1926
Aug 19 - Oct 31
August 19, 1926.
Mrs. Poole, Dr. Glen and Lillian Hamilton, Mr. Mollineaux and Dr. J. A. Hamilton.
[These notes seem to be a muddle. W. D. F.]
Time: 9:35 p.m.
Singing. At the end of the third hymn Mrs. Poole was in deep trance and whispered a few unintelligible words - then began writing.
She continued for about 10 minutes, writing quickly, evenly, and carefully.
Then appeared to be under a different control as she muttered, patted Dr. Glen on the back in a very different manner, loudly, hurriedly and excitedly.
In about three minutes, paused, then wrote again, paused, then wrote again a little more steadily though not so quietly nor slowly as at first.
She continued for about five minutes, firmly and quickly - then stopped.
In a few minutes she again wrote - and Dr. Glen said "W. T. S., we want those names again that you gave us, we could not make them out."
Then Mrs. Poole began to recover from the trance, but, in the moment appeared to be very restless. She gradually recovered and began to talk. She said
"I saw Stevenson. He doesn't like something."
Verification:
R. L. Stevenson returns. Shows knowledge about present-day gossip re R. L. Stevenson in San Francisco. (The group were very astonished, as this was known only to L. H. and T. G. H., and had been discovered by L. H. in San Francisco in the summer of 1926, when she visited R. L. Stevenson's step-daughter, Mrs. Salisbury Field.).
Script:
"My widow has a reputation". His statement reveals reserve and a non-committal attitude.
"He tried all he could to get in ahead of Livingstone. There were others - I saw four. Stead and Mr. Copper-face."
"There was a church parade. Livingstone was watching something - (phrase indecipherable) - a lot of blacks, carrying on and having a good time. They were dancing and playing trumpets. Stevenson came in (........) , but I can't tell whether he gave me anything or not. I just saw his face. He wants copper-face and Livingstone out of the way. Stead was (.........) too. But I didn't get any picture from Stevenson. There were too many together, it spoiled it.
"Stead told me something."
Mrs. Poole moved outside the cabinet, and joined hands with Dr. Hamilton and Dr. J. A. Hamilton - hands on table, to make ready for knocks.
Singing again.
A knock was heard, then the table was moved.
Mr. Mollineaux spoke of a sensation of pressure on his neck.
In a moment or two Mrs. Poole was in deep trance, then began to cough violently - then to say "Go away ... go away"
Dr. Hamilton: "Tell us what your (........) them go away ..."
Mrs. Poole then began to write - deliberately and very firmly.
She stopped a moment, then began again, but in a moment threw her pencil. She succeeded (....................) something off very ...
Dr. Hamilton said "Write it down - she wrote again."
Dr. Hamilton: "Who is here now?"
An unintelligible whisper. Then she recovered. She had seen Stevenson and the copper-face.
"I saw them all again - the four. No pictures."
"Stevenson and Stead talked to me."
Comment: The vision is entirely imaginative, but based on facts.
Stead Script:
"You must have your same sitters and also a 'picture' medium. Your medium is good, but I don't know yet. One man wanted yet."
[Third part of trance.]
W. T. Stead. Instructions re experiment with photographic plate. Results negative.
David Livingstone
[Single sheet - automatic writing.]
"anniversary of the resurrection of our Savior"
[ Photo ]
August 22, 1926.
Mrs. Poole, Dr. Hamilton and Lillian Hamilton, Mr. D. B. MacDonald, Mr. and Mrs. Mullineaux and Mr. Reed.
Visitors: Miss Peacock; Dr. Gibson.
Time: 9:35 p.m.
Singing:
Trance carried R. L. Stevenson, David Livingstone and W. T. Stead.
W. T. Stead. Reference to sinking of the Titanic.
Trance I.
R. L .Stevenson. The Requiem.
R. L. S. Script:
"Under the wide and starry sky
Dig the grave and let me lie.
In the verse business I write what I like best."
Vision:
"I had Stevenson the night but I had to go to California to the island to get him. He was in his bedroom writing. His wife was there, too, but she paid no attention to me. I don't know how I went or how I came out."
Verification:
"Under the wide and starry sky
Dig the grave and let me lie.
(Poem "Requim", "Underwoods", page 119)
Comment:
E.M. had the fixed idea that the island (Samoa) was somewhere off the coast of California. Like her knowledge of books and Literature, her knowledge of geography was practically nil. (L. H.)
W. T. S. Script:
He writes regarding experimental technique he wants us to follow.
David Livingstone script:
"A fight in former years - present chief - child in mother's arms - Bonoguato - separated from this woman - of his Island Chief Makalolo."
