in her residence in West Hampstead, and
+I in Kensington. The distance between these localities as the crow flies
+is four miles. The result of our first sitting, which took place on 20th
+May 1902, is shown on the preceding page.</p>
+
+<p>There was no possibility that the agent or the percipient could have
+copied the drawings, as the letters embodying them that we wrote to each
+other were posted on the evening of the same day and received by the
+first post the following morning, having crossed in the post.</p>
+
+<p>Telepathy was clearly indicated in this experiment.</p>
+
+<p>We continued trying experiments for some months after, but did not get
+such good results as at the beginning. On one occasion, however, we
+obtained a successful negative result. I was not feeling well, and did
+not fix my attention on any object. On the following morning Miss
+Telbin's letter said, "I could get nothing from you last night." It
+was,<!-- Page 17 --><span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span> to say the least, curious that she should not have received an
+impression on the only night that I had not attempted to experiment.</p>
+
+<p>On another occasion, when Miss Telbin was in London and I in Folkestone,
+I arranged to transmit to her the impression of a diagram on a certain
+day at 8 p.m. It chanced that on that evening there was a performance at
+the theatre, at which my wife wished to be present. I therefore decided
+to telegraph to Miss Telbin that I would be unable to try the experiment
+that night, but after a good deal of hesitation I changed my mind, and
+thought that I would endeavour to transmit the impression of the diagram
+on my way to the theatre. The letter that I received from Miss Telbin
+the next day was to this effect:&mdash;</p>
+
+<div class="blockquot">
+<p>"I got a good deal of writing last night which was
+illegible, but amongst it I read the words 'going out' and
+'rain.'"</p></div>
+
+<p>Now this may be a mere coincidence, but it was strange that the words
+"going out" should correctly represent the idea that was in my mind
+during a great part of the pre<!-- Page 18 --><span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span>ceding day. I had much worried,
+hesitating whether I should telegraph or not.</p>
+
+<p>The result appears to indicate the transmission of my mental state. The
+word "rain" represented correctly the state of the weather at
+Folkestone, but, as it often rains in England, this was of no evidential
+value.</p>
+
+<p>In regard to spontaneous telepathy I may bring before the reader two
+cases which I personally investigated, the percipient in the first case
+being a gentleman who belonged to a circle which regularly met for the
+study of psychic phenomena, and of which circle I was a member.</p>
+
+<p>The percipient, Mr. John Polley, gave me an account of his vision as
+follows:&mdash;</p>
+
+<div class="blockquot">
+<p>"At a séance held within sound of Big Ben on 8th May 1901,
+there were present Mrs. E. V. M., Mr. Thomas Atwood, and
+myself. As Mr. Atwood resumed his seat after delivering an
+address (about 8.30 p.m.) I became aware of a vision which
+presented itself as being some five feet distant from me,
+and displayed part of the interior of a room, namely, that
+part where the stove stood. The<!-- Page 19 --><span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span> fire in the stove was small
+and dull, and close beside it was an overturned chair. In
+front of the fire was something that looked like a
+fire-guard or clothes-horse, but this was not clear to me.
+Playing, or climbing over this article, was a child, who
+fell forward, and when it regained its feet I noticed that
+its dress was on fire. I made no reference to the matter at
+the time, as I had an impression that the vision might be
+connected with some occurrence in the family of Mrs. M., and
+I was averse to mentioning it for fear of awakening sad
+memories. Shortly afterwards the whole vision was repeated,
+and this time I had an uncontrollable impulse to speak. Upon
+describing what I had seen for the second time, I was much
+relieved to hear that the matter was not recognized as being
+connected in any way with the sitters. I may mention here
+that the child appeared to be about three years old, and,
+judging from the style of dress, I described it as a girl,
+although the vision would apply equally to a boy, as at that
+early age the short clothes worn by both sexes would be very
+similar.</p>
+
+<p>"Next Thursday morning, 9th May 1901, upon awakening, I
+described to my wife the events of the previous evening's
+séance. On the evening of the same day, namely, Thursday,<!-- Page 20 --><span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span>
+9th May, I was out with a friend, and upon my return home at
+11.50 p.m., my sister, Mary Louisa Polley, who resided with
+me at the time, made the remark, 'I have a piece of bad news
+for you.' 'Well,' I replied, 'what is it? Let me know.' And
+she answered, 'Brother George's little son, Jacky, has been
+burned to death.' Like a flash I realized the connexion of
+the sad event with my vision of the previous night. I then
+asked my sister, 'How did you know this, and when?' She
+replied, 'Mr. Fred Sinnett told me when he came over to see
+us this evening.'</p>
+
+<p class="ralign">
+(Signed) "<span class="smcap">John Polley</span>"<br />
+</p>
+</div>
+
+<p>I obtained from the other sitters at the séance the following
+statement:&mdash;</p>
+
+<div class="blockquot"><p>"At the séance held on the evening of Wednesday, 8th May
+1901, at which were present Mrs. E. V. M., Mr. Thomas
+Atwood, and Mr. John Polley, we, the undersigned, testify
+that Mr. John Polley gave to us a description of a vision of
+the burning of a child which he saw at this séance.</p>
+
+<p class="ralign">
+<span class="rgap">(Signed in full)</span> <span class="rgap2">"E. V. M.</span><br />
+"<span class="smcap">Thomas Atwood</span>"
+</p>
+
+</div>
+
+<p>I personally interviewed Mr. John Polley's wife and sister and received
+a written state<!-- Page 21 --><span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span>ment from each confirming Mr. Polley's account.</p>
+
+<p>A local paper containing an account of the inquest on the child states
+that the accident took place on Tuesday, 7th May, and the child was
+taken to a hospital immediately and there died. The father of the child
+wrote to me as follows:&mdash;</p>
+
+<div class="blockquot"><p>"<span class="smcap">Dear Sir</span>,&mdash;In reply to your inquiry respecting my late son,
+John Frederick, I beg to say that on Tuesday, 7th May, my
+wife went out to do some shopping, leaving my son, aged two
+years and two months, in a bedroom with another brother aged
+seven. Whilst the elder brother was getting some toys to
+play with, the deceased thrust some paper in the fire,
+pulled it out again, and set fire to his clothes. Some
+neighbours took him to the Children's Hospital, Paddington
+Green, where he passed away on Wednesday, 8th May, at 11.45
+a.m. No intimation of this was given by myself or any member
+of our family to my brother, Mr. John Polley, until a friend
+of the family called at my address on Thursday, 9th May,
+between 1 and 2 p.m., when we informed him of the sad loss
+that we had sustained, and he told us<!-- Page 22 --><span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> that he intended
+calling on my brother that evening, and we asked him if he
+would communicate the news to my brother and sister who
+reside at Church Street, Stoke Newington. Of course, Sir,
+you know I am antagonistic to your views, but my brother has
+told me it is for the interests of science. If this is so, I
+take great pleasure in its furtherance.&mdash;Yours sincerely,</p>
+
+<p class="ralign">
+(Signed) "<span class="smcap">Frederick George Polley</span>"
+</p>
+</div>
+
+<p>In the above case it appears to me that the vision of the burning child
+which Mr. John Polley saw arose out of a spontaneous telepathic
+impression, either from the mind of the father of the child to his
+brother's (Mr. John Polley's mind), or from the mind of one of the
+persons who was cognizant of the sad event.</p>
+
+<p>In regard to the second case of spontaneous telepathy to which I have
+referred, I cannot do better than to give the account of same as it
+appeared in the <cite>Journal of the Society for Psychical Research</cite> of June
+1912:&mdash;</p>
+
+<div class="blockquot">
+<p>"The following case of a reciprocal telepathic impression
+occurring to two persons<!-- Page 23 --><span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span> at the same time has been
+communicated to us by Mr. W. W. Baggally. Both Miss Emma
+Steele and Mr. Claude Burgess, the lady and gentleman
+concerned in the case, are known personally to Mr. Baggally.</p>
+
+<p>"Miss Steele writes as follows:&mdash;</p>
+
+<div class="blockquot">
+<p class="ralign">
+<span class="rgap">"'16 and 17 <span class="smcap">Sillwood Place</span>,</span><br />
+"'<span class="smcap">Brighton</span>, 13<i>th</i> <i>March</i> 1912
+</p>
+
+<p>"'Mr. Claude Burgess, who is an invalid, had been staying at
+my private hotel, at the above address, for some months. He
+left on 15th February to take up his residence at No. 10
+Belgrave Place, Kemp Town, Brighton. In the interval between
+the date of his leaving and the night of the 5th inst., when
+I had the remarkable dream (if it can be called a dream)
+which I am about to relate, I had not seen Mr. Burgess, and
+nothing had occurred to cause me to think particularly about
+him.</p>
+
+<p>"'On the above night I retired to rest at my usual time. I
+awoke finding myself standing in the middle of my room and
+answering, "All right, I'm coming," to Mr. Burgess, who, I
+thought, called three times: "Miss Steele! Miss Steele! Miss
+Steele!"</p>
+
+<p>"'By the time I had put on my dressing-gown and lighted the
+gas I was fully awake.<!-- Page 24 --><span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span> I then remembered Mr. Burgess was no
+longer in the house. I looked at the clock and noticed it
+was exactly 3 a.m. When I came downstairs next morning I
+told my cook my dream, and remarked I hoped nothing had
+happened to Mr. Burgess. During the next day, Wednesday, 6th
+March, in the afternoon, a man called while I was out and
+left a note from Mr. Burgess, which I enclose. I was much
+surprised by its contents. It struck me most forcibly
+getting it from him, as he is paralysed and has to write
+with great difficulty with his left hand. He very seldom
+writes now, so it must have made a great impression on him
+seeing me as he relates in his letter.</p>
+
+<p class="ralign">
+"'<span class="smcap">Emma M. Steele</span>'
+</p>
+</div>
+
+<p>"The letter from Mr. Burgess to Miss Steele referred to above, which is
+now in our possession, was as follows:&mdash;</p>
+
+<div class="blockquot">
+<p class="ralign">
+"'<span class="smcap">10 Belgrave Place</span>, <span class="smcap">Brighton</span>
+</p>
+
+<p>"'<span class="smcap">My dear Emma</span>,&mdash;I had a funny dream about you last night. I
+dreamed that you appeared at about 3 a.m. Just a glimpse of
+you. It's funny, isn't it?&mdash;Yours,</p>
+
+<p class="ralign">
+"'<span class="smcap">Claude Burgess</span>'<br />
+</p>
+</div>
+
+<p><!-- Page 25 --><span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span></p><p>"Miss Steele's cook made the following statement to Mr. Baggally:&mdash;</p>
+
+<div class="blockquot">
+<p class="ralign">
+"'13<i>th</i> <i>March</i> 1912
+</p>
+
+<p>"'On Wednesday morning, the 6th March last, Miss Emma Steele
+came down from her bedroom at 8.30. I saw she was looking
+pale. I asked her if she were not well. She replied that she
+had had a strange dream. She heard Mr. Burgess call her
+three times. She told me that she suddenly jumped up and put
+her dressing-gown on. By the time she had put on her
+dressing-gown and lit the gas she remembered Mr. Burgess had
+left the house. She said it was about 3 o'clock a.m. when
+she heard Mr. Burgess call.</p>
+
+<p class="ralign">
+<span class="rgap">(Signed)</span>"'<span class="smcap">Sarah Pollard</span>'
+</p>
+</div>
+
+<p>"The following statement was written by Mr. Baggally on 13th March 1912,
+from Mr. Claude Burgess's dictation:&mdash;</p>
+
+<div class="blockquot"><p>"'On Tuesday night, 5th March 1912, I woke up at about 3
+a.m. with a start. I saw Miss Emma Steele standing at the
+door of my bedroom. I had closed the door, but she appeared
+to have opened it. She was attired in her ordinary dress.</p>
+
+<p><!-- Page 26 --><span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span></p>
+<p>"'I was much surprised. It was an absolutely distinct
+apparition. I had not been thinking of her the previous day,
+and I cannot tell why she appeared to me.</p>
+
+<p>"'The apparition lasted about five seconds. I was not at all
+frightened, and went to sleep immediately after.</p>
+
+<p>"'I was so struck by what I had seen that, next morning, the
+6th March, at about 11 o'clock, I wrote a letter to Miss
+Steele which I handed to Mr. William Watkins, the proprietor
+of the establishment where I now reside, for him to send to
+Miss Steele. In this letter I told Miss Steele that I had
+dreamed that she had appeared to me on the previous night.</p>
+
+<p class="ralign">
+<span class="rgap">(Signed)</span> "'<span class="smcap">Claude Burgess</span>'<br />
+</p>
+</div>
+
+<p>"In reply to Mr. Baggally's personal inquiries, Mr. Claude Burgess
+stated that it was the first time that he had had a hallucination of
+this kind, and he had not had one since.</p>
+
+<div class="blockquot">
+<h3><i>Statement by Mr. William Watkins</i></h3>
+
+<p class="ralign">
+<span class="rgap">"'<span class="smcap">10 Belgrave Place</span>,</span><br />
+"'<span class="smcap">Brighton</span>, 13<i>th</i> <i>March</i> 1912
+</p>
+
+<p>"'Mr. Claude Burgess delivered to me a<!-- Page 27 --><span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span> letter which he had
+written to Miss Steele, at about 11 a.m. on 6th March, which
+I handed to a man of the Church Army Labour Home to take to
+Miss Steele. The same morning at 8 a.m. Mr. Burgess told me
+he had dreamt of Miss Steele.</p>
+
+<p class="ralign">
+"'<span class="smcap">William Watkins</span>'
+</p>
+</div>
+
+<div class="blockquot">
+<h3><i>Statement by Mr. Baggally</i></h3>
+
+<p>"'I called on the afternoon of the 13th March 1912 at the
+offices of the Church Army Labour Home, St. James Street,
+Brighton, and saw the Secretary, who showed me an entry in
+their books confirming the fact that, at the request of Mr.
+William Watkins, a man in their employ had delivered a
+letter to Miss Emma Steele of 16 Sillwood Place, Brighton,
+in the afternoon of 6th March 1912.</p>
+
+<p>"'I have interviewed all the persons connected with this
+case, and they confirmed their respective statements.</p>
+
+<p class="ralign">
+"'<span class="smcap">W. W. Baggally</span>'
+</p>
+</div>
+
+<p>"In reply to our further questions as to whether Mr. Burgess's
+experience was a dream or a waking hallucination, Mr. Baggally wrote to
+us on 1st April 1912:&mdash;</p>
+
+<p><!-- Page 28 --><span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span></p><div class="blockquot"><p>"'I had an interview with Mr. Burgess to-day, and the
+following is the information I received from him respecting
+the points you raise. He said to me:&mdash;</p>
+
+<p>"'"(1) I used the word 'dream' in my letter to Miss Steele
+for want of a better word. (2) I woke up and then had the
+vision of Miss Steele. (3) I did not notice anything in the
+room at the time I had the vision. The room appeared dark.
+(4) Miss Steele appeared to me in a bright light, not
+self-luminous or phosphorescent, but just as she would have
+appeared in daylight. She appeared to me in the part of the
+room where the door was."' </p></div>
+
+<p>"Mrs. Baggally sends us the following statement enclosed in a letter
+dated 27th April 1912:&mdash;</p>
+
+<div class="blockquot"><p>"'I was in the drawing-room of Miss E. Steele's sister on
+the evening of Wednesday, 6th March, when Miss Emma Steele
+came in, saying in an excited manner, "Where is Mr.
+Baggally? He will be so interested in this."</p>
+
+<p>"'She held in her hand a letter from Mr. Burgess, and
+proceeded to tell me that the previous night she had heard,
+as she thought,<!-- Page 29 --><span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> Mr. Burgess fall on the floor of the
+bedroom over her own. She sprang out of bed.</p>
+
+<p>"'Finding herself in the middle of the room, she heard him
+call "Miss Steele!" three times. She then suddenly
+remembered that Mr. Burgess was no longer living in her
+hotel. She struck a light, looked at the clock, and found it
+was 3 o'clock. The following morning she felt so tired that
+when giving orders to her cook, the latter noticed her
+fatigue and commented upon it. She told the cook the reason
+was that she heard Mr. Burgess apparently calling her at 3
+o'clock.</p>
+
+<p>"'Miss Steele proceeded to say that Mr. Burgess had,
+curiously enough, sent her that afternoon the note which at
+that moment she held in her hand, and in which he told her
+that he dreamt she had appeared to him at 3 a.m. the
+previous night.</p>
+
+<p>"'Miss Steele appeared much impressed and wondered if
+anything had happened to Mr. Burgess. I informed my husband
+that same night, on his return home, of what Miss E. Steele
+had told me.</p>
+
+<p class="ralign">
+"'<span class="smcap">Laura E. Baggally</span>'
+</p>
+</div>
+
+<p><!-- Page 30 --><span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span></p><div class="blockquot"><p>"'On my return home on the evening of 6th March my wife
+related to me what appears in her statement above.</p>
+
+<p class="ralign">
+"'<span class="smcap">W. W. Baggally</span>'"<br />
+</p>
+</div>
+</div>
+
+<p>The above case is evidentially a good one, inasmuch as both Miss Emma
+Steele and Mr. Burgess each reported on the morning of 6th March (the
+one to her cook and the other to his landlord) their experiences of the
+previous night before either of them was aware that a reciprocal
+telepathic impression had occurred between them.</p>
+
+<p>There appears to be evidence that telepathy can also occur between the
+mind of a human being and that of an animal. The reader will doubtless
+recollect Mr. H. Rider Haggard's case which appeared in the public
+press. This gentleman, on the night of Saturday, 9th July 1904, dreamed
+that a favourite dog of his eldest daughter was lying on its side among
+brushwood by water, and that it was trying to transmit in an undefined
+fashion the knowledge that it was dying. Next day the dog was missing.
+The body of the dog was subsequently found floating in the water near a
+bridge. An<!-- Page 31 --><span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span> examination of the attendant circumstances pointed to the
+dog having met its death on the night of Mr. Rider Haggard's dream. As a
+result of this gentleman having made public this experience, he received
+from numerous correspondents accounts of telepathy between the minds of
+the writers of the letters and the minds of animals. These accounts were
+sent by Mr. Rider Haggard to the Secretary of the S.P.R., who handed
+them to me for investigation.</p>
+
+<p>A very good case was that communicated by Lady C. The following is the
+account of her experience:&mdash;</p>
+
+<div class="blockquot"><p>"On one hot Sunday afternoon in the summer of 1900 I went,
+after luncheon, to pay my customary visit to the stables to
+give sugar and carrots to the horses, among the number being
+a favourite mare named Kitty. She was a shy, nervous,
+well-bred animal, and there existed between us a great and
+unusual sympathy. I used to ride her every morning before
+breakfast (whatever the weather might be)&mdash;quiet, solitary
+rides on the cliffs which overhung the sea at Castle F., and
+it always seemed to me that<!-- Page 32 --><span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span> Kitty enjoyed that hour in the
+freshness of the day as much as I did. On this particular
+afternoon I left the stables, and walked along to the
+garden, a distance of a quarter of a mile, and established
+myself under a tree with an interesting book, fully
+intending to remain there for a couple of hours. After about
+twenty minutes an uncomfortable sensation came between me
+and my reading, and at once I felt sure that there was
+something the matter with Kitty. I tried to put the feeling
+from me, and to go on with my book, but the impression grew
+stronger, and I felt compelled to hasten back to the
+stables. I went straight to Kitty's box and found her
+'cast,' and in urgent need of help. The stablemen were in a
+distant part of the stables, whence I fetched them to have
+the mare up. Their surprise was great to find me in the
+stables for the second time that afternoon." </p></div>
+
+<p>I wrote to Lady C., and received the following reply:&mdash;</p>
+
+<div class="blockquot">
+<p class="ralign">
+"27<i>th</i> <i>December</i> 1904
+</p>
+
+<p>"Lady C. would be glad indeed to have the case investigated,
+as it always seemed to her to be of the greatest possible
+interest. At the same time, it may be difficult at this date
+to get a statement from the stablemen,<!-- Page 33 --><span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span> one of whom is
+somewhere in England, but Lady C. will try to do so. She is
+absolutely convinced that no one entered the stable. Had the
+stablemen done so they would at once have helped the mare to
+get up, and anyone else would have given the alarm. It seems
+a direct case of telepathy from animal mind to human." </p></div>
+
+<p>Lady C. afterwards sent me a statement from a former coachman; it is
+this:&mdash;</p>
+
+<div class="blockquot">
+<p class="ralign">
+"31<i>st</i> <i>December</i> 1904
+</p>
+
+<p>"I was coachman at Castle F. at the time. Lady C. came to
+the stables after luncheon as usual on a Sunday afternoon
+with carrots and sugar for the horses. Kitty was then loose
+in her box and quite well. I then went to my room over the
+stables, the other stablemen being also upstairs, and to my
+surprise, after half an hour or three-quarters of an hour
+later, her ladyship, who had been to the garden, called me
+and the other stablemen to come and help Kitty up, as she
+was lying 'cast'<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> in her box. No one had gone into the
+stable in the interval.</p>
+
+<p class="ralign">
+<span class="rgap">(Signed)</span>   "E. N."
+</p>
+</div>
+
+<p><!-- Page 34 --><span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span></p>
+<p>Telepathy may possibly exist between the mind of an animal and that of
+a human being and <i>vice versa</i>, but a sufficient number of cases have
+not been collected to establish this as a fact.</p>
+
+<p><!-- Page 35 --><span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span></p>
+<h2><a name="PART_II" id="PART_II"></a>PART II
+<br /><br />
+FRAUDULENT TELEPATHY</h2>
+
+<p>I now come to another class of so-called thought transference&mdash;that
+exhibited at public entertainments in which genuine telepathy plays no
+part.</p>
+
+<p>On the 25th November 1912 Miss Isabel Newton, the Secretary of the
+Society for Psychical Research, and I attended the demonstration given
+by Yoga [<i>sic</i>] Rama of his alleged occult powers at the "Little
+Theatre," Adelphi.</p>
+
+<p>Accounts had appeared in the public press of a previous private
+performance given by this so-called Abyssinian Mystic, at which Sir John
+Simon, the Solicitor-General, Mr. Bernard Shaw, and Mr. Anthony Hope had
+assisted, and it was stated that Yoga Rama had been able to read the
+thoughts of the Solicitor-General by supernormal means.</p>
+
+<p><!-- Page 36 --><span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span></p><p>In order to demonstrate, in a public manner, the alleged occult power
+of this "psychic," a stage performance was given at the "Little Theatre"
+on the afternoon of the above-mentioned date. A large audience was
+present, and their expectations of witnessing manifestations of an
+occult nature were raised by the contents of the programme, wherein it
+appeared that Yoga Rama was to give a demonstration of "The power of
+mind over mind" by means of&mdash;</p>
+
+<div class="blockquot">
+
+<p class="ind">"1. Clairaudience.</p>
+
+<p class="ind">"2. The possibility of the interpretation of vibrations
+without the aid of sound.</p>
+
+<p class="ind">"3. Psychometry by sense of touch.</p>
+
+<p class="ind">"4. Telepathy. The disclosure of names thought of by persons
+in the audience.</p>
+
+<p class="ind">"5. Disclosure of personalities by subconscious means.</p>
+
+<p class="ind">"6. Revelations by a circumstantial chain of mind pictures.</p>
+
+<p class="ind">"7. Various demonstrations of ideas silently conveyed to the
+spectator by suggestion.</p>
+
+<p><!-- Page 37 --><span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span></p>
+<p class="ind">"8. Descriptions of cities and places by mind pictures.</p>
+
+<p class="ind">"9. Messages."</p>
+</div>
+
+<p>Before Yoga Rama made his appearance a gentleman (a Mr. Fletcher)
+delivered a short speech from the stage. He stated that the "Yoga" had
+acquired his occult powers by contemplation after many years' study. He
+went on to say that in the Eastern World the occult powers of the mind
+had been more studied than in the Western World, but at the present day
+the Western World looked upon these powers with much less prejudice than
+formerly.</p>
+
+<p>After Mr. Fletcher had retired, Yoga Rama made his appearance from
+between the centre of two curtains which hung at the back of the stage.
