Swedenborg, Mediums and the Desolate Places (W.B. Yeats)

Some fifteen years ago I was in bad health and could not work, and Lady Gregory brought me from cottage to cottage while she began to collect the stories in this book, and presently when I was at work again she went on with her collection alone till it grew to be, so far as I know, the most considerable book of its kind. Except that I had heard some story of "The Battle of the Friends" at Aran and had divined that it might be the legendary common accompaniment of death, she was not guided by any theory of mine, but recorded what came, writing it out at each day's end and in the country dialect. It was at this time mainly she got the knowledge of words that makes her little comedies of country life so beautiful and so amusing. As that ancient system of belief unfolded before us, with unforeseen probabilities and plausibilities, it was as though we had begun to live in a dream, and one day Lady Gregory said to me when we had passed an old man in the wood: "That old man may know the secret of the ages."

I had noticed many analogies in modern spiritism and began a more careful comparison, going a good deal to séances for the first time and reading all writers of any reputation I could find in English or French. I found much that was moving, when I had climbed to the top story of some house in Soho or Holloway, and, having paid my shilling, awaited, among servant girls, the wisdom of some fat old medium. That is an absorbing drama, though if my readers begin to seek it they will spoil it, for its gravity and simplicity depends on all, or all but all, believing that their dead are near.

I did not go there for evidence of the kind the Society for Psychical Research would value, any more than I would seek it in Galway or in Aran. I was comparing one form of belief with another, and like Paracelsus, who claimed to have collected his knowledge from midwife and hangman, I was discovering a philosophy. Certain things had happened to me when alone in my own room which had convinced me that there are spiritual intelligences which can warn us and advise us, and, as Anatole France has said, if one believes that the Devil can walk the streets of Lisbon, it is not difficult to believe that he can reach his arm over the river and light Don Juan's cigarette. And yet I do not think I have been easily convinced, for I know we make a false beauty by a denial of ugliness and that if we deny the causes of doubt we make a false faith, and that we must excite the whole being into activity if we would offer to God what is, it may be, the one thing germane to the matter, a consenting of all our faculties. Not but that I doubt at times, with the animal doubt of the Middle Ages that I have found even in pious countrywomen when they have seen some life come to an end like the stopping of a clock, or that all the perceptions of the soul, or the weightiest intellectual deductions, are not at whiles but a feather in the daily show.

I pieced together stray thoughts written out after questioning the familiar of a trance medium or automatic writer, by Allen Cardec, or by some American, or by myself, or arranged the fragments into some pattern, till I believed myself the discoverer of a vast generalization. I lived in excitement, amused to make Holloway interpret Aran, and constantly comparing my discoveries with what I have learned of mediaeval tradition among fellow students, with the reveries of a Neoplatonist, of a seventeenth-century Platonist, of Paracelsus or a Japanese poet. Then one day I opened The Spiritual Diary of Swedenborg, which I had not taken down for twenty years, and found all there, even certain thoughts I had not set on paper because they had seemed fantastic from the lack of some traditional foundation. It was strange I should have forgotten so completely a writer I had read with some care before the fascination of Blake and Boehme had led me away.

II

It was indeed Swedenborg who affirmed for the modern world, as against the abstract reasoning of the learned, the doctrine and practice of the desolate places, of shepherds and of mid-wives, and discovered a world of spirits where there was a scenery like that of earth, human forms, grotesque or beautiful, senses that knew pleasure and pain, marriage and war, all that could be painted upon canvas, or put into stories to make one's hair stand up. He had mastered the sdence of his time, he had written innumerable scientific works in Latin, had been the first to formulate the nebular hypothesis and wrote a cold abstract style, the result it may be of preoccupation with stones and metals, for he had been assessor of mines to the Swedish Government, and of continual composition in a dead language.

In his fifty-eighth year he was sitting in an inn in London, where he had gone about the publication of a book, when a spirit appeared before him who was, he believed, Christ himself, and told him that henceforth he could commune with spirits and angels. From that moment he was a mysterious man describing distant events as if they were before his eyes, and knowing dead men's secrets, if we are to accept testimony that seemed convincing to Emmanuel Kant. The sailors who carried him upon his many voyages spoke of the charming of the waves and of favouring winds that brought them sooner than ever before to their journey's end, and an ambassador described how a queen, he himself looking on, fainted when Swedenborg whispered in her ear some secret known only to her and to her dead brother. And all this happened to a man without egotism, without drama, without a sense of the picturesque, and who wrote a dry language, lacking fire and emotion, and who to William Blake seemed but an arranger and putter away of the old Church, a Samson shorn by the churches, an author not of a book, but of an index. He considered heaven and hell and God, the angels, the whole destiny of man, as if he were sitting before a large table in a Government omce putting little pieces of mineral ore into small square boxes for an assistant to pack away in drawers.