David Livingstone vision:
"I was in fighting quarters with Livingstone. I saw a chief and then I saw two men and a woman ... they left her. Then I was away on an island. I could stand and look over the water ... but it was not a great, broad lake ..."
Verification:
"The outside point of confluence of these two rivers, the Chobe and the Luambye, is ill-defined ... but when the whole body of waters collects into one bed it is a goodly sight for one who has spent many years in the thirsty south. Standing on one bank, even a keen eyes of the natives cannot detect whether two large islands, a few miles east of the juncture, are mainland or not."
"During a fight in former years, when the present chief Sekomi was a child in his mother's arms, the Bongongwato men were separated from their women and inveigled onto one of these islands by the Makalaka chief of Mparia...." ("Missionary Travels", page 203-204.)
Comment:
The David Livingstone outputs are becoming more complex, placing a greater load on the mediums trance receptivity. Truly amazing.
Note clever distribution of selected ideas between vision and script, and the success in picturization.
1. Fighting quarters - fight of former years.
2. "I saw a chief" - Chief Sekomi.
3. "Men left the women" - separated from women.
4. "Away on an island" - islands at River mouth, death scene of natives.
5. "Look out over water" - water a goodly sight.
6. "Not a great broad lake" - true, a river in flood.
One is compelled to ask how these communicators make their selected representative imagery so effective?
One surmises that after physical death, the power of mental suggestion becomes immeasurably strong, to those who know how to use it.
In life, both R. L. Stevenson and David Livingstone were men of tremendous will - happily they used it for good. (L. H.)
August 25, 1926.
(At Victoria Beach, Manitoba, a cottage.)
E.M. is normal, and sees "a room sufficient to accommodate forty."
[ Photo ]
August 26, 1926.
(Sitting at the Victoria Beach. E.M. in trance.)
Script:
"A room sufficient to accommodate ..."
Vision:
"I saw R. L. Stevenson in a big hall. I got there by a footpath ... It was no a grand path ... just over stones ..."
R. L. Stevenson.
No David Livingstone. (At Victoria Beach cottage?).
At the sitting held in Winnipeg the same day:
David Livingstone
[Second part of first trance.]
"a large presentation in Maka Kala"
[ Photo ]
[ Photo - undeciphered - at Hamilton House ]
August 29, 1926.
(At 185 Kelvin, Winnipeg.)
Script unreadable. E.M. confused.
(E.M. sees Stead and Stevenson on the Other Side.)
R. L. Stevenson illegible.
David Livingstone indicates trouble with the Boers. Transmission only fair.
W. T. Stead. More instructions
"Light is not good for the sitting room with your class."
Comment: From now on the three - R. L. Stevenson first, David Livingstone second, and W. T. Stead third.
Occasionally W. T Stead used a second trance. The following order was noted:
1. E.M. takes on excitement stage.
2. Motor retardation.
3. Brief catalepsy. (face and arm muscles).
4. Muscular relaxation.
5. Deep sleep.
The sleep shows three activities and sections:
I
1. E.M. receives the R. L. Stevenson vision.
2. E.M. writes the R. L. Stevenson script.
II
1. Takes David Livingstone or W. T. Stead vision.
2. Writes for David Livingstone or Stead.
III
1. Receives Stead vision.
2. Writes for Stead.
6. Returns to normal consciousness.
7. Relates vision-experience, covering each mission in sequence.
8. No memory of writing scripts - these are completely forgotten.
[ Photo - David Livingstone - undeciphered ]
September 2, 1926.
R. L. Stevenson illegible. Poor.
D. Livingstone poor.
September 5, 1926.
R. L. Stevenson alone again. Waverley reference. D. Livingstone and W. T. Stead in Trance II.
Second trance script:
"Nobody cared, nobody saw the picture - Stevenson is 32 years dead. Died at the age of 44. If he had lived till now he would be 76. If Scott had died at Stevenson's age there would be no Waverley novels."
Second trance vision:
"... I never had a feeling like I had the night! I felt as I was going (dying) and I told them. I was in the Old Land a little bit. Well, Stevenson was not in it. Then I went to this home. I was well pleased to go, it was all beautiful lights. I saw Stevenson as he had 'went' (died) and as he would be now if he was spared. He was an older man."
Verification:
See R. L. Stevenson for biographical comment on R. L. Stevenson's literary powers at the time of his death; also his use of the word "Waverley" as a synonym for a masterpiece, a great novel. The communicator makes it clear that he had this precise meaning in mind in the message.
Comment:
Note the sure touch in the use of imagery and various subjective reactions experienced by E.M. during the vision;
A. She takes on sensation of dying;
B. R. L. Stevenson seen in "other world" setting.
C. R. L. Stevenson seen at age 44 and again as an older man. Subjective impressions carefully follow the main ideas lodged in the message. The two have been planned to fit.
