Part 12

2. July 14. In his room Mr. Sinclair drew the grinning face of Figure 21, and then Mrs. Sinclair drew in hers Figure 21a. Two eyes in his, one “eye” in hers. Look at the agent’s drawing upside down (how can we or he be sure that he did not momentarily chance to look at it reversed and retain the impression?), and note the parallels. At the top of his two eyes—at the top of hers one “eye”; midway in his two small angles indicating the nose—somewhat above midway in hers, three similarly small angles unclosed at the apexes; at the bottom of his a crescent-shaped figure to indicate a mouth, with lines to denote teeth—at the bottom of hers a like crescent, minus any interior lines. Had the percipient drawn what would be instantly recognizable as a face, though a face of very different lines, it would be pronounced a success. But such a fact would be very much more likely as a guess than a misinterpreted, almost identical crescent (she thought it probably a “moon”), so similar little marks, angularly related (she “supposed it must be a star”), and an “eye,” all placed as in the original.

3. July 17. Mr. Sinclair, lying on a couch in one room, drew and then gazed at a drawing which can easily be described; it is a broad ellipse with its major axis horizontal, like an egg lying on its side, and a smaller and similar one in contact over it. Mrs. Sinclair, lying on a couch in another room, first drew a broad ellipse (not quite closed at one end), with major axis horizontal, and beside it and not quite touching, a somewhat smaller circle not quite closed at one end. Then she got an impression represented in a second drawing, four ellipses of equal size, _two of them in contact with each other_.

4. July 20. Under the same conditions Mr. Sinclair drew two heavy lines like a capital T. Mrs. Sinclair drew what is like an interrogation point with misplaced dot, then a reversed S with two dots enclosed, then an upright cross composed of lines of equal length, and finally such a cross circumscribed by a tangential square. Though, as Mr. Sinclair remarks, the cross is the T of the original with its vertical line prolonged, I should call this experiment barely suggestive.

5. July 20. Under the same conditions Mr. Sinclair drew a long-handled fork with three short tines. Mrs. Sinclair, to use the language of her own record, “kept seeing horns,” and she attempted to draw them. She also “thought once it was an animal’s head with horns, and the head was on a long stick—a trophy mounted like this....” But her drawing was like a long-handled fork with two short tines combining to make a curve very close to that of the two outer tines of the original.

6. July 20. Under the same conditions Mr. Sinclair drew a cup with a handle. Mrs. Sinclair twice drew a figure resembling the handle of the original, then the same with an enclosed dot, then lines parallel and at an angle. She felt confused and dissatisfied. It is possible that her first impression was derived from the cup, but we can hardly urge this evidentially.

7. July 21. Under the same conditions Mr. Sinclair drew a man’s face in profile (Fig. 20). Mrs. Sinclair wrote: “Saw Upton’s face—saw two half-circles. Then they came together, making full circle. But I felt uncertain as to whether they belonged together or not. Then suddenly saw Upton’s profile float across vision.” Well, Mr. Sinclair is a man, hence his face is a man’s face, and it was seen in profile like the original drawing.

Thus far there is no gap in the record of this group. There were experiments on July 27 and 29, but apparently two or more papers are missing. It is certain that on the 29th, under the same conditions, Mr. Sinclair drew a smoking cigarette and wrote beneath it, “My thought, ‘cigarette with curls for smoke,’” and that Mrs. Sinclair drew a variety of curving lines and wrote, “I can’t draw it, but curls of some sort.” So it appears that on this date there was a suggestive result, but as there is doubt whether one or two other experiments may not have been tried, the papers of which were not all preserved, we had better regard the group as closed with No. 7.

So far as concerns the question solely whether Mrs. Sinclair has shown telepathic powers, I would be willing to rest the case right here, after but fourteen experiments under the conditions which have been stated.[12] Every intelligent reader who really applies his mind to them must see the extreme unlikelihood that the results of those fourteen experiments, taking them as they stand, successes, partial successes, suggestive and failures, are the products of chance. And any one who has had hundreds of experiments in guessing, as I have done, will know that there is no likelihood of getting out of many thousands of guesses anything like the number and grades of excellence in correspondence found in these fourteen consecutive tests for telepathy.

