shifting and changing from one to the other.
I will here remind the student that he will learn more by a half-dozen actual experiments in mind-reading, than he will by reading a dozen books on the subject. It is very good to read the books in order to get the correct theory well fixed in mind, and also in order to learn the best methods as taught by those who have had a wide experience in the subject; but the real "how" of the matter is learned only through actual experience. So, I shall now give you advice and instructions concerning actual experimental work.
You, the student, should begin by making yourself a good recipient—that is a good "mind reader," allowing others to play the part of projector. Later on, you may play the part of projector, if you so desire, but the real "fine work" is done by the recipient, and, for that reason that is the part you should learn to play by frequent rehearsals.
I advise you to begin your experiments with friends who are in sympathy with you, and who are interested in the subject. Avoid particularly all early experiments with uncongenial or unsympathetic persons; and avoid as you would a pestilence all those who are antagonistic either to yourself or to the general subject of telepathy and kindred subjects. As you must make yourself especially "sensitive" in order to successfully conduct a mind-reading test, you will find yourself particularly susceptible to the mental attitude of those around you at such times, and therefore should surround yourself only with those who are congenial and sympathetic.
You will find that there is a great difference between the several persons whom you "try out" as projectors. Some will be more "en rapport" with you than are others who may be equally good friends. "En rapport," you know, means "in vibrational harmony." When two persons are en rapport with each other, they are like two wireless telegraphic instruments perfectly attuned to each other. In such cases there are obtained the very best results. You will soon learn to distinguish the degree of en rapport conditions between yourself and different persons—you soon learn to "feel" this condition. In the beginning, it will be well for you to try several persons, one after the other, in your mind-reading experiments, in order to pick out the best one, and also to learn the "feel" of the different degrees of en rapport condition.
Even in cases of persons in whom the en rapport conditions are good, it is well to establish a rhythmic unison between you. This is done by both you and the person breathing in rhythmic unison a few moments. Begin by counting "one-two-three-four," like the slow ticking of a large clock. Have the other person join with you in so counting, until your minds both work in the same rhythmic time. Then you should have him breathe in unison with you, making a mental count with you at the same time, so that you will "breathe together." Count (mentally) "one-two-three-four," as you inhale; the "one-two," holding the breath; and, then "one-two-three-four," exhaling or breathing-out. Try this several times, and, you will find that you have established a rhythmic unison between yourself and the other person. In the progress of an experiment, if you should find that the conditions are not as good as might be desired, you will do well to pause for a few moments and re-establish the proper rhythmic harmony by this method of harmonious rhythmic breathing.
Begin by having the projector select some prominent object in the room, a chair, or table for instance. Then have him take your left hand in his right hand. Raise your left hand, held in his right hand, to your forehead; then close your eyes and remain passive a few moments. Have him concentrate his mind intently on the selected object—and will that you should move toward it. Have him think of nothing else except that object, and to will you to move toward it, with all his power. Close your eyes, and quiet your mind, opening your consciousness to every mental impression that he may send you. Instruct him to think not merely "chair," for instance, but rather "there—go there." The main thought in his mind must be that of direction. He must will that you move toward that chair.
After a moment or two, you will begin to feel a vague, general impulse to move your feet. Obey the impulse. Take a few slow steps in any direction that seems easy to you. Sometimes this will take you in an opposite direction from that of the chair, but it will "get you going," and you will soon begin to feel that the direction is "all wrong," and will begin to be mentally pulled in the right direction. You will have to actually experience this feeling, before you will fully understand just what I mean.
After some little practice, you will begin to feel quite distinctly the mental direction, or will-force, of the projector, which will seem to tell you to "come this way—now stop—now turn a little to the right—now a little to the left—now stop where you are, and put out your right hand—lower your hand—move your hand a little to the right—that's it, now you have got it all right." You will soon learn to distinguish between the "no, that's wrong" thought, and the "that's right" one; and between the "go on," and the "come on" one. By making yourself completely passive, and receptive and obedient to the thought and will-impulses of the projector, you will soon act like a ship under the influence of the rudder in the hand of the projector.
After you have attained proficiency in receiving the mental impressions and directions, you will find yourself attracted or drawn, like a piece of steel to the magnet, toward the object selected. It will sometimes seem as if you were being moved to it even against your own will—and as if someone else were actually moving your feet for you. Sometimes the impulse will come so strong that you will actually rush ahead of the projector, dragging him along with you, instead of having him a little in advance, or by your side. It is all a matter of practice.
You will soon discover the great difference between different projectors. Some of them will be in perfect en rapport condition with you, while others will fail to get into tune with you. Some projectors do not seem to know what is required of them, and usually forget to "will" you to the object. It helps sometimes to tell them that the whole thing depends upon their will power, and that the stronger their will is, the easier it is for you to find the thing. This puts them on their mettle, and makes them use their will more vigorously.
You will soon learn to recognize that peculiar feeling of "all right," that comes when you finally stand in front of the desired object. Then you begin to move your right hand up and down and around, until you get the right "feel" about that also, when you should place your hand on the place which seems to attract you most. You will find that the hand is just as responsive to the mental force, as are the feet. You will soon learn to distinguish between the mental signals: "up," "down," "to the right," "to the left," "stop now, you're right," etc. I cannot tell you just the difference—you must learn to "feel" them, and you will soon become expert in this. It is like learning to skate, run an automobile, operate a typewriter or anything else—all a matter of exercise and practice. But it is astonishing how rapidly one may learn; and how, at times, one seems to progress by great leaps and bounds. Now I shall give you the different stages or steps, which you will do well to follow in your exercises, progressing from the more simple to the more complex—but be sure to thoroughly master the simple ones, before you pass on to the more complex one. Be honest and strict with yourself—make yourself "pass the examination" before promotion, in each and every step.
1. LOCATIONS. Begin by finding particular locations in a room; corners, alcoves, doors, etc.
2. LARGE OBJECTS. Then begin to find large objects, such as tables, chairs, book-cases, etc.
3. SMALL OBJECTS. Then proceed to find small objects, such as books on a table, sofa-cushions, ornaments, paper-knives, etc. Gradually work down to very small objects, such as scarf-pins, articles of jewelry, pocket-knives, etc.
4. CONCEALED OBJECTS. Then proceed to find small objects that have been concealed under other objects, such as a pocket-book beneath a sofa-cushion, etc.; or a key in a book; or a key under a rug, etc.
5. MINUTE OBJECTS. Then proceed to discover very small objects, either concealed or else placed in an inconspicuous place, such as a pin stuck in the wall, etc.; or a small bean under a vase, etc.
The public performers of mind reading vary the above by sensational combinations, but you will readily see that these are but
