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diff --git a/32788.txt b/32788.txt new file mode 100644 index 0000000..00a7270 --- /dev/null +++ b/32788.txt @@ -0,0 +1,3025 @@ +The Project Gutenberg EBook of More Conjuring, by Hercat + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: More Conjuring + Simple Tricks for Social Gatherings + +Author: Hercat + +Release Date: June 13, 2010 [EBook #32788] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK MORE CONJURING *** + + + + +Produced by David Clarke and the Online Distributed +Proofreading Team at https://www.pgdp.net + + + + + +TRANSCRIBER'S NOTE + + +The Table of Contents is placed after the Preface. + +This book contains illustrations showing some of the tricks described. +The illustrations are available in the HTML version. In this text-only +version they are replaced by the place-holder "[Illustration]", but in +the section "Match Puzzles", some simple ASCII diagrams have been +created to represent the matches when possible. + +In the text-only version, italic type is marked _like this_, and bold +face *like this*. Footnotes are represented with uppercase letters in +square brackets. + +Two publisher's advertisement pages were placed at the beginning of the +book in the printed edition, in this version they have been moved to the +end, with the other advertisement pages. + +A list of changes to the original publication is given at the end. + + + + + + + More Conjuring. + + [Illustration] + + By HERCAT. + + + + +HERCAT'S SIMPLE TRICKS + + + + + MORE CONJURING + + BY HERCAT + + Simple Tricks for Social Gatherings + + +BY THE AUTHOR OF "LATEST SLEIGHTS AND ILLUSIONS," "HERCAT'S CARD +TRICKS," "CONJURING UP TO DATE," "HERCAT'S VENTRILOQUIST," "HERCAT'S +CHAPEAUGRAPHY, SHADOWGRAPHY, AND PAPER FOLDING," ETC. + + + [Illustration: D&S limited] + London: + DEAN & SON, Ltd., [Illustration: Hamley's + 160a, 35, NEW OXFORD STREET, + Fleet Street, LONDON, W.C.] + E.C. + 1912 + + + + +PREFACE + +The title of this little brochure indicates its contents. _Simple +Tricks_ and simple tricks only. No apparatus is required and but little +sleight-of-hand is needed in the performance of any of them. They +consist of a series of tricks and problems, easily acquired, suitable +for gatherings round the table on winter evenings. Some of them are new +and many are old; but even the oldest are new to the rising generation. +For six of the latest tricks,--"A Hindoo Swindle," "The Elusive Match," +"A Subtle Impromptu Effect with a Coin," "A Novel Card Effect," "An +Artful Card Force," and "Another Easy Card Force,"--I am indebted to my +friend Mr. F. Walford Perry, a thoroughly up-to-date and original young +conjurer. As I have already said, I have included no tricks which +require the exercise of much sleight-of-hand; but even the most simple +trick should be thoroughly practised before you present it to your +friends, especially those tricks which require the assistance of a +confederate. Rehearse everything with him thoroughly beforehand. Even +your "patter" should be rehearsed. But endeavour to lead your audience +to believe that, like "Mr. Wemmick's" marriage, it is all impromptu. He +said, "Hello! here's a church. Let's have a wedding." You say, "Hand me +that serviette ring and I'll show you a trick." If, when the contents of +this little volume have been thoroughly digested, my readers desire to +make a study of more advanced legerdemain, I recommend my _Conjuring Up +to Date_, _Card Tricks with and without Apparatus_, and _Latest Sleights +and Illusions_ to their notice. + +For tricks which require apparatus my readers cannot do better than to +send to Messrs. Hamley Bros., Ltd., 35, New Oxford Street, or one of +their branches, for their Magical Catalogue. + +_The Daily Telegraph_, in a recent article on "Magic Fifty Years Ago," +used these words: "Hamleys' were then, as they are now, the premier +manufacturers of magical apparatus." A statement which I cordially +endorse. The apparatus sold by Messrs. Hamley Bros. is invariably +reliable. + +In conclusion I beg to offer my readers the following advice:-- + +Never state the nature of the trick you are about to perform. + +Make it a rule never to repeat a trick the same evening unless you have +acquired a different way of showing it. In fact, it is advisable to +learn several methods of presenting the same trick. + +Talk as much as possible and make your "patter" lively, but do not try +to be funny unless you are naturally humorous; and, above all, avoid +allusions to politics, religion, or any subject about which there may be +a diversity of opinion among your audience. + +HERCAT. + + + + +CONTENTS + + +SIMPLE CARD TRICKS PAGE + + An Easy Method of Finding a Selected Card 9 + To Bring a Chosen Card from the Bottom of the Pack at any + Number Requested 10 + A Chosen Card Shaken through a Handkerchief 10 + A Selected Card found in a Lighted Cigarette 12 + A Sticking Card 13 + Two Selected Cards Caught in the Air 13 + An Easy but Puzzling Trick 14 + Travelling Cards 14 + To Name all the Cards in the Pack 16 + A New Method 16 + The Sense of Touch 17 + Where is the Ace? 18 + To Make a Person Name a Card which You have Yourself Selected 19 + The Clock 21 + How to Guess Cards Thought of 22 + An Ingenious Card Trick 23 + To Name a Card which Some One has Thought of 25 + The Rejected Recruits--a Laughable Trick 26 + A Novel Card Effect 26 + An Artful Card Force 28 + Another Easy Card Force 28 + A Simple but Puzzling Card Trick 29 + +SIMPLE COIN TRICKS + + How to Detect a Marked Coin 30 + A Penetrative Shilling 30 + Another Simple Trick 31 + A Coin to Disappear from Your Cheek and Reappear at Your Elbow 32 + Two Vanished Half-Crowns 33 + A Divination 33 + An Effective but Simple Trick 34 + Changing Apple and Coins 35 + An Obedient Sixpence 36 + Coin and Glass 36 + A Simple Experiment with Four Shillings 38 + Puzzle of Ten Halfpence 39 + How to Increase Your Wealth 39 + A Neat Coin Trick 40 + A Subtle Impromptu Effect with a Coin 41 + An Original Coin Swindle 42 + A Cross 43 + +SIMPLE TRICKS WITH HANDKERCHIEFS, RINGS, CANDLES, ETC. + + A Knot that Cannot be Drawn Tight 44 + To Tie an Instantaneous Knot in a Handkerchief 45 + Half a Burnt Message Found Restored in a Candle 46 + Two Good Ring Tricks 47 + +SIMPLE ARITHMETICAL PROBLEMS + + To Ascertain a Number Thought of 49 + How to Name a Number which has been Erased 51 + A Lesson in the Correct Formation of a Figure 52 + Four Nines Problem 53 + An Answer to a Sum Given in Advance 53 + An Arithmetical Puzzle 54 + An Arithmetical Mystery 55 + How to Tell Her Age 55 + A Race in Addition 56 + To Predict the Hour Your Friend Intends to Rise on the + Following Morning 57 + +MATCH PUZZLES + + Experiment with Ten Matches 59 + The Magic Nine 60 + Triangles with Matches 61 + Match Squares 61 + Your Opponent must Take the Last Match 62 + A Shakespearean Quotation 63 + Numeral 63 + Six and Five Make Nine 63 + The Artful Schoolboys 64 + What are Matches Made of? 66 + A Sheep Pen 66 + Post and Rail Puzzle 67 + +SIMPLE MISCELLANEOUS TRICKS + + A Good After-Dinner Trick 68 + To Remove a Serviette Ring from a Tape Held on the Thumbs of + Another Person 70 + An Experiment in Gravity 71 + A Scissors Feat 71 + Another Trick with a Pair of Scissors 72 + An Indestructible Cigarette Paper 73 + To Cut an Apple in Two with Your Finger 74 + A Trick with Dominoes 74 + An Escape 75 + Cigarette Papers and Serviettes 76 + Four Cigarette Papers 77 + A Hindoo Swindle 77 + The Elusive Match--a Capital Impromptu Trick 79 + + + + +SIMPLE CARD TRICKS + + +AN EASY METHOD OF FINDING A SELECTED CARD + +Throw the pack on the table and request some one to select a card. Then +gather up the rest of the cards and request your friend to show his card +to his neighbour, to avoid mistakes. While this is being done bend the +pack slightly while pretending to shuffle it, and cause the card to be +returned and the pack shuffled. The selected card can then be easily +detected among the bent cards by its being perfectly straight. A good +way to finish the trick is to bring the card to the top of the pack and +cause it to project about an inch over the right side; cover the front +end of the pack with your four fingers so that the edge of the +projecting card is concealed, and, with your thumb at the other end, +hold the pack firmly about eighteen inches above the table. Request the +person who drew the card to call it by name. On this being done, drop +the pack on the table, when the projecting card will be completely +turned over by the air in its descent and lie perfectly square on the +top of the pack. Another good finish is to bring the chosen card to the +bottom of the pack, and requesting the person who selected it to hold +the pack by pinching it tightly between his