Secret, Don't Tell - the Encyleopedia of Hypnosis MCRAIS.pdf

11/7/2014 Secret, Don't Tell - MCRAIS Home Chapters from: Library Secret, Don’t Tell Mind Control The Encyclopedia of Hypnotism Hypnosis Comes of Age Carla Emery The People Shapers Claire, Michigan: Acorn Hill Publishing, 1998 [Note:1] Operation Mind Control The Mind Stealers Chapter The Search for the “Manchurian Candidate” Title 1 Svengali: Unethical Stage Hypnosis in Literature and Life 8 Mind-Control Research: Goals and Methods 9 Physical Methods of Psychiatry Such Thing
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  11/7/2014Secret, Don't Tell - MCRAIS Home  Library  Mind Control Hypnosis Comes of AgeThe People ShapersOperation Mind ControlThe Mind StealersThe Search for the“Manchurian Candidate”Such Things Are KnownThe Battle for Your MindBrainwash ExperimentsStill Enrage Victim's SonThe ControllersJourney Into MadnessMind-Control ProjectsRemote-Controlled ManCanada Settles withBrainwash VictimsMicr owave Harassment& Mind-ControlExperimentationU.S. Explores RussianMind-Control TechnologyHearing “Voices”Brain TransmittersSecret, Don’t TellUAlbany SuspendsImplants ResearchBLUEBIRD: DeliberateCreation of MultiplePersonality byPsychiatristsBrain Implant VictimsThe Secrets of Mind Chapters from:   Secret, Don’t Tell The Encyclopedia of Hypnotism   Carla Emery Claire, Michigan: Acorn Hill Publishing, 1998 [Note:1]   ChapterTitle  1Svengali: Unethical Stage Hypnosis inLiterature and Life 8Mind-Control Research: Goals andMethods 9Physical Methods of Psychiatry10The History of Deliberate PersonalitySplitting33Brainwashing: The Technology   Chapter 1   Svengali: Unethical Stage Hypnosis in Literature and Life   The hypnotist can be erotically fascinated by the sight of his inanimate, plastic, unresisting subject. In this,hypnotists share a dream world with undertakers.  – Robert Marks, p. 119   An Englishman with a French name, George Du Maurier (1834-1896), wrotehis last and most famous novel, Trilby , about hypno-control. It was the first “bestseller.”Du Maurier got the idea for his tale of Svengali’s cruel domination of hishapless hypnotic subject from viewing a demonstration of a subject’s complete,amnesic dissociation in a hypnotist’s office. In the late 19th century, both natural split personalities and artificial personality splitting (by suggested amnesia under hypnosis)were hot new items in psychological research. [1]  The young female whose hypnoticsubmission was demonstrated to Du Maurier was an unknowing, chronic, hypnoticsubject, an artificially-split personality .The novelist watched her be hypnotized, made to obey commands under trance, then awakened. He saw her obedience to posthypnotic commands and her   11/7/2014Secret, Don't Tell - MCRAIS Control  Multimedia Operation Mind Control  –pdf  Case Histories of Criminal Hypnosis  – pdf  Mission: Mind Control –(First Edition)  – video Mind Control: America’sSecret War   – video CIA Mind Control  – video     Ritual Abuse Ritual AbuseCommon ProgramsObserved in Survivors of Satanic Ritualistic AbuseBreaking the Circle of Satanic Ritual AbuseHypnosis in MPD: Ritual AbuseInvestigator’s Guide to Allegations of RitualChild Abuse  rationalization of them as being freely willed choices. He observed her totalunawareness of the previous trance state. He realized the tragic potential for abuse osuch a long-term, unknowing, hypnotic subject.   Svengali and Trilby The novel, Trilby , published in 1894, contained some minor technical errors. Nevertheless, it introduced the basic, sordid facts of hypnotic exploitation to a massreadership. [2]  By the vehicle of fiction, it presented important facts about abusivehypnosis. Du Maurier’s tale of poor Trilby stimulated a much needed publicawareness, and discussion, of unethical hypnosis. What Svengali did to Trilby hasnever quite been forgotten, despite ceaseless efforts by the hypnosis lobby to discreditthe basic facts.In the novel, Svengali, a middle-aged, unsuccessful musician, captured Trilby by a disguised induction, then hypno-trained her into a split personality (and a brilliantsinger). Thereafter, she kept her puppet master, Svengali, living in luxury, supported by her concert performances. She always sang in an amnesic trance. [3] He began Trilby’s conditioning by persuading her to agree to a Mesmer-styleinduction by passes:   Svengali told her to sit down on the divan, and sat opposite to her, and bade her look him well in the whiteof the eyes.   “Recartez-moi pien tans le planc tes yeaux.”   Then he made little passes and counterpasses on her  forehead and temples and down her cheek and neck.Soon her eyes closed and her face grew placid. (DuMaurier, p. 69)   In the novel, as with real-life subjects, Trilby did not understand how aseemingly harmless first submission to hypnosis can develop into a terrible long-termmind slavery. Svengali gradually transformed her from a proud, independent personinto an obedient hypno-tool. Now she lived a cruel, secret life in addition to the “real”life that she consciously lived.   Conceited, derisive, and malicious, he alternatelybullies and fawns in a harsh, croaking voice...ThoughTrilby is repelled at first by his greasy, dirty appearanceand regards him as a spidery demon or incubus, shebecomes completely his creature under hishypnosis....Gecko...[is] a young fiddler, small, swarthy, shabby, brown-eyed, and pock-marked; a nail-biter.Though he loves Trilby he helps Svengali train her...sothat Svengali may exploit her. (Magill,  Masterplots , p.1158)   At the story’s end, foul Svengali dies. Trilby dies a few hours after. (DuMaurier’s presumption that a mind-controlled victim cannot survive without the puppet master is false.) The novel concludes with Gecko, Svengali’s assistant, tryingto explain to Trilby’s grieving former friends what happened to her—and how ahypnotic split personality functions:   Gecko sat and smoked and pondered for a while, and looked from one to the other. Then he pulled himself   11/7/2014Secret, Don't Tell - MCRAIS Pseudo-Identity and theTreatment of PersonalityChange in Victims of Captivity and Cults A Consolidation of SRA andFalse Memory DataWhat the Heck is SatanicRitual Abuse?    Email:     Visits:  together with an effort, so to speak, and said,“Monsieur, she never went mad—not for onemoment!...She had forgotten—voila tout!”   “But hang it all, my friend, one doesn’t forget such a…”   “...I will tell you a secret. There were two Trilbys. Therewas the Trilby you knew...But all at once—pr-r-r-out! presto! augenblick!...with one wave of his hand over her  —with one look of his eye—with a word—Svengalicould turn her into the other Trilby, his Trilby, and make her do whatever he might have run ared-hot needle into her and she would not have felt it...   “He had but to say ‘Dors!’ and she suddenly became anunconscious Trilby of marble, who could...think histhoughts and wish his wishes—and love him at hisbidding with a strange unreal factitious love...WhenSvengali’s Trilby was singing—or seemed to you as if  she were singing—our Trilby was fast fact,our Trilby was dead...and then, suddenly, our Trilbywoke up and wondered what it was all about...” (DuMaurier, pp. 456-459)   Trilby is now back in print (Everyman, 1994), an old fable that refuses to beforgotten. Svengali, the name that Du Maurier gave to Trilby’s evil hypnotist, is theauthor’s best-known character. The mere word is resonant with sinister implications.A Svengali is “one who attempts, usually with evil intentions, to persuade or forceanother to do his bidding.” ( Webster’s Ninth New Collegiate Dictionary )   Exploitation of Female Stage Mediums The publication of Du Maurier’s novel wound up a century of Europeanhypno-abuse of genetically susceptible persons, especially young women. Trilby spotlighted the specific problem of hypnotic exploitation of women (and men) in thetheater world.The use of somnambulist (highly-conditioned) mediums on stage, or in séances serving smaller audiences, was common in that era. The medium tended to beyoung, female, and attractive. She was a highly susceptible hypnotic subject, of course —and not protected by strong and prosperous family connections.The use of hypnotized women on stage for entertainment emerged fromeighteenth century scientific demonstrations of trance and medical hypnosis. Scientificresearchers regarded their subjects as means to an end, as useful objects whom theymanipulated like laboratory rats to prove, or disprove, their competing