For good measure, an extraneous, but life-related idea is added: R. L. Stevenson's death and a thought of Scotland are joined; this turns our thoughts once more to his intense longing to visit his homeland before he died. (See Letters and Biographies.)
This was one of the most successful scripts by R. L. Stevenson. It gives further support to the fact that R. L. Stevenson wrote and visualized more effectively when he worked alone; had more of the available "power" or energy.
To the observer this must still be a matter of conjecture. Yet something exists. What is it? The dates are correct. A sense of the earthly time it still retained.
W. T. Stead instructions
"I am a drowned man; one among many. Have patience. William Thomas Stead."
September 9, 1926.
R. L. Stevenson.
"To Any Reader" and "To Minnie". A message relative to reality of new land.
A vision of the Eternal Land.
Vision:
"I was away in a new land with Stevenson: it would not be in this world at all! The land must have been on the Other Side because it was such beautiful hills all shadowed... all colored - bluish tinted. I saw him on the hills and he was trying to talk to someone. I first seemed on earth, and yet, I don't know. It seemed to be partly both places. He was a living man."
First trance script:
"He does not look ... will not look, nor yet be lured the truth to tell. Eternal Land beyond Death; Dawn beyond a doubt ... tread on hills and plains."
Verification:
"He does not look, will not look, and yet he loved the truth to tell ..."
Based on last lines of the poem "To Any Reader", ("A Child's Garden of Verse".)
Quote:
"He does not hear; he will not look,
Nor yet he lived out of this book.
For long ago, the truth to say,
He has grown up and gone away.
And it is but a child of air
That lingers in the garden there."
("Underwoods", page 71.)
Comment:
R. L. Stevenson completes his message by paraphrasing lines from the poem
"To Minnie" -
"The eternal dawn, beyond a doubt,
Shall break on Hill and plain."
A subtle conception and assurance of life after death, using an early poem in a new setting, to convey a totally new meaning.
David Livingstone in second section of trance:
"Edmund Gabriel a generous host."
W . T. Stead. Instructions
"Have patience! you will be rewarded ... We have no patience for slow work. Be on time!"
September 12, 1926.
R. L. Stevenson and David Livingstone in one trance. No confusion.
R. L. Stevenson.
First trance script:
"Leave not my soul thy debts unhonored."
First trance vision:
"I heard some beautiful music. There was just Stevenson alone in a beautiful place. It was Psalm singing just at a distance. R. L. Stevenson was standing and he talked with me. He lifted up one hand and it looked like a cape ... a bluish cloud cape.
Then I got him with large flocks of sheep. It seemed not of this world. There was something beautiful about it."
"Then I got Livingstone beside a lot of water. There were dark people with him. This picture was of this world. I seemed to travel a lot, river after river ..."
Script:
R. L. Stevenson:
A. "Leave not my soul ... thy debts unhonoured ..."
B. "Seventh sphere. He holds his place for those he nurtures."
Verification:
R. L. Stevenson. Literary Source:
"Leave not my soul, the unforgotten field, nor leave
Thy debts dishonoured, nor thy place desert
Without a due service rendered ..."
(From poem "Leave Not, My Soul", "Underwoods", page 122, 123.)
Comment:
Note that R. L. Stevenson changes the word' dishonored' to 'unhonored' which gives a totally different meaning.
He wrote this poem in April, 1880 in San Francisco, following a severe illness of tubercular hemorrhage, when it seemed likely that he had not long to live.
(See "R. L. Stevenson Letters", volume III., page 110, 111).
He was then still estranged from his parents, and to them, was acting dishonorably in marrying Mrs. Osbourne, a divorced woman. Also, in a sense, he still owed his father a great deal, for up to that point he had not been able to support himself by writing.
Now all that is past. He takes a more tranquil view of life's mistakes and efforts. It is enough to leave the world with all debts honored - work done and the score settled.
Thus, by using one new word, Louis subtly preaches to us from beyond death.
Further Comment:
As in several other earlier R. L. Stevenson visions, at this date there appears to be an attempt to represent the nature of the Next Life by imagery. It is merely representative; it cannot be interpreted literally, but rather as a finer reality, ethereal, and therefore difficult to define. He hints at objectivity in his new state.
Re: "sheep" in the R. L. Stevenson vision, T. G. H. asked:
"Where are you, Robert Louis, in your present state?"
R. L. Stevenson:
"Seventh sphere. He holds his place for those he nurtures."
The image of the sheep suggests the shepherd - one who cares for those around him. (Later R. L. Stevenson referred to himself as A Shepherd of the Hills.)
Note that in life R. L. Stevenson often wrote in his letters of himself in the third person.
David Livingstone. The Old man and his five Rivers.