finger and thumb close to +the corner, you give the pack a sharp rap, when all the cards will fall +excepting the one chosen. + + +TO BRING A CHOSEN CARD FROM THE BOTTOM OF THE PACK AT ANY NUMBER +REQUESTED + +Ask a member of the company to take a card, look at it, and return it to +the pack. Make the "pass" (_Hercat's Card Tricks_, p. 7); "palm" the +card (_Card Tricks_, p. 18) and hand the pack to be shuffled. While this +is being done transfer the palmed card to your left hand, and on +receiving the pack back, place it over the concealed card, and tell the +company you will produce the latter from the bottom of the pack at any +number they may name. Supposing some one says, "Let it be the fifteenth +card." You push the pack forward in your left hand, allowing the bottom +card to project about an inch toward you, and proceed to draw out the +cards above it with your right hand, one at a time, until the fourteenth +is reached, when you push the bottom card forward and produce it as the +fifteenth. + + +A CHOSEN CARD SHAKEN THROUGH A HANDKERCHIEF + +Request a member of the company to select a card and return it to the +pack, which you proceed to wrap up in a large pocket handkerchief, and +on the person calling the card by name you shake the handkerchief and +the selected card falls on the table. + +EXPLANATION.--If you are not an adept at sleight-of-hand it is advisable +to use a "forcing pack" which is composed of only three or four cards, +of a kind (i.e. ten kings of hearts, ten five of spades, ten eight of +diamonds, etc.) with backs to match your ordinary pack. If you can make +the "pass" and can "palm" (_Hercat's Card Tricks_, pp. 7 and 18) the +following is the correct _modus operandi_. On the card being returned to +the pack, carry it to the top by the pass, palm it, and hand the pack +back to be shuffled. Place the palmed card face upward on the left hand +and cover it with a large white handkerchief, and cause the pack to be +placed face down on the handkerchief exactly over the concealed card. +With your right hand throw the back hem of the handkerchief over the +pack and with that hand grasp the four sides underneath. Then reverse +the position of your hands, moving the right hand toward the right on +top and taking the left hand away, which will leave the selected card +concealed in the fold of the handkerchief (Fig. 1). Ask the person who +took the card to name it and request it to leave the pack and pass +through the handkerchief. When he does so shake the handkerchief gently +and the card will slowly come into view. If you use a "forcing pack" +retain a duplicate of the card you intend to force; conceal it in your +left hand and proceed as above described. + + [Illustration] + Fig. 1. + + +A SELECTED CARD FOUND IN A LIGHTED CIGARETTE + +Roll a card, say the seven of hearts, in a cigarette paper and stuff a +small piece of tobacco in each end. Have this in one of your pockets, +where it will not get crushed, ready for palming. Previously arrange +with a friend to act as your confederate, and request him when you ask +him to select a card to take the duplicate of the one in the cigarette. +When ready to present the trick, hand the pack to your friend and ask +him to shuffle it, select any card he likes, show it to his neighbour, +replace it in the pack, and again shuffle the latter thoroughly. While +this is in progress produce some tobacco and a cigarette paper and roll +a cigarette, which substitute for the one prepared. If you are not an +adept at palming I would suggest the following easy method: Lay your +handkerchief across your knees, and on it place the prepared cigarette. +While reaching for a match, drop the cigarette you have just made on +your lap, as if by accident, and pick up the one containing the card. +You can afterwards pick up your handkerchief and put it and the genuine +cigarette in your pocket. You then light the prepared cigarette and ask +your friend to hand you the pack and name his card; when he does so, +tell him you will produce the card in any place he may name. + +By previous arrangement he must say, "In the cigarette you are smoking." +You then pick up the pack and "ruffle" it over the cigarette; take the +latter from your mouth, extinguish the fire, and tearing the paper in +the centre, produce the seven of hearts from it. + + +A STICKING CARD + +Obtain a short "drawing-pin" with a small head, and having painted the +head black, stick it through the centre of the ace of clubs. Put this in +your pocket and "force" another ace upon a member of the company. Hand +the pack to the person upon whom you have forced the card, request him +to replace it and shuffle the pack. Then take the pack from him, and as +you turn your back slip the card with the pin through it on the top of +the pack. Holding the pack in your right hand with its face toward the +palm, ask your friend to name his card. When he does so throw the pack +sharply against the door. The top card will be held there by the pin and +the rest of the pack will fall on the floor. + +This trick was shown by a conjurer before the late King Edward a few +years ago, and His Majesty was reported in the daily papers to have +expressed "great surprise." + + +TWO SELECTED CARDS CAUGHT IN THE AIR + +Two cards are selected and returned to the pack, which you then make a +pretence of shuffling, taking care not to lose sight of the chosen +cards; "slip" (_Hercat's Card Tricks_, p. 10) one of the latter to the +top of the pack and the others to the bottom face upward. Have a small +piece of wax on your right finger and thumb and press the pack between +them. Obtain the names of the selected cards, and then throw the pack in +the air, moving your hand away quickly, with, of course, the selected +cards sticking to your thumb and finger. As the cards descend thrust +your hand in among them, and then, separating your thumb and finger, +show the cards adhering to them, which you will appear to have caught. + + +AN EASY BUT PUZZLING TRICK + +Any card may be drawn--not "forced"--and returned to the pack. In +pretending to shuffle the cards, bring the selected card to the bottom +of the pack, and then slip another card in front of it. Show your friend +this card at the bottom and ask him if it is his. Of course he will say +"No." Lower the pack, and with the fingers of your left hand draw the +bottom card back about half an inch, and with your right hand draw out +the next card--which is the one chosen--and place it face down on the +table. Shuffle the pack and again show the bottom card, "Is this your +card?" "No." "Then I will place this one on the table"--which you do. +Repeat this, and place a third card from the bottom of the pack on the +table. Then say, "I am sure your card must be one of the three. No? Look +and see for yourself." He turns the three cards over, and of course +finds his card is one of them. + + +TRAVELLING CARDS + +Give the pack to a member of the company, and request him to count off +between twenty and forty cards, place the pack on the table, and hand +the cards he has counted to you. You then hand the pile to a second +person and request him to count off about one-third of the number, lay +them in a pile on the table, and hand you the remainder, which you give +to the first person, requesting him to place them in his pocket. Taking +up the second pile, you request the second person to place it in his +pocket. We will suppose the first person selected thirty and the second +person abstracted ten cards from them, which should leave twenty now in +the pocket of the former. Then announce your intention of causing a +certain number of cards to leave the pocket of person number one and +travel invisibly into the pocket of person number two. Open a +pocket-handkerchief, and covering number one's pocket, flick it in the +direction of person number two, exclaiming, "They have gone!" On the two +piles being produced and counted, those from the pocket of number one +person will number only fifteen, and the same number will be found in +the second pile. + +EXPLANATION.