hypotheses.Medical hypnotists who were followers of Charcot viewed their patients being treated by hypnosis as disgusting neurotics. Their mechanistic mind manipulations respectedonly the knowledge and will of the operator. Unethical hypnotists viewed subjects as possessions destined by inborn genetic susceptibility to be ruled by the power of anymaster who made the effort to acquire and manipulate them. Most hypnotists scornedtheir subjects for the very quality they worked hardest to develop in them: mindlessobedience.Du Maurier may also have read the autobiography of Charles Lafontaine before he wrote Trilby . Lafontaine failed as an actor, but then became wealthy as astage hypnotist. The secret of his success on stage was not his own talent, but that ohis female hypnotic subject. Lafontaine  11/7/2014Secret, Don't Tell - MCRAIS   ...taught her a theatrical role that she then performed beautifully on the stage before a large audience and of which she could remember nothing in her waking state. (Ellenberger, The Discovery of the Unconscious , p. 157)   He might have read Auguste Lassaigne’s autobiography. Lassaigne wasFrench, born in 1819. He was just a touring solo juggler the day he watched an 18-year-old girl named Prudence receive treatment from a magnetizer. Observing her somnambulist behavior, he became fascinated with the possibilities of hypnosis.Perhaps, he also suddenly envisioned a more prosperous professional future for himself. He courted and married Prudence. Thereafter, she traveled with Auguste, andhis act became a stage show in which he hypnotized her.Offstage, Auguste used hypnotic suggestions to sexually arouse Prudence,which produced “heavenly voluptuousness.” His control, however, was imperfect; anangry Prudence could resist induction! (Ibid.)In 1894, the same year that Trilby was published, a legal case involving adisreputable psychic healer, Ceslav Lubicz-Czynski, was reported. He had achronically abused medium:    He made use above all of a method which nowadays ishardly ever applied and which was called “PsychicTransfer.” He hypnotized a female employee who served him as a medium (and at the same time as a lover) and  suggested to the patient sitting nearby that his pains and  sufferings would be transferred to the medium. (Hammerschlag, p. 35)   In deep trance, the young woman was caused to experience other people’sailments, daily acquiring her mental version of their pains and suffering. How cruel!The sexual exploitation was also objectionable, for Czynski was at that time pursuinga rich aristocratic client, the Baroness Hedwig von Zedlitz, with the hope of marriageto her. He conducted his “courtship” during his hypnotic services to her. That is whatcaused the legal case (not his psychological and sexual abuse of the medium), for theBaroness said “Yes” under hypnosis—and her relatives reported the matter to the police.   “Voodoo Death” on Stage In 1894, another hypnotist, Franz Neukomm, also made European news. Ellafirst was hypnotized by two doctors who were hired by a “relative” to treat her for a“nervous ailment.” Their power of suggestion temporarily suppressed the symptoms, but then she got even worse. Neukomm happened to be passing through, and her relative took Ella to be mesmerized by him. He also achieved an effective cure of her  problem. Neukomm then saw opportunity knocking. He convinced Ella’s relative thatthe somnambulist girl might again relapse in the absence of his hypnotic influence andtherefore should remain in his care. He would look after her without charge. Her relative then abandoned Ella to Neukomm. Thereafter, she traveled with the hypnotistas his medium. Neukomm was “effective,” to say the least. One day, he suggested toElla that a cold needle, which he placed on her hand, was red-hot. Its touch then produced a real burn on her hand (a known somnambulist phenomenon).During each show, Neukomm invited an ailing volunteer from the audience upon stage. Then he would hypnotize Ella and give her a suggestion to place herself inthe mind of the patient and provide information about his or her state of health. Thenight that Ella died, Neukomm, to increase the audience’s sense of drama, had
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