"Five rivers running to Lolo - Dispist - Lise-lise, Kalilerne."
Verification:
"He (an old native) described five rivers as falling into the Solo: the Lishkish, Lise, Kalileme, Ishadish, and Molong."
("Missionary Travels", page 280)
Comment:
David Livingstone's work is very straightforward - no subtleties. He simply recalls the five rivers, succeeds amazingly well in writing out their very difficult names almost totally correctly. The vision deals with a single idea - many rivers.
W. T. Stead: (strikes table end and shouts "Go away!
(Possibly to some personality considered undesirable.)
Stead writes:
"What right have you here? You can't sing praises to your Maker."
W. T. Stead. Instructions
(To sitters): "Too late for your spirit friends; they are in your classroom some minutes. We have no patience for slow work. Be on time!"
Comment: re: Stead.
Note that his outlook is totally different from that of the other two. Stead is in the present, and interested mainly in practical experiments that may be carried out in our séance room.
September 16, 1926.
First attempt to get skotograph. (an image on an unexposed plate.) Results negative.
R. L. Stevenson.
Script:
"There lies the silken shore - the key - no angels enter in - "
(Not understood. Not verified as R. L. Stevenson.)
David Livingstone. Notorious Belonda Chief.
An invitation to dinner. Not understood.
W. T. Stead. Instructions.
Script: (writes to an "invisible" - an undesirable entity): "You are an offense - one that knows nothing. You upset all and hurt my friend on the earth side."
September 19, 1926.
R. L. Stevenson.
Script: Poor:
"my like - power - freedom - "
Vision:
Of the Other Land: " ... I had two pictures of Stevenson: I can't tell the first.
I was there in the Other Land; it was a kind of temple 'all going in and out' all dressed alike. They went in this place; I saw it open; there was bright light, all blue, all shaded. I saw no shadows.
I saw Stevenson going in. He had his head bent forward."
Vision:
"Livingstone was among his chiefs - one anyway. He was not pleased with the chief.
"I saw Stead."
David Livingstone.
Script:
"Kawa is not a good master. Notorious character in his own place ..."
Verification:
"... This Kawawa ... is not a good specimen of the Balorda chief and is rather notorious in the neighborhood for his folly ..."
("Missionary Travels", page 401.)
September 21, 1926.
Impromptu special sitting, held at 12 a.m., for Sir Henry Gauvin of England.
(Sir Henry was a noted tuberculosis specialist, then attending the meeting of the Canadian Medical Association in Winnipeg, in September, 1926.)
T. G. H. was then on the Executive Committee of the C.M.A.
R. L. Stevenson. Memories of the building of Skerryvore.
First trance script:
"Eternal granite ... iron tower ... foundation."
First trance vision:
"I was away in a big stone quarry. They were cutting out great huge stones ... it was for the lighthouse Skerryvore. I saw the foundation ... it was not finished. R. L. Stevenson was there but not doing anything. He was quite a boy. I never saw them mixing the mortar for the stone ..."
Verification:
R. L. Stevenson.
See poem "Skerryvore" and essay "Memories of an Islet."
David Livingstone. On the Limpopo, wagon, Sinbad, the ox.
"... I was in Africa next; I know by the large trees; I saw them cutting down some of those large trees; and they were fixing a wagon. I passed many huts and two earth houses."
David Livingstone:
"... From the banks of the Limpopo Capricorn cut down trees to prepare a wagon. Poor Sinbad had carried me all the way ..."
("Missionary Travels", page 415-6.)
"... I saw Stead, too. I could see a temple in the distance. It was white and blue-ish like the inside of a shell but more frosted ..."
W. T. Stead. Instructions.
Two levitations, one inversion.
September 22, 1926.
R. L. Stevenson.
Cheerfulness, important ( from "The Canoe Speaks".).
Script:
"Important - cheerfulness - leans the berry the bramble beside the Garden's end."
Another version:
"What is more imported - (important?) cheerful ... the berry or the bramble beside the garden near end."
Vision:
" I was in a garden with Stevenson picking fruit. It was in a cottage not far from the sea. The cottage was just above the garden. R. L. Stevenson was young. He was sitting in a chair writing when next I see him ..."
David Livingstone:
Script:
Writes of his calico - vision of dark men and women picking cotton.
Stead appears in the vision briefly.
September 23, 1926.
Special sitting for Dr. Hiud of London, Ontario. One table levitation.
September 26, 1926.
9:14 p.m.
9:21 p.m. Indecipherable (may be as below)
9:23 p.m. Lens open commencing (.......) trance.
9:24 p.m. Very soft singing
9:25 p.m. writing very fast.
9:26 p.m. stopped
9:27 p.m. writing
9:28 p.m. stopped
9:29 p.m. change in trance.