--When you receive the thirty cards from the first person, +you palm off five or six cards (the number is immaterial) and retain +them concealed in your hand, handing the remainder to the second person. +When he has counted off ten and placed them on the table, you take those +that are left from him and hand them to person number one. When picking +up the pile of ten from the table, while pretending to square it, you +add the palmed cards and hand the pile thus increased to person number +two. You must be careful not to allow the two persons to count the cards +after the changes have been made. If you see they are inclined to do so, +take the piles from them and place them in their pockets yourself. + + +TO NAME ALL THE CARDS IN THE PACK + +Ask some one to shuffle the pack, and, on receiving it back, glance at +the bottom card. Put the pack behind your back, and then turn the top +card round with its face toward you; bring the pack in front of you, the +bottom card facing the audience and the turned card facing you. Having +already glanced at the bottom card, you can tell them its name, and you +now know the card on top. Put the pack behind you again, and move the +top card to the front, and turn the one now on top round. Again hold the +pack up and name the front card, at the same time noting the card facing +you. By repeating this process you can name all the cards in the pack. +Take care to have all your audience in front of you, or the turned card +will be seen. + + +A NEW METHOD + +Here is an absolutely new method of performing the same trick +blindfolded, but with the aid of a confederate. You tell your friends +that by placing your hands on a person's head you can see with his eyes. +To illustrate this, tell your assistant to seat himself at a table, and +you then stand behind him blindfolded, with your fingers lightly +touching his temples. The cards are spread out faces down on the table, +and no matter which card he picks up and looks at, you at once say what +it is. Of course, you take the tip from him; but how? I will tell you. + +He must keep his mouth shut and his teeth together. The slightest +pressure between his upper and lower teeth--so slight that it is quite +imperceptible--will cause his temples to throb--try it on your own +temples--and, of course, by the arrangement of a very simple code he can +communicate to you the name of each card. Say one throb stands for +hearts, two for diamonds, three for clubs, and four for spades. We will +say his temples throb twice. You say, "You are looking at a diamond." +Then we will suppose they next throb five times. You say, "It is the +five of diamonds," and so on. When you come to an ace, of course one +throb will suffice; when he picks up a knave, let him give two throbs in +rapid succession--a kind of postman's knock; a queen, a postman's knock +and one throb over; and for a king, a double postman's knock--rat-tat, +rat-tat. With a little practice and a more elaborate code, you can +describe all kinds of articles which may be selected--keys, watches, +books, etc. It is a capital trick and one which no one can possibly +discover. + + +THE SENSE OF TOUCH + +This is an improvement upon the two preceding tricks which I invented +several years ago, and have shown scores of times without the _modus +operandi_ being once detected. + +EFFECT.--The pack is handed to the audience to be shuffled, and, without +even glancing at it, the performer places it behind his back and names +each card (presumably by the sense of touch) before he draws it. He can +hand the pack back to the audience to be shuffled as many times as +desired. + +EXECUTION.--Before handing the pack to be shuffled, ascertain which card +is on the top, and palm it in the right hand; receive the pack back in +the palm of the left hand and cover it with the thumb. + +Put both hands behind you and slip the palmed card between the tips of +your left first and second fingers; then palm the top card and take the +card originally palmed between the right thumb and the forefinger with +your thumb on top. While doing this, explain to the audience that you +have with considerable practice acquired a marvellously keen sense of +touch which enables you to ascertain the name of each card by simply +feeling it. You proceed to say: "I will name each card before showing it +to you, and you are at liberty to shuffle the pack as many times as you +may desire. + +"The card I am now feeling appears to be (say) the queen of spades." You +then show the card held between your thumb and finger, at the same time +glancing at the palmed card. Throw the former on the table, and putting +your hand behind your back again, nip the palmed card with the first two +fingers of the left hand, and palm the top card as before. You can go +through the whole pack in this manner, but each time you hand it to be +shuffled, be sure to have one card palmed. This trick should not be +attempted until it has been thoroughly rehearsed. + + +WHERE IS THE ACE? + +Select the ace and five of hearts and two other cards of the same suit +and conceal the five behind one of the latter so as to make it appear +you have only three cards. Hold the two cards (with the concealed five) +faces down, a little distance apart and showing the ace place it +deliberately behind them so that the pip shows between (Fig. 2) when the +cards are held up. Having shown the cards in the latter position to the +company, lower them again and defy any one to lift up the ace. A member +of the company does so and naturally looks at the card, when you say, +"But you must not look at it. Take the card off and place it face down +on the table, and I will then tell you whether your attempt has been +successful. We will try again?" Re-arranging the cards, substitute the +five for the ace and place it so that the centre pip alone is visible +between the two cards. Repeat your challenge and request your friend to +remove the ace, place it on the table, and cover it with his hand. When +this is done ask him if he still has the ace, and he will naturally say +"Yes." Tell him to raise his hand, and to his astonishment he will find +the five. + + [Illustration] + Fig. 2. + + +TO MAKE A PERSON NAME A CARD WHICH YOU HAVE YOURSELF SELECTED + +Take any card from two to ten, say the five of hearts, and lay it face +down on the table without permitting any one to see its face. Then +announce your intention of examining a number of the company as to their +knowledge about cards. Ask for a volunteer, and on one consenting to act +tell him to answer your questions rapidly and to make his replies short. +Then put the following questions: "How many cards are there in a full +pack?" Answer, "Fifty-two." "How many suits?" "Four." "What are their +colours?" "Red and Black." "Now name one of those colours." "Red." If he +should say "black," you must say, "You select black so I take red. How +many suits are there in red?" "Two." "What are they?" "Hearts and +Diamonds." "Name one of those suits quickly." "Hearts." If he should +name diamonds say, "Then I take hearts." "How many cards in the suit?" +"Thirteen." "How many between the ace and knave?" "Nine." "How many +below six and how many above six?" "Four below and four above." "Name +either below or above?" "Below." If he says "above," say, "That gives me +those below six. What are the numbers below six?" "Two, three, four, and +five." "Name two of those numbers." "Four and five." If he should say +"two and three," or "three and four" you remark, "That leaves me four +and five. Name one of those numbers." If he says "four," you say, "Which +leaves five. The suit you selected was hearts, and now we have come down +to five. So you have actually selected the five of hearts; and I am sure +you will admit I have not influenced your choice in any way. Please turn +over the card on the table." He does so and, of course, finds it is the +five of hearts. + + +THE CLOCK + +Select twelve cards of any suit, ace to ten and king and queen; arrange +them in a circle to represent the figures on the face of a clock, the +king as twelve and the queen as eleven (Fig. 3), and request a member of +the company to think of one of the numbers. You then explain you will +tap the cards with a pencil and he is to mentally add your first tap to +the number he thought of and count your succeeding taps until twenty is +reached, when he is to call "Stop," and your pencil will then rest upon +his number. For instance, we will suppose he thinks of twelve; he must +count your first tap as thirteen and continue counting mentally until +twenty is reached. + + [Illustration] + Fig. 3. + +EXPLANATION.