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The Eleventh Lesson: Hindu Wonder-Working.1353<br />

manifested in other countries. It is generally attributed to a suppositious<br />

quality called “Levity,” which is held to be the opposite of Gravity, and which<br />

counteracts the effect of the latter. But other authorities hold that Gravity<br />

is not neutralized but rather is overcome by the effect of Prana directed<br />

in a manner similar to the other feats. The fakir generally leans backward<br />

gradually, and when he begins to feel buoyant he calls upon the attendants<br />

to lift his heels from the ground and to support him in the air for a few<br />

moments, after which they withdraw, leaving him suspended in the air. After<br />

a few minutes the fakir is generally able to move himself about—to “float” in<br />

fact—until the power gradually decreases and he sinks slowly to the ground.<br />

It must be remembered that he passes into a state of intense concentration,<br />

becoming oblivious to the outside surroundings, and at the same time he<br />

breathes rhythmically in slow measured time.<br />

In the above connection it is interesting to compare the above-mentioned<br />

complete levitation with the partial levitation so often resulting from the<br />

familiar Western experiment whereby a heavy person is lifted into the air<br />

by the finger-tips of his companions, who have been breathing rhythmically<br />

and in unison. While the process does not appear to come under the<br />

classification of the other feats performed by the use of Prana, there seems<br />

to be very good ground for believing that in some way Prana is employed<br />

to counteract the effects of Gravity.<br />

The fakirs themselves seem to be at a loss to account for the phenomena,<br />

saying merely that they merely “let themselves go,” holding at the same time<br />

a strong mental image of suspension in the air, and then “hold themselves<br />

up” by a concentrated effort of the Will directed into the Mental Image,<br />

or Thought Picture. They claim that it tires them out in a short time, and<br />

that they can feel themselves “giving out,” just as under a physical strain.<br />

They acquire the means of producing the feat by frequent practice under<br />

the instruction of their masters in youth, but they also declare that some<br />

of the pupils never acquire the method at all, in spite of the instructions<br />

and practice, and that the teachers are unable to induce the power where

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