woman, whose depth of eye and powerful motion announced the conductor of the mysterious fluid.
Wo to such a woman who finds herself linked to such a man in bonds too close. It is the cruellest of errors. He will detest her with all the bitterness of wounded self-love. He will take the whole prejudice of manhood upon himself, and to the utmost of his power imprison and torture her by its imperious rigors.
Yet, allow room enough, and the electric fluid will be found to invigorate and embellish, not destroy life. Such women are the great actresses, the songsters. Such traits we read in a late searching, though too French analysis of the character of Mademoiselle Rachel, by a modern La Rochefoucoult. The Greeks thus represent the muses; they have not the golden serenity of Apollo; they are overflowed with thought; there is something tragic in their air. Such are the Sibyls of Guercino, the eye is over-full of expression, dilated and lustrous; it seems to have drawn the whole being into it.
Sickness is the frequent result of this over-charged existence. To this region, however misunderstood, or interpreted with presumptuous carelessness, belong the phenomena of magnetism, or mesmerism, as it is now often called, where the trance of the Ecstatica purports to be produced by the agency of one human being on another, instead of, as in her case, direct from the spirit.
The worldling has his sneer at this as at the services of religion. “The churches can always be filled with women.” “Show me a man in one of your magnetic states, and I will believe.”