We cannot take space to comment on all the tests made, the papers of which were sent us, and we here pass over three on as many dates, one a success though not a perfect one, two failures.

The Series of January 28, 1929

Mr. Sinclair asked his secretary “to make simple geometrical designs, letters and figures, thinking that these would be easier to recognize and reproduce.” It seems a little strange that when things were going on so well, he should have wanted a change, though any experiment is interesting. It is by no means certain, and I very much doubt from these and earlier printed experiments, that the assumption is a correct one. It may well be that geometrical diagrams, letters of the alphabet and such like fail to interest the agent and afford him a lively mental representation, as do pictures of miscellaneous objects. And if I understand rightly, another change of method was also initiated, and that was for Mrs. Sinclair to try to get the drawings not while the maker of them was gazing intently at them, but after they had left his hands. This certainly was often the case later on.

I wrote and asked Mr. Sinclair if Mrs. Sinclair was told the fact that this and several other series of original drawings consisted of geometrical drawings, letters and figures, and he said that she was not so told, that he would have regarded this as a vitiation of the experiments. It would certainly increase the chance of getting drawings right by guess, but it would hardly have ruined the experiments. In fact, some people think that the most scientific experiments are those in which the range of chance guess is limited to an extent known to the percipient, as when the problem is to determine which of the 52 cards of a pack is being looked at, or which of only ten known diagrams. This opinion is probably based on the fact that then the ratio of success to chance expectation can be exactly calculated, though why it should be more satisfactory to know that the chance of a correct guess is exactly 1 in 10 than it is not to be able to tell exactly what the chance is but to be sure at least that it cannot be 1 in 100, I do not know.

Unless I had carefully recorded at the time that there was no chance of the percipient having a hint that the drawings were now for a time to consist of geometrical designs, letters and figures, I would not dare to be certain of it after several years have passed. If Mrs. Sinclair had no inkling, the change in the general character of her drawings is a fact of great interest. But we will take cognizance only of whatever resemblance may or may not be found between the several reproductions and their originals.

The first series of drawings by the secretary were seven in number, and, says Mr. Sinclair, “They brought only partial successes; Craig would get elements of the drawing, but would not know how to put them together.... There is some element right in every one.” Let us see.

1. _Agent’s_ drawing, a script B; _Percipient’s_ drawing, a figure very like a script 3, practically the B without its vertical line.

2. _Agt._, a script S; _Per._, a script J. As made, each has two balloon-like parts joined at the small ends, certain details of course different.

3. _Agt._, a hexagon; _Per._, two lines forming an acute angle, like two sides of the hexagon, also a capital E with a line drawn down at an acute angle to the left from the upper extremity of the vertical line.

4. _Agt._, script M made with a peculiar twist in its first line; _Per._, almost precisely that first line with its twist.

5. _Agt._, a thin, long, quadrilateral, like a shingle; _Per._, (1st drawing) what would be almost exactly the same quadrilateral, narrow and long, but its shorter sides are wanting, and (2nd drawing) a closely similar quadrilateral, with another and longer one attached to its side at a sharp angle.

6. _Agt._, an interrogation point; _Per._, a figure hard to describe, a round dot with curves springing from it like concentric 3’s, and two parallel lines shooting to the left. The points which attract notice are the dot, like that of the original, and the curves similar to that of the interrogation point.

7. _Agt._, script E; _Per._, same minus the “curls.”

Several of the above are not impressive taken alone; taken together, the greater or less approaches to the several originals defeat chance, though how much no man can measure. Counter-tests by guessing will come the nearest to measuring.

The Series of January 28–29, 1929

This series also has to do with drawings made by Mr. Sinclair’s secretary.

1. _Agent’s_ drawing, a diamond or rhombus (Fig. 32); _Percipient’s_ drawing, the two halves of a rhombus, “wandering about,” as Mr. Sinclair says (Fig. 32a); if connected they would make a rhombus closely similar to the original.

2. _Agt._, a script capital Y; _Per._, a print capital Y. (Figs. 33 and 33a.)