+He was attired in a long loose black gown and wore a large crimson
+turban. He advanced to the front of the stage and made a speech which
+had a smattering of a theosophical discourse. He described four kinds of
+Yogi. The first kind, he said, was frequently met in India. These Yogi
+worked on the physical plane and produced effects resembling the feats
+of a conjurer.<!-- Page 38 --><span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> The second kind worked in the mental plane (to this
+class he implied that he belonged). The third dealt with the spiritual
+problems of life. The fourth was absorbed in meditation.</p>
+
+<p>He continued his speech by saying that he required the sympathy of the
+persons with whom he would experiment. If they mentally opposed him he
+could do nothing, but if their minds were sympathetic and not
+antagonistic he would succeed.</p>
+
+<p>The speeches of Mr. Fletcher and of Yoga Rama still further raised the
+expectations of the audience that they were about to witness that
+afternoon a demonstration of the power of mind over mind by supernormal
+means.</p>
+
+<p>Yoga Rama, after the conclusion of his speech, called for thirty persons
+(ladies and gentlemen) to come upon the stage and form a Committee. A
+gentleman and I first answered the call. We were soon followed by a rush
+of ladies and gentlemen who rather inconveniently filled the stage, but
+this did not interfere with the performance, as the majority of the
+ladies and gentlemen kept at the back of the stage while Yoga Rama
+carried out his experiments with a limited number<!-- Page 39 --><span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span> of the members of the
+Committee. In order to be more at his ease, Yoga Rama removed his
+turban. I placed it under a table which stood on the stage. I then had a
+good look at him. I found he was a black man with short crisp curly
+hair. From his appearance and the fluency with which he speaks English,
+I came to the conclusion that he is not an Abyssinian, but an American
+or West Indian negro.</p>
+
+<p>Amongst the members of the Committee were Mr. Zancig and Mr. William
+Marriott. Both of these gentlemen I have had the pleasure of knowing for
+some years. They, together with Mr. Charles Guttwoch (a friend of Mr.
+Marriott), three or four other gentlemen, and myself, were the only
+members of the Committee who actively endeavoured to ascertain whether
+Yoga Rama's experiments depended for their success on trickery or on
+other causes. The other members of the Committee remained passive
+spectators. As regards the lady members with whom Yoga Rama tried a few
+experiments, they declared themselves, at the conclusion of the
+performance, to be believers in his alleged supernormal claims.</p>
+
+<p><!-- Page 40 --><span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span></p><p>Before the experiments commenced, Yoga Rama asked that some one should
+blindfold him with some articles which lay on a small table in the
+centre of the stage. These consisted of two pieces of folded paper just
+large enough to cover the eyebrows and eyes, a piece of porous plaster
+perforated with holes, a thin white cotton handkerchief, two gloves, and
+a long red silk scarf. Mr. Marriott offered to blindfold him. I stood
+close to him while this was being done. Mr. Marriott placed the pieces
+of paper first on Yoga Rama's eyes, then the porous plaster, then the
+cotton handkerchief, after this the two gloves, and finally the red
+scarf which he wound several times round his head. The tip of Yoga
+Rama's nose could be seen under the plaster, the white cotton
+handkerchief, and the scarf. Yoga Rama, who remained standing, then
+requested some one to sit on a chair in front of him, to think of a
+name, then to hold his left hand (<i>i.e.</i> the sitter's left hand) in
+front of the sitter's face, and to trace on the palm of the left hand
+with the forefinger of the right the first letter of the name thought
+of. The sitter was then asked<!-- Page 41 --><span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span> to give taps on his left hand or make
+movements in the air with his right hand corresponding to the number of
+letters of which the name thought of consisted. When Yoga Rama suggested
+(as he subsequently did) that the name of a flower or of a city should
+be thought of, he requested that the same procedure of tracing the first
+letter of the name and giving a number of taps or making movements with
+the right hand corresponding to the number of letters should be
+followed, but when he suggested that a play of Shakespeare should be
+thought of he only asked that the first one or two letters of the title
+should be traced on the palm of the left hand of the sitter with the
+forefinger of the other hand. He did not then ask that taps or movements
+of the right hand should be given or made. About an hour and a half of
+the first part of the performance was taken up by experiments of the
+above nature. These were varied only by one experiment of telling the
+title of a hymn which a lady thought of, one of reading the thoughts of
+a young lady, and one experiment with playing cards.</p>
+
+<p>Yoga Rama then made a long speech about<!-- Page 42 --><span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> happiness depending on our own
+selves and our being what we willed ourselves to be. He asserted that he
+had overcome in himself the passion of anger. He laboured these points
+so much and repeated himself so often that it became manifest he was
+making the speech solely with the object of filling up the time.</p>
+
+<p>The patience of the Acting Committee became exhausted, and one of the
+members advanced to the front of the stage, interrupted Yoga Rama, and,
+appealing to the audience, said he had no doubt but that he had their
+support when he asserted that they had come to the theatre not to hear
+speeches but to witness experiments. Yoga Rama brought his speech
+abruptly to a close after saying he would now demonstrate the power he
+had acquired of controlling the functions of his body and of rendering
+it insensible to pain. To show the control over his body he asked two
+members of the Committee to stand by his side and to look at their
+watches and note the length of time he was able to cease from breathing.
+To show his insensibility to pain he said he would stand barefooted on a
+board<!-- Page 43 --><span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span> studded with long nails, and also stand on broken glass.</p>
+
+<p>I have given an account of the nature of the performance with which Yoga
+Rama favoured us. I will now proceed to describe the experiments more in
+detail and to comment upon them.</p>
+
+<p>Mr. Marriott was the first person to sit on the chair in front of Yoga
+Rama. He was told to hold his left hand in front of his face, to trace
+the first letter of the name thought of on the palm of his left hand
+with the forefinger of the right, and give the taps or make the
+movements in the air with his right hand in the manner already
+described. Mr. Marriott, instead of holding his left hand up, held his
+right hand. Yoga Rama immediately said, "Not your right hand but your
+left." This was a suspicious circumstance, as it indicated that Yoga
+Rama could see notwithstanding he was blindfolded. Now conjurers know
+that blindfolding in the manner above described is not a precaution
+against seeing, as at the time of blindfolding what the conjurer does is
+to shut his eyes tightly and bring his eyebrows well down. When the
+blindfolding<!-- Page 44 --><span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> is finished, the conjurer opens his eyes and draws his
+eyebrows up; the bandages will then be displaced and drawn up from their
+original position and he will be able to see under the bandages through
+the spaces between the bridge of his nose and his cheeks. This, in the
+joint opinion of Mr. Zancig, Mr. Marriott, and myself, is what Yoga Rama
+did, and our opinion was confirmed when we examined the bandages at the
+time they were removed from the performer's eyes, as will be described
+later.</p>
+
+<p>Yoga Rama's method of telling the name thought of is to watch the
+movement of the finger of the sitter's right hand while he traces the
+first letter of the name on the palm of the left. This indicates to him
+the first letter of the name, then he counts the number of taps or
+movements given by the sitter's right hand. Thus, if the first letter
+were W and the number of taps or movements seven, the name in all
+likelihood would be William, or, if the first letter were W and the
+number of taps or movements six, the name would probably be Walter.
+Ordinary Christian names are limited in number, and Yoga Rama took care
+to know beforehand whether<!-- Page 45 --><span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span> the sitter were thinking of a female name or
+of a male name. It was therefore not a difficult matter for him to hit
+upon the name. Moreover, when he was in doubt, as was often the case, he
+not only asked that the first letter should be traced, but the second
+and the third and the fourth, etc. Before hazarding a guess Yoga Rama
+often asked whether the second or third or fourth, etc., letter of the
+name were a letter that he mentioned. Thus, if he were not quite sure
+that W had been traced, but he had noticed that seven taps or movements
+had been given, he would say is not the fourth letter of the name L. If
+the sitter answered in the affirmative, he would be pretty sure that
+William was the name, but if the sitter's answer were a negative one,
+Yoga Rama asked that the letters should be traced again and the taps,
+etc., repeated. Yoga Rama resorted to the above-described method when he
+asked the sitter to think of the name of a flower or of a city, but he
+only tried one or two experiments with the names of flowers or cities,
+the reason being, obviously, that as the names of flowers or cities are
+not so limited in number as Christian<!-- Page 46 --><span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> names, he fought shy of them. The
+reason he gave for not being able to guess readily the name of a flower
+was, he said, that he was not a botanist.</p>
+
+<p>As regards the titles of Shakespeare's plays he only asked that one or
+two of the first letters of the title should be traced on the left hand,
+and did not require any taps or movements of the right hand. Any person
+acquainted with Shakespeare's plays and knowing the first one or two
+letters of the title could have guessed with equal facility which play
+was in the mind of the sitter. After getting the name of the play, Yoga
+Rama asked the sitter to think of a personage in that play. He only
+requested that this should be done once or twice, and was not successful
+in getting the name of the personage at the first guess, but only after
+making two or three guesses.</p>
+
+<p>In the experiment of telling the title of a hymn which a lady had in her
+mind, Yoga Rama resorted to the same method of asking her to trace the
+first letter of the title of the hymn on the palm of her left hand. She
+traced the letter L, and he hazarded the guess<!-- Page 47 --><span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span> that it was "Lead,
+kindly light," which proved to be correct. Apparently the most
+successful experiments were one carried out with a young lady and one
+with myself. Yoga Rama asked the young lady to think of something. He
+then, without asking her to trace any letter or make movements with her
+right hand, told her that she wished to get married. She acknowledged
+that that was the thought in her mind. This caused a good deal of
+amusement amongst the audience. The young lady left the stage
+immediately after the experiment. This step on her part gave rise in the
+minds of some of the members of the Committee that she was an
+accomplice, and that, as the experiment had been carried out, she was no
+longer required by Yoga Rama. These members of the Committee may be
+doing an injustice to the young lady, but it was unfortunate she should
+have left the stage at that moment.</p>
+
+<p>As regards the experiment with myself, I stood in front of Yoga Rama and
+did not sit down, neither did I place my left hand in front of my face
+as other experimenters had done, but close against my body when<!-- Page 48 --><span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span> tracing
+the letters of my second name, which was the one I had in my mind.</p>
+
+<p>My object in standing up was to have my hands out of the line of his
+vision. I took care that the movement of the forefinger of my right hand
+when tracing the letters should not be seen by him.</p>
+
+<p>Yoga Rama repeatedly asked me to trace and retrace all the letters of
+the name. He then gave the name correctly. Although this experiment
+appeared to indicate that the performer possessed telepathic powers, it
+must be borne in mind that he might have known who I was, as he had been
+practising his so-called occult powers for some time in London under the
+name of Professor Pickens before he assumed that of Yoga Rama. It was
+not necessary that he should see my face in order to know with whom he
+was experimenting. It was observed that he took a very careful stock of
+the dresses of the Acting Committee before he was blindfolded. It was
+only necessary, therefore, that he should see the lower part of the
+dress for him to know which member of the Committee stood in front of
+him. As one member after<!-- Page 49 --><span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span> the other experimented with him he described
+their dress. He asserted that he was able to do this by a sort of
+telepathic vision.</p>
+
+<p>The experiment with the playing cards was a simple conjuring trick. Yoga
+Rama produced a pack of cards and asked the Committee to see that it was
+unopened. I opened the pack, shuffled the cards, and handed them to Mr.
+Marriott, who had been asked by the Professor to retire to a corner of
+the stage and choose a card which he was to show to two members of the
+Committee. Mr. Guttwoch and I accompanied Mr. Marriott to the corner of
+the stage and saw which card Mr. Marriott had chosen. Mr. Marriott then
+shuffled the pack again and handed it to Yoga Rama, who put it in his
+pocket. Yoga Rama then asked Mr. Marriott what card he had chosen. Mr.
+Marriott informed him. He then wrote something on a piece of paper which
+he folded and handed to one of the members of the Committee to hold. He
+then drew from his pocket another pack of cards similar in appearance to
+the original pack (that it was not the original pack was evidenced by
+the fact that the bottom card<!-- Page 50 --><span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span> of the pack which Yoga Rama drew from his
+pocket was not the same as the bottom card of the original pack), but
+which had the cards arranged in an order known to Yoga Rama. He
+proceeded to pass the cards one after the other before Mr. Marriott's
+eyes, asking him to tell him when he came to the card he had chosen.
+When Yoga Rama came to the card, Mr. Marriott told him. Yoga Rama then
+said, "What is the card in front of the one you chose and the one behind
+it?" He was informed which they were. He then asked that the piece of
+paper should be opened, and it was found that the names of the cards had
+been written by him on the piece of paper. What occult power Yoga Rama
+intended to demonstrate by this simple conjuring trick I fail to see. It
+could not have been telepathy, as the two cards (the names of which Yoga
+Rama had written) had not been chosen nor thought of by Mr. Marriott.</p>
+
+<p>A few words will suffice to describe the experiments which Yoga Rama
+carried out to show (1) the control he had acquired over the functions
+of his body, and (2) his insensibility to pain. As has already been
+stated,<!-- Page 51 --><span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span> he asked two members of the Committee to stand by him and note
+by their watches the length of time that he was able to cease breathing.
+He retained his breath for fifty seconds. A member of the Committee at
+the back of the stage called out, when the length of time was announced,
+"That is nothing. I can stop breathing for a full minute." This
+exclamation appeared to disconcert Yoga Rama a good deal. The standing
+barefooted on a board studded with nails and on broken glass are common
+tricks which can be seen performed by negroes at country fairs. I felt
+the points of the nails and found they had been filed down and were
+blunt. Mr. Marriott sat on the nails to the amusement of the audience
+while Yoga Rama had gone off the stage to remove his boots. When Yoga
+Rama returned he stood barefooted on these nails only for about half a
+minute. He then proceeded to break some bottles on a piece of felt. He
+pounded away on the glass with a hammer till he had reduced the greater
+part to nearly a powder. He carefully pushed the larger pieces of glass
+on one side and stood on the powdered portion.</p>
+
+<p><!-- Page 52 --><span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span></p><p>I will now proceed to state the reasons which lead me to the conclusion
+that Yoga Rama was able to see, although apparently blindfolded.</p>
+
+<p>1. The bandages were removed from his eyes by Mr. Marriott, who had
+blindfolded him at the commencement of the performance. While this was
+being done I had my face about two feet away from Yoga Rama's face and I
+carefully noted the position of each article as it was being removed.
+The lower edge of the porous plaster was above the tip of the
+performer's nose, and the edge of the white handkerchief above the edge
+of the plaster, and above the edge of the handkerchief was the edge of
+the crimson scarf. The edges of the handkerchief and scarf were
+sufficiently high up, so that, had the blindfolding depended only on
+these, he could have seen under them. The gloves which had been placed
+on the handkerchief need not be taken into account, as the folded pieces
+of paper on his eyes prevented them from pressing into the sockets of
+Yoga Rama's eyes, and he, by merely closing the eyes and bringing the
+eyebrows well down when he was<!-- Page 53 --><span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span> being blindfolded and then opening his
+eyes and lifting the eyebrows well up, could displace the gloves from
+their original position and cause them to rise, as a conjurer well
+knows; therefore the blindfolding really depended on the position of the
+porous plaster. Now when Mr. Marriott placed the plaster over the pieces
+of paper he took care that the lower edges of both pieces should be on
+one of the lines of holes which existed in the plaster as shown in the
+accompanying engraving (which is taken from a photograph).</p>
+
+<p>He also took care that the lower edge of the plaster should stick
+against Yoga Rama's cheeks. On examining the plaster just before it was
+removed we found that the lower edge no longer stuck against the
+performer's cheeks. There were hollow spaces between the bridge of his
+nose and his cheeks through which he could have seen with a downward
+glance. The point now arises whether he used both his eyes or only one.
+I noticed that Yoga Rama always kept the right side of his face towards
+the sitters when trying the experiments. If the reader will look at the
+engraving, which shows the exact position<!-- Page 54 --><span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span> of the folded pieces of paper
+at the time of the removal of the plaster from Yoga Rama's face, he will
+see that the piece of paper which covered his right eye is no longer on
+the same line of holes as the left piece, but is higher up, and, what is
+most suspicious, he will note some pieces of tissue paper which were
+stuck on the plaster by Yoga Rama and were under the pieces of folded
+paper, which prevented these from adhering to the plaster; thus by an
+upper movement of the eyebrows Yoga Rama succeeded in raising the folded
+piece of paper which covered his right eye, and with this eye he glanced
+under the plaster and watched the movements of the sitter's hands, etc.</p>
+
+<p>2. As I have stated above, Yoga Rama always kept the right side of his
+head towards the person with whom he was experimenting. He tried one
+experiment with a gentleman who sat in the second row of the stalls. He
+then turned his body round so that the right side of his face was in the
+same position relatively to this gentleman as it had been to the sitters
+on the stage. Moreover, the lights in the body of the theatre were not
+alight<!-- Page 55 --><span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span> when Yoga Rama was trying his alleged thought-readings with the
+members of the Committee on the stage, but when he experimented with the
+gentleman in the stalls, one of the electric chandeliers in the body of
+the theatre, not far from the gentleman, was immediately lit, thus
+enabling Yoga Rama to watch the movements of the gentleman's right hand
+when tracing the letters of the name he had chosen on the palm of his
+left hand, and giving the taps corresponding to the number of the
+letters.</p>
+
+<p>3. At the conclusion of the performance, after the bulk of the audience
+had left, some persons remained in the foyer of the theatre, and a
+discussion arose, during which some of the persons present asserted that
+Yoga Rama had brought about his results by supernormal means. Mr.
+Marriott, Mr. Guttwoch, and I denied this. At that moment Yoga Rama came
+into the foyer, and he was accused by us of having been able to see. He
+asserted that he had not seen, and to prove it offered to try some
+experiments while a handkerchief was held tightly against his eyes. Mr.
+Guttwoch held a handkerchief against his eyes.<!-- Page 56 --><span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> As Yoga Rama was not now
+able to see, he resorted to a different method from the one he used on
+the stage. He held the wrist of the left hand of a lady with the thumb
+and three fingers of his right hand, while his forefinger rested against
+the back of the lady's hand. He then asked her to trace the letters of
+the name thought of with the forefinger of her right hand on the palm of
+her left hand, which was being held by him. He was able to tell the
+name, but only after repeated tracing of the letters by the lady. Yoga
+Rama not being able to be guided by sight as in his stage performances,
+now guided himself by the sense of touch. Although I have never before
+carried out an experiment of this nature myself, when Miss Newton and I
+returned to the rooms of the Society for Psychical Research I tried the
+experiment with her. I closed my eyes and held her wrist, and was able
+to feel the letter which she traced on the palm of her hand. Manifestly
+this is a difficult trick to perform, and requires great practice. I
+noticed that Yoga Rama chose the hand of a lady in preference to that of
+a gentleman, obviously because a lady's hand<!-- Page 57 --><span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span> is thinner than that of a
+man, and the motion of her finger would be more easily felt.</p>
+
+<p>What convinced me more than any of the above reasons that Yoga Rama was
+able to see during his performance is the following fact. I placed the
+sticking plaster over my eyes after it had been taken from Yoga Rama's
+eyes and, to my surprise, I found I could perfectly well see through it.
+The numerous small holes with which it was perforated allowed me to do
+this.</p>
+
+<p>The audience at the "Little Theatre" had had their expectations raised
+that they were to witness manifestations of the occult powers of the
+mind through the mediumship of an Abyssinian Yogi, instead of which they
+witnessed an ordinary conjuring entertainment by a man who previously to
+assuming the name of "Yoga [<i>sic</i>] Rama" was known as Professor A. D.