All angels were once men, he says, and it is therefore men who have entered into what he calls the Celestial State and become angels, who attend us immediately after death, and communicate to us their thoughts, not by speaking, but by looking us in the face as they sit beside the head of our body. when they find their thoughts are communicated they know the time has come to separate the spiritual from the physical body. If a man begins to feel that he can endure them no longer, as he doubtless will, for in their presence he can think and feel but sees nothing, lesser angels who belong to truth more than to love take their place and he is in the light again, but in all likelihood these angels also will be too high and he will slip from state to state until he finds himself after a few days "with those who are in accord with his life in the world; with them he finds his life, and, wonderful to relate, he then leads a life similar to that he led in the world." This first state of shifting and readjustment seems to correspond with a state of sleep more modern seers discover to follow upon death. It is characteristic of his whole religious system, the slow drifting of like to like. Then follows a period which may last but a short time or many years, while the soul lives a life so like that of the world that it may not even believe that it has died, for "when what is spiritual touches and sees what is spiritual the effect is the same as when what is natural touches what is natural." It is the other world of the early races, of those whose dead are in the rath or the faery hill, of all who see no place of reward and punishment but a continuance of this life, with cattle and sheep, markets and war. He describes what he has seen, and only partly explains it, for, unlike science which is founded upon past experience, his work, by the very nature of his gift, looks for the clearing away of obscurities to unrecorded experience. He is revealing something and that which is revealed, so long as it remains modest and simple, has the same right with the child in the cradle to put off to the future the testimony of its worth. This earth-resembling life is the creation of the image-making power of the mind, plucked naked from the body, and mainly of the images in the memory. All our work has gone with us, the books we have written can be opened and read or put away for later use, even though their print and paper have been sold to the buttermen; and reading his description one notices, a discovery one had thought peculiar to the last generation, that the "most minute particulars which enter the memory remain there and are never obliterated," and there as here we do not always know all that is in our memory, but at need angelic spirits who act upon us there as here, widening and deepening the consciousness at will, can draw forth all the past, and make us live again all our transgressions and see our victims "as if they were present, together with the place, words, and motives"; and that suddenly, "as when a scene bursts upon the sight" and yet continues "for hours together," and like the transgressions, all the pleasure and pain of sensible life awaken again and again, all our passionate events rush up about us and not as seeming imagination, for imagination is now the world. And yet another impulse comes and goes, flitting through all, a preparation for the spiritual abyss, for out of the celestial world, immediately beyond the world of form, fall certain seeds as it were that exfoliate through us into forms, elaborate scenes, buildings, alterations of form that are related by "correspondence" or "signature" to celestial incomprehensible realities. Meanwhile those who have loved or fought see one another in the unfolding of a dream, believing it may be that they wound one another or kill one another, severing arms or hands, or that their lips are joined in a kiss, and the countryman has need but of Swedenborg's keen ears and eagle sight to hear a noise of swords in the empty valley, or to meet the old master hunting with all his hounds upon the stroke of midnight among the moonlit fields. But gradually we begin to change and possess only those memories we have related to our emotion or our thought; all that was accidental or habitual dies away and we begin an active present life, for apart from that calling up of the past we are not punished or rewarded for our actions when in the world but only for what we do when out of it. Up till now we have disguised our real selves and those who have lived well for fear or favour have walked with holy men and women, and the wise man and the dunce have been associated in common learning, but now the ruling love has begun to remake circumstance and our body.

Swedenborg had spoken with shades that had been learned Latinists, or notable Hebrew scholars, and found, because they had done everything from the memory and nothing from thought and emotion, they had become but simple men. We have already met our friends, but if we were to meet them now for the first time we should not recognize them, for all has been kneaded up anew, arrayed in order and made one piece. "Every man has many loves, but still they all have reference to his ruling love and make one with it or together compose it," and our surrender to that love, as to supreme good, is no new thought, for Villiers de l'Isle Adam quotes Thomas Aquinas as having said, "Eternity is the possession of one's self, as in a single moment." During the fusing and rending man ifits, as it were, from one flock of the dead to another, seeking always those who are like himself, for as he puts off disguise he becomes unable to endure what is unrelated to his love, even becoming insane among things that are too fine for him.

So heaven and hell are built always anew and in hell or heaven all do what they please and all are surrounded by scenes and circumstances which are the expression of their natures and the creation of their thought. Swedenborg because he belongs to an eighteenth century not yet touched by the romantic revival feels horror amid rocky uninhabited places, and so believes that the evil are in such places while the good are amid smooth grass and garden walks and the clear sunlight of Claude Lorraine. He describes all in matter-of-fact words, his meeting with this or that dead man, and the place where he found him, and yet we are not to understand him literally, for space as we know it has come to an end and a difference of state has begun to take its place, and wherever a spirit's thought is, the spirit cannot help but be. Nor should we think of spirit as divided from spirit, as men are from each other, for they share each other's thoughts and life, and those whom he has called celestial angels, while themselves mediums to those above, commune with men and lower spirits, through orders of mediatorial spirits, not by a conveyance of messages, but as though a hand were thrust with a hundred gloves [The Japanese Noh play Awoi no Uye has for its theme the exorcism of a ghost which is itself obsessed by an evil spirit. This evil spirit, drawn forth by the exorcism, is represented by a dancer wearing a "terrible mask with golden eyes."] one glove outside another, and so there is a continual influx from God to man. It flows to us through the evil angels as through the good, for the dark fire is the perversion of God's life and the evil angels have their office in the equilibrium that is our freedom, in the building of that fabulous bridge made out of the edge of a sword.

To the eyes of those that are in the high heaven "all things laugh, sport, and live," and not merely because they are beautiful things but because they arouse by a minute correspondence of form and emotion the heart's activity, and being founded, as it were, in this changing heart, all things continually change and shimmer. The garments of all befit minutely their affections, those that have most wisdom and most love being the most nobly garmented, in ascending order from shimmering white, through garments of many colours and garments that are like flame, to the angels of the highest heaven that are naked.

In the west of Ireland the country people say that after death every man grows upward or downward to the likeness of thirty years, perhaps because at that age Christ began his ministry, and stays always in that likeness; and these angels move always towards "the springtime of their life" and grow more and more beautiful, "the more thousand years they live," and women who have died infirm with age, and yet lived in faith and charity, and true love towards husband or lover, come "after a succession of years" to an adolescence that was not in Helen's Mirror, "for to grow old in heaven is to grow young."

There went on about Swedenborg an intermittent "Battle of the 'Friends" and on certain occasions had not the good fought upon his side, the evil troop, by some carriage accident or the like would have caused his death, for all associations of good spirits have an answering mob, whose members grow more hateful to look on through the centuries. "Their faces in general are horrible, and empty of life like corpses, those of some are black, of some fiery like torches, of some hideous with pimples, boils, and ulcers; with many no face appears, but in its place a something hairy or bony, and in some one can but see the teeth." And yet among themselves they are seeing men and but show their right appearance when the light of heaven, which of all things they most dread, beats upon them; and seem to live in a malignant gaiety, and they burn always in a fire that is God's love and wisdom, changed into their own hunger and misbelief.