3. The _Agent’s_ drawing, a bottle of milk with “certified” written on it, was suggested by his knowledge that Mrs. Sinclair to a considerable extent lives on milk and is particular about its quality; _Per._, an ellipse much like the top of the bottle, a straight line depending therefrom, and the script “Round white foamy stuff on top like soapsuds or froth.” And foam is characteristic of her milk, as she drinks it sour and whipped (Figs. 34 and 34a). Here the percipient failed to get much as to shape, but got considerable in the way of associated ideas.

4. _Agt._, an oil derrick (Fig. 35); _Per._, got what will be seen in Figure 35a. There are long lines diverging like the long lines of the oil derrick, but at a slant, and with a 5 or perhaps a 9 at the top which has no counterpart in the original. This is not a very satisfactory reproduction, but the general shape and long downward lines are suggestive.

5. _Agt._, something like a poplar leaf; _Per._, three scrawls like letters or parts of letters. A failure.

6. _Agt._, three small ellipses attached to a stem; _Per._, script “See what looks like spider’s web,” but drawing shows a bunch of elliptic figures.

7. _Agt._, apparently an apple with stem; _Per._, (1) what looks like a tall script V, (2) the same less tall, (3) one so low and broad that it is nearly equivalent to the top of the apple minus the stem.

8. _Agt._, a house from whose chimney proceeds smoke represented by a spiral line (Fig. 36). _Per._, (1) a double spiral cut by a straight line, same slant as in the original, (2) single spiral of nearly the same slant, (3) what looks like a battlement, the crenels or openings of which are like the windows of the house minus the upper sides (Fig. 36a). The rectangular openings are three in number, the rectangular openings in the house (two windows and a door) are also there.

9. _Agt._, an open fan (Fig. 102); _Per._, a drawing represented by Figure 102a, accompanied by the script, “Inside seems irregular, as if cloth draped or crumpled.” Two words, “cloth,” and “draped,” suggest what takes place as one begins to shut a fan, though the drawing is an incorrect representation.

10. _Agt._, the figures 13 (Fig. 103); _Per._, (1) what would be a 3 but for a supernumerary curve, (2) a 3 (Fig. 103a).

11. _Agt._, a conventional heart (Fig. 105); _Per._, practically the upper part of such a heart, with three spots which may or may not represent blood-drops, according to Mr. Sinclair’s conjecture (Fig. 105a). We can hardly contend, as an evidential point, that this is the meaning of the round spots. Some obscure subconscious recollection of expressions like “My heart bleeds,” expressing suffering, may have come out in the drawing, though in that case one wonders why the whole heart was not drawn. But it may be that the three marks proceeding in the direction of the right side of the original came from a feeling that _something_ should line in that direction.

12. _Agt._, a broom (Fig. 104); _Per._, several attempts all more or less resembling the original (Figs. 104a, 104b), and a valuable script: “All I’m sure of is a straight line with something curved at the end of it [and this description, _all that she was sure of_, is so far correct]; once it came [here see the drawing at the left]—then it doubled, or reappeared, I don’t know which [referring to the upper right drawing] (am not sure of the curly edges) [and she was justified in her doubt. Probably the curly edges resulted from the intermingling of her surmise that the curved something at the end of a line might be a flower]. Then it was upside down.”

Series of February 8, 1929

Tests with drawings in carefully sealed envelopes.

1. _Agt._, a coiled snake (Fig. 45); _Per._, no drawing, but this script: “See something like kitten with tail and saucer of milk. Now it leaps into action and runs away to outdoors. Turns to fleeing animal outdoors. Great activity among outdoor creatures. Know it’s some outdoor thing, not indoor object—see trees, and a frightened bird on the wing (turned sidewise). It’s outdoor thing, but none of above seems to be _it_.”