R. L. Stevenson.
Script illegible.
Flock closely drawn (not verified)
David Livingstone script:
"Angola chief Bongo's method of justice."
Vision:
Stead gives picture of camera showing E.M. getting her picture taken.
Stead gives séance directions.
E.M. describes Stead:
"I was getting a picture taken. I saw a beautiful big camera right here. Stead was doing it. It had three legs and he was looking at me."
September 30, 1926.
9:01 p.m. Sitting commences
9:08 p.m. deep trance
9:11 p.m. writing
9:12 p.m. deep trance
9:13 p.m. writing
9:15 p.m. medium starts writing very quickly - coming out of trance.
Script:
"His spirit re-adventures ... as he slumbers, he revisits his home - he longs for the home that might have been ..."
Vision:
"I had Stevenson away in some home. He seemed as if in a dream land. His wife was lying on a form (a bed) ... he was just sitting, dreaming. Then I caught his eyes looking away and he looked as if dreaming. And I looked too, and I saw mountains and rocks and trees and green grass but they were a good distance from there. He did not look well the night ..."
"I saw Livingstone."
Verification:
"Where he feared to touch
His spirit re-adventures; and for years
Where by his wife he slumbers safe at home,
Thoughts of that land revisit him; he sees
The eternal mountains beckon, and awakens,
Yearning for that far home that might have been."
("Underwoods", page 101).
David Livingstone and his family on the move
(not fully verified).
W. T. Stead instructions.
Script:
"...You will have wonderful results ... Have patience ... Thanks."
Trance lasts for 35 minutes - the longest on record.
Four directors in successive intervals - R. L. Stevenson, David Livingstone, and W. T. Stead try for plate exposure.
October 3, 1926.
9:00 p.m. Start sitting.
9:09 p.m. trance begins
9:12 p.m. deep trance
9:14 p.m. writing.
9:15 p.m. stopped.
Muttered - Stevenson "no through yet: Livingstone. Go away.
9:18 p.m. writing again.
9:19 p.m. stopped writing again
Dr. Hamilton: "Who is this?"
Answer: "Stevenson"
9:24 p.m. writing again
9:25 p.m. stopped writing
9:25 and a half p.m., medium rises puts hands on cabinet(?)
9:34 p.m. returned to see
9:35 p.m. writing
9:36 and a half p.m. stopped writing
9:39 p.m. writing
9:40 and a half p.m. stopped writing
9:41 p.m. trance over - "am all right"
[Last four pages writing may be in answer to Dr. Hamilton's question:]
R. L. Stevenson. "The Canoe Speaks." Good.
(Underwoods", page 100).
Vision:
"I saw R. L. Stevenson in a white suit in a canoe. He goes to a small hill and picks berries. A man and a woman are displeased at him. He was about twenty. He was having a real good time."
David Livingstone. The iron foundry and a broken dam.
"Then I saw David in a big building. I got a date and I saw a flood, for I saw the water quite distinct. He had other men with him; I think they were going to begin and build ..."
"I saw Stead. He is not pleased at you. I don't know what it is about. He looks like a man you have to do and do it right."
Script:
R. L. Stevenson:
"My dipping paddle scarcely break(s)
The berry on the bramble -
End at the cottage - And take the lovers unaware.
The growing maidens troop in June;
Girdle on the grass - hurry away ..."
Verification:
"My dipping paddle scarcely shakes
The berry in the bramble-brakes;
Still forth on my green way I went
Beside the cottage garden-end;
And by the nested angler fare,
And take the lovers unaware.
By meadows were at afternoon
The growing maidens troop in June
To loose their girdles on the grass.
Ah, speedier than before the glass
The backward toilet goes ..."
("The Canoe Speaks", "Underwood", page 99, 100.)
Comment:
As in nearly all scripts taken from literary sources, one notes that R. L. Stevenson has carefully selected the assorted poem-concepts which he wishes us to notice: the dipping paddle, berry, cottage-end, the disturbed lovers, the bathing maidens, the discarded girdle, the scrambling away when the author discovers them.
The new imagery uses these concepts with skill in effective picturization: R. L. Stevenson in a white suit in a canoe; the idea of 'berries' is given dramatic action - he 'picks' them; now the lovers are displeased at being taken unawares, R .L. Stevenson is young, to match the spirit of fun and frolic of the poem.
David Livingstone:
Script:
"Bursting of the dam throughout took the solid blocks and carried them down stream ... transporting power of the water ..."
Verification:
"... Near the latter point stand the massive ruins of an iron foundry ... The whole of the building was constructed of stone. The dam for water power was made of the same material ...This had been broken through by a flood ... affording an example of the transporting power of water ..."
("Missionary Travels", page 347.)
