In this connection, Braid disagreed with the popular idea that the capacity to induce hypnosis was linked with a "magical passage" of a flowing influence (Richet's "ectoplasm") from the mesmerizer to the patient.
To be sure, the attitude of the one who, "nothing doubting," whatever he or she attempts, they "are almost sure to accomplish," reminds us of Blavatsky's (1877i: 109) remarks quoted above on the difference between the mesmerizer and the medium: the first, in order to be successful, had to have an indomitable will--much like the Prometheus figure in Byron's poem Prometheus or in P.
Here is how the spirit rapper as mesmerizer / hypnotizer describes his mystical will-induced feeling of the unity of being (unity with a friend, unity with nature; be it reminded that the unity of being had been the common goal of most romantics):
The spirit rapper thus starts his spiritistic revolution after a quite interesting event: one spirit tells him that he "was not a good medium" himself, because he "held the spirits in awe." In this sense, the explanation as to why the spirit rapper was not a good medium is quite simple: he was no medium at all, instead he was a mesmerizer. We remember that Blavatsky (1877i: 109) presented the ABC of spiritism as consisting of the rudimentary knowledge that there are two types of spirital practicians: the active mesmerists, and the passive mediums.
Lubin's frogs and the Chinese jugglers, mesmerizers, and acrobats of Cinematographes are listed in those companies' respective catalogues.
In addition, the French company Cinematographes offered films of Chinese jugglers, mesmerizers, and acrobats for the American market.
Baron Charles Dupotet de Sennevoy brought mesmerism to London; making passes over the bodies of his subjects, who then mimicked the actions of the mesmerizer, and prescribing remedies.
Mesmerism in Britain "officially" declined, Winter convincingly asserts, because the relationship between mesmerizer and subject was too intimate.
Moreau), it is also possible for the reader to see Coeur as a failed hero, the first in a line of future mesmerizers
. Perhaps most shocking of all is one which concludes that Calverton intended Coeur's experiments in utopian terms, that is, that he saw collective spiritual suicide as a human victory over fear and anxiety.