This is much more interesting than if there had been the perfect success of writing the word “snake,” because we seem to get inklings of the internal process. “Saucer of milk”—observe that the serpent’s coil plus the unattached ellipse in the center (due to Mr. Sinclair’s confessed bad drawing) really does look like a saucer. “Something like a kitten with a tail”—why mention tail? Most kittens have tails. But a tail sticks up back of the saucer. Later neither kitten, trees nor frightened bird is _it_, yet something is causing great commotion among outdoor creatures. It is an outdoor thing, therefore not a kitten, but evidently something alive. The scene is very appropriate to the appearance of a snake. Mr. Sinclair tells us that his wife’s childhood was in part spent where there were many poisonous snakes, and that fear of them was bred in her. As he conjectures, it is very likely that dawning in the subconsciousness, not fully emerging in the conscious, the subject of the drawing stirred up imagery from childhood. I surmise that, if the truth, which she may not consciously remember, could be known, she saw while a child a kitten fleeing from a snake.

2. _Agt._, a daisy (Fig. 59); _Per._ got what is very like the petals around the disk of the daisy, also two stems, also various curving lines more or less like the daisy leaves or vegetation at least (Fig. 59a).

3. _Agt._, an axe, seemingly a battle-axe, with AX printed (Fig. 145); _Per._, as in Figure 145a. Note the parallels: (a) “letter A [right as far as it goes], (b) with something long (c) above it”; (d) “there seems to be no end to the handle”; (e) the drawing much resembles the original, in fact one type of ancient battle-axe was very much of the same shape. Although she finally guessed that it was a key, yet a suspicion of military use enters in the conjecture “a sword,” which is perhaps all the more striking since the drawing bears little resemblance to a sword.

4. _Agt._, a crab (Fig. 48); _Per._ drew as in Figures 48a, 48b, and wrote “Wings, or fingers—wing effect, but no feathers, things like fingers, instead of feathers. Then many little dots which all disappear, and leave two of them, O O, as eyes of something.” And again, “streamers flying from something.” The reader will judge for himself whether the drawings do not suggest the crab’s nippers, and one of them the joint adjoining. “Wing effect but no feathers, things like fingers”—especially the lower pair in Mr. Sinclair’s remarkable crab _do_ look like fingers. “Many dots”; well the original has four. Then she sees but two of them and they are “O O, eyes of something.” True enough, two of the “dots” in the crab are O O, and they are eyes.

5. _Agt._, a man in a sledge driving a dog-team (Fig. 60). _Per._ by accident opened this drawing, so of course could not experiment with it. But after she had made her drawings for No. 2 she wrote “Maybe snow scene on hill with a sled.” On the back of No. 3, which was so brilliant a success, she wrote “I get a feeling again of a snow scene to come in this series—a sled in the snow.” It is unfortunate that an accident prevented her trying No. 5 when she had actually reached it, but she certainly got it by anticipation.

6. _Agt._, a tobacco pipe with smoke issuing therefrom (Fig. 37); Per. first drew an ellipse and wrote “Now it begins to spin, round and round, and is attached to a stick”; (2) next she made the conventional “curl” which usually means smoke; (3) then she made another curl of smoke and pushed the open end of an ellipse into it,[13] joined a line to the ellipse just about where the stem of a pipe meets the bowl and at the end of the line made a small circle, which certainly is not found in the original but may express the feeling that there is a circular opening (Fig. 37a).

7. _Agt._, a house with smoking chimney; _Per._, two figures, each very like the frame of a window lacking the upper side, or like the crenels or openings in the battlement of Figure 36a, but longer. In connection with that drawing (Experiment of January 28–29) we made the remark (which may have seemed fanciful) that the number of these openings or uncompleted rectangles was the same as that of the windows and door in the original drawing. Here the uncompleted 2 rectangles equal in number the one window plus the one door of the house. She also wrote “There is something above this—can’t see what it is part of.” True, the roof and chimney are above the window and door.

Series of February 10, 1929

1. _Agt._, a bat (Fig. 109); _Per._, as in Fig 109a. The drawing at the top is accompanied by the remark “Looks like ear shape something.” And certainly each of the bat’s wings does resemble an ear in shape. The middle left drawing gets the idea that there are two symmetrical and diverging curves, but fails to complete them; space is left between them which in the agent’s drawing is occupied by the body. The middle right figure again has symmetrical diverging curves, with a further approach toward shaping the wings. This time they are incorrectly joined at the bottom, but the perpendicular line between betrays an inkling that something belongs there. Imperfect as all these attempts are, they contain hints which it is difficult to attribute to chance. The agent, looking at his drawing, would of necessity have his attention focus first on one part of it and then upon another, and the percipient’s drawings seem as though they caught his several moments of wandering attention.