Comment:
David Livingstone's vision contains few details but is effective. Memories basic to the idea are: big building; a flood; need to build (suggesting destruction). Economy of words in telling effect.
Note: There seems to be an indication that some sort of second iron center was constructed; this is hinted at by the fact that the native iron-workers still produced the metal in this area.
Script:
W. T. Stead. "You must not be disturbed while your spirit friends stand around the circle and your medium. W. T. S."
No vision.
"Stead, have you any more to say?"
Script:
"Your minds are all taken off your medium. You must have a quiet room for your class. Get not discouraged. Have patience and you will be rewarded."
W. T. Stead. More instructions re preparation for the coming of objective phenomena.
October 7, 1926.
R. L. Stevenson.
Script: " You with the bean that I gave - and with your marble - quarrel over one of the marbles - Honored and old and gaily appareled - here we meet and remember the past."
Verification:
"Home from the Indies and home from the ocean,
Heroes and soldiers we all shall come home;
Still we shall find the old mill wheel in motion,
Turning and churning that river to foam.
You with the bean that I gave when we quarreled,
I wish your marble of Saturday last;
Honored and old and all gaily appareled,
Here we shall meet and remember the past."
("Keepsake Mill", page 23, "C. G. of Verse.")
Vision:
"I got Stevenson playing with another boy ... I think with dibs(marbles). And they quarreled over one of these dibs. He lifted a dib and Stevenson took it from him."
"... I had another picture with R. L. Stevenson."
"It was not in this land. It was on the Other Side. There were two or three men with him and they were all beautifully dressed; they had beautiful cloaks. I met with more of them and they were all talking as they knew one another. The place was a big opening into a cloud. The inside of the opening is blue, with a pinkish tinge. You see the forms of them, but that is all. The mantles are bright, as you are looking at the rays when looking at the sun. They seemed to be at home with one another. All is bright, but there is no sun."
"The Old Mill" ("C.G.V"). Imagery suggesting the "Other World.". Excellent.
David Livingstone. Iron foundry ruins.
"Livingstone was where I was last Sunday in this big building, and I got a date and I saw a flood, for I saw of the water quite distinct. Livingstone had quite a fewer darkies with him. They are going to begin and build."
"I saw Stead. He was in a library."
W. T. Stead:
Script:
"Get not discouraged. Have patience and you will be rewarded. Leave the plate in the picture box (camera) until you are leaving the classroom."
Comment:
At this date Stead was insisting, by raps and written messages, that T. G. H. experiment with photographic plates placed in the camera. No light exposure was to be made.
Stead seemed to think that E.M.'s great telekinetic power would make it possible to show markings and images on the plate. Over twenty experiments of this kind were carried out, with completely negative results. ( L. H.)
Comment: re R. L. Stevenson.
October 7, 1926. He takes the last verse of" Keepsake Mill" to implant hallucinatory imagery pertaining to the nature of the Second State - ethereal but real - a land of Light - and of meeting with friends, remembering the past.
Recalling E.M.'s matter of fact descriptions which represent verifiable facts, I now believe that we are justified in accepting this imagery as a foreshadow of the objective and the subjective reality of the next state.
For three years, R. L. Stevenson has worked unceasingly and with splendid scientific acumen, to demonstrate that memory survives death, and with it, all other facets of the total personality. (L. H.)
October 10, 1926.
Mrs. Poole, Dr. and Lillian Hamilton, Mrs. Cummings, Mr. D. B. MacDonald, Mr. and Mrs. Mollineaux, and Dr. J. A. Hamilton.
Splendid work together in one trance:
Stevenson - "The Unseen Playmate."
D. L. - Native iron-workers.
Stead - more directions re plate experiment.
Time: 9:00 p.m.
Singing.
9:05 p.m. Mrs. Poole began to go into trance. Was in the excitement stage for about two minutes - and was in deep trance.
9:14 p.m. she began to write in a rapid but steady manner for about one minute.
She was excited for a moment and said:
"Look out Louis" - then said: "Go Away ... "
Dr. Hamilton said she was muttering for "Louis to come and for Livingstone to go away."
9:17 p.m. writing again - in a hurried way
9:20 p.m. She tried to say something - "Bye-bye Louis. Bye- bye Cummie"
There had been, said Dr. Hamilton, a good deal of protest against Livingstone's coming when he did .... (phrase indecipherable)
9:22 p.m. She was very quiet again
9:23 p.m. She said "I don't like black men. Too dirty men. Take them away.
She then wrote in a quiet steady way.
9:25 p.m. She stopped
9:26 p.m. very quiet - again deep trance.
"Good evening - Stead - (.............) do with Dr. Hamilton. Louis to speak and Dr. Hamilton said "write" it."