+Pickens of Conduit Street, London.</p>
+
+<p>Besides the method used by Yoga Rama for producing his so-called thought
+transference, there are others resorted to by public entertainers. The
+one most in use is by means of a verbal code. The letters of the<!-- Page 58 --><span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span>
+alphabet are substituted and a word can be conveyed by the agent asking
+a series of questions, each question beginning with a substituted
+letter. The percipient has to remember what letters the substituted ones
+represent; he takes note of the first letter only of each question, puts
+them together in his mind, and thus gets the word that it is the
+intention of the agent to convey.</p>
+
+<p>I have made a table (shown opposite) which shows one of these systems.</p>
+
+<p>If the name "Alfred" is to be conveyed, it can be done by the following
+questions:&mdash;</p>
+
+<table border="0" cellpadding="2" summary="Example of Letter Substitution">
+<tr><td>Here is a name</td>          <td>= A</td></tr>
+<tr><td>Can you see it?</td>         <td>= L</td></tr>
+<tr><td>Endeavour to do so</td>      <td>= F</td></tr>
+<tr><td>Mind what you are doing</td> <td>= R</td></tr>
+<tr><td>Go on </td>                 <td> = D</td></tr>
+<tr><td align="center" colspan="2">The letter E is understood.</td></tr>
+</table>
+
+<p><!-- Page 59 --><span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span></p>
+
+<div class="figcenter">
+<h3>TABLE</h3>
+
+<table  border="0" summary="Table of Smaller Tables">
+
+<tr class="vert-t">
+<td>
+<table border="1" cellpadding="2" rules="cols" width="350" summary="Letter Substitution">
+<tr><th class="b-bt" colspan="3">SUBSTITUTED LETTERS<br /> TABLE</th></tr>
+<tr align="left"><td class="pad-l2">A is H</td>  <td class="pad-l2">J is L</td> <td class="pad-l2">S is N</td></tr>
+<tr align="left"><td class="pad-l2">B " T</td>  <td class="pad-l2">K " Pray</td>  <td class="pad-l2">T " P</td></tr>
+<tr align="left"><td class="pad-l2">C " S</td>  <td class="pad-l2">L " C</td>     <td class="pad-l2">V " Look</td></tr>
+<tr align="left"><td class="pad-l2">D " G</td>  <td class="pad-l2">M " O</td>     <td class="pad-l2">W " R</td></tr>
+<tr align="left"><td class="pad-l2">E " F</td>  <td class="pad-l2">N " D</td>     <td class="pad-l2">X " See this </td></tr>
+<tr align="left"><td class="pad-l2">F " E</td>  <td class="pad-l2">O " V</td>     <td class="pad-l2">Y " Q</td></tr>
+<tr align="left"><td class="pad-l2">G " A</td>  <td class="pad-l2">P " J</td>     <td class="pad-l2">Z " Hurry</td></tr>
+<tr align="left"><td class="pad-l2">H " I</td>  <td class="pad-l2">Q " W</td>        <td></td></tr>
+<tr align="left"><td class="pad-l2">I " B</td>  <td class="pad-l2">R " M</td>        <td></td></tr>
+<tr><td>&nbsp;</td><td></td><td></td></tr>
+</table>
+</td>
+
+<td>
+<table border="1" cellpadding="2" rules="cols" width="150" summary="Words Corresponding to Numbers">
+<tr><th class="b-bt">NUMBERS<br /> TABLE</th></tr>
+<tr align="left"><td class="pad-l2">No. 1 is Say</td></tr>
+<tr align="left"><td class="pad-l2"><span class="pad-lr">"</span>   2 "  Be</td></tr>
+<tr align="left"><td class="pad-l2"><span class="pad-lr">"</span>   3 "  Can</td></tr>
+<tr align="left"><td class="pad-l2"><span class="pad-lr">"</span>   4 "  Do</td></tr>
+<tr align="left"><td class="pad-l2"><span class="pad-lr">"</span>   5 "  Will</td></tr>
+<tr align="left"><td class="pad-l2"><span class="pad-lr">"</span>   6 "  What</td></tr>
+<tr align="left"><td class="pad-l2"><span class="pad-lr">"</span>   7 "  Please</td></tr>
+<tr align="left"><td class="pad-l2"><span class="pad-lr">"</span>   8 "  Are</td></tr>
+<tr align="left"><td class="pad-l2"><span class="pad-lr">"</span>   9 "  Now</td></tr>
+<tr align="left"><td class="pad-l2"><span class="pad-lr2">"</span>  10 "  Tell</td></tr>
+</table>
+</td></tr>
+
+<tr><td colspan="2">
+<table border="1" cellpadding="2" rules="cols" width="502" summary="Questions Corresponding to Sets of Items">
+<tr>
+<th class="b-bt" colspan="4">SETS</th></tr>
+<tr><th class="b-bt"><span class="smcap">Set A</span></th>
+<th class="b-bt"><span class="smcap">Set B</span></th>
+<th class="b-bt"><span class="smcap">Set C</span></th>
+<th class="b-bt"><span class="smcap">Set D</span></th>
+</tr>
+
+<tr>
+<td><i>What is<br />
+this?</i></td>
+
+<td><i>What article<br />
+is this?</i></td>
+
+<td><i>What is it<br />
+made of?</i></td>
+
+<td><i>What<br />
+colour?</i></td>
+</tr>
+
+<tr align="left"><td> No. 1. Watch</td>    <td>No. 1. Handkerchief</td>  <td>No. 1. Gold</td>  <td>No. 1. White</td></tr>
+<tr align="left"><td><span class="pad-lr">"</span> 2. Bracelet</td>   <td><span class="pad-lr">"</span> 2. Necktie</td>         <td><span class="pad-lr">"</span> 2. Silver</td>  <td><span class="pad-lr">"</span> 2. Black</td></tr>
+<tr align="left"><td><span class="pad-lr">"</span> 3. Guard</td>      <td><span class="pad-lr">"</span> 3. Bag</td>             <td><span class="pad-lr">"</span> 3. Copper</td>  <td><span class="pad-lr">"</span> 3. Blue</td></tr>
+<tr align="left"><td><span class="pad-lr">"</span> 4. Chain</td>      <td><span class="pad-lr">"</span> 4. Glove</td>           <td><span class="pad-lr">"</span> 4. Lead</td>    <td><span class="pad-lr">"</span> 4. Brown</td></tr>
+<tr align="left"><td><span class="pad-lr">"</span> 5. Breastpin</td>  <td><span class="pad-lr">"</span> 5. Purse</td>           <td><span class="pad-lr">"</span> 5. Zinc</td>   <td><span class="pad-lr">"</span> 5. Red</td></tr>
+<tr align="left"><td><span class="pad-lr">"</span> 6. Necklace</td>   <td><span class="pad-lr">"</span> 6. Basket</td>          <td><span class="pad-lr">"</span> 6. Wood</td>    <td><span class="pad-lr">"</span> 6. Green</td></tr>
+<tr align="left"><td><span class="pad-lr">"</span> 7. Ring</td>       <td><span class="pad-lr">"</span> 7. Book</td>            <td><span class="pad-lr">"</span> 7. Brass</td>   <td><span class="pad-lr">"</span> 7. Yellow</td></tr>
+<tr align="left"><td><span class="pad-lr">"</span> 8. Rosary</td>     <td><span class="pad-lr">"</span> 8. Head-dress</td>      <td><span class="pad-lr">"</span> 8. Paper</td>   <td><span class="pad-lr">"</span> 8. Grey</td></tr>
+<tr align="left"><td><span class="pad-lr">"</span> 9. Cross</td>      <td><span class="pad-lr">"</span> 9. Fan</td>             <td><span class="pad-lr">"</span> 9. Silk</td>    <td><span class="pad-lr">"</span>  9. Purple</td></tr>
+<tr align="left"><td><span class="pad-lr2">"</span> 10. Charm</td>     <td><span class="pad-lr2">"</span> 10. Key</td>            <td><span class="pad-lr2">"</span> 10. Glass</td>  <td><span class="pad-lr2">"</span> 10. Violet</td></tr>
+</table>
+</td></tr>
+</table>
+</div>
+
+<p><!-- Page 60 --><span class='pagenum'><a name="Page_60" id="Page_60"><br />[Pg 60]</a></span></p>
+<p>The transmission of the nature of an article is by dividing articles
+that would be likely to be brought to a public entertainment into sets
+of ten, each set being indicated by a different question. These sets
+have to be learned by heart by the agent and the percipient. I give in
+the table four sets to illustrate my meaning. After asking the question
+which conveys the set to which the article belongs, a second question is
+asked, beginning with the word corresponding to the number on the number
+table. This will indicate what number in the set the article corresponds
+to. As an example: when the question "What is this?" is asked, it means
+that the article corresponds to <span class="smcap">Set A</span>. If the second question begins
+with "Do," such as "Do you know?", this question on referring to the
+number table would mean No. 4; therefore the article would be a chain.
+Now, if the question "What is it made of?" is asked, it would refer to
+<span class="smcap">Set C</span>, and if this question is followed by "Can you tell me?", on
+referring to the number table it will be found to correspond to No. 3;
+therefore the article would be a chain made of copper. When an article
+is not in any one of the sets the substituted letter code is used. Of
+course public entertainers learn by heart a number of sets, not only
+four.</p>
+
+<p>For silent thought transference occasionally<!-- Page 61 --><span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span> electrical contrivances
+are resorted to. These are placed in different parts of the hall, and
+when being pressed by the foot or hand of the agent will convey a
+message to a certain part of the stage upon which the percipient (who
+may be blindfolded) rests his foot.</p>
+
+<p>There is another silent method which can be worked by a confederate who
+is placed behind a curtain close to the chair on the stage upon which
+the blindfolded percipient sits. The confederate watches the performer
+who stands amongst the audience and reads through a spyglass what he is
+writing on his tablet when putting down what members of the audience
+wish to be done. The confederate then communicates the contents of the
+writing to the percipient on the stage by whispering or by an electrical
+apparatus. The position of the performer or agent while he is writing in
+a clear hand on his tablets with his back to the stage easily enables a
+confederate to read the writing.</p>
+
+<p>Then there is the silent method of a French conjurer, some of whose
+performances I have witnessed, which consists of suggesting or "forcing"
+the spectators to do certain things,<!-- Page 62 --><span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span> each action having a corresponding
+number which he conveys to his lady assistant, who is blindfolded, by
+touching her foot with his after she has come down from the stage and
+stands by his side amongst the audience.</p>
+
+<p>The "time-coding" method consists of silently counting by the agent and
+percipient at the same rate, starting from a preconcerted signal and
+ending at another preconcerted signal. The performer amongst the
+audience has in his hand a piece of paper on which is written the number
+that he wishes to silently convey to the other blindfolded performer on
+the stage. At the moment that he bends his head to look at the number he
+begins silently counting at a certain rate; a confederate behind the
+scenes begins counting at the same rate from the moment that the
+performer bends his head. When the performer lifts his head he ceases
+counting, so does the confederate. Each number written on the paper is
+thus conveyed, and the confederate communicates the total to the
+blindfolded performer by means of an electrical apparatus or otherwise.</p>
+
+<p><!-- Page 63 --><span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span></p>
+<p>I have attended several performances in public halls in London at which
+thought transference&mdash;so-called&mdash;was carried out by the above trick
+methods.</p>
+
+<p>Sir Oliver Lodge was present with me at one of the performances at which
+the time-coding method was used. He has sent me the following note:&mdash;</p>
+
+<div class="blockquot">
+<p>"I was with Mr. Baggally on one of these occasions, and took
+note of the fact that he could often guess what was being
+transmitted by the performers quite as well as they could
+themselves. We sat in a box looking at them, and he often
+told me before they had spoken what they were going to say
+(or words to that effect).</p>
+
+<p>"I perceived even without his assistance that the
+performance, which was stimulated by the success of the
+Zancigs, was an exceedingly inferior imitation of what they
+had achieved, and was manifestly done by a code of some
+kind.</p>
+
+<p class="ralign">
+"O. J. L."
+</p>
+</div>
+
+<p>Some of the methods resorted to by public entertainers are so ingenious
+that the spectator is led to believe that genuine thought<!-- Page 64 --><span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span> transference
+has taken place. The following correspondence, which appeared in the
+spiritualistic weekly paper called <cite>Light</cite>, illustrates a case in point.
+In the number of <cite>Light</cite> of the 25th October 1902 there appeared this
+letter headed "Thought Transference":&mdash;</p>
+
+<div class="blockquot"><p>"<span class="smcap">Sir</span>,&mdash;A few years ago Mr. and Mrs. Baldwin gave the
+following entertainment in almost every large town in the
+three kingdoms. The public were invited to write any
+question or questions they desired to have answered on a
+piece of paper, to place it in their pockets, and keep it
+there without communicating its contents to anyone, and then
+when they went to the hall their names were called out and
+their question answered without the papers leaving their
+possession. About fifty such inquiries were answered each
+evening without a single failure by Mrs. Baldwin, who sat
+blindfolded with her back to the audience. From my
+experience and that of my friends, collusion was impossible,
+and the only way of accounting for the performance was by
+thought transference or telepathy between Mrs. Baldwin and
+those of the audience with whom she was in mental sympathy.</p>
+
+<p class="ralign">
+<span class="rgap">(Signed)</span> "C. A. M."
+</p>
+</div>
+
+<p><!-- Page 65 --><span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span></p>
+<p>Commenting on this letter, I wrote to <cite>Light</cite>, and my communication
+appeared the following week. It was to this effect:&mdash;</p>
+
+<div class="blockquot"><p>"Under the heading of 'Thought Transference,' your
+correspondent, C. A. M., gives an account of some
+entertainments by Mr. and Mrs. Baldwin, at which he says" (I
+here quoted from C. A. M.'s letter, and then continued as
+follows):&mdash;"I never was present at entertainments given by
+Mr. and Mrs. Baldwin, and therefore cannot express an
+opinion as to the <i>modus operandi</i> in their particular case,
+but I would point out that their entertainments bear a close
+resemblance to those given by conjurers. The explanation of
+the mystery in a conjurer's case is as follows:&mdash;The
+conjurer asks members of the audience to write their
+questions secretly, to sign their names at the bottom of the
+question, and then to fold the pieces of paper on which the
+questions are written and place them in their pockets. To
+facilitate the writing he hands pencils round and tablets
+upon which to rest the pieces of paper during the writing of
+the questions, or the members of the audience, if they so
+wish, can retire into an adjoining room and write their
+questions<!-- Page 66 --><span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span> on a table. The tablets and pencils are then
+collected by an assistant who is a confederate, who then
+retires from the hall to the room where the table is. The
+tablets and table have false surfaces of leather or other
+material, which, on being removed by the confederate,
+disclose a layer of carbon paper resting on another of white
+paper upon which the questions have been recorded unknown to
+the inquirers. The confederate then proceeds to read the
+questions with their respective attached signatures, and to
+communicate them to the blindfolded medium by an electrical
+apparatus upon which the medium's foot rests, or by other
+mechanical means." </p></div>
+
+<p>I signed my letter W. W. B. A fortnight after, the following letter
+appeared in <cite>Light</cite>:&mdash;</p>
+
+<div class="blockquot">
+<p>"<span class="smcap">Sir</span>,&mdash;With reference to the communication by W. W. B.
+referring to the supposed thought transference, and
+mentioned by another correspondent, C. A. M., in connection
+with the entertainments of Professor Baldwin (an American
+conjurer and brother mason), whom I met in Cape Town on two
+separate occasions, permit me to state that (1) if it is the
+same Baldwin, he is one of the cleverest<!-- Page 67 --><span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span> illusionists in
+his special line of trick thought transference, and W. W. B.
+is quite right. (2) I know that Mr. and Mrs. Baldwin did
+most of their experiments by trick, because, being one of
+the chosen committee to test the so-called thought reading,
+I fixed it absolutely as trickery on the lines indicated by
+W. W. B.</p>
+
+<p class="ralign">
+<span class="rgap">(Signed)</span> "<span class="smcap">Berks Hutchinson</span>"
+</p>
+</div>
+
+<p>I was gratified to read this letter and to find that my conjecture was
+correct that the Baldwin performance was a mere exhibition of conjuring.</p>
+
+<p><!-- Page 68 --><span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span></p>
+
+<h2><a name="PART_III" id="PART_III"></a>PART III
+<br /><br />
+THE ZANCIGS</h2>
+
+<p>Some years ago there appeared at the Alhambra Theatre, London, two
+entertainers&mdash;Mr. and Mrs. Zancig&mdash;whose performances were of so
+puzzling a nature that to many who had witnessed them the only
+explanation of the results obtained appeared to be that genuine
+telepathy was at play. The <cite>Daily Mail</cite> newspaper arranged that Mr. and
+Mrs. Zancig should be subjected to a series of severe tests at its
+office, and on the 30th November 1906 these were carried out.</p>
+
+<p>On the 1st December the <cite>Daily Mail</cite> published a full account of these
+experiments. The publication of this and of other accounts by persons
+who had witnessed the remarkable performances of the Zancigs led to a
+heated controversy between the corr<!-- Page 69 --><span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span>espondents of the <cite>Daily Mail</cite> and
+the <cite>Daily Chronicle</cite>. Those of the first paper mostly asserted that the
+performance was an exhibition of true telepathy, while those of the
+second paper declared that codes&mdash;visual and verbal&mdash;would account for
+the phenomena. Previously to the experiment carried out by the <cite>Daily
+Mail</cite> I had obtained a letter of introduction to the Zancigs from a
+friend of mine who had had private tests with them, but as it was
+necessary to have the permission of the manager of the Alhambra before
+an interview with the Zancigs could be arranged, I called at the offices
+of that theatre, and saw Mr. Scott, the manager. I informed him that I
+was a member of the Society for Psychical Research, which body I told
+him took the deepest interest in telepathy. I handed him a letter that I
+had written to Mr. Zancig, and on the 29th November 1906 I received the
+following communication from the last-named gentleman:&mdash;</p>
+
+<div class="blockquot"><p>"<span class="smcap">Dear Sir</span>,&mdash;I received a letter from Miss H. A. Dallas,
+telling me that you would like to meet us. Now, my dear sir,
+we would<!-- Page 70 --><span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> be pleased to make your acquaintance, and have you
+call for a visit, but if it is for any private show and to
+be tried and judged if our work is, as we represent, 'two
+minds with but a single thought,' I will have to say No. We
+have done nothing since we arrived in London but have
+callers to test and try us every day, from three to four
+ladies and gentlemen. My wife and I agreed to all tests they
+put to us, and all was quite satisfactory. Personally I do
+not care, but it has been quite a strain on my wife. Should
+you care to witness our show, you would be able to see us at
+ten p.m. on the Alhambra stage, but if you care to call and
+see us, and have a little talk, we both would be pleased to
+meet you.&mdash;Trusting that I am understood, I remain, yours
+sincerely,</p>
+
+<p class="ralign">
+<span class="rgap">(Signed)</span> "<span class="smcap">Julius Zancig</span>"
+</p>
+</div>
+
+<p>Although the contents of the above letter were of a discouraging nature,
+I determined to strike the iron while it was hot; therefore, on the
+evening of the same day I called, accompanied by my wife, at the flat
+where the Zancigs resided. They were at the time partaking of their
+evening meal. We apologized for our intrusion, but by the kind<!-- Page 71 --><span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span> way that
+they received us we were soon put at our ease. I informed Mr. Zancig
+that I was much interested in telepathy, and that I had personally
+carried out experiments in this branch of psychical research, and that I
+was assured of the truth of its existence through the successes that I
+had obtained.</p>
+
+<p>Mr. and Mrs. Zancig impressed my wife and myself most favourably by
+their unaffected and simple manner. After a conversation which lasted
+about ten minutes, Mr. Zancig very kindly spontaneously offered to try
+some experiments. I will now describe these. Madame Zancig went to the
+other end of the room farthest away from where Mr. Zancig, my wife, and
+I sat. She faced the wall with her back to us; Mr. Zancig then wrote
+with a chalk a line of figures on a slate which he held in his left
+hand, and called out the word "Ready." Madame Zancig immediately named
+the figures correctly and in their proper order. The same kind of
+experiment was tried successfully three times. The results might have
+been due to telepathy, but I was not satisfied, as it could have been
+possible that the figures were prearranged,<!-- Page 72 --><span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span> or that Madame Zancig could
+tell by the sound of the chalk what figures were being written. I also
+had in my mind the fact that there is a method of communicating figures
+by time-coding.</p>
+
+<p>Mr. Zancig then asked me to write a double line of figures. I handed the
+slate to him, and after he had called out "Ready" Madame Zancig
+proceeded to cast them up correctly.</p>
+
+<p>As Madame Zancig named all my figures aloud as she was summing them up,
+this experiment was of a more complicated nature than the previous ones;
+nevertheless, I was not entirely satisfied, as time-coding in putting
+down the resultant figures by Mr. Zancig, and the hearing of the sound
+of the chalk by Madame Zancig when I was writing my own figures, might
+have accounted for the favourable result.</p>
+
+<p>To prevent the possibility of communicating by an electrical or other
+apparatus concealed under the carpet, I requested Mr. Zancig to raise
+his feet from the floor. He immediately complied by sitting on the
+table, where he remained to the last experiment.</p>
+
+<p><!-- Page 73 --><span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span></p><p>Madame Zancig then retired into an adjoining bedroom with a slate in
+her hand; the door was closed, but not entirely. My wife wrote down two
+lines of figures, the slate was handed by her to Mr. Zancig, who called
+out "Ready," and he then proceeded without speaking to add them up.
+Madame Zancig then came into the room with the correct result written by
+herself on her slate. This was a more crucial test than the last, but
+still, although visual-coding was excluded, sound-coding while Mr.
+Zancig was writing the resultant sum was not entirely so.</p>
+
+<p>Then followed the experiment of transmitting a selected line in a book.
+Mr. Zancig handed me a book and asked me to open it at any page and to
+point out a line. After I had done so I handed the book to him. He
+called out "Ready." Then his wife opened a duplicate book at the proper
+page, and read the line which I had selected. Doubtless the words of the
+line were not communicated telepathically or otherwise by Mr. Zancig,
+but only the number of the page and the number of the line counting from
+the top of the page. Nevertheless, it was difficult to<!-- Page 74 --><span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span> discover by what
+method this was done, as Mr. Zancig simply called out "Ready." There did
+not appear to be time for the numbers of the page and line to be
+transmitted by time-coding. The reader will observe that as the
+experiments proceeded they appeared to present increasing evidence that
+true telepathy was at work.</p>
+
+<p>The following and last experiment that I tried on this occasion was the
+most crucial. I requested Mr. Zancig to go out with me on to the landing
+outside the door of the flat. I did not previously inform Madame Zancig
+nor Mr. Zancig of the nature of the test that I was about to put. Madame
+Zancig remained in the room with my wife. The door was closed, but not
+completely. When we were on the landing I suddenly drew my cheque-book
+out of my pocket, tore out a cheque, and handed it to Mr. Zancig,
+requesting him to transmit the number. Mr. Zancig observed to me in a
+whisper that the noise of the traffic in the street was very disturbing.
+This was true, as the hall door to the street was open. He then remained
+silent while he looked at the cheque. My<!-- Page 75 --><span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span> wife then came out on to the
+landing, and handed me a slate upon which Madame Zancig had during the
+experiment written the words, "In the year 1875." Mr. Zancig then said
+aloud, "This is not what we want; it is the number." My wife returned
+into the room with the slate, and the door was closed, but not
+completely. It was impossible, however, for Madame Zancig to see her
+husband. The suspicion arose in my mind that the number on the cheque
+might have been communicated to Madame Zancig by the words that Mr.
+Zancig had spoken aloud. I therefore took the cheque that he had in his
+hand and substituted another one with a different number that I tore
+from the bottom of my cheque-book. Mr. Zancig remained absolutely silent
+during the whole time that this second experiment lasted. My wife again
+came out of the room with the slate, upon which Madame Zancig had
+written quite correctly, in their proper order, four of the five numbers
+of the second cheque, with the exception of the last figure, which was
+wanting, but just as we were returning to the room Madame Zancig said,
+"There was another<!-- Page 76 --><span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span> figure; it was four"&mdash;which was correct. This
+impressed me as a good test, with regard to the three last numbers of
+this cheque, which were different from the corresponding ones of the
+first cheque. Madame Zancig could not see her husband, and he remained
+absolutely silent while the experiment was being carried out.</p>
+
+<p>I insert here a note by Sir Oliver Lodge in which he gives an account of
+an experiment of a similar nature, and also of other experiments which
+he tried with the Zancigs.</p>
+
+<div class="blockquot"><p>"Independently of the more thorough investigations of Mr.