--Touch the cards at random during the first seven taps and +allow your pencil, on its eighth tap, to rest on the king (twelve). +Eight and twelve being twenty he will of course say "Stop." Supposing he +thought of a lower figure--seven, for instance. Tap at random as before +until your eighth tap, which must always be on twelve; then touch the +cards in rotation, making the queen your ninth tap, the ten your tenth +tap, nine your eleventh, and so on until you reach seven, which will be +your thirteenth tap, which number added to seven, the number thought of, +will make twenty, and your friend will say "Stop." + +Another effective trick can be worked with the card dial, but it +requires the assistance of a confederate. Having previously instructed +him what to do, you tell the company that any one is at liberty to touch +one of the cards during your absence from the room, and on returning you +will indicate the card he has touched. Upon your returning hand a pencil +to your confederate and request him to touch the cards in rotation until +you say "Stop," when the pencil will rest on the right card. Your +confederate must hold the pencil in his right hand with his forefinger +resting on top. When he touches the right card he must raise that finger +slightly. It is a signal no one would notice, and the trick always +creates a great deal of wonder. + + +HOW TO GUESS CARDS THOUGHT OF + +Allow the pack to be shuffled freely and then place it on the table face +down. Take the three top cards, and holding them up with their backs +towards you, ask some one to think of one. Then spread them face down on +the table in front of you. Take three more cards, and ask a second +person to think of one, and lay these on top of the other three. Show +three more cards to a third person, and after he has thought of one, lay +these on top of the others. You have now three parcels on the table, +each containing three cards. Hold up one parcel, and say to each person: +"Is the card you thought of in this lot?" Proceed in the same way with +the other parcels, and then tell each person the name of the card he +thought of. As the cards shown to the first person were laid on the +table first, it stands to reason that the cards he thought of must be at +the bottom of the parcel he has said "Yes" to; the second person's card +will be the middle one in the parcel, and the third person's the top +card. + + +AN INGENIOUS CARD TRICK + +Select ten cards, regardless of suit, the ace, and from deuce to ten, +arranging them as follows: Lay the ten face down on the palm of your +hand, the nine next, and the others in rotation, finishing with the ace, +which you call "one." Give the cards so arranged to a friend, and tell +him you will leave the room while he moves cards one at a time, not to +exceed nine, from top to bottom, and when you return you will tell him +how many he has shifted. You may repeat this feat successfully several +times, and finish by requesting him to make up his mind how many cards +he intends moving before you leave the room and you will tell him which +card will indicate the number he has selected. On returning you +immediately refer him to the card which gives the correct answer. This +is really a most puzzling trick and yet an easy one to perform. Commence +by showing how the cards are to be moved by shifting a few yourself, +noting how many you move, so you will remember which card you leave at +the bottom. When you return to the room you subtract the number of pips +on that card from ten and the product will show the number of the card +from the top, the pips on which indicate the number of cards your friend +has moved. We will suppose that, in illustrating, you move four cards, +which will, of course, leave the four at the bottom; you subtract four +from ten, which leaves six, and no matter how many cards have been moved +the pips on the sixth from the top will indicate the number. Taking the +pack in your hand face downward, count off the first six cards, and +glancing at the sixth say, "You moved ---- cards." When you repeat the +trick add the number originally at the bottom to the number your friend +has moved, which will give the number now at the bottom, which you again +subtract from ten. In predicting the number of cards your friend means +to move you tell him the number of the card from the top which will show +it. We will suppose the bottom card is eight and your friend mentally +decides upon moving five cards, you subtract eight from ten, which +leaves two, and tell him the number he is going to move will be +indicated by the pips on the second card from the top after he has moved +the cards. + + +TO NAME A CARD WHICH SOME ONE HAS THOUGHT OF + +Spread six cards before a member of the company and ask him to think of +one. Place these cards at the bottom of the pack and give the latter a +"false shuffle," i.e. shuffle them in such a manner that the bottom +cards are not disturbed. Then take the four top cards, and spreading +them on the table, faces upward, ask your friend if his card is among +them. Of course, he will say "No." While he is looking at the cards on +the table "slip" (_Hercat's Card Tricks_, p. 10) one of the bottom cards +to the top of the pack. To do this moisten the tips of the two middle +fingers of the left hand, and holding the pack in that hand with the +moistened fingers against the face of the bottom card, with the thumb +and two middle fingers of the right hand raise the rest of the cards +slightly and the card adhering to the moistened fingers will be carried +to the top of the pack. Again spread the four top cards on the table and +repeat the enquiry. If he says "No," repeat the former process until he +says, "Yes, my card is in that lot." You, of course, know it is the card +you "slipped" from the bottom of the pack. You then tell him to gather +up all the cards and shuffle them thoroughly; then place the pack on the +table, put his hand over it and look you steadily in the eye. You place +your hand over his and say, "I can read your thoughts, you took the +----," naming his card. This is an easy trick to perform and causes +great amazement. + + +THE REJECTED RECRUITS--A LAUGHABLE TRICK + +Select a king and the four knaves and lay the king on the table face +upward. Tell the company that the king is recruiting for the army and +accepts the knave of clubs, which you place on the king's right. The +knave of spades, which you place on the left, he rejects. The knave of +diamonds is accepted and placed on the right. The knave of hearts is +declined, and placed on the left. + +Now ask your audience how it is that the king, being in want of +recruits, accepts two and refuses two. + +The answer will puzzle those not acquainted with the trick. It is as +follows: Two of the knaves have but one eye each, and are consequently +medically unfit. + + +A NOVEL CARD EFFECT + +EFFECT.--A five-spot card is passed for examination, a two spot of the +same suit is then placed face down on the five; after rubbing the cards +slightly and separating them a spot is found to have passed from the +centre of the five on to the two spot, making a four spot and a three +spot. The pack is afterwards shown to be quite an ordinary one without +any apparent preparation. + +PREPARATION.--Remove from the pack the five, four, three, and two of any +suit. Place the remainder of pack face down on the table. Now place the +five spot face up on the back of the pack, the two spot face down on the +five, the four face up on the back of the two, and the three spot face +down on the four. Then remove the three top cards, without in any way +altering their order, and place them on the face of the pack so that the +two spot is showing, and turn the five spot face down, so that the pack +appears to be without preparation. + +PRESENTATION.--Show pack held in left hand and call special attention to +the two spot on the bottom of the pack, then lift off the five-spot card +and pass it to a spectator with the remark that the centre spot is loose +and can be transferred at will to any other card; while the card is +being examined you secretly count off the three other prepared cards at +the bottom of the pack and keep them separated from the rest with the +index finger of left hand. Now take back the five-spot card and place it +on the back of the pack, with its face side toward audience. Then with +the first two fingers and thumb of right hand take the three other cards +from bottom of pack and show them as one card only: namely, the two +spot. This movement is best executed by slightly pushing down the three +cards with the index finger of left hand until a sufficient amount of +projection is obtained for the fingers and thumb of right hand to grip. +Now place the apparent two-spot card face toward, and on to the five +spot; proceed by gently rubbing the back card with the index finger of +right hand, and lift the top card and show it to be a three spot, while +the card facing is found to be a four spot, which you also remove. The +back of the two-spot card will then be seen and the pack appear to be an +unprepared one. + + +AN ARTFUL CARD FORCE + +PRESENTATION.