Arthur Balfour's Ghosts by Trevor Hamilton
Author:Trevor Hamilton
Language: eng
Format: epub
Tags: Automatic writing, cross-correspondences, psi, parapsychology, ghosts, life after death, survival, Myers, Gurney, Balfour, Coombe-Tennant, Piddington, Verrall, Paranormal, Trix Fleming, mediumship, spiritualism, trance, Leonora Piper, scripts, society for psychical research, psychic phenomena, post-mortem communication, fraud, symbolism
ISBN: 9781845409678
Publisher: Andrews UK Limited 2018
Published: 2018-01-02T00:00:00+00:00
In the long dull room with candles lighted...Scallop shells along the edge and marigolds - a funny little garden...sigma [drawing of a curl and drawing of a sword]
As Gerald Balfour stated (Piddington 1921: 159): ‘Candles, a long room, and the rhyme “Mary, Mary, quite contrary” are all associated in the scripts with the Palm Maiden.’ As has been seen, the Long Room was the room at 4 Carlton Gardens which served as a Music Room in the time of May Lyttelton and later the room in which the Perseus figures of Burne-Jones were displayed. Note the date of the script and that it was a script that Winifred Coombe-Tennant never saw and from which she could not have derived the candle references or the links with the Lyttelton family in her script of 15/7/1915 quoted above.
The link between the Sigma (Palm Maiden hair) and the Sword/Excalibur (Arthur Balfour) was particularly clear in the scripts and the point was made again and again.
Margaret Verrall 30/7/01:
[drawing of a sword] This is the sign that helps and the snaky [drawing of a coil]
Margaret Verrall 17/10/1901:
drawing of curly sigma and a sword I can’t get it...But you are on the right track
Margaret Verrall 6/9/1902:
Sigma is a riddle. Sigma will signify to your mind things not understood but to be understood some time. Only use intelligence and connect things of the same sort, even if they seem dragged in...
The Complexity of the Symbolism
But even though one can demonstrate that in a number of cases the same or similar symbols, or symbols with a clear rationale for the particular person referred to, were deployed across the scripts, this is only the start of the complexity. The tracking of a symbol could be made even more difficult depending on which particular aspect of it the communicator selected for transmission. Take the candle/illumination symbol. It was associated through the ‘Oranges and Lemons’ rhyme with the bells symbolism in scripts which, when followed through, led the reader on another convoluted journey.
As Piddington (1935b: 1065) put it: ‘Thus there are Birth Bells (a peal of eight bells); Wedding Bells; and Death Bells; and in a great number of instances Bells are connected in one way or another with Light-houses. Then there are Tinkling Bells, and these include Sheep Bells, Sledge Bells, and Temple Bells. The epithet “tinkling” is, I think, important, for it may be intended to link these Bells on to the Golden Bough and its leafy gold, the foil ( bractea ) of which tinkled or rustled ( crepitabat) in the breeze, and also on to the extremely thin simulacra rerum which Lucretius compares to cobwebs and to gold-leaf ( bractea or brattea auri ). Besides real Bells there are Bell-flowers, particularly the “Siver bells” in the garden of Mary, Mary, quite contrary, and the “white bells” of Tennyson’s Sea-Fairies.’ For Piddington, these associationally related symbols were all meant to refer to - depending on context -
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