She writes forcibly and quickly.
9:27 and a half p.m. writing again.
9:30 p.m. quiet (phrase indecipherable)
- (by Mrs. Cummings and Dr. Hamilton.
"Big boy , big boy" said Mrs. Poole.
9:33 p.m. - she came out of trance and asked for a drink.
Dr. Hamilton asked her if she felt all right, but ...
R. L. Stevenson.
Memories of the children in the garden. "The Wind", and "My Shadow." Excellent.
Script:
"But you yourself always hid; I heard you call; I felt you push; I could not see you. He stayed close beside me; he is a coward. I could not stick to nursie as that shadow sticks to me."
Vision:
"I saw Stevenson as a little boy the night. Some other boy was there but he kept out of the way. Louis was talking with him. I know the other boy called for Louis. I did not see the other boy but I heard him call. It was beside a big house of stone. There was a seat on the lawn ... I did not go far from there when I got another picture. I saw his nurse the night too. Louis seemed cross the night at this other boy. I don't know what for he was not pleased with him. I heard the other boy's name, too. I'm not sure it was not Stewart."
"I got next ... I seemed to be away so much. Stead came a couple of times the night. There is something you don't do right ..."
R. L. Stevenson.
Poems from "A Child's Garden of Verse."
The Wind
Verse 2. I saw the different things you did,
But always you yourself you hid.
I felt you push, I heard you call,
I could not see yourself at all ...
Oh, wind, a-blowing all day long,
Oh, wind, that sings so loud a song!
Verse 3. O you that are so strong and cold,
O blower, are you young or old?
Are you a beast of field and tree,
Or just a stronger child than me?
Oh, wind, a-blowing all day long,
Oh, wind, that sings so loud a song!"
My Shadow
Verse 3.
He hasn't caught a notion of how children ought to play
And can make a fool of me in every sort of way.
He stayed so close beside me, he's a coward, you can see;
I'd think shame to stick to nursie as that shadow sticks to me!
Comment:
This whole R. L .Stevenson output is an amazing piece of work, considering the mysterious - and limiting - mental mechanism by which it appeared.
Quite skillfully R. L. Stevenson has given us a new short poem, based on ideas lifted from two poems from "A Child's Garden of Verse", written in life, with a new rhythm fairly well maintained. Again we see planned script. But the most striking phenomena are to be seen in the vision:
"The Wind Boy" is now a child, as hinted in line 4, verse 2. He is hidden - as in poem and text; he calls Louis, as in poem and text.
"The Shadow Boy":
Louis is cross with him in the poem; in vision "was not pleased with him." Nurse in poem and in vision. And a new bit of whimsy is added: "The Shadow Boy" is given a Scot's name - Stewart!
David Livingstone.
Script:
"I think with Livingstone I saw a lot of those natives. He was with them and they had picks for digging stone. What a sweet face Stevie has compared with Livingstone. He is so determined!"
D. Livingstone.
"A party of native miners and smiths working for the government - the rich black - shareholders cultivated..."
Verification:
"...A party of native miners and smiths is still kept in the employment of the government, who, working their rich black magnetic ore, produced for the government from 489 - 500 bars of good malleable iron every month.
("Missionary Travels", page 348.)
W. T. Stead. Instructions.
Stead. "Your bodies are too heavy in front of picture-box. Stand more to other side. W. T. S."
October 14, 1926.
R. L. Stevenson, David Livingstone and W. T. Stead in one trance.
R. L. Stevenson.
Vision:
"Stevenson was first. He was writing something about the night and the stars. I could see stars together, almost the shape of a plan ..."
Verification:
R. L. Stevenson's writings are filled with references to "a night of stars"
David Livingstone.
Ox bitten by tsetse fly.
"I saw Livingstone driving some cattle the night. He was mad the night. He was looking at their backs and throws his arms as if he is wild at something on their backs. Then I lost him and I saw him carried on the back of a black man quite a long way."
Verification:
"...The bites of this insect (tsetse fly) does not affect the donkey as it does the cattle. The next morning the spots on which my ox had been bitten were marked by ... exudation. Poor Sinbad (ox) had carried me all the way."
("Missionary Travels", page 416.)
Comment:
David Livingstone makes the vision dramatic by having his black man carry him!
Vision:
"I saw Stead and his camera, and other men with him. I'm sure you are getting lots of help on the other side. Stead has a kind of blue gown. I can't see what Stead's picture box is hanging by; it just seems to be in the air ..."
W. T. Stead. More instructions.
October 15, 1926.
Vision:
"I had a lady this time. She tried to get in but David Livingstone was determined to put them all out! He succeeded. I saw R. L. Stevenson and David Livingstone and this lady. I did not see Stead.