+Baggally, I myself was favoured with a private interview
+with the Zancigs, who were friendly and considerate and
+helpful; and I tried the experiment of having Mrs. Zancig
+outside the room, though with door open, and Mr. Zancig with
+me and quite silent. I wrote five or six figures on a slate,
+taking care to make no noise, and Mrs. Zancig failed to get
+them correctly. Zancig seemed distressed at that, and after
+a little time groaned out, 'Oh, surely you can do this';
+almost immediately after which Mrs. Zancig came into the
+room with the correct figures written on her slate. It<!-- Page 77 --><span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span> was
+difficult to see how the sentence had conveyed the figures,
+but it was instructive to find that utterance of some kind
+seemed necessary. It was partly this, and partly the
+manifest difficulty of eliminating all possibilities of code
+between a pair of performers accustomed to go about
+together, with years of experience behind them, that
+prevented me from doing what I probably ought to have done,
+though circumstances did not render it very easy, namely, to
+make a serious study of the Zancig phenomena.</p>
+
+<p>"Moreover, I questioned Mr. Zancig about codes, and found
+that he was familiar with a great many. He was quite frank
+about it, and rather implied, as I thought, that at times he
+was ready to use any code or other normal kind of assistance
+that might be helpful, though he assured me that he found
+that he and his wife did possess a faculty which they did
+not in the least understand, but which was more efficient
+and quicker than anything they could get by codes. On the
+whole, I think this extremely likely, but the rapidity and
+the certainty and dependableness of the power went far
+beyond anything that I could imagine as possible between
+people who depended on supernormal faculty alone. But if
+there was a mixture of devices between<!-- Page 78 --><span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span> people so skilled, I
+despaired of bringing the genuine part of the phenomenon to
+a definite issue.</p>
+
+<p>"I do not think that either this or the weight of my other
+avocations are a sufficient excuse for this neglect, but it
+certainly was not easy to get opportunities for careful
+investigation. One of the main difficulties was that they
+were not free agents, having entered into contracts with
+managers whose financial interests partly depended upon the
+continued uncertainty of the public as to the causes
+underlying their very remarkable performance. Moreover, I
+knew that so skilled an investigator as Mr. Baggally was
+more favourably impressed with them than I was myself, and
+was able to give to them some considerable time and
+attention.</p>
+
+<p>"The extraordinary and rapid success with which Mrs. Zancig
+named one thing after another, handled or seen by her
+husband as he went through the hall in their public
+performances, is familiar to everybody who attended those
+exhibitions; but one episode which I have not put on record
+did impress me as rather exceptionally good, though entirely
+unsensational and unnoticeable at the time. I relate it
+here:&mdash;</p>
+
+<p>"The Zancigs happened to come to Birming<!-- Page 79 --><span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span>ham for a week
+during the University Vacation when I was away. On the last
+day of their performance I happened unexpectedly to return
+to Birmingham, and was dining at the club with some other
+men. Some one remarked that the Zancigs were performing, and
+suggested that we should cut dessert and go and see them; so
+we went in the middle of the performance and sat at the back
+of the gallery. Everything went on as usual. Mrs. Zancig was
+on the stage, blindfolded, I think, though I attach no
+importance to that. Mr. Zancig had been through the body of
+the hall, and was coming along the side gallery, taking
+objects from members of the audience as he went, and having
+them described quickly one after the other as usual, when he
+caught sight of me at the back of the gallery, and indicated
+recognition by a little start. The next object that he took
+in hand (a purse or what not) he said, 'What is this?' and
+Madame Zancig on the stage said 'Oliver.' Zancig shook his
+head and muttered, 'No, that's what I was thinking of, but
+what's this?' On which she said whatever it was correctly,
+and the performance went on as usual; my friends in due time
+getting their tests efficiently done. Nobody noticed the
+incident in particular; it<!-- Page 80 --><span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span> was over in a second. It
+conveyed no impression of anything except of a slight
+confusion,&mdash;an error, in fact, immediately corrected,&mdash;but I
+could not fail to notice that the very unimportant incident
+tended in favour of the view that a power of sympathy or
+communication between them was genuine, since she got an
+undesired and unintended impression which certainly was at
+the moment in Mr. Zancig's mind.</p>
+
+<p class="ralign">
+"O. J. L."
+</p>
+</div>
+
+<p>Later, on the same evening of the experiment with the numbers on my
+cheque-book which I have described above, my wife and I attended the
+public performance at the Alhambra. We were seated at a distance from
+the stage. When Mr. Zancig came amongst the audience my wife handed him
+a piece of something black, the nature of which it was difficult to tell
+at first sight. He stooped down and asked in a whisper, "What is that?"
+My wife answered, also in a whisper, "Liquorice." Madame Zancig
+immediately called out from the stage, "Liquorice." No word had been
+spoken by Mr. Zancig after my wife had whispered the word "Liquorice." I
+then handed a<!-- Page 81 --><span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span> visiting-card with a double name. Zancig read to himself
+in a low voice the last name, which was Hutchinson, and said, "What is
+the first name?" Madame Zancig called out "Berks"; this was correct. It
+appeared to me suspicious, however, that the question, "What is the
+first name?" although appropriate and natural, should contain the same
+number of words as there are letters in the name Berks&mdash;namely, five.
+Therefore some months after, at another performance, I wrote the same
+name, Berks Hutchinson, on a piece of paper and handed it to Mr. Zancig.
+This time he asked, "What is this?" Madame Zancig replied, "A piece of
+paper with a name." Mr. Zancig said, "Give the name." She replied,
+"Berks Hutchinson."</p>
+
+<p>I attended a series of performances at the Alhambra, and took down the
+questions and answers in order, if possible, to discover the code. On
+witnessing a first performance the spectator might be led to believe
+that word-coding alone is at the bottom of the mystery, but if notes are
+taken at a number of performances he will find that the same<!-- Page 82 --><span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span> question
+is answered differently time after time.</p>
+
+<p>From my experiments with the Zancigs I came to the conclusion that
+although the alleged transmission of thought might possibly depend on a
+code or codes which I was unable to unravel, yet their performance was
+of such a nature that it was worthy of serious scientific examination.
+On the assumption that they possessed genuine telepathic powers it would
+be a pity that the opportunity of investigating their claim should be
+missed. I therefore set myself to work to arrange with Mr. Alfred Moul,
+managing director of the Alhambra, and Mr. Zancig for some experiments
+to be tried before a Committee of the members of the Society for
+Psychical Research.</p>
+
+<p>An article appeared in the <cite>Daily Mail</cite>, inspired evidently by Mr. Moul,
+from which I now quote:&mdash;</p>
+
+<div class="blockquot">
+<p>"We have suggested to Mr. Zancig that in preference to
+inquiries into telepathy by unskilled persons he should
+place himself in the hands of the Society for Psychical
+Research,<!-- Page 83 --><span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span> of which Mr. Gerald Balfour is the President, and
+of which Sir Oliver Lodge, Sir William Crookes, and other
+distinguished scientists are leading members. Mr. Zancig has
+informed us that he has already received a communication
+from that Society, and that he was entirely willing to place
+himself and Madame Zancig at the disposal of the Society for
+a thoroughly scientific series of tests." </p></div>
+
+<p>The investigation by the Society for Psychical Research, at which I was
+present, took place on the 18th January 1907. I regret that I cannot
+give an account of what took place at this meeting, as it was mutually
+arranged between Mr. Moul and the S.P.R. that the results should not be
+divulged. They appeared, however, sufficiently favourable to some of the
+members present (though not to all) to induce them to subsequently form
+an unofficial Committee to carry out further tests. These unofficial
+experiments did not take place till 26th July 1907.</p>
+
+<p>In the meantime I continued my own private experiments. A striking one
+is the following. I was in the balcony of the Alhambra on the 19th
+January 1907, and<!-- Page 84 --><span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> when Mr. Zancig came to that part of the house I
+handed him a piece of paper on which I had written the word
+"Istapalapan." I took care that he should not see the word previously to
+my giving him the paper. Zancig remarked to me in a whisper, "This is a
+long word." Owing to the distance from his wife it could not have been
+possible for her to overhear these words. Then Mr. Zancig called out,
+"Spell this." Madame Zancig immediately wrote on the blackboard which
+was on the stage "Istapala," and when she came to the second "p" she
+wrote "f" and then "san." I have often noticed that when Madame Zancig
+makes a mistake in a letter or number there is a similarity in the form
+of the letter or number to that which was to be transmitted; thus, she
+would put down "f" for "p," "7" for "9." "fsan" in this case is very
+like "pan," and Mr. Zancig may have mistaken the letters. I fail to
+understand how in this experiment he was able to code such a long word
+as "Istapalafsan" by the simple words "Spell this." It would appear as
+if Madame Zancig really saw what Mr. Zancig was looking at. The reader
+will<!-- Page 85 --><span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span> recollect that in his preliminary remarks at each of his
+performances Zancig says, "What I see, Madame Zancig sees."</p>
+
+<p>I have several times observed this alleged peculiarity, notably so on
+the occasion of the tests at the Gramophone offices, which took place on
+the 22nd February 1907, and at which I was one of the members of the
+Committee. Mr. and Mrs. Zancig were divided by a large screen. They
+could not see each other. A recording trumpet was placed near each, into
+which they spoke. A table was placed by the side of Mr. Zancig on which
+a great number of articles had been placed by the members of the
+Committee. Madame Zancig with great rapidity named the articles as Mr.
+Zancig took them up in answer to his "What is this? and this?" etc. An
+incident which struck me as remarkable was the following. Mr. Zancig
+raised a pencil, saying, "What is this?" and after Madame Zancig had
+correctly stated what it was, he took up immediately (not in the
+vicinity of the pencil, but some distance from it) a case, and said,
+"And this?" Instead of naming the article Madame Zancig proceeded to
+enu<!-- Page 86 --><span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span>merate in their proper order the articles that lay between the two
+articles which Mr. Zancig had taken up. Thus, a pencil, a seal, a
+penknife, a case. It appeared as if Madame Zancig had actually seen the
+articles over which her husband had passed his hand.</p>
+
+<p>An excellent test was the following. Dr. W. M'Dougall, a member of the
+Council of the S.P.R., who was present at these tests, borrowed a book
+from one of the members of the Committee. He came to the side of the
+screen where Mr. Zancig stood, opened the book at a certain page, then
+pointed to the middle of a line in the centre of the page. Mr. Zancig,
+without taking the book in his hand, glanced at the line, then Dr.
+M'Dougall shut the book, took it to the other side of the screen, and
+handed it closed to Madame Zancig. Mr. Zancig remained absolutely
+silent, placed his hand against his forehead, and appeared to make a
+strong mental effort. Madame Zancig, after the lapse of a minute, opened
+the book at the proper page and began reading at the word in the middle
+of the line that had been chosen by Dr. M'Dougall. Some members of the
+Committee and I stood quite close to<!-- Page 87 --><span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span> Mr. Zancig. We did not hear him
+utter a sound. He could not be seen by Madame Zancig owing to the
+screen.</p>
+
+<p>I was present at the <i>matinée</i> performance given under the auspices of
+the <cite>Daily Mirror</cite> newspaper at the Alhambra. Dr. H., principal surgeon
+of a well-known hospital, handed to Mr. Zancig a set of skeins of silk
+of different colours. These were then passed on to Madame Zancig, who
+was on the stage. Dr. H. pointed silently to a skein of silk of a
+corresponding set which he had retained, and which he took care Madame
+Zancig could not see. Mr. Zancig, who preserved absolute silence, and
+remained motionless, looked at the colour of the skein, and in the space
+of half a minute his wife picked out a skein of the corresponding colour
+from the set that she had in her possession. This test was tried
+successfully three times. I particularly took note that Mr. Zancig
+remained silent and motionless, retaining the same position of his body
+during the course of the three experiments.</p>
+
+<p>I have tried tests with Mr. and Madame Zancig in the transmission of
+diagrams. I<!-- Page 88 --><span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span> took with me to a private house to which I was invited an
+envelope containing cards with diagrams on them. Madame Zancig sat
+behind a large screen at the end of the room. By her side sat a lady, a
+friend of mine, who watched Madame Zancig and saw that she did not move
+from her chair. Mr. Zancig stood close to me near the other end of the
+room. I presented the envelope to him, retaining it in my hand. He drew
+out one of the cards on which was a diagram not known either to him or
+to me till he looked at it. He fixed his gaze intently on it, remained
+motionless, and in a whisper said to me, "Please say ready." I called
+out, "Ready," and his wife then drew a diagram on a piece of paper, at
+the same time saying, "Something like half a moon."</p>
+
+<div class="figcenter" style="width: 175px;">
+<img src="images/88a.png" width="100" height="62" alt="" title="" />
+<span class="caption-nw smcap">Mr. Zancig's Diagram</span>
+</div>
+
+<div class="figcenter" style="width: 175px;">
+<img src="images/88b.png" width="58" height="100" alt="" title="" />
+<span class="caption-nw smcap">Madame Zancig's Drawing</span>
+</div>
+
+<p><!-- Page 89 --><span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span></p><p>Mr. Zancig then drew another card from the envelope. This time he did
+not speak, but nodded his head once, and I called out, "Ready." Madame
+Zancig thereupon observed, "It is a square within a square." The diagram
+that Mr. Zancig was looking at was this:</p>
+
+<div class="figcenter" style="width: 100px;">
+<img src="images/89a.png" width="100" height="68" alt="" title="" />
+</div>
+
+<p>his wife drew this:</p>
+
+<div class="figcenter" style="width: 75px;">
+<img src="images/89b.png" width="75" height="64" alt="" title="" />
+</div>
+
+<p>Two more cards were then drawn, but Madame Zancig did not succeed; she
+got absolutely wrong drawings.</p>
+
+<p>At a public performance at Eastbourne I handed Mr. Zancig this diagram:</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/89c.png" width="200" height="48" alt="" title="" />
+</div>
+
+<p>He called out, "Draw this." Madame Zancig, who was on the platform,
+said, "It is something like this." She made a motion with her right arm
+like drawing a capital V; she then<!-- Page 90 --><span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span> drew it on the blackboard. After
+this she slowly drew a horizontal line through the V, thus:</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/90a.png" width="200" height="52" alt="" title="" />
+</div>
+
+<p>Mr. Zancig said, "Give the number." She then placed a 2 in the proper
+position. He then called out, "Give the rest." She thereupon placed the
+<i>a</i> under the line, thus:</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/90b.png" width="200" height="52" alt="" title="" />
+</div>
+
+<p>Mr. Zancig said, "What more?" His wife placed the sign of + correctly,
+but she rubbed it out several times as if in doubt. Finally she put down
+the sign of + and a capital X, so that her drawing appeared like this:</p>
+
+<div class="figcenter" style="width: 200px;">
+<img src="images/90c.png" width="200" height="52" alt="" title="" />
+</div>
+
+<p>I have had many other experiments with this gifted couple, but have not
+yet obtained the crucial test of getting Mr. Zancig to be in<!-- Page 91 --><span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span> a distant
+room with closed doors, while his wife was in another room. The
+possibility of their using a sound code at one time and a visual code at
+another is therefore not entirely precluded.</p>
+
+<p>Although I have been quite unable to discover the methods by which they
+can possibly communicate when a visual and a sound code are not
+detected, yet I will reserve my ultimate opinion until I obtain tests
+under the crucial conditions that I have named.</p>
+
+<p>Not only did I personally meet with difficulties in endeavouring to
+explain the performances of Mr. and Madame Zancig, but also the members
+of the unofficial Committee that I have referred to. I now give an
+extract from our unofficial report.</p>
+
+<div class="blockquot">
+<p>"... It must be remembered that the antecedent probabilities
+in favour of a code to explain all performances of this kind
+are enormous.</p>
+
+<p>"While we are of opinion that the records of experiments in
+telepathy made by the Society for Psychical Research and
+others raise a presumption for the existence of such a
+faculty at least strong enough to entitle it<!-- Page 92 --><span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span> to serious
+scientific attention, the most hopeful results hitherto
+obtained have not been in any way comparable as regards
+accuracy and precision with those produced by Mr. and Madame
+Zancig. Further, there is, so far as we are aware, no case
+of any public performers (including certain recent examples)
+where the use of a code or apparatus has not been more or
+less readily discoverable or clearly to be inferred. In
+considering, therefore, the claim of Mr. and Madame Zancig
+to the possession of a genuine telepathic faculty, one is
+faced by the initial difficulty that such a faculty must be
+regarded as unique in quality, and Mr. and Madame Zancig
+themselves as unique in kind, a difficulty on the force of
+which it is not necessary to insist. On the other hand, the
+difficulty of suggesting by what method, if not by
+telepathy, they communicate is considerable. Those who have
+only witnessed the public theatre performances, clever and
+perplexing as these are, will not appreciate how hard it is
+to offer any plausible explanation of their <i>modus
+operandi</i>."</p></div>
+
+<p>In conclusion, I would wish to point out that the establishment of the
+fact that tele<!-- Page 93 --><span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span>pathy is a scientific truth would have bearings of the
+greatest importance.</p>
+
+<p>It would show that the transmission of thought could occasionally be
+effected otherwise than by the ordinary sense channels.</p>
+
+<p>It would change the materialistic conception that thought only acts
+within the limits of the brain.</p>
+
+<p>It would modify the materialistic scientific view of the relation of
+mind to matter.</p>
+
+<p>I trust that what I have written will act as an incentive to some of my
+readers to try experiments in this branch of psychical research.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a>
+It is not enough that a few individuals by patient inquiry and experiment
+should have been convinced of the reality of telepathy. What is wanted
+is that scientific men generally, by the record of an overwhelming
+number of experiments under the strictest test conditions, should be
+convinced of its truth. Once let them be so, then public conviction will
+in due time follow.</p>
+
+<p>Meanwhile I feel bound to state that, in<!-- Page 94 --><span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span> spite of initial
+improbability, the experiences which I myself have had, as partly
+narrated in this book, especially those briefly summarized in Part I,
+have convinced me that the telepathic faculty does exist, and that its
+detection is a genuine extension of scientific knowledge; though much
+more will have to be done before the bare fact receives its explanation
+and is permanently incorporated in a coherent system of Science.</p>
+
+<p class="center footer">PRINTED BY MORRISON AND GIBB LTD., EDINBURGH</p>
+
+<div class="footnotes">
+
+<h3>Footnotes:</h3>
+
+<div class="footnote">
+<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> This word is used by veterinary surgeons to describe the
+state of a horse that has fallen down in its box in a stable and cannot
+rise.</p></div>
+
+<div class="footnote">
+<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a>
+Information relating to cases of genuine telepathy may be
+sent to the Secretary of the Society for Psychical Research, 20 Hanover
+Square, London, who will be pleased to investigate them.</p>
+</div>
+</div>
+
+<div class="tr">
+<p class="u">Transcriber's Note:</p>
+
+<p>Punctuation errors have been corrected without note. On p. 20, "11.5 p.m."
+was corrected to "11.50 p.m."</p>
+
+</div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Telepathy, by W. W. Baggally
+
+*** END OF THIS PROJECT GUTENBERG EBOOK TELEPATHY ***
+
+***** This file should be named 29151-h.htm or 29151-h.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/9/1/5/29151/
+
+Produced by Bryan Ness, S.D., and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/Canadian Libraries)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/29151-h/images/13-orig.png b/29151-h/images/13-orig.png
new file mode 100644
index 0000000..9a6931b
--- /dev/null
+++ b/29151-h/images/13-orig.png
diff --git a/29151-h/images/13-repro.png b/29151-h/images/13-repro.png
new file mode 100644
index 0000000..5a67b0c
--- /dev/null
+++ b/29151-h/images/13-repro.png
diff --git a/29151-h/images/14-orig.png b/29151-h/images/14-orig.png
new file mode 100644
index 0000000..faafe4c
--- /dev/null
+++ b/29151-h/images/14-orig.png
diff --git a/29151-h/images/14-repro.png b/29151-h/images/14-repro.png
new file mode 100644
index 0000000..169b8e0
--- /dev/null
+++ b/29151-h/images/14-repro.png
diff --git a/29151-h/images/15a.png b/29151-h/images/15a.png
new file mode 100644
index 0000000..c2c2c1a
--- /dev/null
+++ b/29151-h/images/15a.png
diff --git a/29151-h/images/15b.png b/29151-h/images/15b.png
new file mode 100644
index 0000000..4c6af18
--- /dev/null
+++ b/29151-h/images/15b.png
diff --git a/29151-h/images/15c.png b/29151-h/images/15c.png
new file mode 100644
index 0000000..82dedf7
--- /dev/null
+++ b/29151-h/images/15c.png
diff --git a/29151-h/images/15d.png b/29151-h/images/15d.png
new file mode 100644
index 0000000..bebbff6
--- /dev/null
+++ b/29151-h/images/15d.png
diff --git a/29151-h/images/15e.png b/29151-h/images/15e.png
new file mode 100644
index 0000000..4aea096
--- /dev/null
+++ b/29151-h/images/15e.png
diff --git a/29151-h/images/15f.png b/29151-h/images/15f.png
new file mode 100644
index 0000000..2dff0bc
--- /dev/null
+++ b/29151-h/images/15f.png
diff --git a/29151-h/images/15g.png b/29151-h/images/15g.png
new file mode 100644
index 0000000..d8713c4
--- /dev/null
+++ b/29151-h/images/15g.png
diff --git a/29151-h/images/15h.png b/29151-h/images/15h.png
new file mode 100644
index 0000000..fce1166
--- /dev/null
+++ b/29151-h/images/15h.png
diff --git a/29151-h/images/15i.png b/29151-h/images/15i.png
new file mode 100644
index 0000000..64f4c6b
--- /dev/null
+++ b/29151-h/images/15i.png
diff --git a/29151-h/images/15j.png b/29151-h/images/15j.png
new file mode 100644
index 0000000..3490983
--- /dev/null
+++ b/29151-h/images/15j.png
diff --git a/29151-h/images/88a.png b/29151-h/images/88a.png
new file mode 100644
index 0000000..3a65099
--- /dev/null
+++ b/29151-h/images/88a.png
diff --git a/29151-h/images/88b.png b/29151-h/images/88b.png
new file mode 100644
index 0000000..1a2ae7a
--- /dev/null
+++ b/29151-h/images/88b.png
diff --git a/29151-h/images/89a.png b/29151-h/images/89a.png
new file mode 100644
index 0000000..07f8053
--- /dev/null
+++ b/29151-h/images/89a.png
diff --git a/29151-h/images/89b.png b/29151-h/images/89b.png
new file mode 100644
index 0000000..2a711cf
--- /dev/null
+++ b/29151-h/images/89b.png
diff --git a/29151-h/images/89c.png b/29151-h/images/89c.png
new file mode 100644
index 0000000..39a9ff7
--- /dev/null
+++ b/29151-h/images/89c.png
diff --git a/29151-h/images/8a.png b/29151-h/images/8a.png
new file mode 100644
index 0000000..8586482
--- /dev/null
+++ b/29151-h/images/8a.png
diff --git a/29151-h/images/8b.png b/29151-h/images/8b.png
new file mode 100644
index 0000000..fc1a7fa
--- /dev/null
+++ b/29151-h/images/8b.png
diff --git a/29151-h/images/8c.png b/29151-h/images/8c.png
new file mode 100644
index 0000000..7197524
--- /dev/null
+++ b/29151-h/images/8c.png
diff --git a/29151-h/images/8d.png b/29151-h/images/8d.png
new file mode 100644
index 0000000..b79a4dc
--- /dev/null
+++ b/29151-h/images/8d.png
diff --git a/29151-h/images/90a.png b/29151-h/images/90a.png
new file mode 100644
index 0000000..0976cb7
--- /dev/null
+++ b/29151-h/images/90a.png
diff --git a/29151-h/images/90b.png b/29151-h/images/90b.png
new file mode 100644
index 0000000..a01c7f4
--- /dev/null
+++ b/29151-h/images/90b.png
diff --git a/29151-h/images/90c.png b/29151-h/images/90c.png
new file mode 100644
index 0000000..42776b6
--- /dev/null
+++ b/29151-h/images/90c.png
diff --git a/29151-h/images/frontis1-thumb.jpg b/29151-h/images/frontis1-thumb.jpg
new file mode 100644
index 0000000..866d71b
--- /dev/null
+++ b/29151-h/images/frontis1-thumb.jpg
diff --git a/29151-h/images/frontis1.jpg b/29151-h/images/frontis1.jpg
new file mode 100644
index 0000000..4d0ed61
--- /dev/null
+++ b/29151-h/images/frontis1.jpg
diff --git a/29151.txt b/29151.txt
new file mode 100644
index 0000000..714ff53
--- /dev/null
+++ b/29151.txt
@@ -0,0 +1,2482 @@
+The Project Gutenberg EBook of Telepathy, by W. W. Baggally
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Telepathy
+       Genuine and Fraudulent
+
+Author: W. W. Baggally
+
+Release Date: June 17, 2009 [EBook #29151]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK TELEPATHY ***
+
+
+
+
+Produced by Bryan Ness, S.D., and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+
+[Illustration: THE PAD THAT "BLINDFOLDS" THE YOGI
+
+The above is a photograph of the actual porous plaster and pads produced
+by YOGA RAMA as a means of "blindfolding." The plaster is seen exactly
+as it was when taken off by Mr. WILLIAM MARRIOTT. It will be seen that
+the pads have shifted, allowing comparatively clear vision with one eye.