--First secretly note what the top card of the pack is. +Then proceed by asking a spectator to state what card he wishes you to +use by giving you a number. After having received the number you proceed +to count the cards face down on to a table until you reach that number, +at the same time mentioning that the last card counted is the one you +are to use. You pause for a moment, apparently thinking, then say, it is +possible that the spectator may think that you already know the card as +you counted them yourself, you consider that it would only be fair to +allow him to count them himself. At the same time you replace the +counted cards, and hand the pack to spectator, with the request that he +counts down to the number previously stated. This, of course, has the +effect of bringing the known top card into position at his number, so +that it is quite an easy matter to follow on with any trick in which the +sleight-of-hand force is necessary. This seems very simple, but try the +effect; even our advanced friends will find it extremely useful. + + +ANOTHER EASY CARD FORCE + +REQUISITES.--An ordinary pack of cards and two extra cards stuck +securely together. + +Place the double card below a previously noted card. Hold the pack in +the left hand so that the thumb can pass readily down the cards at the +upper corner. Now pass the thumb of the right hand down the cards so as +to ruffle them. You will find that the thumb is automatically stopped at +the double card. By requesting a spectator to take the card immediately +above the break in the pack, you can then proceed with any trick in +which a forced card is necessary. Numerous other uses for the double +card will readily occur to my readers from the hint given. + + +A SIMPLE BUT PUZZLING CARD TRICK + +Place the pack face down on the table and cover it with a serviette. +Then request a member of the company to put his hand under the serviette +and take a card at random; to be careful not to let you see it but show +it to the company and then return it to the pack and to square the pack +through the serviette after the card has been replaced. You then lift up +the side of the serviette nearest to you and at once produce the card. + +EXPLANATION.--When the company are looking at the card slip your hand +under the serviette and turn the pack over, and, of course, you can at +once detect the "faced" card when it is replaced. On withdrawing it with +your right hand turn the pack over with your left and lift off the +serviette. + + + + +SIMPLE COIN TRICKS + + +HOW TO DETECT A MARKED COIN + +Place ten coins--say shillings--in any empty finger-bowl and request a +member of the company to select one, put a private mark on it, and then +holding it in his closed hand, to close his eyes and think of the +appearance of the coin very hard. In about a minute pick up the bowl, +and going to him, request him to open his eyes; gaze in them, and then +make a few mesmeric passes over his face. Then request him to drop the +coin he holds in the bowl and to mix it up thoroughly with the other +nine shillings. Now ask some one to blindfold you; when this is done +place your hand in the bowl, and picking up the shillings one at a time, +you can at once detect his, which you throw across the table to him for +confirmation. The secret is that the coin held in the person's hand has +obtained a certain degree of warmth and can at once be detected in +consequence. + + +A PENETRATIVE SHILLING + +Sew a halfpenny in the corner of your handkerchief and place the latter +in your pocket ready for the trick. Borrow a shilling and request the +lender to put a private mark on it. Take out your handkerchief and +pretend to place the shilling under it, instead of which pick up the +corner containing the halfpenny, place it in the centre and grasp it +through the handkerchief with your left hand, while you let the marked +shilling drop in the palm of your right. Ask a member of the company to +hold the shilling (the halfpenny in the centre) in the handkerchief a +few inches above the table. Then pick up an empty glass with your right +hand, hold it under the table, and request the person who holds the +handkerchief to let it fall on the table. The coin in the handkerchief +will be heard to strike the latter and at the same time you drop the +shilling from the palm of your right hand into the glass and place the +latter on the table, while with your left hand you pick up the +handkerchief and shake it, being careful not to allow the halfpenny to +strike the table again while you are doing so. Request the person who +lent the shilling to take it out of the glass and say if it is the one +bearing his private mark. + + +ANOTHER SIMPLE TRICK + +Here is another simple trick with a sixpence. Put a small piece of wax +on it, and place it, the waxed side uppermost, in the centre of a +handkerchief. Then put one of the lower corners of the handkerchief over +the coin and ask some one to put his finger on it and press it. Then +move the second lower corner of the handkerchief over the other corner, +telling your assistant to move his finger while you do so. Next cover +the two lower corners with the two upper corners of the handkerchief in +the same manner, and ask your assistant if he is sure the sixpence is +still there. Of course he will say yes; he can feel it. Then tell him to +raise his finger. When he does so, take the two upper corners in your +hands, and raise the handkerchief, when the coin will appear to have +vanished. Of course, it is sticking to the lower corner of the +handkerchief. + + +A COIN TO DISAPPEAR FROM YOUR CHEEK AND REAPPEAR AT YOUR ELBOW + +While sitting at the table turn up your right sleeve, and, taking a +half-crown or penny, rub it against your cheek, and then, as if by +accident, drop it on the table. Pick up the coin and repeat the process, +this time resting your elbow on the table, as you explain, to steady it. +Move your hand from your cheek, and the coin has disappeared, and with +your left hand produce it from your elbow. Then say, "I will reverse the +experiment and send the coin back." Place your empty hand against your +face and your left hand containing the coin under your elbow. After +rubbing your face and chin, show the coin again in your right hand and +your left hand empty. You require two coins for this trick, one palmed +in your left hand. When you rub the coin against your face the second +time, drop it inside your collar and produce the palmed coin from your +elbow. When you "reverse the experiment," take the coin from your collar +as you are rubbing your face and chin and drop the other coin from your +left hand into your handkerchief spread over your knees. + + +TWO VANISHED HALF-CROWNS + +This trick requires considerable practice, but is a very effective one. +Take the two coins in your right hand, and throw them repeatedly, one at +a time, into the other hand until the audience begin to think it is a +"sell." Then, offering your left hand (in which the coins are supposed +to be) to some one, say: "Well, you try to do it." Open your hand, and +the coins have disappeared. + +EXPLANATION.--The last time you throw only one half-crown, and instead +of throwing the second, bring the right hand down quickly, and at the +same time jerk the coin in your left hand upwards into your right, and +it will strike the coin retained there. The clink will be heard, and by +closing your left hand quickly you will lead the company to suppose both +coins are in that hand. Half-crowns are the best coins for the trick +owing to their weight. + + +A DIVINATION + +Request a member of the company (seated) to place a shilling or florin +upon each knee, and cover them with his hands with his fingers stretched +out. You then tell him, when you turn your back, to raise one of the +coins and tap his head with it twelve times just above his ear; then +replace it on his knee and cover it with his hands as before; and you +will tell him, on examining the coins, which one he raised. + +The examination of the coins has really nothing to do with the trick. +All you have to do is to look at the person's hands; the blood leaves +the hand that has been raised, and when it is again placed beside the +other the difference in colour is most perceptible. + +I have performed this trick hundreds of times in drawing-rooms, and it +has never been detected, but created great surprise. + + +AN EFFECTIVE BUT SIMPLE TRICK + +Stick a halfpenny (or a shilling) under the edge of a table secretly +with a small piece of wax. Show another halfpenny to the company, and +when it is returned to you, place it in front of you on the table while +you turn up your sleeves. Then place the fingers of your left hand under +the table, and with your right hand sweep the halfpenny on the table +into your left, at the same time getting hold of the halfpenny under the +table, taking care that one coin does not strike the other. Then place +your right hand over your left, and pretend to rub the halfpenny the +audience have examined very vigorously, and, showing both coins, say you +have rubbed one halfpenny into two. You can improve on this trick by +using four halfpence on the table and one stuck under the edge. Sweep +two coins into your left