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measures. Advertisements announcing instruction in hypnotism constantly appear
in the daily press, both at home (Germany) and abroad. There is an American
institute which has, undoubtedly, been the greatest offender in this respect;
for years past its widespread advertisements have held out to prospective pupils
a means of learning the art of hypnotizing, whereby they should be able to influence
their fellow-men in wondrous wise. This institute offers its instruction in
written and in printed form. But putting on one side this unscientific treatment
of hypnotism, we must not forget that numerous popular, and at the same time
excellent, treatises have appeared on the subject, and popular exposition must
not be confused with unscientific
32 HYPNOTISM.
exploitation. Many of the authors of these popular works are scientists of some
repute, as, for instance, Eisler, the author of Zi r Psychologie der Hypnose,
an essay which appeared in a South-German paper; there are many other popularizers
of hypnosis who could be mentioned, but I need only name such men as Max Hirsch,
Sji strum, and Newbold of Philadelphia.
Hypnotism has not been without its votaries in literature. In former days animal
magnetism formed material for romances. I need only call to mind a short play
by Ifliand, called Der Magnetismus; or to the writings of Alexandre Dumas and
Balzac, the latter an enthusiastic upholder of animal magnetism, as evinced
in his story of Ursule Mirouet. According to Witkowski, Ben Jonson's comedy,
The Magnetic Lady, was produced one hundred years before Mesmer was thought
of, and in it a somnambulistic clairvoyants played a prominent part. Novelists
of a later date have also brought hypnotism into play. This we see in Claretie's
Jean Mornas, Belot's Alphonsine, and Achille's Un Raf ini.. Others to be mentioned
are Epheyre and Valdes, the latter for his La Prise du Regard. But without doubt,
George du Maurier's Trilby caused most stir. Of German productions of a similar
nature I may mention Meding's Ulster fremden Willen and Proll's Moderner To/en/ans.
Haas tells us that Catholic literature has been influenced by hypnotism, but
according to our authority the modus operandi seems to have been somewhat incomprehensible.
Hypnotism has often been utilized by playwrights; for example, in Sardou's Sorci2re,
a piece in which Sarah Bernhardt appeared. Other plays to be mentioned in this
respect are Kurt Abel's Der Hypnotiseur and Dr. Feodoroff's comedy, Die Hypnotische
Suggestion, a play produced in 1896 for a Russian charity, and in which all
the doctors connected with the fund appeared. It stands to reason that caricaturists
and satirists have not failed to make use of the humorous side, and certainly
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