"Then Stevenson was alone ... I think he was studying the moon and the stars.
R. L. S. Script:
"All night long till of the night resounds ... till the stars shine ..." (not placed.)
"Livingstone came up and spoke to Stevenson; he was not too
well pleased. He can not rile Stevenson ... he does not bother. He does not get cross the way Livingstone gets."
"I had a horrid picture with Livingstone the night. I was in a field and I saw toads or frogs ... all over the ground. Some were green ... I was drawn to that. But oh, the trees were lovely! They came waving over like feathers. There were natives with him."
Verification:
"In passing along the water frogs everywhere ... it was surprising to see a green blade - Leeanby and Choba ..."
(See "Missionary Travels", page 415, last paragraph.)
W. T. Stead. Instructions re experiments.
October 19, 1926.
R. L. Stevenson.
Script:
"Guide the reader through labyrinth ..."
No Visions due to disturbance caused by impact from undesirable entities.
David Livingstone.
Script;
"Portuguese - convent - garden and church - always kept in good order ..."
Verification:
"I visited ... the deserted convent of St. Hilarion's at Bango; the garden of the convent and dormitories of the brethren are still kept in good state of repair." ("Missionary Travels", page 353.)
Vision:
"I got Stevenson but that copper-faced man made it so hard!"
"I was with Livingstone in a church. I saw priests all dressed up; it must have been a Catholic place. I don't mind Stevenson at all; that man put him out."
W. T. Stead. Instructions re getting rid of undesirable external influences. (Unfortunately these are not retained in the notes W. D. F.)
October 24, 1926.
Mrs. Poole, Dr. and Lillian Hamilton, Mrs. Cummings; Mr. D. B. MacDonald, Mr. and Mrs. Mollineaux, Mr. Cummings and Dr. J. A. Hamilton;
Script:
R. L. Stevenson:
"In the elder's seat we sit with quiet feet in the window bay."
("A Child's Garden of Verse" page 65.) Play on 'elder'.
Vision:
"I saw a whole bunch ... Stevenson and Stead and a lady (said to be Miss Havergall, the hymn writer. (L. H.). The lady was singing. Stevenson was a student at school but his teacher was going for him. I don't think he had been studying good. And then he seemed to be in a church and was up to mischief! ... his feet up on the seat. He was a little boy and he had on a kilt and a little coat."
David Livingstone.
Script:
"The natives ... became intoxicated - when you speak to them of their intemperance they reply - my mother is -"
("Missionary Travels", page 355).
Vision:
"Then I saw a whole lot of drunken blacks; Livingstone was giving them an awful calling-down! I don't know where these Indians come from. Livingstone lectured them ... I'm sorry I missed that nice singing ..."
W. T. Stead. Instructions re photo-plate experiment.
October 28, 1926.
R. L. Stevenson.
Script:
"French, German - not much Latin ..." (See Biographies.)
"I had Stevenson twice. I got him as a little boy making faces in the window in the frost with his fingers. He seemed as he was blowing his breath on it and drawing. Two other boys were with him. This was in a big stone house."
School, combined with excerpt from CGV poem "Winter Time.". Good.
Vision:
"I had both David Livingstone and R. L. Stevenson; R. L. Stevenson got through first. Stevenson was in school but I could not understand the talk. It did not sound like English. The teacher was an elderly man ..."
David Livingstone:
Script:
"Caffre family living in the eastern side - Backwains - Bechuanas - 13."
(See "Missionary Travels", page 75).
"Livingstone was awfully busy. It was like a prairie ... hundreds of those blacks and he was dividing them up. They were put into two different groups to travel different ways."
Third part of trance.
Stead writes re seating arrangements.
Vision: E.M. sees Stead's circle in his land.
October 31, 1926.
9:25 p.m. trance began
9:26 p.m.. Deep trance
10:35 p.m. writing automatically for 20 minutes
R. L. Stevenson.
"The Hayloft."
Script: "Fare you well - the ladder - the hay loft door."
Verification: "A Child's Garden of Verse", page 35).
Vision:
"I saw a lot! Did I get Stevenson first? He seemed quite full of fun. I got him in two scenes. I saw him as a man writing, then he was at a farmhouse; two or three were going up a ladder and sliding down on the hay. He was about ten years old. They were having great fun. They went up into a loft, then they would come down, which ever got there first."
David Livingstone:
Copper tribe names.
Script:
"The Caffres are divided by themselves - various subdivisions - Awaksa - Onaperda. (See "Missionary Travels", discussion of Caffre family.)
Vision:
"I saw Livingstone with a whole bunch of men ... he was separating them; they were going off in different directions. Sometimes they divided themselves."
Vision:
"I saw Stead ... He was looking at me."
W. T. Stead. Instructions.