III

In Lady Gregory's stories there is a man who heard the newly dropped lambs of faery crying in November, and much evidence to show a topsy-turvydom of seasons, our spring being their autumn, our winter their summer, and Mary Battle, my Uncle George Pollexfen's old servant, was accustomed to say that no dream had a true meaning after the rise of the sap; and Lady Gregory learned somewhere on Sleive Ochta that if one told one's dreams to the trees fasting the trees would wither. Swedenborg saw some like opposition of the worlds, for what hides the spirits from our sight and touch, as he explains, is that their light and heat are darkness and cold to us and our light and heat darkness and cold to them, but they can see the world through our eyes and so make our light their light. He seems however to warn us against a movement whose philosophy he announced or created, when he tells us to seek no conscious intercourse with any that fall short of the celestial rank. At ordinary times they do not see us or know that we are near. but when we speak to them we are in danger of their deceits. "They have a passion for inventing," and do not always know that they invent. "It has been shown me many times that the spirits speaking with me did not know but that they were the men and women I was thinking of; neither did other spirits know me contrary. Thus yesterday and today one known of me in life was personated. The personation was so like him in all respects, so far as known to me, that nothing could be more like. For there are genera and species of spirits of similar faculty (? as the dead whom we seek), and when like things are called up in the memory of men and so are represented to them they think they are the same persons. At other times they enter into the fantasy of other spirits and think that they are them, and sometimes they will even believe themselves to be the Holy Spirit," and as they identify themselves with a man's affection or enthusiasm they may drive him to ruin, and even an angel will join himself so completely to a man that he scarcely knows "that he does not know of himself what the man knows," and when they speak with a man they can but speak in that man's mother tongue, and this they can do without taking thought, for "it is almost as when a man is speaking and thinks nothing about his words." Yet when they leave the man "they are in their own angelical or spiritual language and know nothing of the language of the man." They are not even permitted to talk to a man from their own memory for did they do so the man would not know "but that the things he would then think were his when yet they would belong to the spirit," and it is these sudden memories occurring sometimes by accident, and without God's permission that gave the Greeks the idea they had lived before. They have bodies as plastic as their minds that flow so readily into the mould of ours and he remembers having seen the face of a spirit change continuously and yet keep always a certain generic likeness. It had but run through the features of the individual ghosts of the fleet it belonged to, of those bound into the one mediatorial communion.

He speaks too, again and again, of seeing palaces and mountain ranges and all manner of scenery built up in a moment, and even believes in imponderable troops of magicians that build the like out of some deceit or in malicious sport.

IV

There is in Swedenborg's manner of expression a seeming superficiality. We follow an easy narrative) sometimes incredulous, but always, as we think, understanding, for his moral conceptions are simple, his technical terms continually repeated, and for the most part we need but turn for his "correspondence," his symbolism as we would say, to the index of his Arcana Celestia. Presently, however, we discover that he treads upon this surface by an achievement of power almost as full of astonishment as if he should walk upon water charmed to stillness by some halcyon; while his disciple and antagonist Blake is like a man swimming in a tumbling sea, surface giving way to surface and deep showing under broken deep. A later mystic has said of Swedenborg that he but half felt, half saw, half tasted the kingdom of heaven, and his abstraction, his dry-ness, his habit of seeing but one element in everything, his lack of moral speculation have made him the founder of a church, while William Blake, who grows always more exciting with every year of life, grows also more obscure. An impulse towards what is definite and sensuous, and an indifference towards the abstract and the general, are the lineaments, as I understand the world, of all that comes not from the learned, but out of common antiquity, out of the "folk" as we say, and in certain languages, Irish for instance--and these languages are all poetry- it is not possible to speak an abstract thought. This impulse went out of Swedenborg when he turned from vision. It was inseparable from this primitive faculty, but was not a part of his daily bread, whereas Blake carried it to a passion and made it the foundation of his thought. Blake was put into a rage by all painting where detail is generalized away, and complained that Englishmen after the French Revolution became as like one another as the dots and lozenges in the mechanical engraving of his time, and he hated histories that gave us reasoning and deduction in place of the events, and St. Paul's Cathedral be-cause it came from a mathematical mind, and told Crabb Robinson that he preferred to any others a happy, thoughtless person. Unlike Swedenborg he believed that the antiquities of all peoples were as sacred as those of the Jews, and so rejecting authority and claiming that the same law for the lion and the ox was oppression, he could believe "all that lives is holy," and say that a man if he but cultivated the power of vision would see the truth in a way suited "to his imaginative energy," and with only so much resemblance to the way it showed in for other men, as there is between different human forms. Born when Swedenborg was a new excitement, growing up with a Swedenborgian brother, who annoyed him "with bread and cheese advice," and having, it may be, for nearest friend the Swedenborgian Flaxman with whom he would presently quarrel, he answered the just translated Heaven and Hell with the paradoxical violence of The Marriage of Heaven and Hell. Swedenborg was but "the linen clothes folded up" or the angel sitting by the tomb, after Christ, the human imagination, had arisen. His own memory being full of images from painting and from poetry he discovered more profound "correspondences," yet always in his boys and girls walking or dancing on smooth grass and in golden light, as in pastoral scenes cut upon wood or copper by his disciples Palmer and Calvert one notices the peaceful Swedenborgian heaven. We come there, however, by no obedience but by the energy that "is eternal delight," for "the treasures of heaven are not negations of passion but realities of intellect from which the passions emanate uncurbed in their eternal glory." He would have us talk no more "of the good man and the bad," but only of "the wise man and the foolish," and he cries, "Go put off holiness and put on intellect."

Higher than all souls that seem to theology to have found a final state, above good and evil, neither accused, nor yet accusing, live those, who have come to freedom, their senses sharpened by eternity, piping or dancing or "like the gay fishes on the wave when the moon sucks up the dew." Merlin, who in the verses of Chretien de Troyes was laid in the one tomb with dead lovers, is very near and the saints are far away. Believing too that crucifixion and resurrection were the soul's diary and no mere historical events, which had been transacted in vain should a man come again from the womb and forget his salvation, he could cleave to the heroic doctrine the angel in the crystal made Sir Thomas Kelly renounce and have a "vague memory" of having been "with Christ and Socrates"; and stirred as deeply by hill and tree as by human beauty, he saw all Merlin's people, spirits "of vegetable nature" and fairies whom we "call accident and chance." He made possible a religious life to those who had seen the painters and poets of the romantic movement succeed to theology, but the shepherd and the midwife had they known him would have celebrated him in stories, and turned away from his thought, understanding that he was upon an errand to their masters. Like Swedenborg he believed that heaven came from "an improvement of sensual enjoyment," for sight and hearing, taste and touch grow with the angelic years, but unlike him he could convey to others "enlarged and numerous senses," and the mass of men know instinctively they are safer with an abstract and an index.