+The tissue paper, making the plaster non-adhesive, will also be noticed.
+
+                                                           [_Page 52_]
+
+
+
+
+                       TELEPATHY
+
+                 GENUINE AND FRAUDULENT
+
+                           BY
+
+                     W. W. BAGGALLY
+
+  MEMBER OF THE COUNCIL OF THE SOCIETY FOR PSYCHICAL RESEARCH
+
+
+                    WITH A PREFACE BY
+
+                 SIR OLIVER LODGE, F.R.S.
+
+
+                    METHUEN & CO. LTD.
+                   36 ESSEX STREET W.C.
+                         LONDON
+
+
+
+
+_First Published in 1917_
+
+
+
+
+PREFATORY NOTE
+
+
+My friend, Mr. W. W. Baggally, an experienced investigator of
+supernormal phenomena, has set down some of his experiences in connexion
+with the subject of Telepathy, and I heartily commend his book to the
+public as the record of a careful, conscientious, and exceptionally
+skilled and critical investigator. It would be difficult to find anyone
+more competent by training and capacity to examine into the genuineness
+of these subtle and elusive phenomena, which yet are of the utmost
+importance in the development of psychological science. Telepathy, or
+the direct action of mind on mind apart from the ordinary channels of
+sense, opens a new chapter; it is not a coping-stone completing an
+erection, but a foundation-stone on which to build.
+
+                                             OLIVER J. LODGE
+
+
+
+
+CONTENTS
+
+
+PART I
+
+GENUINE TELEPATHY
+
+                                                   PAGE
+
+  Experimental Telepathy                              1
+
+  Spontaneous Telepathy                              18
+
+  Telepathy between Human Beings and Animals         30
+
+
+PART II
+
+FRAUDULENT TELEPATHY
+
+  Accounts of Cases                                  35
+
+  Description of Various Methods used by Public
+     Performers for effecting their So-called
+     Transmission of Thought                         57
+
+
+PART III
+
+THE ZANCIGS
+
+  Public Experiments                                 68
+
+  Private Experiments                                70
+
+  Experiments before Committees                      82
+
+  Importance of establishing Genuine Telepathy
+     as a Scientific Fact                            92
+
+
+
+
+TELEPATHY
+
+
+
+
+PART I
+
+GENUINE TELEPATHY
+
+
+Sir William F. Barrett, one of the founders of the Society for Psychical
+Research, more than forty years ago tried some experiments which led him
+to believe that something then new to science, which he provisionally
+called "thought transference" and which is now known as "telepathy,"
+really existed.
+
+At the first general meeting of the Society, on the 17th July 1882, he
+read a paper entitled "First Report on Mind Reading."
+
+Since that date the Society has carried out a great number of
+experiments which tend to show that telepathy is a scientific fact. The
+evidence for its existence is twofold--that which can be gathered
+experimentally, and that which arises spontaneously. To the first
+category belong those experiments in the transmission of the images of
+drawings or diagrams by means of an effort of the will of a person known
+as the _agent_ to the mind of another person designated the
+_percipient_, when the transmission is carried out otherwise than
+through the ordinary channel of the senses. To the second category
+belong those hallucinations of seeing a person at the moment of death or
+at a crisis, evidence for which has been obtained abundantly by the
+Society for Psychical Research and has been embodied in the work
+_Phantasms of the Living_, and in the _Census of Hallucinations_--a
+report on which appeared in the _Proceedings_ of the Society in 1894.
+
+There are several theories to explain the action of telepathy. The first
+compares it to wireless telegraphy. On this hypothesis it is supposed
+that it is due to ethereal wave action:--Thought causes motion in the
+brain cells of the agent, the cells then impart motion to the
+surrounding ether in the form of waves which impinge on the brain cells
+of the percipient and give rise to a corresponding thought to that which
+started the ethereal wave motion.
+
+This theory offers great difficulties. An opponent to it points out that
+"A wireless message is transmitted by a succession of single ethereal
+wave impulses produced by the electric sparks at the starting station
+and received by the coherer at the receiving station, whereas a diagram
+to be transmitted would require a number of brain-waves produced
+simultaneously and arranged in the form of the diagram."
+
+Another mode of putting the matter recently advanced is that the agent
+does not transmit his thought, but that the percipient reads
+clairvoyantly what is in the agent's mind.
+
+There is also the spiritualistic theory. It is asserted that an external
+entity, or spirit, conveys the images or thoughts from one mind to
+another.
+
+Another theory is that telepathy takes place in the subconscious mind,
+and that the subconscious mind of the agent is in communication with
+the subconscious mind of the percipient by means of the universal mind
+underlying all things and of which individual subconscious minds form
+part.
+
+Not one of these theories has been accepted as proved by the Society for
+Psychical Research. In cases of spontaneous telepathy it is now
+generally believed that the appearance of a person at the time of death
+or at a crisis is not caused by an objective bodily ghost, but arises
+from a telepathic impact from the agent formulating itself into his
+image in the mind of the percipient.
+
+In the case of two persons seeing an apparition at the same time, this
+may be due to the two percipients receiving each, separately, a
+telepathic impression, or there may be only one percipient who
+telepathically impresses the hallucination on the mind of the second
+person.
+
+I will now proceed to relate some cases of telepathy which have come
+under my personal observation. My first experiment in the transmission
+of images of drawings and diagrams took place in the rooms of the
+Society for Psychical Research in May 1902. A private lady, Miss M.
+Telbin, acted as percipient, and I acted as agent. There were present at
+the time Mr. J. G. Piddington, Honorary Secretary of the Society, and
+Mr. Thomas, the then Acting Secretary.
+
+During the first experiment Miss Telbin, who was a stranger to me, sat
+with her back towards a large opaque screen. In front of her stood a
+small table upon which rested a crystal ball. She was asked to gaze at
+the crystal and to describe any vision that might appear to form itself
+therein. I may parenthetically remark that the object of crystal-gazing
+is to concentrate the mind and to withdraw it from outward influences.
+The vision seen in the crystal does not exist objectively, but only in
+the mind of the seer. On the other side of the screen, entirely hidden
+from the view of Miss Telbin, sat Mr. Piddington and myself. This
+gentleman proceeded to take from a box, which was behind the screen and
+on the floor between his and my chairs, various articles, and to hand
+them silently, one at a time, to me. I then concentrated my thoughts
+successively on each article. Miss Telbin gave an account of what she
+saw in the crystal, and Mr. Thomas, who sat in such a position that both
+Mr. Piddington and myself were hidden from his view, took notes of what
+occurred.
+
+The first article handed me was a _Windsor Magazine_, on the cover of
+which there was an engraving of Windsor Castle. I concentrated my
+thoughts on this engraving, and Miss Telbin then gave a description of
+the vision that presented itself to her mental view.
+
+She first observed that she could see trees on the left side of the
+picture, and cottages also on the left, and that there was water.
+
+These details were correct so far as they went, but the subsequent
+details that she gave were incorrect, and the experiment was abandoned
+as a failure. I then replaced the magazine in the box from which it had
+been taken, so that Miss Telbin had no opportunity of seeing the
+magazine during the experiment nor after.
+
+Other experiments were being tried when Miss Telbin spontaneously said
+that she had had a vision of Windsor Castle.
+
+This experiment may be regarded as a case of deferred telepathy.
+
+Another experiment with the same lady, in which simultaneous double
+telepathy occurred, is of better evidential value.
+
+Miss Telbin again sat with her back to the screen, and instead of the
+crystal a piece of paper and a pencil were placed on the table in front
+of her.
+
+This time Mr. Thomas and I sat behind the screen hidden from her view,
+and Mr. J. G. Piddington took notes. Mr. Thomas and I acted as
+simultaneous agents. We each held a small piece of cardboard with a
+diagram on it known to the agent viewing it, but not to the other agent.
+These diagrams belonged to the Society for Psychical Research and had
+not been seen by Mr. Thomas nor by me previous to the experiment. They
+were in a box which was at our feet behind the screen. We each took a
+diagram from the box, taking care that we did not see each other's
+diagram.
+
+We concentrated our minds on our respective diagrams, and Miss Telbin
+drew her impressions on the piece of paper in front of her. The
+following drawings show the results:--
+
+[Illustration:
+
+  MR. BAGGALLY'S
+    DIAGRAM.
+
+  MISS TELBIN'S
+    DRAWING.
+
+  MR. THOMAS'S
+    DIAGRAM.
+
+  MISS TELBIN'S
+    DRAWING.]
+
+At the time that Miss Telbin got the impression of the diagram with
+three sections, she made the remark that it looked like three leaves.
+
+The correspondence between the drawings and the diagrams is very great,
+and difficult to account for by chance.
+
+The following points have to be considered. First, that Miss Telbin only
+made two drawings and not many from which two might have been selected
+in which there was a resemblance to the diagrams. Secondly, that Mr.
+Thomas's diagram was correctly reproduced although in a reversed
+position (the reversal of a figure sometimes happens in experiments in
+telepathy). Thirdly, that my diagram of three triangles, although not
+reproduced in the form of triangles, was drawn correctly as regards
+there being three sections, and that the relative position of the
+sections was given correctly. Fourthly, that Miss Telbin had not
+previously seen any of the diagrams, and therefore the chances against
+her being able to hit upon any diagram which was then being used were
+very great. Fifthly, that the chances against her being able to hit upon
+two diagrams simultaneously were even greater.
+
+The explanation that the result might have been due to collusion between
+the persons experimenting of course cannot be entertained, at least by
+myself, who was one of the experimenters.
+
+It was not possible for the percipient to see through the large screen
+which was behind her, and there were no mirrors in the room in which the
+small diagrams could have been reflected. No word was spoken to give her
+the slightest clue. These two successful telepathic experiments led to
+further ones at a distance between this lady and myself.
+
+It will be of interest to insert here an account of an experiment in
+telepathy, similar to the one I have just described, between two agents
+and one percipient, which Sir Oliver Lodge carried out in the year 1884.
+
+When the experiment was tried with Miss Telbin, Mr. Thomas, and myself I
+was not aware that Sir Oliver Lodge had already tried an experiment of a
+like nature.
+
+
+     SIR OLIVER LODGE'S ACCOUNT
+
+     "My own first actual experience of thought transference, or
+     experimental telepathy, was obtained in the years 1883 and
+     1884 at Liverpool, when I was invited by Mr. Malcolm Guthrie
+     of that city to join in an investigation which he was
+     conducting with the aid of one or two persons who had turned
+     out to be sensitive, from among the employees of the large
+     drapery firm of George Henry Lee & Co.
+
+     "A large number of these experiments had been conducted
+     before I was asked to join, throughout the spring and autumn
+     of 1883, but it is better for me to adhere strictly to my own
+     experience and to relate only those experiments over which I
+     had control.
+
+     "Most of these experiments were confirmations of the kind of
+     thing that had been observed by other experimenters. But one
+     experiment which I tried was definitely novel, and, as it
+     seems to me, important; since it clearly showed that when two
+     agents are acting, each contributes to the effect, and that
+     the result is due, not to one alone, but to both combined.
+     The experiment is thus described by me in the columns of
+     _Nature_, vol. xxx., page 145, for 12th June 1884:--
+
+          "_An Experiment in Thought Transference_
+
+          "Those of your readers who are interested in the
+          subject of thought transference, now being
+          investigated, may be glad to hear of a little
+          experiment which I recently tried here. The series
+          of experiments was originated and carried on in
+          this city by Mr. Malcolm Guthrie, and he has
+          prevailed on me, on Dr. Herdman, and on one or two
+          other more or less scientific witnesses, to be
+          present on several occasions, critically to examine
+          the conditions, and to impose any fresh ones that
+          we thought desirable. I need not enter into
+          particulars, but I will just say that the
+          conditions under which apparent transference of
+          thought occurs from one or more persons,
+          steadfastly thinking, to another in the same room
+          blindfold and wholly disconnected from the others,
+          seem to me absolutely satisfactory, and such as to
+          preclude the possibility of conscious collusion on
+          the one hand or unconscious muscular indication on
+          the other.
+
+          "One evening last week--after two thinkers, or
+          agents, had been several times successful in
+          instilling the idea of some object or drawing, at
+          which they were looking, into the mind of the
+          blindfold person, or percipient--I brought into the
+          room a double opaque sheet of thick paper with a
+          square drawn on one side and a St. Andrew's cross
+          or X on the other, and silently arranged it between
+          the two agents so that each looked on one side
+          without any notion of what was on the other. The
+          percipient was not informed in any way that a novel
+          modification was being made; and, as usual, there
+          was no contact of any sort or kind--a clear space
+          of several feet existing between each of the three
+          people. I thought that by this variation I should
+          decide whether one of the two agents was more
+          active than the other; or, supposing them about
+          equal, whether two ideas in two separate minds
+          could be fused into one by the percipient.
+
+          "In a very short time the percipient made the
+          following remarks, every one else being silent:
+          'The thing won't keep still.' 'I seem to see things
+          moving about.' 'First I see a thing up there, and
+          then one down there.' 'I can't see either
+          distinctly.' The object was then hidden, and the
+          percipient was told to take off the bandage and to
+          draw the impression in her mind on a sheet of
+          paper. She drew a square, and then said, 'There was
+          the other thing as well,' and drew a cross inside
+          the square from corner to corner, saying
+          afterwards, 'I don't know what made me put it
+          inside.'
+
+          [Illustration: ORIGINALS.]
+
+          [Illustration: REPRODUCTION.]
+
+          "The experiment is no more conclusive as evidence
+          than fifty others that I have seen at Mr.
+          Guthrie's, but it seems to me somewhat interesting
+          that two minds should produce a disconnected sort
+          of impression on the mind of the percipient, quite
+          different from the single impression which we had
+          usually obtained when two agents were both looking
+          at the same thing. Once, for instance (to take a
+          nearly corresponding case under those conditions),
+          when the object was a rude drawing of the main
+          lines in a Union Jack, the figure was reproduced by
+          the percipient as a whole without misgiving;
+          except, indeed, that she expressed a doubt as to
+          whether its middle horizontal line were present or
+          not, and ultimately omitted it."
+
+          [Illustration: ORIGINAL.]
+
+          [Illustration: REPRODUCTION.]
+
+As I have said, the two successful telepathic experiments which I have
+described, and which took place in the rooms of the Society for
+Psychical Research, led to further experiments at a distance between
+Miss Telbin and myself.
+
+  AT 7 P.M.
+
+  I drew the following diagram
+
+  [Illustration]
+
+  AT 7 P.M.
+
+  Miss TELBIN'S drawings
+
+  [Illustration]
+
+  AT 7:10 P.M.
+
+  I fixed my attention on a
+  flower
+
+  [Illustration]
+
+  AT 7:10 P.M.
+
+  Miss TELBIN obtained several
+  incorrect scrawls, but amongst
+  them one under which
+  she had written the
+  words
+
+  [Illustration]
+
+  "First impression"
+
+  AT 7:20 P.M.
+
+  I looked at a pair of opera
+  glasses, at which I gazed first
+  lengthwise
+
+  [Illustration]
+
+  then sideways
+
+  [Illustration]
+
+  AT 7:20 P.M.
+
+  Miss TELBIN'S drawings
+  were--
+
+  First impression [Illustration]
+
+  A series of crescents [Illustration]
+
+  And this drawing [Illustration]
+
+  Also four drawings
+
+  [Illustration]
+
+It was arranged that we should sit on certain days in the week, and that
+at a fixed hour I should act as agent and transmit to her my thoughts,
+she being at the time in her residence in West Hampstead, and I in
+Kensington. The distance between these localities as the crow flies is
+four miles. The result of our first sitting, which took place on 20th
+May 1902, is shown on the preceding page.
+
+There was no possibility that the agent or the percipient could have
+copied the drawings, as the letters embodying them that we wrote to each
+other were posted on the evening of the same day and received by the
+first post the following morning, having crossed in the post.
+
+Telepathy was clearly indicated in this experiment.
+
+We continued trying experiments for some months after, but did not get
+such good results as at the beginning. On one occasion, however, we
+obtained a successful negative result. I was not feeling well, and did
+not fix my attention on any object. On the following morning Miss
+Telbin's letter said, "I could get nothing from you last night." It
+was, to say the least, curious that she should not have received an
+impression on the only night that I had not attempted to experiment.
+
+On another occasion, when Miss Telbin was in London and I in Folkestone,
+I arranged to transmit to her the impression of a diagram on a certain
+day at 8 p.m. It chanced that on that evening there was a performance at
+the theatre, at which my wife wished to be present. I therefore decided
+to telegraph to Miss Telbin that I would be unable to try the experiment
+that night, but after a good deal of hesitation I changed my mind, and
+thought that I would endeavour to transmit the impression of the diagram
+on my way to the theatre. The letter that I received from Miss Telbin
+the next day was to this effect:--
+
+     "I got a good deal of writing last night which was
+     illegible, but amongst it I read the words 'going out' and
+     'rain.'"
+
+Now this may be a mere coincidence, but it was strange that the words
+"going out" should correctly represent the idea that was in my mind
+during a great part of the preceding day. I had much worried,
+hesitating whether I should telegraph or not.
+
+The result appears to indicate the transmission of my mental state. The
+word "rain" represented correctly the state of the weather at
+Folkestone, but, as it often rains in England, this was of no evidential
+value.
+
+In regard to spontaneous telepathy I may bring before the reader two
+cases which I personally investigated, the percipient in the first case
+being a gentleman who belonged to a circle which regularly met for the
+study of psychic phenomena, and of which circle I was a member.
+
+The percipient, Mr. John Polley, gave me an account of his vision as
+follows:--
+
+     "At a seance held within sound of Big Ben on 8th May 1901,
+     there were present Mrs. E. V. M., Mr. Thomas Atwood, and
+     myself. As Mr. Atwood resumed his seat after delivering an
+     address (about 8.30 p.m.) I became aware of a vision which
+     presented itself as being some five feet distant from me,
+     and displayed part of the interior of a room, namely, that
+     part where the stove stood. The fire in the stove was small
+     and dull, and close beside it was an overturned chair. In
+     front of the fire was something that looked like a
+     fire-guard or clothes-horse, but this was not clear to me.
+     Playing, or climbing over this article, was a child, who
+     fell forward, and when it regained its feet I noticed that
+     its dress was on fire. I made no reference to the matter at
+     the time, as I had an impression that the vision might be
+     connected with some occurrence in the family of Mrs. M., and
+     I was averse to mentioning it for fear of awakening sad
+     memories. Shortly afterwards the whole vision was repeated,
+     and this time I had an uncontrollable impulse to speak. Upon
+     describing what I had seen for the second time, I was much
+     relieved to hear that the matter was not recognized as being
+     connected in any way with the sitters. I may mention here
+     that the child appeared to be about three years old, and,
+     judging from the style of dress, I described it as a girl,
+     although the vision would apply equally to a boy, as at that
+     early age the short clothes worn by both sexes would be very
+     similar.
+
+     "Next Thursday morning, 9th May 1901, upon awakening, I
+     described to my wife the events of the previous evening's
+     seance. On the evening of the same day, namely, Thursday,
+     9th May, I was out with a friend, and upon my return home at
+     11.50 p.m., my sister, Mary Louisa Polley, who resided with
+     me at the time, made the remark, 'I have a piece of bad news
+     for you.' 'Well,' I replied, 'what is it? Let me know.' And
+     she answered, 'Brother George's little son, Jacky, has been
+     burned to death.' Like a flash I realized the connexion of
+     the sad event with my vision of the previous night. I then
+     asked my sister, 'How did you know this, and when?' She
+     replied, 'Mr. Fred Sinnett told me when he came over to see
+     us this evening.'
+
+                                      (Signed) "JOHN POLLEY"
+
+I obtained from the other sitters at the seance the following
+statement:--
+
+     "At the seance held on the evening of Wednesday, 8th May
+     1901, at which were present Mrs. E. V. M., Mr. Thomas
+     Atwood, and Mr. John Polley, we, the undersigned, testify
+     that Mr. John Polley gave to us a description of a vision of
+     the burning of a child which he saw at this seance.
+
+                            (Signed in full) "E. V. M.
+
+                                             "THOMAS ATWOOD"
+
+I personally interviewed Mr. John Polley's wife and sister and received
+a written statement from each confirming Mr. Polley's account.
+
+A local paper containing an account of the inquest on the child states
+that the accident took place on Tuesday, 7th May, and the child was
+taken to a hospital immediately and there died. The father of the child
+wrote to me as follows:--
+
+     "DEAR SIR,--In reply to your inquiry respecting my late son,
+     John Frederick, I beg to say that on Tuesday, 7th May, my
+     wife went out to do some shopping, leaving my son, aged two
+     years and two months, in a bedroom with another brother aged
+     seven. Whilst the elder brother was getting some toys to
+     play with, the deceased thrust some paper in the fire,
+     pulled it out again, and set fire to his clothes. Some
+     neighbours took him to the Children's Hospital, Paddington
+     Green, where he passed away on Wednesday, 8th May, at 11.45
+     a.m. No intimation of this was given by myself or any member
+     of our family to my brother, Mr. John Polley, until a friend
+     of the family called at my address on Thursday, 9th May,
+     between 1 and 2 p.m., when we informed him of the sad loss
+     that we had sustained, and he told us that he intended
+     calling on my brother that evening, and we asked him if he
+     would communicate the news to my brother and sister who
+     reside at Church Street, Stoke Newington. Of course, Sir,
+     you know I am antagonistic to your views, but my brother has
+     told me it is for the interests of science. If this is so, I
+     take great pleasure in its furtherance.--Yours sincerely,
+
+                          (Signed) "FREDERICK GEORGE POLLEY"
+
+In the above case it appears to me that the vision of the burning child
+which Mr. John Polley saw arose out of a spontaneous telepathic
+impression, either from the mind of the father of the child to his
+brother's (Mr. John Polley's mind), or from the mind of one of the
+persons who was cognizant of the sad event.