hand, get possession of the stuck halfpenny, +and close your hand. Hold it up, and say: "There are two halfpennies on +the table, and I have two in this hand." Picking up the two halfpennies +with your right hand, tell the company that you intend to pass one of +them into the other hand. Then lay both hands flat on the table, lift +your left hand, and show three halfpennies under it. Slide your right +hand off the table, leaving one halfpenny behind, and carrying the +second coin away with your fingers. As your hand leaves the table, press +the halfpenny with your thumb against your two middle fingers, and nip +it with your first and little fingers. Remove your thumb, and you will +find you can hold it securely "palmed." Then with the right hand sweep +the three halfpennies back into the left hand, at the same time letting +the "palmed" coin fall with them. Close your fingers over them quickly, +and picking up the remaining halfpenny from the table with your right +hand, say: "I intend to make this halfpenny join its companions. One, +two, three--go!" + +Pushing it with your thumb against your two middle fingers, palm it as +before, and throw the four coins which you hold in your left hand on the +table. While the attention of the company is on them, drop the "palmed" +coin in your pocket. + + +CHANGING APPLE AND COINS + +Procure two small apples exactly alike, and in the bottom of one scoop +out a hole large enough to hold a pile of three sixpences. Make a +conical cover out of cartridge paper large enough to cover the apple and +about nine inches in height. Obtain six sixpences, three of which place +in a pile on an inverted glass goblet. Conceal the other three and the +hollow apple in your left hand. Ask some one to examine the cover, and, +on receiving it back, transfer it to your left hand and slip it over the +apple. Then give the duplicate apple for examination, and, taking the +cover by its lower part, and the apple concealed in it, place both over +the three sixpences on the glass. Take the apple that has been examined, +and put it under the table with your left hand, hold it between your +knees, and say: "I command this apple to pass through the table and take +the place now occupied by the three sixpences, and the sixpences to fall +into my hand." Bring your left hand from under the table and show the +coins, lift up the cover and show the apple on the glass. Then reverse +the procedure. Cover the apple on the glass; place the three sixpences +under the table; secure the apple held between your knees and roll it on +the table; lift up the cover and hollow apple together, and, dropping +the latter into your lap, show the former is empty. This trick should be +performed sitting. + + +AN OBEDIENT SIXPENCE + +Place two half-crowns (or pennies) on the table and a sixpence between +them. Then cover the coins with an inverted wine-glass, the edges of the +latter resting upon the larger coins. Challenge any one to remove the +sixpence without touching the glass or the money. It is done very +easily, and in an amusing manner. You have only to scratch the +tablecloth with your finger-nail in the direction you wish the coin to +come, saying: "Come hither, sixpence," and it will at once obey you. + + +COIN AND GLASS + +Cover the mouths of two glasses with newspaper, by gumming it on them, +and trim off the edges neatly.[A] Stand them inverted upon two pieces of +newspaper in such a manner that the type on the paper over the glasses +fairly corresponds with that on the paper on the table. Make two cones +of newspaper to fit closely over each glass. Unobserved by the company, +place a penny under the glass on your left, which will of course be +concealed by the paper on the mouth of the glass. Then borrow a penny, +and, placing the cone over the glass on your right, lift the latter +covered by the former from the table; lay the borrowed penny on the +newspaper, and cover with the glass and cone. You call attention to the +fact that there is nothing under the other glass, and you then cover it +with the second cone. You now tell the company that at your word of +command the penny will leave one glass and travel invisibly over the +table to the other glass. You lift the cone from the glass on your +right, under which the borrowed penny was placed, and the coin is not to +be seen. Then, lifting both the cone and glass together on your left, +the concealed penny is brought into view. You now announce your +intention of sending the penny back. Place the covered glass over the +penny and replace the cover over the glass on your right. "One, two, +three--go!" you exclaim and, lifting the cone off the glass on your +left, the penny under it appears to have disappeared, and on removing +the other glass, still covered by the cone, the borrowed penny will once +more be seen. This trick can be worked with one glass only and the penny +made to appear to drop through the table in your hand placed under the +latter ready to catch it (the penny, of course, being already palmed in +your hand); but the use of two glasses makes the trick more effective, +and it can be repeated many times without fear of detection. The paper +upon which the glasses stand can, of course, be examined; but the +glasses when removed from the paper must be covered with the cones, or +the paper cover on the mouth of each will be seen. + +[A] This piece of apparatus neatly constructed can be obtained at a +trifling cost at any of Messrs. Hamley Bros.' Conjuring Depots, London. + + +A SIMPLE EXPERIMENT WITH FOUR SHILLINGS + +Borrow four shillings; place one on the palm of each hand, and, holding +the palms upward, close your fingers over them. Then request a member of +the company to place the other two coins on the nails of your two middle +fingers; and announce your intention of throwing a coin from one hand to +the other, explaining it is rather a difficult feat to accomplish with +your hands closed. Make one or two movements with your hands, and then, +as if accidentally, drop the two shillings resting upon your nails upon +the table. Apologising for your clumsiness, request some one to replace +the coins on your nails, saying you will have another try. Now give your +hands a jerk upward; open them and catch the coins on your nails, one in +each hand, and tell the company you have accomplished your purpose and +sent one coin flying invisibly through the air from one hand to the +other. To verify your assertion open your hands and show three coins in +one hand and only one in the other. + +EXPLANATION. + +When you make the first attempt, and appear to fail, in the upward +movement of your hands you open them and allow the shilling resting upon +the nail of your left hand to slip into the palm, while you permit the +coin in the palm of your right hand to fall, with the one above it on +the nail, on the table. If this is done neatly the company will suppose +it is the two coins from the nails which have fallen. You now have two +shillings in your left hand and none in your right. In the second +attempt you have only to catch the shillings resting on your nails in +the manner described, and on showing one shilling in your right hand and +three in your left, your statement that one has travelled invisibly from +one hand to the other will appear to be correct. + + +PUZZLE OF TEN HALFPENCE + +Place ten halfpence in a row upon the table, then taking up any one of +the series, place it upon another, with this proviso, that you pass over +just two halfpence each time. Repeat this until there is not a single +halfpenny left. Let the following figures represent the halfpence:-- + + 1 2 3 4 5 6 7 8 9 10 + +Place No. 4 upon No. 1; No. 7 upon No. 3; No. 5 upon No. 9; No. 2 upon +No. 6; and No. 8 upon No. 10. A little practice will enable the reader +to do this puzzle without referring to the figures. + + +HOW TO INCREASE YOUR WEALTH + +Obtain three sixpences exactly alike, place one in your pocket and stick +the other two with a small piece of wax under the edge of the table +about an inch apart. After showing other tricks produce the sixpence +from your pocket and show it to the company to prove it is an ordinary +coin. Pull up your sleeves, and if the table has a cover turn it back. +Place the coin on the table near the edge over the concealed sixpences, +and showing your right hand is perfectly empty place your thumb over the +coin and rub it vigorously backwards and forwards on the table. At the +same time run your first and second fingers under the table, and +securing one of the coins sticking there move it and the coin under your +thumb simultaneously off the table, and pinching them together between +your thumb and finger, say: "I will show you how to double your capital. +I am going to rub this sixpence into