V

It was, I believe, the Frenchman Allen Cardec and an American shoemaker's clerk called Jackson Davis, who first adapted to the séance room the philosophy of Swedenborg. I find Davis whose style is vague, voluble, and pretentious, almost unreadable, and yet his books have gone to many editions and are fuIl of stories that had been charming or exciting had he lived in Connaught or any place else, where the general mass of the people has an imaginative tongue. His mother was learned in country superstition, and had called in a knowledgeable man when she believed a neighbour had bewitched a cow, but it was not till his fifteenth year that he discovered his faculty, when his native village, Poughkeepsie, was visited by a travelling mesmerist. He was fascinated by the new marvel, and mesmerized by a neighbour he became clairvoyant, describing the diseases of those present and reading watches he could not see with his eyes. One night the neighbour failed to awake him completely from the trance and he stumbled out into the street and went to his bed ill and stupefied. In the middle of the night he heard a voice telling him to get up and dress himself and follow. He wandered for miles, now wondering at what seemed the unusual brightness of the stars and once passing a visionary shepherd and his flock of sheep, and then again stumbling in cold and darkness. He crossed the frozen Hudson and became unconscious. He awoke in a mountain valley to see once more the visionary shepherd and his flock, and a very little, handsome, old man who showed him a scroll and told him to write his name upon it.

A little later he passed, as he believed, from this mesmeric condition and found that he was among the Catskill Mountains and more than forty miles from home. Having crossed the Hudson again he felt the trance coming upon him and began to ran. He ran, as he thought, many miles and as he ran became unconscious. when he awoke he was sitting upon a gravestone in a graveyard surrounded by a wood and a high wall. Many of the gravestones were old and broken. After much conversation with two stately phantoms, he went stumbling on his way.

Presently he found himself at home again. It was evening and the mesmerist was questioning him as to where he had been since they lost him the night before. He was very hungry and had a vague memory of his return of country roads passing before his eyes in brief moments of wakefulness. He now seemed to know that one of the phantoms with whom he had spoken in the graveyard was the physician Galen, and the other, Swedenborg.

From that hour the two phantoms came to him again and again, the one advising him in the diagnosis of disease, and the other in philosophy. He quoted a passage from Swedenborg, and it seemed impossible that any copy of the newly translated book that contained it could have come into his hands, for a Swedenborgian minister in New York traced every copy which had reached America.

Swedenborg himself had gone upon more than one somnambulistic journey, and they occur a number of times in Lady Gregory's stories, one woman saying that when she was among the faeries she was often glad to eat the food from the pigs' troughs.

Once in childhood, Davis, while hurrying home through a wood, heard footsteps behind him and began to run, but the footsteps, though they did not seem to come more quickly and were still the regular pace of a man walking, came nearer. Presently he saw an old, white-haired man beside him who said: "You cannot run away from life," and asked him where he was going. "I'm going home," he said, and the phantom answered, "I also am going home," and then vanished. Twice in later childhood, and a third time when he had grown to be a young man, he was overtaken by the same phantom and the same words were spoken, but the last time he asked why it had vanished so suddenly. It said that it had not, but that he had supposed that "changes of state" in himself were "appearance and disappearance." It then touched him with one finger upon the side of his head, and the place where he was touched remained ever after without feeling, like those paces always searched for at the witches' trials One remembers "the touch" and "the stroke" in the Irish stories.

VI

Allen Cardec, whose books are much more readable than those of Davis, had himself no mediumistic gifts. He gathered the opinions, as he believed, of spirits speaking through a great number of automatists and trance speakers, and all the essential thought of Swedenborg remains, but like Davis, these spirits do not believe in an eternal Hell, and like Blake they describe unhuman races, powers of the elements, and declare that the soul is no creature of the womb, having lived many lives upon the earth. The sorrow of death, they tell us again and again, is not so bitter as the sorrow of birth, and had our ears the subtlety we could listen amid the joy of lovers and the pleasure that comes with sleep to the wailing of the spirit betrayed into a cradle. Who was it that wrote: "O Pythagoras, so good, so wise, so eloquent, upon my last voyage, I taught thee, a soft lad, to splice a rope"?

This belief, common among continental spiritists, is denied by those of England and America, and if one question the voices at a séance they take sides according to the medium's nationality. I have even heard what professed to be the shade of an old English naval officer denying it with a fine phrase: "I did not leave my oars crossed; I left them side by side."

VII

Much as a hashish eater will discover in the folds of a curtain a figure beautifully drawn and full of delicate detail all built up out of shadows that show to other eyes, or later to his own, a different form or none, Swedenborg discovered in the Bible the personal symbolism of his vision. If the Bible was upon his side, as it seemed, he had no need of other evidence, but had he lived when modern criticism had lessened its authority, even had he been compelled to say that the primitive beliefs of all peoples were as sacred, he could but have run to his own gift for evidence. He might even have held of some importance his powers of discovering the personal secrets of the dead and set Up as medium. Yet it is more likely he had refused, for the medium has his gift from no heightening of all the emotions and intellectual faculties till they seem as it were to take fire, but commonly because they are altogether or in part extinguished while another mind controls his body. He is greatly subject to trance and awakes to remember nothing, whereas the mystic and the saint plead unbroken consciousness. Indeed the author of Sidonia the Sorceress, a really learned authority) considered this lack of memory a certain sign of possession by the devil, though this is too absolute. Only yesterday, while walking in a field, I made up a good sentence with an emotion of triumph, and half a minute after could not even remember what it was about, and several minutes had gone by before I as suddenly found it. For the most part, though not always, it is this Unconscious condition of mediumship, a dangerous condition it may be, that seems to make possible "physical phenomena" and that over shadowing of the memory by some spirit memory, which Swedenborg thought an accident and unlawful.

