Frostburg mining journal. [volume] (Frostburg, Md.) 1871-1913, 1891-05-30

mortal man. We see IRON filings move
about the poles Of a magnet. or bits of
paper flutter to piece of rubbed ceiling
wax, but this is different, for planchette
moves in no fixed direction toward GER
tain objective point, but in all directions
impartially; and moreover it moves in
telligently. 1t writes, draws. and does
other things which l shall presently de-
scribe. Barring certain habits that it
falls into, its manifestations certainly
contradict expectation; it does not do
what some think it is going to do. In
vain you ask it a question which seems
to necessitate a particular answer; plan
chette replies from quite another stand
point and current of thought, and it's re-
ply is surprise. In pursuance of the
theory of unconscious centration," you
explore your mind and memory for the
source of planchette's remarks, with no
satisfactory results. Besides, admitting
that the contents of your memory and
the springs of your character lie open to
planchette, to make therefrom such Sc
lections and combinations as it chooses
how does it do it? How do the contents
of your mind get into the piece of to-
baccO box, and how does it contrive to
write them out?
l have spoken of the attraction of a
magnet. If you hold a small piece of
iron close to strong magnet you feel a
slight pull. The pull the planchette gives
to your fingers, when it proceeds on its
peregrinations, is very similar to this.
But, in writing out a word, it pulls in a
dozen different directions within the
space of few seconds. The effect is not
like that of a machine, however complex,
or of body obeying fixed and inevitable
laws, but of an independent personality,
endowed with intelligence, purpose, and
memory. For it remembers what it has
said and done in the past, and knows
what is is about to do. Our planchette,
in answer to questions suggested by its
own answers, related to us, in daily in
stallments extending over three weeks, a
long story comprising upward OF 1O,-
600 words. 1t was SO good a story that it
was afterward accepted and published
by a leading periodical word for word as
it was originally written down, aud from
beginning to end there was not an incon-
sistency. Nor was it all written through
the mediumship of one pair of people: a
dozen different couples. at different
times. sat down to the work, and the tale
proceeded uninterruptedly. In short, the
complete story must have been stored up
in planchette's mind" before it began to
write it.
After we have become accustomed to
the thing and familiar with its ways
many queer peculiarities are noticed.
Planchette has no morality and no re-
gard for truth. If we ask it question
as to a matter of fact or about the future,
its reply is always ready and generally
very explicit, but never true save by
accident. By far the best method is to
let it take the lead in the conversation.
will you write. Planchette?" "Yes. 9"
"Well, who is writingI" John Smith ("
Tor any other imaginary person). You
now proceed to question the said John
Smith on any imaginable detail of his
person, his life, death, occupation, de-
sires, recollections, purposes. and senti-
ments. By and by John becomes a
human and recognized individual to you
and you are even able to tell, by the pre-
limiuary sensation in the nerves, whether
it is John or some one else who is about
to write the next sentence. Planchette
never confesses its own dramatis persona.
Sometimes three or four different per-
sons Ito call them that will each write a
sentence one after another. but the sen
tences are all characteristic in style and
conception. Occasionally l have seen
two communicates contend for the possess
sion of planchette jerking it away from
each other, tripping up each others
writing lighting, in a word, like two
angry children. and in one instance break
ing the pencil in their struggle. Plan
chette often betrays faults of temper,
vanity, mirth, eynicism, scorn-all man
ner of human foibles. Tell Mary" it
once suddenly wrote, breaking in upon
some yarn it was spinning, that she had
better shut up. Now Mary did not have
her hands on planchctte, but she was sit
ting at the table. di,tracting our attention
by making Frivolous remarks. Planchette
alway, w.,.itS the whole attention of
everyinIv ~ sight. and is apt to grow
sulky. .,vr if this is not accorded.
il Inas;' hest work, in fact, when
the =. .'""',t and curiosity Of the
sp height. We also found
th;l llin%s being equal, it wrote
better ga q - ,rm day than on cold one,
and ,h,, ... hands of those who are
WORKING it should be warm. The best
wood to make it out of was of the resin
GUS varieties. The proper shape was that
of the heart ION playing cardD and the
dimensions I inches by s. Wheels are
not necessary on the legs; it writes more
steadily without them.
1t will do other things besides write.
Let some one hide an object-say key
or glove-somewhere in the room and
let two others who don't know where it is
hidden take mp a planchette and let it
rest on their right and left hands respect
lively, the foreiinger hooked on the legs
of the Instrument. Now tell it to find the
object and you will Immediately find a
slight pressure of the legs against your
fingers, indicating the direction in which
planchette wishes to go. You step in this
direction, carefully needing and obeying
the pressure. Sometimes there will also
be an upward and downward pressure.
Thus you will be led all around the room,
and in three cases out of five perhaps the
object will be found.
If one take it outdoors it will act like
the witchhazel of tradition; it viii dip
very perceptibly in passing over certain
places. Whethey underneath these places
there was water or gore I never made in
vestigation. but the movement was al