I have often observed that it was easier to induce sense-delusion by accompanying movements than by verbal suggestion alone, and I would recommend this as a means of deepening the hypnosis in suitable cases. It is often impossible to define the exact moment when sense-delusion supervenes; it is impossible, therefore, to decide whether the delusion was really in existence before, or whether it was called up by the compulsory movements.

I take this opportunity of pointing out that particular movements have been observed to excite mental process in waking life as well as in hypnosis, a fact to which Dugald Stewart, Gratiolet, and others called attention long ago. I may mention an example from ordinary life: an attitude expressing anger is assumed; a real feeling of anger very often follows, especially if words are also used. The expression, "To talk one's-self into a passion," is a proof of this.

We thus see that a particular movement exerts an influence on the emotions and ideas in waking life. This can, of course, be considered merely an instance of auto-suggestion. Still, it is doubtful whether the term suggestion in its present-day sense is permissible in this case; and we are as little justified in considering "colour-hearing" an auto-suggestive process, because the phenomenon may be the result of a number of processes which have no direct connection with suggestion. The chief point is this: does any particular muscular action in hypnosis call up emotions without any previous special training which it fails to do in the waking state? Let us take one of Charcot's examples: if I make the necessary suggestion, and also stimulate the muscles used in laughter by faradization, the subject makes the movement of throwing a kiss with the hand. According to the views held by Charcot's school, the movement of throwing a kiss is not brought about in this way; it is rather the result of an associative process which has nothing to do with any external suggestion. This appears to me more than problematical.

Bouchard and Pitres think they have discovered that contraction of the muscles used in laughter calls up jovial feelings or hallucinations - i.e., such as are intimately connected with facial expression. Moreover, it is well known that a normal person can be made to laugh by forcing his mouth to assume a laughing expression. Any one can easily demonstrate this on himself - hold the cheeks firmly with the fingers, pull up the corners of the mouth, and a laugh follows. Whether cheerful feelings result from this procedure is another question. Any way, the authors we have mentioned assume that in hypnosis cheerful hallucinations ensue from contraction of the muscles used in laughter. In his work Le Rire, etc., Raulin records similar experiments made by various investigators; he thinks that in the cases mentioned external suggestion was apparently excluded. Yet the examples he adduces for the purpose of proving that cheerfulness, for example, can be induced by the assumption of a particular posture, are not convincing; at least there is no proof of the absence of suggestion and training in the experiments to which he refers.

We have something similar to the above in the zones idiogenes of Pitres. I have already mentioned that according to Pitr6s stimulation of certain portions of the body induces hypnosis, of other parts terminates it. Pitres also states that stimulation of particular portions of the body which he includes in his zones idiogenes calls up definite mental processes, particularly emotions. In one case friction of the temporal region is said to have caused cheerfulness; but this form of stimulation is not invariably effective unless the subject is hypnotized. There is only one case on record in which stimulation of the zone in question induced laughter when the subject was awake. Pitres has also described zones idiogenes for ecstacy and other mental states, but there is no necessity for me to discuss these questions, because we have no guarantee that external suggestion was really excluded in any instance.

I will now mention a particular method of influencing subjects which has recently attracted a certain amount of attention. It acts through the ear like ordinary verbal suggestion, but music, and not speech, is the agent. In 1894, Warthin published experiments dealing with the question. His subjects were five men and two women, all of whom were stated to be in good health. Four were physicians and tutors, the rest students, and none of them had ever been the subject of a hypnotic experiment before. They were all more or less fond of music, although it did not excite any of them particularly or cause any noticeable physiological action when they were awake. All this is said to have been changed in hypnosis, which leads me to remark that the whole account reads like a fairy tale. The "Ride of the Valkyries" was played upon the piano, and although only one of the subjects knew of the connection between the music and the wild ride, the idea of riding is said to have been called up in each of them, the concrete idea being derived from some recent experience. The only one who understood the music even imagined himself one of the riders. The magic fire, also, caused all of them to experience a sensation of fire and flames.

But when the imaginary ride was at its wildest, and the music changed from B major to B minor, the effect was even more intense. All were thrown into a terrible state of collapse; the pulse fell from 120 to 40 beats in the minute, was irregular, soft, and small, and the respiration was retarded and distressful. The same experiment was often successfully repeated with other subjects. Some little time ago a "dream-dancer," Frau Magdeleine, attracted much attention in Germany. Others soon followed in her wake. When hypnotized, and under the influence of specially selected music, she was able to express any emotion to perfection, by facial play and pantomime. Her talent for dancing was also a factor. The mere mention of an emotion, or any other form of impression - for example, the recital of a poem - called up the emotion in question. The commotion which this "sleep-dancer" caused was brought about by two things: (1) her talent for acting; (2) her incapacity to display the same except when hypnotized. It was also stated that she had never received any special training for her performances.