In describing and explaining this mediumship and so making intelligible the stories of Aran and Galway I shall say very seldom, "it is said," or "Mr. So-and-So reports," or "it is claimed by the best authors." I shall write as if what I describe were everywhere established, everywhere accepted, and I had only to remind my reader of what he already knows. Even if incredulous he will give me his fancy for certain minutes, for at the worst I can show him a gorgon or chimera that has never lacked gazers, alleging nothing (and I do not write out of a little knowledge) that is not among the sober beliefs of many men, or obvious inference from those beliefs, and if he wants more--well, he will find it in the best authors [Besides the well-known looks of Atsikof, Myers, Lodge, Flammarion, Flournoy, Maxwell, Albert Dc Rochas, Lombroto, Madame Bisson, Delanne, etc., I have made considerable use of the researches D'Ochorowicz published during the last ten or twelve years in Annalti Science psychiques and in the English Annals of Psychical Science and those of Professor Hyslop published during the last four years in Journal and Transactions of (he American Society for Psychical Research. I have myself been a somewhat active investigator.]

VIII

All spirits for some time after death, and the "earth-bound" as they are called, the larvae, as Beaumont, the seventeenth-century Platonist, preferred to call them, those who cannot become disentangled from old habits and desires, for many years, it may be for centuries, keep the shape of their earthly bodies and carry on their old activities, wooing or quarrelling, or totting figures on a table, in a round of dull duties or passionate events. Today while the great battle in Northern France is still undecided, should I climb to the top of that old house in Soho where a medium is sitting among servant girls, some one would, it may be, ask for news of Gordon Highlander of Munster Fusilier, and the fat old woman would tell in Cockney language how the dead do not yet know they are dead, but stumble on amid Visionary smoke and noise, and how angelic spirits seem to awaken them but still in vain.

Those who have attained to nobler form, when they appear in the seance room, create temporary bodies, commonly like to those they wore when living, through some unconscious constraint of memory, or deliberately, that they may be recognized. Davis, in his literal way, said the first sixty feet of the atmosphere was a reflector and that in almost every case it was mere images we spoke with in the seance room, the spirit itself being far away. The images are made of a substance drawn from the medium who loses weight, and in a less degree from all present, and for this light must be extinguished or dimmed or shaded with red as in a photographer's room. The image will begin outside the medium's body as a luminous cloud, or in a sort of luminous mud forced from the body, out of the mouth it may be, from the side or from the lower parts of the body [Henry More considered that "the animal spirits" were "the immediate Instruments of the soul in all vital and animal functions" and quotes Harpocrates, who was contemporary with Plato, as saying, "that the mind of man is . , . not nourished from meats and drinks from the belly but by I dear and luminous substance that redounds by separation from the blood." Ochorowicz thought that certain small oval lights were perhaps the of personality itself.] One may see a vague cloud condense and diminish into a head or arm or a whole figure of a man, or to some animal shape.

I remember a story told me by a friend's steward in Galway of the faeries playing at hurley in a field and going in and out of the bodies of two men who stood at either goal. Out of the medium will come perhaps a cripple or a man bent with years and sometimes the apparition will explain that, but for some family portrait, or for what it lit on while rummaging in our memories, it had not remembered its customary clothes or features, or cough or limp or crutch. Sometimes, indeed, there is a strange regularity of feature and 've suspect the presence of an image that may never have lived, an artificial beauty that may have shown itself in the Greek mysteries. Has some cast in the Vatican, or at Bloomsbury been the model? Or there may float before our eyes a mask as strange and powerful as the lineaments of the Servian's Frowning Man or of Rodin's Man with the Broken Nose. And once a rumour ran among the séance rooms to the bewilderment of simple believers, that a heavy middle-aged man who took snuff, and wore the costume of a past time, had appeared while a French medium was in his trance, and somebody had recognized the Tartuffe of the Comedie Francaise. There will be few complete forms, for the dead are economical, and a head, or just enough of the body for recognition, may show itself above hanging folds of drapery that do not seem to cover solid limbs, or a hand or foot is lacking, or it may be that some Revenant has seized the half-made image of another, and a young girl's arm will be thrust from the withered body of an old man. Nor is every form a breathing and pulsing thing, for some may have a distribution of light and shade not that of the seance room, flat pictures whose eyes gleam and move; and sometimes material objects are thrown together (drifted in from some neighbour's wardrobe, it may be, and drifted thither again) and an appearance kneaded up out of these and that luminous mud or vapour almost as vivid as are those pictures of Antonio Mancini which have fragments of his paint tubes embedded for the high lights into the heavy masses of the paint. Sometimes there are animals, bears frequently for some unknown reason, but most often birds and dogs. If an image speak it will seldom seem very able or alert, for they come for recognition only, and their minds are strained and fragmentary; and should the dogs bark, a man who knows the language of our dogs may not be able to say if they are hungry or afraid or glad to meet their master again. All may seem histrionic or a hollow show. We are the spectators of a phantasmagoria that affects the photographic plate or leaves its moulded image in a preparation of paraffin. We have come to understand why the Platonists of the sixteenth and seventeenth centuries, and visionaries like Boehme and Paracelsus confused imagination with magic, and why Boehme will have it that it "creates and substantiates as it goes."

Most commonly, however, especially of recent years, no form will show itself, or but vaguely and faintly and in no way ponderable, and instead there will be voices flitting here and there in darkness, or in the half-light, or it will be the medium himself fallen into trance who will speak, or without a trance write from a knowledge and intelligence not his own. Glanvil, the seventeenth-century Platonist, said that the higher spirits were those least capable of showing material effects, and it seems plain from certain Polish experiments that the intelligence of the communicators increases with their economy of substance and energy. Often now among these faint effects one will seem to speak with the very dead. They will speak or write some tongue that the medium does not know and give correctly their forgotten names, or describe events one only verifies after weeks of labour. Here and there amongst them one discovers a wise and benevolent mind that knows a little of the future and can give good advice. They have made, one imagines, from some finer substance than a phosphorescent mud, or cobweb vapour that we can see or handle, images not wholly different from themselves, figures in a gallantry show not too strained or too extravagant to speak their very thought.