2. _Agt._, a hand with pointing finger, and thumb held vertically (Fig. 108); _Per._, (1) a drawing not reproduced here of a negro’s head with a finger-like projection drawn vertically from his skull, (2) then script “Turned into a pig’s head, (3) then a rabbit’s,” as in Figure 108a. In one sense the _percipient’s_ drawings are all failures; that is, none of them would be recognized as a hand. But in all three a feeling seems to express itself that there is _something_ sticking up. This is the more remarkable in Drawing 1, since such an excrescence does not belong on a head. Drawing 2 gets rid of the face, and the thumb of the original becomes a peculiarly thumb-like ear.

3. For this experiment see the “line-and-circle men” and their evidentially suggestive sequel (Figs. 144, 144a).

4. _Agt._, a rudely drawn caterpillar (Fig. 118); _Per._, script: “Fork—then garden tool—lawn rake. Leaf,” and drawing representing a leaf which has a certain fantastic resemblance to the caterpillar (Fig. 118a). Mr. Sinclair makes the illuminating remark that he owned “a lawn-rake made of bristly bamboo, which looks very much like my drawing.”

5. _Agt._, a smoking volcano (Fig. 25); _Per._, what she called a “Big black beetle with horns” (Fig. 25a). But the body of the beetle closely matches the smoke of the volcano, while the antennae or “horns” nearly correspond to the outline of the mountain.

A Series of February 15, 1929[14]

Let us now inspect a complete and long series of February 15, 1929. It contains no such brilliant success as in Experiment 4 of February 20, but out of 13 experiments there is but one absolute failure, the first. In this the agent drew a rat, the percipient two crossed objects like keys.

2. In Figure 147, the agent’s drawing represents a door with lattice on the upper half; it is made up of perpendicular and horizontal lines only. The percipient’s drawing (Fig. 147a) consists of four perpendicular lines finishing at the top in curves like fish-hooks, and these lines are crossed by three horizontal lines. There is in the crossed lines a suggestion of the agent’s drawing, a resemblance greater than to any other of the thirteen.

3. The agent’s next drawing (Fig. 93) represents a sun over hills. Mrs. Sinclair first seems to have got the notion of a sun, which was right (Fig. 93a). Then she made another circle and put features in it, as will be seen suggested in the agent’s drawing (actually, in the original drawing, the features are plainly to be seen). Then she got the idea of something stretching out below it with curving lines, interpreted it to be a body, so probably, from mere inference, clapped her sun with features on to it.

4. Agent’s Figure 97 is a butterfly but the percipient did not get the idea of a butterfly (Fig. 97a). However, the divergent lines and the spots, five instead of four, and similarly placed, do seem to bear a relation to it.

5. In Figure 96a, Mrs. Sinclair’s drawing resembles a part of her husband’s (Fig. 96), although she misinterpreted her mental picture. What she thought to be the leg of an animal, and which she drew twice, was judged by the way it bends to be a front one, but the knee of the leg roughly corresponds with the elbow of the pipe. Note that she seems to have got the bulge at the end of the pipe, translating it into a “foot,” naturally at the end of the leg.

6. In Figures 98 and 98a, compare the three “sparks” with the three crosses on the box.

7. The shape of Figure 94a is like that of Figure 94 reversed, and there is a suggestion of the strings, while the feet represent the pedals of the harp.

8. The percipient in the case of Figure 95a did not get the picture of the whole balloon bag of the agent (Fig. 95), but she did of half of it, with a strong suggestion of the cords.

9. In Figure 148a, bad as the percipient’s drawings are, regarded as reproductions of Figure 148, yet they do contain suggestions of it. In her left upper drawing we may suppose that an impression of the leaf-stem (but badly twisted) was expressed with a leaf-lobe directly below the stem, together with an idea of the veining, that in the right upper one the stem is corrected, and that in the lower drawing a notion of the veining alone is conveyed. Exactly so would the attention of the agent, when drawing the leaf or afterward looking at or thinking of it, pass from and to, or at least stress, one part of the leaf after another.