+
+In regard to the second case of spontaneous telepathy to which I have
+referred, I cannot do better than to give the account of same as it
+appeared in the _Journal of the Society for Psychical Research_ of June
+1912:--
+
+     "The following case of a reciprocal telepathic impression
+     occurring to two persons at the same time has been
+     communicated to us by Mr. W. W. Baggally. Both Miss Emma
+     Steele and Mr. Claude Burgess, the lady and gentleman
+     concerned in the case, are known personally to Mr. Baggally.
+
+     "Miss Steele writes as follows:--
+
+                           "'16 and 17 SILLWOOD PLACE,
+                               "'BRIGHTON, _13th March 1912_
+
+          "'Mr. Claude Burgess, who is an invalid, had been
+          staying at my private hotel, at the above address,
+          for some months. He left on 15th February to take
+          up his residence at No. 10 Belgrave Place, Kemp
+          Town, Brighton. In the interval between the date
+          of his leaving and the night of the 5th inst.,
+          when I had the remarkable dream (if it can be
+          called a dream) which I am about to relate, I had
+          not seen Mr. Burgess, and nothing had occurred to
+          cause me to think particularly about him.
+
+          "'On the above night I retired to rest at my usual
+          time. I awoke finding myself standing in the
+          middle of my room and answering, "All right, I'm
+          coming," to Mr. Burgess, who, I thought, called
+          three times: "Miss Steele! Miss Steele! Miss
+          Steele!"
+
+          "'By the time I had put on my dressing-gown and
+          lighted the gas I was fully awake. I then
+          remembered Mr. Burgess was no longer in the house.
+          I looked at the clock and noticed it was exactly 3
+          a.m. When I came downstairs next morning I told my
+          cook my dream, and remarked I hoped nothing had
+          happened to Mr. Burgess. During the next day,
+          Wednesday, 6th March, in the afternoon, a man
+          called while I was out and left a note from Mr.
+          Burgess, which I enclose. I was much surprised by
+          its contents. It struck me most forcibly getting
+          it from him, as he is paralysed and has to write
+          with great difficulty with his left hand. He very
+          seldom writes now, so it must have made a great
+          impression on him seeing me as he relates in his
+          letter.
+
+                                          "'EMMA M. STEELE'
+
+     "The letter from Mr. Burgess to Miss Steele referred to
+     above, which is now in our possession, was as follows:--
+
+                               "'10 BELGRAVE PLACE, BRIGHTON
+
+          "'MY DEAR EMMA,--I had a funny dream about you
+          last night. I dreamed that you appeared at about 3
+          a.m. Just a glimpse of you. It's funny, isn't
+          it?--Yours,
+
+                                           "'CLAUDE BURGESS'
+
+     "Miss Steele's cook made the following statement to Mr.
+     Baggally:--
+
+                                         "'_13th March 1912_
+
+          "'On Wednesday morning, the 6th March last, Miss
+          Emma Steele came down from her bedroom at 8.30. I
+          saw she was looking pale. I asked her if she were
+          not well. She replied that she had had a strange
+          dream. She heard Mr. Burgess call her three times.
+          She told me that she suddenly jumped up and put
+          her dressing-gown on. By the time she had put on
+          her dressing-gown and lit the gas she remembered
+          Mr. Burgess had left the house. She said it was
+          about 3 o'clock a.m. when she heard Mr. Burgess
+          call.
+
+                                   (Signed) "'SARAH POLLARD'
+
+     "The following statement was written by Mr. Baggally on 13th
+     March 1912, from Mr. Claude Burgess's dictation:--
+
+          "'On Tuesday night, 5th March 1912, I woke up at
+          about 3 a.m. with a start. I saw Miss Emma Steele
+          standing at the door of my bedroom. I had closed
+          the door, but she appeared to have opened it. She
+          was attired in her ordinary dress.
+
+          "'I was much surprised. It was an absolutely
+          distinct apparition. I had not been thinking of
+          her the previous day, and I cannot tell why she
+          appeared to me.
+
+          "'The apparition lasted about five seconds. I was
+          not at all frightened, and went to sleep
+          immediately after.
+
+          "'I was so struck by what I had seen that, next
+          morning, the 6th March, at about 11 o'clock, I
+          wrote a letter to Miss Steele which I handed to
+          Mr. William Watkins, the proprietor of the
+          establishment where I now reside, for him to send
+          to Miss Steele. In this letter I told Miss Steele
+          that I had dreamed that she had appeared to me on
+          the previous night.
+
+                                  (Signed) "'CLAUDE BURGESS'
+
+     "In reply to Mr. Baggally's personal inquiries, Mr. Claude
+     Burgess stated that it was the first time that he had had a
+     hallucination of this kind, and he had not had one since.
+
+          _Statement by Mr. William Watkins_
+
+
+                                  "'10 BELGRAVE PLACE,
+                               "'BRIGHTON, _13th March 1912_
+
+          "'Mr. Claude Burgess delivered to me a letter
+          which he had written to Miss Steele, at about 11
+          a.m. on 6th March, which I handed to a man of the
+          Church Army Labour Home to take to Miss Steele.
+          The same morning at 8 a.m. Mr. Burgess told me he
+          had dreamt of Miss Steele.
+
+                                          "'WILLIAM WATKINS'
+
+          _Statement by Mr. Baggally_
+
+          "'I called on the afternoon of the 13th March 1912
+          at the offices of the Church Army Labour Home, St.
+          James Street, Brighton, and saw the Secretary, who
+          showed me an entry in their books confirming the
+          fact that, at the request of Mr. William Watkins,
+          a man in their employ had delivered a letter to
+          Miss Emma Steele of 16 Sillwood Place, Brighton,
+          in the afternoon of 6th March 1912.
+
+          "'I have interviewed all the persons connected
+          with this case, and they confirmed their
+          respective statements.
+
+                                           "'W. W. BAGGALLY'
+
+     "In reply to our further questions as to whether Mr.
+     Burgess's experience was a dream or a waking hallucination,
+     Mr. Baggally wrote to us on 1st April 1912:--
+
+          "'I had an interview with Mr. Burgess to-day, and
+          the following is the information I received from
+          him respecting the points you raise. He said to
+          me:--
+
+          "'"(1) I used the word 'dream' in my letter to
+          Miss Steele for want of a better word. (2) I woke
+          up and then had the vision of Miss Steele. (3) I
+          did not notice anything in the room at the time I
+          had the vision. The room appeared dark. (4) Miss
+          Steele appeared to me in a bright light, not
+          self-luminous or phosphorescent, but just as she
+          would have appeared in daylight. She appeared to
+          me in the part of the room where the door was."'
+
+     "Mrs. Baggally sends us the following statement enclosed in
+     a letter dated 27th April 1912:--
+
+          "'I was in the drawing-room of Miss E. Steele's
+          sister on the evening of Wednesday, 6th March,
+          when Miss Emma Steele came in, saying in an
+          excited manner, "Where is Mr. Baggally? He will be
+          so interested in this."
+
+          "'She held in her hand a letter from Mr. Burgess,
+          and proceeded to tell me that the previous night
+          she had heard, as she thought, Mr. Burgess fall
+          on the floor of the bedroom over her own. She
+          sprang out of bed.
+
+          "'Finding herself in the middle of the room, she
+          heard him call "Miss Steele!" three times. She
+          then suddenly remembered that Mr. Burgess was no
+          longer living in her hotel. She struck a light,
+          looked at the clock, and found it was 3 o'clock.
+          The following morning she felt so tired that when
+          giving orders to her cook, the latter noticed her
+          fatigue and commented upon it. She told the cook
+          the reason was that she heard Mr. Burgess
+          apparently calling her at 3 o'clock.
+
+          "'Miss Steele proceeded to say that Mr. Burgess
+          had, curiously enough, sent her that afternoon the
+          note which at that moment she held in her hand,
+          and in which he told her that he dreamt she had
+          appeared to him at 3 a.m. the previous night.
+
+          "'Miss Steele appeared much impressed and wondered
+          if anything had happened to Mr. Burgess. I
+          informed my husband that same night, on his return
+          home, of what Miss E. Steele had told me.
+
+                                        "'LAURA E. BAGGALLY'
+
+          "'On my return home on the evening of 6th March
+          my wife related to me what appears in her
+          statement above.
+
+                                          "'W. W. BAGGALLY'"
+
+The above case is evidentially a good one, inasmuch as both Miss Emma
+Steele and Mr. Burgess each reported on the morning of 6th March (the
+one to her cook and the other to his landlord) their experiences of the
+previous night before either of them was aware that a reciprocal
+telepathic impression had occurred between them.
+
+There appears to be evidence that telepathy can also occur between the
+mind of a human being and that of an animal. The reader will doubtless
+recollect Mr. H. Rider Haggard's case which appeared in the public
+press. This gentleman, on the night of Saturday, 9th July 1904, dreamed
+that a favourite dog of his eldest daughter was lying on its side among
+brushwood by water, and that it was trying to transmit in an undefined
+fashion the knowledge that it was dying. Next day the dog was missing.
+The body of the dog was subsequently found floating in the water near a
+bridge. An examination of the attendant circumstances pointed to the
+dog having met its death on the night of Mr. Rider Haggard's dream. As a
+result of this gentleman having made public this experience, he received
+from numerous correspondents accounts of telepathy between the minds of
+the writers of the letters and the minds of animals. These accounts were
+sent by Mr. Rider Haggard to the Secretary of the S.P.R., who handed
+them to me for investigation.
+
+A very good case was that communicated by Lady C. The following is the
+account of her experience:--
+
+     "On one hot Sunday afternoon in the summer of 1900 I went,
+     after luncheon, to pay my customary visit to the stables to
+     give sugar and carrots to the horses, among the number being
+     a favourite mare named Kitty. She was a shy, nervous,
+     well-bred animal, and there existed between us a great and
+     unusual sympathy. I used to ride her every morning before
+     breakfast (whatever the weather might be)--quiet, solitary
+     rides on the cliffs which overhung the sea at Castle F., and
+     it always seemed to me that Kitty enjoyed that hour in the
+     freshness of the day as much as I did. On this particular
+     afternoon I left the stables, and walked along to the
+     garden, a distance of a quarter of a mile, and established
+     myself under a tree with an interesting book, fully
+     intending to remain there for a couple of hours. After about
+     twenty minutes an uncomfortable sensation came between me
+     and my reading, and at once I felt sure that there was
+     something the matter with Kitty. I tried to put the feeling
+     from me, and to go on with my book, but the impression grew
+     stronger, and I felt compelled to hasten back to the
+     stables. I went straight to Kitty's box and found her
+     'cast,' and in urgent need of help. The stablemen were in a
+     distant part of the stables, whence I fetched them to have
+     the mare up. Their surprise was great to find me in the
+     stables for the second time that afternoon."
+
+I wrote to Lady C., and received the following reply:--
+
+                                       "_27th December 1904_
+
+     "Lady C. would be glad indeed to have the case investigated,
+     as it always seemed to her to be of the greatest possible
+     interest. At the same time, it may be difficult at this date
+     to get a statement from the stablemen, one of whom is
+     somewhere in England, but Lady C. will try to do so. She is
+     absolutely convinced that no one entered the stable. Had the
+     stablemen done so they would at once have helped the mare to
+     get up, and anyone else would have given the alarm. It seems
+     a direct case of telepathy from animal mind to human."
+
+Lady C. afterwards sent me a statement from a former coachman; it is
+this:--
+
+                                       "_31st December 1904_
+
+     "I was coachman at Castle F. at the time. Lady C. came to
+     the stables after luncheon as usual on a Sunday afternoon
+     with carrots and sugar for the horses. Kitty was then loose
+     in her box and quite well. I then went to my room over the
+     stables, the other stablemen being also upstairs, and to my
+     surprise, after half an hour or three-quarters of an hour
+     later, her ladyship, who had been to the garden, called me
+     and the other stablemen to come and help Kitty up, as she
+     was lying 'cast'[1] in her box. No one had gone into the
+     stable in the interval.
+
+                                          (Signed)   "E. N."
+
+[Footnote 1: This word is used by veterinary surgeons to describe the
+state of a horse that has fallen down in its box in a stable and cannot
+rise.]
+
+Telepathy may possibly exist between the mind of an animal and that of a
+human being and _vice versa_, but a sufficient number of cases have not
+been collected to establish this as a fact.
+
+
+
+
+PART II
+
+FRAUDULENT TELEPATHY
+
+
+I now come to another class of so-called thought transference--that
+exhibited at public entertainments in which genuine telepathy plays no
+part.
+
+On the 25th November 1912 Miss Isabel Newton, the Secretary of the
+Society for Psychical Research, and I attended the demonstration given
+by Yoga [_sic_] Rama of his alleged occult powers at the "Little
+Theatre," Adelphi.
+
+Accounts had appeared in the public press of a previous private
+performance given by this so-called Abyssinian Mystic, at which Sir John
+Simon, the Solicitor-General, Mr. Bernard Shaw, and Mr. Anthony Hope had
+assisted, and it was stated that Yoga Rama had been able to read the
+thoughts of the Solicitor-General by supernormal means.
+
+In order to demonstrate, in a public manner, the alleged occult power of
+this "psychic," a stage performance was given at the "Little Theatre" on
+the afternoon of the above-mentioned date. A large audience was present,
+and their expectations of witnessing manifestations of an occult nature
+were raised by the contents of the programme, wherein it appeared that
+Yoga Rama was to give a demonstration of "The power of mind over mind"
+by means of--
+
+     "1. Clairaudience.
+
+     "2. The possibility of the interpretation of vibrations
+     without the aid of sound.
+
+     "3. Psychometry by sense of touch.
+
+     "4. Telepathy. The disclosure of names thought of by persons
+     in the audience.
+
+     "5. Disclosure of personalities by subconscious means.
+
+     "6. Revelations by a circumstantial chain of mind pictures.
+
+     "7. Various demonstrations of ideas silently conveyed to the
+     spectator by suggestion.
+
+     "8. Descriptions of cities and places by mind pictures.
+
+     "9. Messages."
+
+Before Yoga Rama made his appearance a gentleman (a Mr. Fletcher)
+delivered a short speech from the stage. He stated that the "Yoga" had
+acquired his occult powers by contemplation after many years' study. He
+went on to say that in the Eastern World the occult powers of the mind
+had been more studied than in the Western World, but at the present day
+the Western World looked upon these powers with much less prejudice than
+formerly.
+
+After Mr. Fletcher had retired, Yoga Rama made his appearance from
+between the centre of two curtains which hung at the back of the stage.
+He was attired in a long loose black gown and wore a large crimson
+turban. He advanced to the front of the stage and made a speech which
+had a smattering of a theosophical discourse. He described four kinds of
+Yogi. The first kind, he said, was frequently met in India. These Yogi
+worked on the physical plane and produced effects resembling the feats
+of a conjurer. The second kind worked in the mental plane (to this
+class he implied that he belonged). The third dealt with the spiritual
+problems of life. The fourth was absorbed in meditation.
+
+He continued his speech by saying that he required the sympathy of the
+persons with whom he would experiment. If they mentally opposed him he
+could do nothing, but if their minds were sympathetic and not
+antagonistic he would succeed.
+
+The speeches of Mr. Fletcher and of Yoga Rama still further raised the
+expectations of the audience that they were about to witness that
+afternoon a demonstration of the power of mind over mind by supernormal
+means.
+
+Yoga Rama, after the conclusion of his speech, called for thirty persons
+(ladies and gentlemen) to come upon the stage and form a Committee. A
+gentleman and I first answered the call. We were soon followed by a rush
+of ladies and gentlemen who rather inconveniently filled the stage, but
+this did not interfere with the performance, as the majority of the
+ladies and gentlemen kept at the back of the stage while Yoga Rama
+carried out his experiments with a limited number of the members of the
+Committee. In order to be more at his ease, Yoga Rama removed his
+turban. I placed it under a table which stood on the stage. I then had a
+good look at him. I found he was a black man with short crisp curly
+hair. From his appearance and the fluency with which he speaks English,
+I came to the conclusion that he is not an Abyssinian, but an American
+or West Indian negro.
+
+Amongst the members of the Committee were Mr. Zancig and Mr. William
+Marriott. Both of these gentlemen I have had the pleasure of knowing for
+some years. They, together with Mr. Charles Guttwoch (a friend of Mr.
+Marriott), three or four other gentlemen, and myself, were the only
+members of the Committee who actively endeavoured to ascertain whether
+Yoga Rama's experiments depended for their success on trickery or on
+other causes. The other members of the Committee remained passive
+spectators. As regards the lady members with whom Yoga Rama tried a few
+experiments, they declared themselves, at the conclusion of the
+performance, to be believers in his alleged supernormal claims.
+
+Before the experiments commenced, Yoga Rama asked that some one should
+blindfold him with some articles which lay on a small table in the
+centre of the stage. These consisted of two pieces of folded paper just
+large enough to cover the eyebrows and eyes, a piece of porous plaster
+perforated with holes, a thin white cotton handkerchief, two gloves, and
+a long red silk scarf. Mr. Marriott offered to blindfold him. I stood
+close to him while this was being done. Mr. Marriott placed the pieces
+of paper first on Yoga Rama's eyes, then the porous plaster, then the
+cotton handkerchief, after this the two gloves, and finally the red
+scarf which he wound several times round his head. The tip of Yoga
+Rama's nose could be seen under the plaster, the white cotton
+handkerchief, and the scarf. Yoga Rama, who remained standing, then
+requested some one to sit on a chair in front of him, to think of a
+name, then to hold his left hand (_i.e._ the sitter's left hand) in
+front of the sitter's face, and to trace on the palm of the left hand
+with the forefinger of the right the first letter of the name thought
+of. The sitter was then asked to give taps on his left hand or make
+movements in the air with his right hand corresponding to the number of
+letters of which the name thought of consisted. When Yoga Rama suggested
+(as he subsequently did) that the name of a flower or of a city should
+be thought of, he requested that the same procedure of tracing the first
+letter of the name and giving a number of taps or making movements with
+the right hand corresponding to the number of letters should be
+followed, but when he suggested that a play of Shakespeare should be
+thought of he only asked that the first one or two letters of the title
+should be traced on the palm of the left hand of the sitter with the
+forefinger of the other hand. He did not then ask that taps or movements
+of the right hand should be given or made. About an hour and a half of
+the first part of the performance was taken up by experiments of the
+above nature. These were varied only by one experiment of telling the
+title of a hymn which a lady thought of, one of reading the thoughts of
+a young lady, and one experiment with playing cards.
+
+Yoga Rama then made a long speech about happiness depending on our own
+selves and our being what we willed ourselves to be. He asserted that he
+had overcome in himself the passion of anger. He laboured these points
+so much and repeated himself so often that it became manifest he was
+making the speech solely with the object of filling up the time.
+
+The patience of the Acting Committee became exhausted, and one of the
+members advanced to the front of the stage, interrupted Yoga Rama, and,
+appealing to the audience, said he had no doubt but that he had their
+support when he asserted that they had come to the theatre not to hear
+speeches but to witness experiments. Yoga Rama brought his speech
+abruptly to a close after saying he would now demonstrate the power he
+had acquired of controlling the functions of his body and of rendering
+it insensible to pain. To show the control over his body he asked two
+members of the Committee to stand by his side and to look at their
+watches and note the length of time he was able to cease from breathing.
+To show his insensibility to pain he said he would stand barefooted on a
+board studded with long nails, and also stand on broken glass.
+
+I have given an account of the nature of the performance with which Yoga
+Rama favoured us. I will now proceed to describe the experiments more in
+detail and to comment upon them.
+
+Mr. Marriott was the first person to sit on the chair in front of Yoga
+Rama. He was told to hold his left hand in front of his face, to trace
+the first letter of the name thought of on the palm of his left hand
+with the forefinger of the right, and give the taps or make the
+movements in the air with his right hand in the manner already
+described. Mr. Marriott, instead of holding his left hand up, held his
+right hand. Yoga Rama immediately said, "Not your right hand but your
+left." This was a suspicious circumstance, as it indicated that Yoga
+Rama could see notwithstanding he was blindfolded. Now conjurers know
+that blindfolding in the manner above described is not a precaution
+against seeing, as at the time of blindfolding what the conjurer does is
+to shut his eyes tightly and bring his eyebrows well down. When the
+blindfolding is finished, the conjurer opens his eyes and draws his
+eyebrows up; the bandages will then be displaced and drawn up from their
+original position and he will be able to see under the bandages through
+the spaces between the bridge of his nose and his cheeks. This, in the
+joint opinion of Mr. Zancig, Mr. Marriott, and myself, is what Yoga Rama
+did, and our opinion was confirmed when we examined the bandages at the
+time they were removed from the performer's eyes, as will be described
+later.
+
+Yoga Rama's method of telling the name thought of is to watch the
+movement of the finger of the sitter's right hand while he traces the
+first letter of the name on the palm of the left. This indicates to him
+the first letter of the name, then he counts the number of taps or
+movements given by the sitter's right hand. Thus, if the first letter
+were W and the number of taps or movements seven, the name in all
+likelihood would be William, or, if the first letter were W and the
+number of taps or movements six, the name would probably be Walter.
+Ordinary Christian names are limited in number, and Yoga Rama took care
+to know beforehand whether the sitter were thinking of a female name or
+of a male name. It was therefore not a difficult matter for him to hit
+upon the name. Moreover, when he was in doubt, as was often the case, he
+not only asked that the first letter should be traced, but the second
+and the third and the fourth, etc. Before hazarding a guess Yoga Rama
+often asked whether the second or third or fourth, etc., letter of the
+name were a letter that he mentioned. Thus, if he were not quite sure
+that W had been traced, but he had noticed that seven taps or movements
+had been given, he would say is not the fourth letter of the name L. If
+the sitter answered in the affirmative, he would be pretty sure that
+William was the name, but if the sitter's answer were a negative one,
+Yoga Rama asked that the letters should be traced again and the taps,
+etc., repeated. Yoga Rama resorted to the above-described method when he
+asked the sitter to think of the name of a flower or of a city, but he
+only tried one or two experiments with the names of flowers or cities,
+the reason being, obviously, that as the names of flowers or cities are
+not so limited in number as Christian names, he fought shy of them. The
+reason he gave for not being able to guess readily the name of a flower
+was, he said, that he was not a botanist.