Yet we never long escape the phantasmagoria nor can long forget that we are among the shape-changers. Sometimes our own minds shape that mysterious substance, which may be life itself, according to desire or constrained by memory, and the dead no longer remembering their own names become the characters in the drama we ourselves have invented. John King, who has delighted melodramatic minds for hundreds of séances with his career on earth as Henry Morgan the buccaneer, will tell more scientific visitors that he is merely a force, while some phantom long accustomed to a decent name, questioned by some pious Catholic, will admit very cheerfully that he is the devil. Nor is it only present minds that perplex the shades with phantasy, for friends of Count Albert de Rochas once wrote out names and incidents but to discover that though the surname of the shade that spoke had been historical, Christian name and incidents were from a romance running at the time in some clerical newspaper no one there had ever opened.

All these shadows have drunk from the pool of blood and become delirious. Sometimes they will use the very word and say that we force delirium upon them because we do not still our minds, or that minds not stupefied with the body force them more subtly, for now and again one will withdraw what he has said, saying that he was constrained by the neighbourhood of some more powerful shade.

When I was a boy at Sligo, a stable boy met his late master going round the yard, and having told him to go and haunt the lighthouse, was dismissed by his mistress for sending her husband to haunt so inclement a spot. Ghosts, I was told, must go where they are bid, and all those threatenings by the old grimoires to drown some disobedient spirit at the bottom of the Red Sea, and indeed all exorcism and conjuration affirm that our imagination is kind. Revenants are, to use the modern term, "suggestible," and may be studied in the "trance personalities" of hypnoses and in our dreams which are but hypnosis turned inside out, a modeller's clay for our suggestions, or, if we follow The Spiritual Diary, for those of invisible beings. Swedenborg has written that we are each in the midst of a group of associated spirits who sleep when we sleep and become the dramatis personae of our dreams, and are always the other will that wrestles with our thought, shaping it to our despite.

IX

We speak, it may be, of the Proteus of antiquity which has to be held or it will refuse its prophecy, and there are many warnings in our ears. "Stoop not down," says the Chaldaean Oracle, "to the darkly splendid world wherein continually lieth a faithless depth and Hades wrapped in cloud, delighting in unintelligible images," and amid that caprice, among those clouds, there is always legerdemain; we juggle, or lose our money with the same pack of cards that may reveal the future. The magicians who astonished the Middle Ages with power as incalculable as the fall of a meteor were not so numerous as the more amusing jugglers who could do their marvels at will; and in our own day the juggler Houdini, sent to Morocco by the French Government, was able to break the prestige of the dervishes whose fragile wonders were but worked by fasting and prayer.

Sometimes, indeed, a man would be magician, jester, and juggler. In an Irish story a stranger lays three rushes upon the flat of his hand and promises to blow away the inner and leave the others unmoved, and thereupon puts two fingers of his other hand upon the outer ones and blows. However, he will do a more wonderful trick. There are many who can wag both ears, but he can wag one and not the other, and thereafter, when he has everybody's attention, he takes one ear between finger and thumb. But now that the audience are friendly and laughing the moment of miracle has come. He takes out of a bag a skein of silk thread and throws it into the air, until it seems as though one end were made fast to a cloud. Then he takes out of his bag first a hare and then a dog and then a young man and then a beautiful, well-dressed young woman" and sends them all running up the thread. Nor, the old writers tell us, does the association of juggler and magician cease after death, which only gives to legerdemain greater power and subtlety. Those who would live again in us, becoming a part of our thoughts and passion have, it seems, their sport to keep us in good humour, and a young girl who has astonished herself and her friends in some dark séance may, when we have persuaded her to become entranced in a lighted room, tell us that some shade is touching her face, while we can see her touching it with her own hand, or we may discover her, while her eyes are still closed, in some jugglery that implies an incredible mastery of muscular movement. Perhaps too in the fragmentary middle world there are souls that remain always upon the brink, always children. Dr. Ochorowicz finds his experiments upset by a naked girl, one foot one inch high, who is constantly visible to his medium and who claims never to have lived upon the earth. He has photo-graphed her by leaving a camera in an empty room where she had promised to show herself, but is so doubtful of her honesty that he is not sure she did not hold up a print from an illustrated paper in front of the camera. In one of Lady Gregory's stories a countryman is given by a stranger he meets upon the road what seems wholesome and pleasant food, but a little later his stomach turns and he finds that he has eaten chopped grass, and one remembers Robin Goodfellow and his joint stool, and witches' gold that is but dried cow dung. It is only, one does not doubt, because of our preoccupation with a single problem, our survival of the body, and with the affection that binds us to the dead, that all the gnomes and nymphs of antiquity have not begun their tricks again.

X

Plutarch, in his essay on the daemon, describes how the souls of enlightened men return to be the schoolmasters of the living, whom they influence unseen; and the mediums, should we ask how they escape the illusions of that world, claim the protection of their guides. One will tell you that when she was a little girl she was minding geese upon some American farm and an old man came towards her with a queer coat upon him, and how at first she took him for a living man. He said perhaps a few words of pious commonplace or practical advice and vanished. He had come again and again, and now that she has to earn her living by her gift, he warns her against deceiving spirits, or if she is working too hard, but sometimes she will not listen and gets into trouble. The old witch doctor of Lady Gregory's story learned his cures from his dead sister whom he met from time to time, but especially at Halloween, at the end of the garden, but he had other helpers harsher than she, and once he was beaten for disobedience.

Reginald Scott gives a fine plan for picking a guide. You promise some dying man to pray for the repose of his soul if he will but come to you after death and give what help you need, while stories of mothers who come at night to be among their orphan children are as common among spiritists as in Galway or in Mayo. A French servant girl once said to a friend of mine who helped her in some love affair: "You have your studies, we have only our affections"; and this I think is why the walls are broken less often among us than among the poor. Yet according to the doctrine of Soho and Holloway and in Plutarch, those studies that have lessened in us the sap of the world may bring to us good learned, masterful men who return to see their own or some like work carried to a finish. "I do think," wrote Sir Thomas Browne, "that many mysteries ascribed to our own invention have been the courteous revelations of spirits; for those noble essences in heaven bear a friendly regard unto their fellow creatures on earth."