two sixpences." Then showing your +other hand is empty use the left thumb and finger to assist in the +rubbing, and gradually separate the two coins and exhibit them. Then +putting the sixpence with the wax in your pocket place the other one +near the edge of the table and repeat the trick, saying: "See, I have +now trebled my capital." Do not allow the company to examine the waxed +coins. + + +A NEAT COIN TRICK + +Procure three coins (pennies or half-crowns) exactly alike. Scratch a +cross on two, and in the third bore a hole, in which fasten a short +piece of black elastic cord. The other end of the elastic tie round your +ankle, taking care that the coin does not hang below your trouser leg. +Put one of the marked pennies in your left-hand trousers pocket and drop +the other one unobserved into the pocket of some one present, or give it +to a confederate to hold. Commence by borrowing a similar coin to those +you are using and mark it like the others. Hold it between the thumb and +finger of the right hand, and, giving it a twist, spin it on the table, +then snapping your fingers over it, catch the edge of the coin and it +will fly up your sleeve. Close your hand and say, "I will make this coin +fly up my sleeve, travel round my back, and pass down my other sleeve." +In the meantime you have secured the penny in your pocket and concealed +it in your left hand. Open your right hand, showing it is empty, and +then show the penny in the other hand. Lower your right hand, the penny +in your sleeve will drop into it, and you can pocket it unobserved. Then +ask for the loan of a cap and walking-stick. Request some one to hold +the stick, while you hold the cap in your left hand. Pick up the penny +with your right hand and pretend to place it on the floor. In doing so +substitute the coin attached to the elastic, and, stretching the latter, +hold the coin on the floor while you cover it with the cap, and ask the +person who has the stick to place its end on the coin through the cap +and keep it there until you tell him to move it. Then say, "I command +this coin to leave the cap and pass into Mr. So-and-So's pocket. Move +the stick, please, and then lift up the cap." On the removal of the +stick the coin will fly under your trouser leg, and, of course, when the +cap is lifted it is no longer on the floor. On the person whose name you +mentioned putting his hand in his pocket he will find the coin you +placed there, which you return to the person from whom you borrowed the +penny. + + +A SUBTLE IMPROMPTU EFFECT WITH A COIN + +EFFECT.--A coin dropped down the sleeve is slowly rubbed out through the +cloth at the elbow. + +REQUISITES.--Two coins exactly alike. + +PRESENTATION.--First secretly place one of the coins between the buttons +at the end of your left coat sleeve. Then stand with your right side +towards spectators with the left arm extended, but slightly bent at the +elbow. After having the coin examined, proceed to drop it down the +sleeve of the extended arm, when it will fall to the elbow, and ask a +spectator to feel that it is really there. Proceed by placing thumb of +right hand on the side of sleeve toward spectators, and the fingers at +the back, and rub the hand up and down the sleeve from the elbow to the +cuff, and at the same time secretly gain possession of the coin between +the buttons and bring it down behind the sleeve towards the elbow. Now +with a slow pinching movement bring the coin down between the thumb and +fingers and apparently out through the cloth of the sleeve, meanwhile +moving the left arm up and down slightly. The coin left in the sleeve +can be secretly got away by dropping the arm and allowing it to fall +into the hand and then pocketed. + + +AN ORIGINAL COIN SWINDLE + +Palm a halfpenny in your right hand and ask a friend (be sure he _is_ +your friend) to lend you a shilling. Pick up a glass, invert it, and +place the borrowed shilling on its bottom. Then ask your friend whether +the coin is on the top or bottom of the tumbler. He will naturally look +surprised at such a question; and you then say,--"Ah, I see you know the +trick." Slide the shilling off the glass into your right hand, and as +your friend holds out his hand to receive it back, drop the concealed +halfpenny into it. The chances are ten to one that he will place the +coin in his pocket without glancing at it. Unless you really desire to +swindle your friend out of elevenpence halfpenny you will, of course, +explain to him how he has been "had." + + +A CROSS + +Place seven coins on the table, five in a row and one above and one +underneath the centre coin. Then challenge any one to form a cross with +these coins by moving two only, all the arms of the cross to have the +same number of coins. After many attempts and failures show how easy it +is to accomplish by taking the two coins at the ends of the row and +placing them upon the coin in the centre. + + + + +SIMPLE TRICKS WITH HANDKERCHIEFS, RINGS, CANDLES, ETC. + + +A KNOT THAT CANNOT BE DRAWN TIGHT + +Tie a single over-hand knot in a handkerchief, and holding it in your +left hand, give one end to some one, telling him to pull at a given +signal. As he is about to do so, slip your left thumb underneath and, +letting go the end hanging over your left hand, allow the handkerchief +to run between your thumb and forefinger, when it will come out without +any knot (Fig. 4). + + [Illustration] + Fig. 4. + + +TO TIE AN INSTANTANEOUS KNOT IN A HANDKERCHIEF + +Hold the handkerchief in both hands; give it a twist; blow on it, and a +knot instantly appears in its centre. + +Hold the handkerchief as shown in Fig. 5. + + [Illustration] + Fig. 5. + +Then while in the act of blowing on it bring the hands together quickly, +throw the end _a_, held in the right hand, between the two middle +fingers of the left hand and over _b_; at the same time grasp _b_ +between the two middle fingers of the right hand (Fig. 6); pull _a_ +under _b_ with the left hand and _b_ under _a_ with your right, and the +knot is made. With practice you will be able to do this imperceptibly. + + [Illustration] + Fig. 6. + + +HALF A BURNT MESSAGE FOUND RESTORED IN A CANDLE + +Procure two candles and from one cut one-third off, in which piece drill +a hole lengthwise and remove the wick. Put this piece in your pocket and +place the other candle in a candlestick. Give a small piece of paper to +a member of the company and request him to write a short sentence on it. +Tear the paper in two, and giving him half, retain the other half +yourself, which you fold up. Have a similar piece of paper, folded, +concealed in your right hand, and as you turn to get the candle (which +should be lighted), substitute one for the other. Burn the plain piece +of paper in the candle, and obtaining the piece of candle from your +pocket put your hands behind your back, and, having rolled up the half +message, work it into the hole in the piece of candle. In order to gain +the time to do this stoop over the lighted candle and make several +unsuccessful attempts to blow it out. When the paper is in the piece of +candle give one good hard blow and extinguish the light. With the piece +of candle concealed in your left hand, take the candle out of the +candlestick, lay it on the table, and with a knife cut off the burnt +end, which throw away and divide the remainder into three equal parts. +Then ask the person who wrote the message to select one piece. When he +does so pick up the selected piece with your right hand and pretend to +transfer it to your left, but retain it in the right and show the piece +concealed in your left, which you present to the person who wrote the +sentence and request him to pull out the piece of paper, which he will +find to be the corresponding half of the piece in his possession. + + +TWO GOOD RING TRICKS + +Take a common ring, about the size of a wedding-ring, and suspend it to +the centre of your handkerchief by a piece of cotton four inches long. +You can hold the handkerchief up by the corners with the ring hanging in +front of you, and the latter will not be noticed. Then let the +handkerchief fall over your left hand and the ring in your palm. Request +the loan of a wedding-ring, and, having obtained one, put it under the +handkerchief, drop it in your palm, and pick up the other ring, which +push up in the centre of the handkerchief, requesting some one to hold +it there. Next take a drinking-glass in your right hand and request the +person to drop the ring in it and the handkerchief over it. Shake the +glass, and the ring will be heard to rattle inside. Then stand the glass +in the palm of your left hand with its bottom over the borrowed ring, +which is concealed there. With your right hand pinch the centre of the +handkerchief and lift it up