+
+As regards the titles of Shakespeare's plays he only asked that one or
+two of the first letters of the title should be traced on the left hand,
+and did not require any taps or movements of the right hand. Any person
+acquainted with Shakespeare's plays and knowing the first one or two
+letters of the title could have guessed with equal facility which play
+was in the mind of the sitter. After getting the name of the play, Yoga
+Rama asked the sitter to think of a personage in that play. He only
+requested that this should be done once or twice, and was not successful
+in getting the name of the personage at the first guess, but only after
+making two or three guesses.
+
+In the experiment of telling the title of a hymn which a lady had in her
+mind, Yoga Rama resorted to the same method of asking her to trace the
+first letter of the title of the hymn on the palm of her left hand. She
+traced the letter L, and he hazarded the guess that it was "Lead,
+kindly light," which proved to be correct. Apparently the most
+successful experiments were one carried out with a young lady and one
+with myself. Yoga Rama asked the young lady to think of something. He
+then, without asking her to trace any letter or make movements with her
+right hand, told her that she wished to get married. She acknowledged
+that that was the thought in her mind. This caused a good deal of
+amusement amongst the audience. The young lady left the stage
+immediately after the experiment. This step on her part gave rise in the
+minds of some of the members of the Committee that she was an
+accomplice, and that, as the experiment had been carried out, she was no
+longer required by Yoga Rama. These members of the Committee may be
+doing an injustice to the young lady, but it was unfortunate she should
+have left the stage at that moment.
+
+As regards the experiment with myself, I stood in front of Yoga Rama and
+did not sit down, neither did I place my left hand in front of my face
+as other experimenters had done, but close against my body when tracing
+the letters of my second name, which was the one I had in my mind.
+
+My object in standing up was to have my hands out of the line of his
+vision. I took care that the movement of the forefinger of my right hand
+when tracing the letters should not be seen by him.
+
+Yoga Rama repeatedly asked me to trace and retrace all the letters of
+the name. He then gave the name correctly. Although this experiment
+appeared to indicate that the performer possessed telepathic powers, it
+must be borne in mind that he might have known who I was, as he had been
+practising his so-called occult powers for some time in London under the
+name of Professor Pickens before he assumed that of Yoga Rama. It was
+not necessary that he should see my face in order to know with whom he
+was experimenting. It was observed that he took a very careful stock of
+the dresses of the Acting Committee before he was blindfolded. It was
+only necessary, therefore, that he should see the lower part of the
+dress for him to know which member of the Committee stood in front of
+him. As one member after the other experimented with him he described
+their dress. He asserted that he was able to do this by a sort of
+telepathic vision.
+
+The experiment with the playing cards was a simple conjuring trick. Yoga
+Rama produced a pack of cards and asked the Committee to see that it was
+unopened. I opened the pack, shuffled the cards, and handed them to Mr.
+Marriott, who had been asked by the Professor to retire to a corner of
+the stage and choose a card which he was to show to two members of the
+Committee. Mr. Guttwoch and I accompanied Mr. Marriott to the corner of
+the stage and saw which card Mr. Marriott had chosen. Mr. Marriott then
+shuffled the pack again and handed it to Yoga Rama, who put it in his
+pocket. Yoga Rama then asked Mr. Marriott what card he had chosen. Mr.
+Marriott informed him. He then wrote something on a piece of paper which
+he folded and handed to one of the members of the Committee to hold. He
+then drew from his pocket another pack of cards similar in appearance to
+the original pack (that it was not the original pack was evidenced by
+the fact that the bottom card of the pack which Yoga Rama drew from his
+pocket was not the same as the bottom card of the original pack), but
+which had the cards arranged in an order known to Yoga Rama. He
+proceeded to pass the cards one after the other before Mr. Marriott's
+eyes, asking him to tell him when he came to the card he had chosen.
+When Yoga Rama came to the card, Mr. Marriott told him. Yoga Rama then
+said, "What is the card in front of the one you chose and the one behind
+it?" He was informed which they were. He then asked that the piece of
+paper should be opened, and it was found that the names of the cards had
+been written by him on the piece of paper. What occult power Yoga Rama
+intended to demonstrate by this simple conjuring trick I fail to see. It
+could not have been telepathy, as the two cards (the names of which Yoga
+Rama had written) had not been chosen nor thought of by Mr. Marriott.
+
+A few words will suffice to describe the experiments which Yoga Rama
+carried out to show (1) the control he had acquired over the functions
+of his body, and (2) his insensibility to pain. As has already been
+stated, he asked two members of the Committee to stand by him and note
+by their watches the length of time that he was able to cease breathing.
+He retained his breath for fifty seconds. A member of the Committee at
+the back of the stage called out, when the length of time was announced,
+"That is nothing. I can stop breathing for a full minute." This
+exclamation appeared to disconcert Yoga Rama a good deal. The standing
+barefooted on a board studded with nails and on broken glass are common
+tricks which can be seen performed by negroes at country fairs. I felt
+the points of the nails and found they had been filed down and were
+blunt. Mr. Marriott sat on the nails to the amusement of the audience
+while Yoga Rama had gone off the stage to remove his boots. When Yoga
+Rama returned he stood barefooted on these nails only for about half a
+minute. He then proceeded to break some bottles on a piece of felt. He
+pounded away on the glass with a hammer till he had reduced the greater
+part to nearly a powder. He carefully pushed the larger pieces of glass
+on one side and stood on the powdered portion.
+
+I will now proceed to state the reasons which lead me to the conclusion
+that Yoga Rama was able to see, although apparently blindfolded.
+
+1. The bandages were removed from his eyes by Mr. Marriott, who had
+blindfolded him at the commencement of the performance. While this was
+being done I had my face about two feet away from Yoga Rama's face and I
+carefully noted the position of each article as it was being removed.
+The lower edge of the porous plaster was above the tip of the
+performer's nose, and the edge of the white handkerchief above the edge
+of the plaster, and above the edge of the handkerchief was the edge of
+the crimson scarf. The edges of the handkerchief and scarf were
+sufficiently high up, so that, had the blindfolding depended only on
+these, he could have seen under them. The gloves which had been placed
+on the handkerchief need not be taken into account, as the folded pieces
+of paper on his eyes prevented them from pressing into the sockets of
+Yoga Rama's eyes, and he, by merely closing the eyes and bringing the
+eyebrows well down when he was being blindfolded and then opening his
+eyes and lifting the eyebrows well up, could displace the gloves from
+their original position and cause them to rise, as a conjurer well
+knows; therefore the blindfolding really depended on the position of the
+porous plaster. Now when Mr. Marriott placed the plaster over the pieces
+of paper he took care that the lower edges of both pieces should be on
+one of the lines of holes which existed in the plaster as shown in the
+accompanying engraving (which is taken from a photograph).
+
+He also took care that the lower edge of the plaster should stick
+against Yoga Rama's cheeks. On examining the plaster just before it was
+removed we found that the lower edge no longer stuck against the
+performer's cheeks. There were hollow spaces between the bridge of his
+nose and his cheeks through which he could have seen with a downward
+glance. The point now arises whether he used both his eyes or only one.
+I noticed that Yoga Rama always kept the right side of his face towards
+the sitters when trying the experiments. If the reader will look at the
+engraving, which shows the exact position of the folded pieces of paper
+at the time of the removal of the plaster from Yoga Rama's face, he will
+see that the piece of paper which covered his right eye is no longer on
+the same line of holes as the left piece, but is higher up, and, what is
+most suspicious, he will note some pieces of tissue paper which were
+stuck on the plaster by Yoga Rama and were under the pieces of folded
+paper, which prevented these from adhering to the plaster; thus by an
+upper movement of the eyebrows Yoga Rama succeeded in raising the folded
+piece of paper which covered his right eye, and with this eye he glanced
+under the plaster and watched the movements of the sitter's hands, etc.
+
+2. As I have stated above, Yoga Rama always kept the right side of his
+head towards the person with whom he was experimenting. He tried one
+experiment with a gentleman who sat in the second row of the stalls. He
+then turned his body round so that the right side of his face was in the
+same position relatively to this gentleman as it had been to the sitters
+on the stage. Moreover, the lights in the body of the theatre were not
+alight when Yoga Rama was trying his alleged thought-readings with the
+members of the Committee on the stage, but when he experimented with the
+gentleman in the stalls, one of the electric chandeliers in the body of
+the theatre, not far from the gentleman, was immediately lit, thus
+enabling Yoga Rama to watch the movements of the gentleman's right hand
+when tracing the letters of the name he had chosen on the palm of his
+left hand, and giving the taps corresponding to the number of the
+letters.
+
+3. At the conclusion of the performance, after the bulk of the audience
+had left, some persons remained in the foyer of the theatre, and a
+discussion arose, during which some of the persons present asserted that
+Yoga Rama had brought about his results by supernormal means. Mr.
+Marriott, Mr. Guttwoch, and I denied this. At that moment Yoga Rama came
+into the foyer, and he was accused by us of having been able to see. He
+asserted that he had not seen, and to prove it offered to try some
+experiments while a handkerchief was held tightly against his eyes. Mr.
+Guttwoch held a handkerchief against his eyes. As Yoga Rama was not now
+able to see, he resorted to a different method from the one he used on
+the stage. He held the wrist of the left hand of a lady with the thumb
+and three fingers of his right hand, while his forefinger rested against
+the back of the lady's hand. He then asked her to trace the letters of
+the name thought of with the forefinger of her right hand on the palm of
+her left hand, which was being held by him. He was able to tell the
+name, but only after repeated tracing of the letters by the lady. Yoga
+Rama not being able to be guided by sight as in his stage performances,
+now guided himself by the sense of touch. Although I have never before
+carried out an experiment of this nature myself, when Miss Newton and I
+returned to the rooms of the Society for Psychical Research I tried the
+experiment with her. I closed my eyes and held her wrist, and was able
+to feel the letter which she traced on the palm of her hand. Manifestly
+this is a difficult trick to perform, and requires great practice. I
+noticed that Yoga Rama chose the hand of a lady in preference to that of
+a gentleman, obviously because a lady's hand is thinner than that of a
+man, and the motion of her finger would be more easily felt.
+
+What convinced me more than any of the above reasons that Yoga Rama was
+able to see during his performance is the following fact. I placed the
+sticking plaster over my eyes after it had been taken from Yoga Rama's
+eyes and, to my surprise, I found I could perfectly well see through it.
+The numerous small holes with which it was perforated allowed me to do
+this.
+
+The audience at the "Little Theatre" had had their expectations raised
+that they were to witness manifestations of the occult powers of the
+mind through the mediumship of an Abyssinian Yogi, instead of which they
+witnessed an ordinary conjuring entertainment by a man who previously to
+assuming the name of "Yoga [_sic_] Rama" was known as Professor A. D.
+Pickens of Conduit Street, London.
+
+Besides the method used by Yoga Rama for producing his so-called thought
+transference, there are others resorted to by public entertainers. The
+one most in use is by means of a verbal code. The letters of the
+alphabet are substituted and a word can be conveyed by the agent asking
+a series of questions, each question beginning with a substituted
+letter. The percipient has to remember what letters the substituted ones
+represent; he takes note of the first letter only of each question, puts
+them together in his mind, and thus gets the word that it is the
+intention of the agent to convey.
+
+I have made a table (shown opposite) which shows one of these systems.
+
+If the name "Alfred" is to be conveyed, it can be done by the following
+questions:--
+
+  Here is a name          = A
+  Can you see it?         = L
+  Endeavour to do so      = F
+  Mind what you are doing = R
+  Go on                   = D
+    The letter E is understood.
+
+TABLE
+
+  +-----------------------------------++------------------------------+
+  |   SUBSTITUTED LETTERS TABLE       ||      NUMBERS TABLE           |
+  +--------+----------+---------------++------------------------------+
+  | A is H | J is L   | S is N        ||    No. 1 is Say              |
+  | B " T  | K " Pray | T " P         ||    "   2 "  Be               |
+  | C " S  | L " C    | V " Look      ||    "   3 "  Can              |
+  | D " G  | M " O    | W " R         ||    "   4 "  Do               |
+  | E " F  | N " D    | X " See this  ||    "   5 "  Will             |
+  | F " E  | O " V    | Y " Q         ||    "   6 "  What             |
+  | G " A  | P " J    | Z " Hurry     ||    "   7 "  Please           |
+  | H " I  | Q " W    |               ||    "   8 "  Are              |
+  | I " B  | R " M    |               ||    "   9 "  Now              |
+  |        |          |               ||    "  10 "  Tell             |
+  +========+==========+===============++==============================+
+  |                                 SETS                              |
+  +----------------+---------------------+-------------+--------------+
+  |     SET A      |       SET B         |     SET C   |     SET D    |
+  +----------------+---------------------+-------------+--------------+
+  |   _What is     |   _What article     | _What is it |   _What      |
+  |   this?_       |    is this?_        |  made of?_  |    colour?_  |
+  |                |                     |             |              |
+  | No. 1. Watch   | No. 1. Handkerchief | No. 1. Gold | No. 1. White |
+  | " 2. Bracelet  | " 2. Necktie        | " 2. Silver | " 2. Black   |
+  | " 3. Guard     | " 3. Bag            | " 3. Copper | " 3. Blue    |
+  | " 4. Chain     | " 4. Glove          | " 4. Lead   | " 4. Brown   |
+  | " 5. Breastpin | " 5. Purse          | " 5. Zinc   | " 5. Red     |
+  | " 6. Necklace  | " 6. Basket         | " 6. Wood   | " 6. Green   |
+  | " 7. Ring      | " 7. Book           | " 7. Brass  | " 7. Yellow  |
+  | " 8. Rosary    | " 8. Head-dress     | " 8. Paper  | " 8. Grey    |
+  | " 9. Cross     | " 9. Fan            | " 9. Silk   | "  9. Purple |
+  | " 10. Charm    | " 10. Key           | " 10. Glass | " 10. Violet |
+  +----------------+---------------------+-------------+--------------+
+
+The transmission of the nature of an article is by dividing articles
+that would be likely to be brought to a public entertainment into sets
+of ten, each set being indicated by a different question. These sets
+have to be learned by heart by the agent and the percipient. I give in
+the table four sets to illustrate my meaning. After asking the question
+which conveys the set to which the article belongs, a second question is
+asked, beginning with the word corresponding to the number on the number
+table. This will indicate what number in the set the article corresponds
+to. As an example: when the question "What is this?" is asked, it means
+that the article corresponds to SET A. If the second question begins
+with "Do," such as "Do you know?", this question on referring to the
+number table would mean No. 4; therefore the article would be a chain.
+Now, if the question "What is it made of?" is asked, it would refer to
+SET C, and if this question is followed by "Can you tell me?", on
+referring to the number table it will be found to correspond to No. 3;
+therefore the article would be a chain made of copper. When an article
+is not in any one of the sets the substituted letter code is used. Of
+course public entertainers learn by heart a number of sets, not only
+four.
+
+For silent thought transference occasionally electrical contrivances
+are resorted to. These are placed in different parts of the hall, and
+when being pressed by the foot or hand of the agent will convey a
+message to a certain part of the stage upon which the percipient (who
+may be blindfolded) rests his foot.
+
+There is another silent method which can be worked by a confederate who
+is placed behind a curtain close to the chair on the stage upon which
+the blindfolded percipient sits. The confederate watches the performer
+who stands amongst the audience and reads through a spyglass what he is
+writing on his tablet when putting down what members of the audience
+wish to be done. The confederate then communicates the contents of the
+writing to the percipient on the stage by whispering or by an electrical
+apparatus. The position of the performer or agent while he is writing in
+a clear hand on his tablets with his back to the stage easily enables a
+confederate to read the writing.
+
+Then there is the silent method of a French conjurer, some of whose
+performances I have witnessed, which consists of suggesting or "forcing"
+the spectators to do certain things, each action having a corresponding
+number which he conveys to his lady assistant, who is blindfolded, by
+touching her foot with his after she has come down from the stage and
+stands by his side amongst the audience.
+
+The "time-coding" method consists of silently counting by the agent and
+percipient at the same rate, starting from a preconcerted signal and
+ending at another preconcerted signal. The performer amongst the
+audience has in his hand a piece of paper on which is written the number
+that he wishes to silently convey to the other blindfolded performer on
+the stage. At the moment that he bends his head to look at the number he
+begins silently counting at a certain rate; a confederate behind the
+scenes begins counting at the same rate from the moment that the
+performer bends his head. When the performer lifts his head he ceases
+counting, so does the confederate. Each number written on the paper is
+thus conveyed, and the confederate communicates the total to the
+blindfolded performer by means of an electrical apparatus or otherwise.
+
+I have attended several performances in public halls in London at which
+thought transference--so-called--was carried out by the above trick
+methods.
+
+Sir Oliver Lodge was present with me at one of the performances at which
+the time-coding method was used. He has sent me the following note:--
+
+     "I was with Mr. Baggally on one of these occasions, and took
+     note of the fact that he could often guess what was being
+     transmitted by the performers quite as well as they could
+     themselves. We sat in a box looking at them, and he often
+     told me before they had spoken what they were going to say
+     (or words to that effect).
+
+     "I perceived even without his assistance that the
+     performance, which was stimulated by the success of the
+     Zancigs, was an exceedingly inferior imitation of what they
+     had achieved, and was manifestly done by a code of some
+     kind.
+
+                                                  "O. J. L."
+
+Some of the methods resorted to by public entertainers are so ingenious
+that the spectator is led to believe that genuine thought transference
+has taken place. The following correspondence, which appeared in the
+spiritualistic weekly paper called _Light_, illustrates a case in point.
+In the number of _Light_ of the 25th October 1902 there appeared this
+letter headed "Thought Transference":--
+
+     "SIR,--A few years ago Mr. and Mrs. Baldwin gave the
+     following entertainment in almost every large town in the
+     three kingdoms. The public were invited to write any
+     question or questions they desired to have answered on a
+     piece of paper, to place it in their pockets, and keep it
+     there without communicating its contents to anyone, and then
+     when they went to the hall their names were called out and
+     their question answered without the papers leaving their
+     possession. About fifty such inquiries were answered each
+     evening without a single failure by Mrs. Baldwin, who sat
+     blindfolded with her back to the audience. From my
+     experience and that of my friends, collusion was impossible,
+     and the only way of accounting for the performance was by
+     thought transference or telepathy between Mrs. Baldwin and
+     those of the audience with whom she was in mental sympathy.
+
+                                         (Signed) "C. A. M."
+
+Commenting on this letter, I wrote to _Light_, and my communication
+appeared the following week. It was to this effect:--
+
+     "Under the heading of 'Thought Transference,' your
+     correspondent, C. A. M., gives an account of some
+     entertainments by Mr. and Mrs. Baldwin, at which he says" (I
+     here quoted from C. A. M.'s letter, and then continued as
+     follows):--"I never was present at entertainments given by
+     Mr. and Mrs. Baldwin, and therefore cannot express an
+     opinion as to the _modus operandi_ in their particular case,
+     but I would point out that their entertainments bear a close
+     resemblance to those given by conjurers. The explanation of
+     the mystery in a conjurer's case is as follows:--The
+     conjurer asks members of the audience to write their
+     questions secretly, to sign their names at the bottom of the
+     question, and then to fold the pieces of paper on which the
+     questions are written and place them in their pockets. To
+     facilitate the writing he hands pencils round and tablets
+     upon which to rest the pieces of paper during the writing of
+     the questions, or the members of the audience, if they so
+     wish, can retire into an adjoining room and write their
+     questions on a table. The tablets and pencils are then
+     collected by an assistant who is a confederate, who then
+     retires from the hall to the room where the table is. The
+     tablets and table have false surfaces of leather or other
+     material, which, on being removed by the confederate,
+     disclose a layer of carbon paper resting on another of white
+     paper upon which the questions have been recorded unknown to
+     the inquirers. The confederate then proceeds to read the
+     questions with their respective attached signatures, and to
+     communicate them to the blindfolded medium by an electrical
+     apparatus upon which the medium's foot rests, or by other
+     mechanical means."
+
+I signed my letter W. W. B. A fortnight after, the following letter
+appeared in _Light_:--
+
+     "SIR,--With reference to the communication by W. W. B.
+     referring to the supposed thought transference, and
+     mentioned by another correspondent, C. A. M., in connection
+     with the entertainments of Professor Baldwin (an American
+     conjurer and brother mason), whom I met in Cape Town on two
+     separate occasions, permit me to state that (1) if it is the
+     same Baldwin, he is one of the cleverest illusionists in
+     his special line of trick thought transference, and W. W. B.
+     is quite right. (2) I know that Mr. and Mrs. Baldwin did
+     most of their experiments by trick, because, being one of
+     the chosen committee to test the so-called thought reading,
+     I fixed it absolutely as trickery on the lines indicated by
+     W. W. B.
+
+                                 (Signed) "BERKS HUTCHINSON"
+
+I was gratified to read this letter and to find that my conjecture was
+correct that the Baldwin performance was a mere exhibition of
+conjuring.
+
+
+
+
+PART III
+
+THE ZANCIGS
+
+
+Some years ago there appeared at the Alhambra Theatre, London, two
+entertainers--Mr. and Mrs. Zancig--whose performances were of so
+puzzling a nature that to many who had witnessed them the only
+explanation of the results obtained appeared to be that genuine
+telepathy was at play. The _Daily Mail_ newspaper arranged that Mr. and
+Mrs. Zancig should be subjected to a series of severe tests at its
+office, and on the 30th November 1906 these were carried out.
+
+On the 1st December the _Daily Mail_ published a full account of these
+experiments. The publication of this and of other accounts by persons
+who had witnessed the remarkable performances of the Zancigs led to a
+heated controversy between the correspondents of the _Daily Mail_ and
+the _Daily Chronicle_. Those of the first paper mostly asserted that the
+performance was an exhibition of true telepathy, while those of the
+second paper declared that codes--visual and verbal--would account for
+the phenomena. Previously to the experiment carried out by the _Daily
+Mail_ I had obtained a letter of introduction to the Zancigs from a
+friend of mine who had had private tests with them, but as it was
+necessary to have the permission of the manager of the Alhambra before
+an interview with the Zancigs could be arranged, I called at the offices
+of that theatre, and saw Mr. Scott, the manager. I informed him that I
+was a member of the Society for Psychical Research, which body I told
+him took the deepest interest in telepathy. I handed him a letter that I
+had written to Mr. Zancig, and on the 29th November 1906 I received the
+following communication from the last-named gentleman:--
+
+     "DEAR SIR,--I received a letter from Miss H. A. Dallas,
+     telling me that you would like to meet us. Now, my dear sir,
+     we would be pleased to make your acquaintance, and have you
+     call for a visit, but if it is for any private show and to
+     be tried and judged if our work is, as we represent, 'two
+     minds with but a single thought,' I will have to say No. We
+     have done nothing since we arrived in London but have
+     callers to test and try us every day, from three to four
+     ladies and gentlemen. My wife and I agreed to all tests they
+     put to us, and all was quite satisfactory. Personally I do
+     not care, but it has been quite a strain on my wife. Should
+     you care to witness our show, you would be able to see us at
+     ten p.m. on the Alhambra stage, but if you care to call and
+     see us, and have a little talk, we both would be pleased to
+     meet you.--Trusting that I am understood, I remain, yours
+     sincerely,
+
+                                    (Signed) "JULIUS ZANCIG"
+
+Although the contents of the above letter were of a discouraging nature,
+I determined to strike the iron while it was hot; therefore, on the
+evening of the same day I called, accompanied by my wife, at the flat
+where the Zancigs resided. They were at the time partaking of their
+evening meal. We apologized for our intrusion, but by the kind way that
+they received us we were soon put at our ease. I informed Mr. Zancig
+that I was much interested in telepathy, and that I had personally
+carried out experiments in this branch of psychical research, and that I
+was assured of the truth of its existence through the successes that I
+had obtained.