XI

Much that Lady Gregory has gathered seems but the broken bread of old philosophers, or else of the one sort with the dough they made into their loaves. Were I not ignorant, my Greek gone and my meagre Latin all but gone, I do not doubt that I could find much to the point in Greek perhaps in old writers on medicine, much in Renaissance or Medieval Latin. As it is, I must be content with what has been translated or with the seventeenth-century Platonists who are the handier for my purpose because they found in the affidavits and confessions of the witch trials, descriptions like those in our Connaught stories. I have Henry More in his verse and in his prose and I have Henry More's two friends, Joseph Glanvil, and Cudworth in his Intellectual System of the Universe, three volumes violently annotated by an opposed theologian; and two essays by Mr. G. R. S. Meade clipped out of his magazine, The Quest. These writers quote much from Plotinus and Porphyry and Plato and from later writers, especially Synesius and John Philoponus in whom the School of Plato came to an end in the seventh century.

We should not suppose that our souls began at birth, for as Henry More has said, a man might as well think "from souls new souls" to bring as "to press the sunbeams in his fist" or "wring the rainbow till it dye his hands." We have within us an "airy body" or "spirit body" which was our only body before our birth as it will be again when we are dead and its "plastic power" has shaped our terrestrial body as some day it may shape apparition and ghost. Porphyry is quoted by Mr. Meade as saying that "Souls who love the body attach a moist spirit to them and condense it like a cloud," and so become visible, and so are all apparitions of the dead made visible; though necromancers, according to Henry More, can ease and quicken this condensation "with reek of oil, meal, milk, and such like gear, wine, water, honey." One remembers that Dr. Ochorowicz's naked imp once described how she filled out an appearance of herself by putting a piece of blotting paper where her stomach should have been and that the blotting paper became damp because, as she said, a materialization, until it is completed, is a damp vapour. This airy body which so compresses vapour, Philoponus says, "takes the shape of the physical body as water takes the shape of the vessel that it has been frozen in," but it is capable of endless transformations, for "in itself it has no especial form," but Henry More believes that it has an especial form, for "its plastic power" cannot but find the human form most "natural," though "vehemency of desire to alter the figure into another representation may make the appearance to resemble some other creature; but no forced thing can last long." "The better genii" therefore prefer to show "in a human shape yet not it may be with all the lineaments" but with such as are "fit for this separate state" (separate from the body that is) or are "requisite to perfect the visible features of a person," desire and Imagination adding clothes and ornament. The materialization, as we would say, has but enough likeness for recognition. It may be that More but copies Philoponus who thought the shade's habitual form, the image that it was as it were frozen in for a time, could be again "coloured and shaped by fantasy," and that "it is probable that when the soul desires to manifest it shapes itself, setting its own imagination in movement, or even that it is probable with the help of daemonic co-operation that it appears and again becomes invisible, becoming condensed and rarefied." Porphyry, Philoponus adds, gives Homer as his authority for the belief that souls after death live among images of their experience upon earth, phantasms impressed upon the spirit body. While Synesius, who lived at the end of the fourth century and had Hypatia among his friends, also describes the spirit body as capable of taking any form and so of enabling us after death to work out our purgation; and says that for this reason the oracles have likened the state after death to the images of a dream. The seventeenth century English translation of Cornelius Agrippa's De Occulta Philosophia was once so famous that it found its way into the hands of Irish farmers and wandering Irish tinkers, and it may be that Agrippa influenced the common thought when he wrote that the evil dead see represented "in the fantastic reason" those shapes of life that are "the more turbulent and furious... sometimes of the heavens falling upon their heads, sometimes of their being consumed with the violence of flames, sometimes of being drowned in a gulf, sometimes of being swallowed up in the earth, sometimes of being changed into divers kinds of beasts... and sometimes of being taken and tormented by demons... as if they were in a dream." The ancients, he writes, have called these souls "hobgoblins," and Orpheus has called them "the people of dreams" saying "the gates of Pluto cannot be unlocked; within is a people of dreams." They are a dream indeed that has place and weight and measure, and seeing that their bodies are of an actual air, they cannot, it was held, but travel in wind and set the straws and the dust twirling; though being of the wind's weight they need not, Dr. Henry More considers, so much as feel its ruffling, or if they should do so, they can shelter in a house or behind a wall, or gather into themselves as it were, out of the gross wind and vapour. But there are good dreams among the airy people, though we cannot properly name that a dream which is but analogical of the deep unimaginable virtues and has, therefore, stability and a common measure. Henry More stays himself in the midst of the dry learned and abstract writing of his treatise The Immortality of the Soul to praise "their comely carriage ... their graceful dancing, their melodious singing and playing with an accent so sweet and soft as if we should imagine air itself to compose lessons and send forth musical sounds without the help of any terrestrial instrument" and imagines them at their revels in the thin upper air where the earth can but seem a fleecy and milky light" as the moon to us, and he cries out that they "sing and play and dance together, reaping the lawful pleasures of the very animal life, in a far higher degree than we are capable of in this world, for everything here does, as it were, taste of the cask and has some measure of foulness in it."

There is, however, another birth or death when we pass from the airy to the shining or ethereal body, and "in the airy the soul may inhabit for many ages and in the ethereal for ever," and indeed it is the ethereal body which is the root "of all that natural warmth in all generations" though in us it can no longer shine. It lives while in its true condition an unimaginable life and is sometimes described as of "a round or oval figure" and as always circling among gods and among the stars, and some-times as having more dimensions than our penury can comprehend.

Last winter Mr. Ezra Pound was editing the late Professor Fenollosa's translations of the Noh Drama of Japan, and read me a great deal of what he was doing. Nearly all that my fat old woman in Soho learns from her familiars is there in an unsurpassed lyric poetry and in strange and poignant fables once danced or sung in the houses of nobles. In one a priest asks his way of some girls who are gathering herbs. He asks if it is a long road to town; and the girls begin to lament over their hard lot gathering cress in a cold wet bog where they sink up to their knees and to compare themselves with ladies in the big town who only pull the cress in sport, and need not when the cold wind is flapping their sleeves. He asks what village he has come to and if a road near by leads to the village of Ono. A girl replies that nobody can know that name without knowing the road, and another says: "Who would not know that name, written on so many pictures, and know the pine trees they are always drawing." Presently the cold drives away all the girls but one and she tells the priest she is a spirit and has taken solid form that she may speak with him and ask his help. It is her tomb that has made Ono so famous. Conscience-struck at having allowed two young men to fall in love with her she refused to choose between them. Her father said he would give her to the best archer. At the match to settle it both sent their arrows through the same wing of a mallard and were declared equal. She being ashamed and miserable because she had caused so much trouble and for the death of the mallard, took her own life. That, she thought, would end the trouble, but her lovers killed themselves beside her tomb, and now she suffered all manner of horrible punishments. She had but to lay her hand upon a pillar to make it burst into flame; she was perpetually burning. The priest tells her that if she can but cease to believe in her punishments they will cease to exist. She listens in gratitude but she cannot cease to believe, and while she is speaking they come upon her and she rushes away enfolded in flames. Her imagination has created all those terrors out of a scruple, and one remembers how Lake Harris, who led Laurence Oliphant such a dance, once said to a shade, "How did you know you were damned?" and that it answered, "I saw my own thoughts going past me like blazing ships."

In a play still more rich in lyric poetry a priest is wandering in a certain ancient village. He describes the journey and the scene, and from time to time the chorus sitting at the side of the stage sings its comment. He meets with two ghosts, the one holding a red stick, the other a piece of coarse cloth and both dressed in the fashion of a past age, but as he is a stranger he supposes them villagers wearing the village fashion. They sing as if muttering, "We are entangled up--whose fault was it, dear? Tangled up as the grass patterns are tangled up in this coarse cloth, or that insect which lives and chirrups in dried seaweed. We do not know where are today our tears in the undergrowth of this eternal wilderness. We neither wake nor sleep and passing our nights in sorrow, which is in the end a vision, what are these scenes of spring to us? This thinking in sleep for some one who has no thought for you, is it more than a dream? And yet surely it is the natural way of love. In our hearts there is much, and in our bodies nothing, and we do nothing at all, and only the waters of the river of tears flow quickly." To the priest they seem two married people but he cannot understand why they carry the red stick and the coarse cloth. They ask him to listen to a story. Two young people had lived in that village long ago and night after night for three years the young man had offered a charmed red stick, the token of love, at the young girl's window, but she pretended not to see and went on weaving. So the young man died and was buried in a cave with his charmed red sticks, and presently the girl died too, and now because they were never married in life they were unmarried in their death. The priest, who does not yet understand that it is their own tale, asks to be shown the cave, and says it will be a fine tale to tell when he goes home. The chorus describes the journey to the cave. The lovers go in front, the priest follows. They are all day pushing through long grasses that hide the narrow paths. They ask the way of a farmer who is mowing. Then night falls and it is cold and frosty. It is stormy and the leaves are falling and their feet sink into the muddy places made by the autumn showers; there is a long shadow on the slope of the mountain, and an owl in the ivy of the pine tree. They have found the cave and it is dyed with the red sticks of love to the colour of "the orchids and chrysanthemums which hide the mouth of a fox's hole"; and now the two lovers have "slipped into the shadow of the cave." Left alone and too cold to sleep the priest decides to spend the night in prayer. He prays that the lovers may at last be one. Presently he sees to his wonder that the cave is lighted up "where people are talking and setting up looms for spinning and painted red sticks." The ghosts creep out and thank him for his prayer and say that through his pity "the love promises of long past incarnations" find fulfilment in a dream. Then he sees the love story unfolded in a vision and the chorus compares the sound of weaving to the clicking of crickets. A little later he is shown the bridal room and the lovers drinking from the bridal cup. The dawn is coming. It is reflected in the bridal cup and now singers, cloth, and stick break and dissolve like a dream, and there is nothing but "a deserted grave on a hill where morning winds are blowing through the pine."

I remember that Aran story of the lovers who came after death to the priest for marriage. It is not uncommon for a ghost, a control" as we say, to come to a medium to discover some old earthly link to fit into a new chain. It wishes to meet a ghostly enemy to win pardon or to renew an old friendship. Our service to the dead is not narrowed to our prayers, but may be as wide as our imagination. I have known a control to warn a medium to unsay her promise to an old man, to whom, that she might be rid of him, she had promised herself after death. what is promised here in our loves or in a witch's bond may be fulfilled in a life which is a dream. If our terrestrial condition is, as it seems the territory of choice and of cause, the one ground for all seed sowing, it is plain why our imagination has command over the dead and why they must keep from sight and earshot. At the British Museum at the end of the Egyptian Room and near the stairs are two statues, one an august decoration, one a most accurate looking naturalistic portrait. The august decoration was for a public site, the other, like all the naturalistic art of the epoch, for burial beside a mummy. So buried it was believed, the Egyptologists tell us, to be of service to the dead. I have no doubt it helped a dead man to bui]d out of his spirit-body a recognizable apparition, and that all boats or horses or weapons or their models buried in ancient tombs were helps for a flagging memory or a too weak fancy to imagine and so substantiate the old surroundings. A shepherd at Doneraile told me some years ago of an aunt of his who showed herself after death stark naked and bid her relatives to make clothes and to give them to a beggar, the while remembering her [Herodotus has an equivalent tale. Periander, hecause the ghost of his wife complained that it was "cold and naked," got the women of Corinth together in their best clothes and had them stripped and their clothes burned]. Presently she appeared again wearing the clothes and thanked them.

XII

Certainly in most writings before our time the body of an apparition was held for a brief, artificial, dreamy, half-living thing. One is always meeting such phrases as Sir Thomas Browne's "they steal or contrive a body." A passage in the Paradiso comes to mind describing Dante in conversation with the blessed among their spheres, although they are but in appearance there, being in truth in the petals of the yellow rose; and another in the Odyssey where Odysseus speaks not with "the mighty Heracles," but with his phantom, for he himself "bath joy at the banquet among the deathless gods and hath to wife Hebe of the fair ankles, child of Zeus, and Hero of the golden sandals," while all about the phantom "there was a clamour of the dead, as it were fowls flying everywhere m fear and he, like black night with bow uncased, and shaft upon the string, fiercely glancing around like one in the act to shoot"

14th October, 1914