+
+Mr. and Mrs. Zancig impressed my wife and myself most favourably by
+their unaffected and simple manner. After a conversation which lasted
+about ten minutes, Mr. Zancig very kindly spontaneously offered to try
+some experiments. I will now describe these. Madame Zancig went to the
+other end of the room farthest away from where Mr. Zancig, my wife, and
+I sat. She faced the wall with her back to us; Mr. Zancig then wrote
+with a chalk a line of figures on a slate which he held in his left
+hand, and called out the word "Ready." Madame Zancig immediately named
+the figures correctly and in their proper order. The same kind of
+experiment was tried successfully three times. The results might have
+been due to telepathy, but I was not satisfied, as it could have been
+possible that the figures were prearranged, or that Madame Zancig could
+tell by the sound of the chalk what figures were being written. I also
+had in my mind the fact that there is a method of communicating figures
+by time-coding.
+
+Mr. Zancig then asked me to write a double line of figures. I handed the
+slate to him, and after he had called out "Ready" Madame Zancig
+proceeded to cast them up correctly.
+
+As Madame Zancig named all my figures aloud as she was summing them up,
+this experiment was of a more complicated nature than the previous ones;
+nevertheless, I was not entirely satisfied, as time-coding in putting
+down the resultant figures by Mr. Zancig, and the hearing of the sound
+of the chalk by Madame Zancig when I was writing my own figures, might
+have accounted for the favourable result.
+
+To prevent the possibility of communicating by an electrical or other
+apparatus concealed under the carpet, I requested Mr. Zancig to raise
+his feet from the floor. He immediately complied by sitting on the
+table, where he remained to the last experiment.
+
+Madame Zancig then retired into an adjoining bedroom with a slate in her
+hand; the door was closed, but not entirely. My wife wrote down two
+lines of figures, the slate was handed by her to Mr. Zancig, who called
+out "Ready," and he then proceeded without speaking to add them up.
+Madame Zancig then came into the room with the correct result written by
+herself on her slate. This was a more crucial test than the last, but
+still, although visual-coding was excluded, sound-coding while Mr.
+Zancig was writing the resultant sum was not entirely so.
+
+Then followed the experiment of transmitting a selected line in a book.
+Mr. Zancig handed me a book and asked me to open it at any page and to
+point out a line. After I had done so I handed the book to him. He
+called out "Ready." Then his wife opened a duplicate book at the proper
+page, and read the line which I had selected. Doubtless the words of the
+line were not communicated telepathically or otherwise by Mr. Zancig,
+but only the number of the page and the number of the line counting from
+the top of the page. Nevertheless, it was difficult to discover by what
+method this was done, as Mr. Zancig simply called out "Ready." There did
+not appear to be time for the numbers of the page and line to be
+transmitted by time-coding. The reader will observe that as the
+experiments proceeded they appeared to present increasing evidence that
+true telepathy was at work.
+
+The following and last experiment that I tried on this occasion was the
+most crucial. I requested Mr. Zancig to go out with me on to the landing
+outside the door of the flat. I did not previously inform Madame Zancig
+nor Mr. Zancig of the nature of the test that I was about to put. Madame
+Zancig remained in the room with my wife. The door was closed, but not
+completely. When we were on the landing I suddenly drew my cheque-book
+out of my pocket, tore out a cheque, and handed it to Mr. Zancig,
+requesting him to transmit the number. Mr. Zancig observed to me in a
+whisper that the noise of the traffic in the street was very disturbing.
+This was true, as the hall door to the street was open. He then remained
+silent while he looked at the cheque. My wife then came out on to the
+landing, and handed me a slate upon which Madame Zancig had during the
+experiment written the words, "In the year 1875." Mr. Zancig then said
+aloud, "This is not what we want; it is the number." My wife returned
+into the room with the slate, and the door was closed, but not
+completely. It was impossible, however, for Madame Zancig to see her
+husband. The suspicion arose in my mind that the number on the cheque
+might have been communicated to Madame Zancig by the words that Mr.
+Zancig had spoken aloud. I therefore took the cheque that he had in his
+hand and substituted another one with a different number that I tore
+from the bottom of my cheque-book. Mr. Zancig remained absolutely silent
+during the whole time that this second experiment lasted. My wife again
+came out of the room with the slate, upon which Madame Zancig had
+written quite correctly, in their proper order, four of the five numbers
+of the second cheque, with the exception of the last figure, which was
+wanting, but just as we were returning to the room Madame Zancig said,
+"There was another figure; it was four"--which was correct. This
+impressed me as a good test, with regard to the three last numbers of
+this cheque, which were different from the corresponding ones of the
+first cheque. Madame Zancig could not see her husband, and he remained
+absolutely silent while the experiment was being carried out.
+
+I insert here a note by Sir Oliver Lodge in which he gives an account of
+an experiment of a similar nature, and also of other experiments which
+he tried with the Zancigs.
+
+     "Independently of the more thorough investigations of Mr.
+     Baggally, I myself was favoured with a private interview
+     with the Zancigs, who were friendly and considerate and
+     helpful; and I tried the experiment of having Mrs. Zancig
+     outside the room, though with door open, and Mr. Zancig with
+     me and quite silent. I wrote five or six figures on a slate,
+     taking care to make no noise, and Mrs. Zancig failed to get
+     them correctly. Zancig seemed distressed at that, and after
+     a little time groaned out, 'Oh, surely you can do this';
+     almost immediately after which Mrs. Zancig came into the
+     room with the correct figures written on her slate. It was
+     difficult to see how the sentence had conveyed the figures,
+     but it was instructive to find that utterance of some kind
+     seemed necessary. It was partly this, and partly the
+     manifest difficulty of eliminating all possibilities of code
+     between a pair of performers accustomed to go about
+     together, with years of experience behind them, that
+     prevented me from doing what I probably ought to have done,
+     though circumstances did not render it very easy, namely, to
+     make a serious study of the Zancig phenomena.
+
+     "Moreover, I questioned Mr. Zancig about codes, and found
+     that he was familiar with a great many. He was quite frank
+     about it, and rather implied, as I thought, that at times he
+     was ready to use any code or other normal kind of assistance
+     that might be helpful, though he assured me that he found
+     that he and his wife did possess a faculty which they did
+     not in the least understand, but which was more efficient
+     and quicker than anything they could get by codes. On the
+     whole, I think this extremely likely, but the rapidity and
+     the certainty and dependableness of the power went far
+     beyond anything that I could imagine as possible between
+     people who depended on supernormal faculty alone. But if
+     there was a mixture of devices between people so skilled, I
+     despaired of bringing the genuine part of the phenomenon to
+     a definite issue.
+
+     "I do not think that either this or the weight of my other
+     avocations are a sufficient excuse for this neglect, but it
+     certainly was not easy to get opportunities for careful
+     investigation. One of the main difficulties was that they
+     were not free agents, having entered into contracts with
+     managers whose financial interests partly depended upon the
+     continued uncertainty of the public as to the causes
+     underlying their very remarkable performance. Moreover, I
+     knew that so skilled an investigator as Mr. Baggally was
+     more favourably impressed with them than I was myself, and
+     was able to give to them some considerable time and
+     attention.
+
+     "The extraordinary and rapid success with which Mrs. Zancig
+     named one thing after another, handled or seen by her
+     husband as he went through the hall in their public
+     performances, is familiar to everybody who attended those
+     exhibitions; but one episode which I have not put on record
+     did impress me as rather exceptionally good, though entirely
+     unsensational and unnoticeable at the time. I relate it
+     here:--
+
+     "The Zancigs happened to come to Birmingham for a week
+     during the University Vacation when I was away. On the last
+     day of their performance I happened unexpectedly to return
+     to Birmingham, and was dining at the club with some other
+     men. Some one remarked that the Zancigs were performing, and
+     suggested that we should cut dessert and go and see them; so
+     we went in the middle of the performance and sat at the back
+     of the gallery. Everything went on as usual. Mrs. Zancig was
+     on the stage, blindfolded, I think, though I attach no
+     importance to that. Mr. Zancig had been through the body of
+     the hall, and was coming along the side gallery, taking
+     objects from members of the audience as he went, and having
+     them described quickly one after the other as usual, when he
+     caught sight of me at the back of the gallery, and indicated
+     recognition by a little start. The next object that he took
+     in hand (a purse or what not) he said, 'What is this?' and
+     Madame Zancig on the stage said 'Oliver.' Zancig shook his
+     head and muttered, 'No, that's what I was thinking of, but
+     what's this?' On which she said whatever it was correctly,
+     and the performance went on as usual; my friends in due time
+     getting their tests efficiently done. Nobody noticed the
+     incident in particular; it was over in a second. It
+     conveyed no impression of anything except of a slight
+     confusion,--an error, in fact, immediately corrected,--but I
+     could not fail to notice that the very unimportant incident
+     tended in favour of the view that a power of sympathy or
+     communication between them was genuine, since she got an
+     undesired and unintended impression which certainly was at
+     the moment in Mr. Zancig's mind.
+
+                                                  "O. J. L."
+
+Later, on the same evening of the experiment with the numbers on my
+cheque-book which I have described above, my wife and I attended the
+public performance at the Alhambra. We were seated at a distance from
+the stage. When Mr. Zancig came amongst the audience my wife handed him
+a piece of something black, the nature of which it was difficult to tell
+at first sight. He stooped down and asked in a whisper, "What is that?"
+My wife answered, also in a whisper, "Liquorice." Madame Zancig
+immediately called out from the stage, "Liquorice." No word had been
+spoken by Mr. Zancig after my wife had whispered the word "Liquorice." I
+then handed a visiting-card with a double name. Zancig read to himself
+in a low voice the last name, which was Hutchinson, and said, "What is
+the first name?" Madame Zancig called out "Berks"; this was correct. It
+appeared to me suspicious, however, that the question, "What is the
+first name?" although appropriate and natural, should contain the same
+number of words as there are letters in the name Berks--namely, five.
+Therefore some months after, at another performance, I wrote the same
+name, Berks Hutchinson, on a piece of paper and handed it to Mr. Zancig.
+This time he asked, "What is this?" Madame Zancig replied, "A piece of
+paper with a name." Mr. Zancig said, "Give the name." She replied,
+"Berks Hutchinson."
+
+I attended a series of performances at the Alhambra, and took down the
+questions and answers in order, if possible, to discover the code. On
+witnessing a first performance the spectator might be led to believe
+that word-coding alone is at the bottom of the mystery, but if notes are
+taken at a number of performances he will find that the same question
+is answered differently time after time.
+
+From my experiments with the Zancigs I came to the conclusion that
+although the alleged transmission of thought might possibly depend on a
+code or codes which I was unable to unravel, yet their performance was
+of such a nature that it was worthy of serious scientific examination.
+On the assumption that they possessed genuine telepathic powers it would
+be a pity that the opportunity of investigating their claim should be
+missed. I therefore set myself to work to arrange with Mr. Alfred Moul,
+managing director of the Alhambra, and Mr. Zancig for some experiments
+to be tried before a Committee of the members of the Society for
+Psychical Research.
+
+An article appeared in the _Daily Mail_, inspired evidently by Mr. Moul,
+from which I now quote:--
+
+     "We have suggested to Mr. Zancig that in preference to
+     inquiries into telepathy by unskilled persons he should
+     place himself in the hands of the Society for Psychical
+     Research, of which Mr. Gerald Balfour is the President, and
+     of which Sir Oliver Lodge, Sir William Crookes, and other
+     distinguished scientists are leading members. Mr. Zancig has
+     informed us that he has already received a communication
+     from that Society, and that he was entirely willing to place
+     himself and Madame Zancig at the disposal of the Society for
+     a thoroughly scientific series of tests."
+
+The investigation by the Society for Psychical Research, at which I was
+present, took place on the 18th January 1907. I regret that I cannot
+give an account of what took place at this meeting, as it was mutually
+arranged between Mr. Moul and the S.P.R. that the results should not be
+divulged. They appeared, however, sufficiently favourable to some of the
+members present (though not to all) to induce them to subsequently form
+an unofficial Committee to carry out further tests. These unofficial
+experiments did not take place till 26th July 1907.
+
+In the meantime I continued my own private experiments. A striking one
+is the following. I was in the balcony of the Alhambra on the 19th
+January 1907, and when Mr. Zancig came to that part of the house I
+handed him a piece of paper on which I had written the word
+"Istapalapan." I took care that he should not see the word previously to
+my giving him the paper. Zancig remarked to me in a whisper, "This is a
+long word." Owing to the distance from his wife it could not have been
+possible for her to overhear these words. Then Mr. Zancig called out,
+"Spell this." Madame Zancig immediately wrote on the blackboard which
+was on the stage "Istapala," and when she came to the second "p" she
+wrote "f" and then "san." I have often noticed that when Madame Zancig
+makes a mistake in a letter or number there is a similarity in the form
+of the letter or number to that which was to be transmitted; thus, she
+would put down "f" for "p," "7" for "9." "fsan" in this case is very
+like "pan," and Mr. Zancig may have mistaken the letters. I fail to
+understand how in this experiment he was able to code such a long word
+as "Istapalafsan" by the simple words "Spell this." It would appear as
+if Madame Zancig really saw what Mr. Zancig was looking at. The reader
+will recollect that in his preliminary remarks at each of his
+performances Zancig says, "What I see, Madame Zancig sees."
+
+I have several times observed this alleged peculiarity, notably so on
+the occasion of the tests at the Gramophone offices, which took place on
+the 22nd February 1907, and at which I was one of the members of the
+Committee. Mr. and Mrs. Zancig were divided by a large screen. They
+could not see each other. A recording trumpet was placed near each, into
+which they spoke. A table was placed by the side of Mr. Zancig on which
+a great number of articles had been placed by the members of the
+Committee. Madame Zancig with great rapidity named the articles as Mr.
+Zancig took them up in answer to his "What is this? and this?" etc. An
+incident which struck me as remarkable was the following. Mr. Zancig
+raised a pencil, saying, "What is this?" and after Madame Zancig had
+correctly stated what it was, he took up immediately (not in the
+vicinity of the pencil, but some distance from it) a case, and said,
+"And this?" Instead of naming the article Madame Zancig proceeded to
+enumerate in their proper order the articles that lay between the two
+articles which Mr. Zancig had taken up. Thus, a pencil, a seal, a
+penknife, a case. It appeared as if Madame Zancig had actually seen the
+articles over which her husband had passed his hand.
+
+An excellent test was the following. Dr. W. M'Dougall, a member of the
+Council of the S.P.R., who was present at these tests, borrowed a book
+from one of the members of the Committee. He came to the side of the
+screen where Mr. Zancig stood, opened the book at a certain page, then
+pointed to the middle of a line in the centre of the page. Mr. Zancig,
+without taking the book in his hand, glanced at the line, then Dr.
+M'Dougall shut the book, took it to the other side of the screen, and
+handed it closed to Madame Zancig. Mr. Zancig remained absolutely
+silent, placed his hand against his forehead, and appeared to make a
+strong mental effort. Madame Zancig, after the lapse of a minute, opened
+the book at the proper page and began reading at the word in the middle
+of the line that had been chosen by Dr. M'Dougall. Some members of the
+Committee and I stood quite close to Mr. Zancig. We did not hear him
+utter a sound. He could not be seen by Madame Zancig owing to the
+screen.
+
+I was present at the _matinee_ performance given under the auspices of
+the _Daily Mirror_ newspaper at the Alhambra. Dr. H., principal surgeon
+of a well-known hospital, handed to Mr. Zancig a set of skeins of silk
+of different colours. These were then passed on to Madame Zancig, who
+was on the stage. Dr. H. pointed silently to a skein of silk of a
+corresponding set which he had retained, and which he took care Madame
+Zancig could not see. Mr. Zancig, who preserved absolute silence, and
+remained motionless, looked at the colour of the skein, and in the space
+of half a minute his wife picked out a skein of the corresponding colour
+from the set that she had in her possession. This test was tried
+successfully three times. I particularly took note that Mr. Zancig
+remained silent and motionless, retaining the same position of his body
+during the course of the three experiments.
+
+I have tried tests with Mr. and Madame Zancig in the transmission of
+diagrams. I took with me to a private house to which I was invited an
+envelope containing cards with diagrams on them. Madame Zancig sat
+behind a large screen at the end of the room. By her side sat a lady, a
+friend of mine, who watched Madame Zancig and saw that she did not move
+from her chair. Mr. Zancig stood close to me near the other end of the
+room. I presented the envelope to him, retaining it in my hand. He drew
+out one of the cards on which was a diagram not known either to him or
+to me till he looked at it. He fixed his gaze intently on it, remained
+motionless, and in a whisper said to me, "Please say ready." I called
+out, "Ready," and his wife then drew a diagram on a piece of paper, at
+the same time saying, "Something like half a moon."
+
+[Illustration: MR. ZANCIG'S DIAGRAM]
+
+[Illustration: MADAME ZANCIG'S DRAWING]
+
+Mr. Zancig then drew another card from the envelope. This time he did
+not speak, but nodded his head once, and I called out, "Ready." Madame
+Zancig thereupon observed, "It is a square within a square." The diagram
+that Mr. Zancig was looking at was this:
+
+[Illustration]
+
+his wife drew this:
+
+[Illustration]
+
+Two more cards were then drawn, but Madame Zancig did not succeed; she
+got absolutely wrong drawings.
+
+At a public performance at Eastbourne I handed Mr. Zancig this diagram:
+
+[Illustration]
+
+He called out, "Draw this." Madame Zancig, who was on the platform,
+said, "It is something like this." She made a motion with her right arm
+like drawing a capital V; she then drew it on the blackboard. After
+this she slowly drew a horizontal line through the V, thus:
+
+[Illustration]
+
+Mr. Zancig said, "Give the number." She then placed a 2 in the proper
+position. He then called out, "Give the rest." She thereupon placed the
+_a_ under the line, thus:
+
+[Illustration]
+
+Mr. Zancig said, "What more?" His wife placed the sign of + correctly,
+but she rubbed it out several times as if in doubt. Finally she put down
+the sign of + and a capital X, so that her drawing appeared like this:
+
+[Illustration]
+
+I have had many other experiments with this gifted couple, but have not
+yet obtained the crucial test of getting Mr. Zancig to be in a distant
+room with closed doors, while his wife was in another room. The
+possibility of their using a sound code at one time and a visual code at
+another is therefore not entirely precluded.
+
+Although I have been quite unable to discover the methods by which they
+can possibly communicate when a visual and a sound code are not
+detected, yet I will reserve my ultimate opinion until I obtain tests
+under the crucial conditions that I have named.
+
+Not only did I personally meet with difficulties in endeavouring to
+explain the performances of Mr. and Madame Zancig, but also the members
+of the unofficial Committee that I have referred to. I now give an
+extract from our unofficial report.
+
+     "... It must be remembered that the antecedent probabilities
+     in favour of a code to explain all performances of this kind
+     are enormous.
+
+     "While we are of opinion that the records of experiments in
+     telepathy made by the Society for Psychical Research and
+     others raise a presumption for the existence of such a
+     faculty at least strong enough to entitle it to serious
+     scientific attention, the most hopeful results hitherto
+     obtained have not been in any way comparable as regards
+     accuracy and precision with those produced by Mr. and Madame
+     Zancig. Further, there is, so far as we are aware, no case
+     of any public performers (including certain recent examples)
+     where the use of a code or apparatus has not been more or
+     less readily discoverable or clearly to be inferred. In
+     considering, therefore, the claim of Mr. and Madame Zancig
+     to the possession of a genuine telepathic faculty, one is
+     faced by the initial difficulty that such a faculty must be
+     regarded as unique in quality, and Mr. and Madame Zancig
+     themselves as unique in kind, a difficulty on the force of
+     which it is not necessary to insist. On the other hand, the
+     difficulty of suggesting by what method, if not by
+     telepathy, they communicate is considerable. Those who have
+     only witnessed the public theatre performances, clever and
+     perplexing as these are, will not appreciate how hard it is
+     to offer any plausible explanation of their _modus
+     operandi_."
+
+In conclusion, I would wish to point out that the establishment of the
+fact that telepathy is a scientific truth would have bearings of the
+greatest importance.
+
+It would show that the transmission of thought could occasionally be
+effected otherwise than by the ordinary sense channels.
+
+It would change the materialistic conception that thought only acts
+within the limits of the brain.
+
+It would modify the materialistic scientific view of the relation of
+mind to matter.
+
+I trust that what I have written will act as an incentive to some of my
+readers to try experiments in this branch of psychical research.[2] It
+is not enough that a few individuals by patient inquiry and experiment
+should have been convinced of the reality of telepathy. What is wanted
+is that scientific men generally, by the record of an overwhelming
+number of experiments under the strictest test conditions, should be
+convinced of its truth. Once let them be so, then public conviction will
+in due time follow.
+
+Meanwhile I feel bound to state that, in spite of initial
+improbability, the experiences which I myself have had, as partly
+narrated in this book, especially those briefly summarized in Part I,
+have convinced me that the telepathic faculty does exist, and that its
+detection is a genuine extension of scientific knowledge; though much
+more will have to be done before the bare fact receives its explanation
+and is permanently incorporated in a coherent system of Science.
+
+[Footnote 2: Information relating to cases of genuine telepathy may be
+sent to the Secretary of the Society for Psychical Research, 20 Hanover
+Square, London, who will be pleased to investigate them.]
+
+
+
+
+PRINTED BY MORRISON AND GIBB LTD., EDINBURGH
+
+
+
+
+----------------------------------------------------------------------
+
+Transcriber's Note:
+
+
+Punctuation errors have been corrected without note. On p. 20, "11.5
+p.m." was corrected to "11.50 p.m."
+
+In the ASCII version, the acute accents in "matinee" and "seance" were
+removed.
+
+----------------------------------------------------------------------
+
+
+
+
+
+End of the Project Gutenberg EBook of Telepathy, by W. W. Baggally
+
+*** END OF THIS PROJECT GUTENBERG EBOOK TELEPATHY ***
+
+***** This file should be named 29151.txt or 29151.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/9/1/5/29151/
+
+Produced by Bryan Ness, S.D., and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/Canadian Libraries)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/29151.zip b/29151.zip
new file mode 100644
index 0000000..fb30cb4
--- /dev/null
+++ b/29151.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..9c72b0e
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #29151 (https://www.gutenberg.org/ebooks/29151)