quickly, of course, carrying the suspended +ring with it, being very careful not to let the ring strike the glass. +The glass is seen to be empty; lift it up and show the ring underneath. +Say, "You see, the ring has passed through the bottom of the tumbler." + +A similar and a better trick can be performed with a short cane--say +about eighteen inches long--instead of a glass. Commence as in the +previous trick, and after you have asked some one to hold the suspended +ring through the handkerchief, show the cane, and, holding your left +hand back upward, push it through the latter and the borrowed ring, and +grasp the cane with, of course, the ring on it, in the centre. With your +right hand take the ring and handkerchief from the person who holds +them, and request him to take hold of each end of the cane. Now lower +the handkerchief until it hides your left hand, when you must move the +latter away, leaving the ring on the cane concealed by the handkerchief. +Then let the suspended ring fall out of the handkerchief, and if it +strikes the cane so much the better. Whip the handkerchief away, and the +ring on the cane will be seen. How that ring could have got on the cane +while the ends of the latter were being held will puzzle everybody. +Pocket the handkerchief with the suspended ring at once, and don't allow +it to be examined. + + + + +SIMPLE ARITHMETICAL PROBLEMS + + +TO ASCERTAIN A NUMBER THOUGHT OF + +Every schoolboy knows the old puzzle: Think of a number; double it; add +10, divide by 2, subtract number thought of; and 5 left. Here is a great +improvement upon that problem, which I have seen puzzle some excellent +accountants. + +Think of a number; multiply by 3; if the result is odd, add 1 and divide +by 2; multiply by 3; if result be odd, add 1, and again divide by 2. By +how many 9's is the result divisible? + +On receipt of that information you at once give the number thought of. +One of the most puzzling features of the trick is that no 9's are +obtainable in the result should either 1, 2, or 3 be thought of, as the +following will show:-- + + Number thought of 1 2 3 + multiply by 3 3 3 + --- --- + 3 9 + Add 1 1 + --- --- --- + Divide by 2 4 6 10 + 2 3 5 + Multiply by 3 3 3 + --- --- + 9 15 + Add 1 1 + --- --- --- + Divide by 2 6 10 16 + 3 5 8 + +As will be seen, none of these results is divisible by 9, yet the number +thought of is correctly given in each instance. + +SOLUTION.--When the number thought of is multiplied by 3, you ask the +question, "Is the result odd or even?" If the answer is "odd," make a +mental note of _one_; then proceed. "Add one and divide by two. Is the +result odd or even?" If the answer is again "odd," make a mental note of +_two_; and proceed. "Add one and divide by two. How many nines are +obtainable in the result? I do not want to know what the surplus is." + +The above figures illustrate that when 1 is the number thought of there +is only an addition of 1. When 2 is the figure, no addition is required +to the first result; but the second result being 9, 1 is added and _two_ +noted, which, of course, is the figure thought of. When 3 is thought of +two additions are necessary, one to the 9 and one to the 15, making a +total of _three_ to be remembered, which represents the original number. +When 4 or any succeeding number is thought of the final result is always +divisible by 9, and in your mental calculation each 9 must represent 4, +to which you add the figures you have previously noted. + +EXAMPLES. + +Number thought of 4 x 3 = 12 / 2 = 6 x 3 = 18 / 2 = 9. + +Here we have one 9, which represents 4, the number thought of. + +Number thought of 7 x 3 = 21 + 1 = 22 / 2 = 11 x 3 = 33 + 1 = 34 / 2 = +17. From which is obtainable only one 9, which represents 4, to which +you add 1 for the first addition of 1, and 2 for the second addition, +making a total of 7, the number thought of. + +Number thought of, + + 11 + x 3 + ---- + 33 + + 1 note 1 + ---- + / 2 34 + 17 + x 3 + ---- + 51 + + 1 note 2 + / 2 52 + ---- + 26 two 9's = 8 = 11 + + +HOW TO NAME A NUMBER WHICH HAS BEEN ERASED + +Request a member of the company to write a row of figures, the number of +which is immaterial, add them together and subtract the addition from +the row. Then to cross out any figure from the result, add the remaining +figures together and give you the total, when you will tell him which +figure he has erased. Of course, you do not see his figures and can +leave the room while he makes them. + + EXAMPLE. + + 567219 = 30 + - 30 + -------- + 567189 + +We will suppose he crosses out 7, which makes the addition of the row, +minus that figure, 29. He gives you that result and you at once name the +crossed off figure. There are two ways of arriving at the answer. The +simplest and quickest way is to add the units in the result together +until only one figure remains and deduct it from 9. For instance, we +will take 29. Add the 2 and 9 together, which make 11; add 1 and 1 +together and you have 2, which deduct from 9, leaving 7, the figure +erased in the above example. + +Supposing 1 was the figure erased, the addition of the remaining figures +would then be 35; 3 + 5 = 8, 9 - 8 = 1, the figure crossed off. + +The second method is to reckon the next multiple of 9 above the figures +given you; for instance, supposing they are 29, the next multiple of 9 +is 36. Deduct 29 from it and it leaves 7, the erased figure. If either 9 +or 0 is erased the result is the same. You can get out of the +difficulty, on being told you are wrong, by saying (in case you have +given 9), "Yes, I see it is a nought; I thought it had a tail, so +mistook it for a nine." If you have named 0 and it turns out to be 9, +you can say, "Oh, I didn't notice the tail; of course I should have said +nine." + + +A LESSON IN THE CORRECT FORMATION OF A FIGURE + +Request a friend to write the following figures:-- + + 1 2 3 4 5 6 7 9 + +Take the paper from him and, after pretending to scrutinise the row, ask +him to point out which figure he considers most imperfectly made. If he +should select the 1, say, "You had better practise making that figure. +Oblige me by multiplying the row by nine." When he does so the result +will be + + 1 1 1 1 1 1 1 1 1 + +Then say, "After this practice you will be able to make better ones in +future." + +If he selects the 4 request him to multiply by 36 and the result will be + + 4 4 4 4 4 4 4 4 4 + +Whichever figure he selects, mentally multiply it by 9 and request him +to multiply the row by the result. If he thinks 9 the most imperfectly +made figure, you, of course, tell him to multiply by 81 and the result +will be all 9's. + + +FOUR NINES PROBLEM + +How can four 9's be written so that they will make 100? + + SOLUTION. + + 99 9/9 + + +AN ANSWER TO A SUM GIVEN IN ADVANCE + +Ask some one to start a sum in addition by writing the top line of four +figures. We will suppose he writes 1912. You mentally subtract the 2 and +place it before the 1, making 21,910, which figures write on a piece of +paper, which you fold up and lay on the table. You then ask a second +person to place four figures under the first line. Then add a line +yourself, which must be a deduction of the second line from four 9's. +Ask a third person to add four figures to those already written. Then +add another line yourself, making it a deduction of the third person's +figures from four 9's. Request a fourth person to add up the sum and +tell him you have already done so, and he will find the answer on the +table. The sum will appear something like this:-- + + 1912 + 7234 + 2765 + 4891 + 5108 + -------- + 21,910 + +Which answer corresponds with the figures on the paper, which has been +on the table the whole time. If you have in the company two friends upon +whom you can rely as confederates, previously arrange with them to write +the third and fifth lines, explaining to them that they must deduct the +line immediately preceding theirs from 9's and make their lines the +products. This adds greatly to the mystery of the trick. + + +AN ARITHMETICAL PUZZLE + +Take 9 from 6; from 9 take 10, and from 40 take 50, and you will find 6 +remains. + + SOLUTION. + + FROM SIX | FROM IX | FROM XL + TAKE IX | TAKE X | TAKE L + S | I | X + + +AN ARITHMETICAL MYSTERY + +Thirteen commercial travellers arrived at an inn, and each desired a +separate room. The landlady had but 12 vacant rooms, which may be +represented thus:-- + + ---------------------------------------------------- + | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | + ---------------------------------------------------- + +But she promised to accommodate all according to their wishes. So she +showed two of the travellers into room No. 1, asking them to remain a +few minutes together. Traveller No. 3 she showed into room No. 2, +traveller No. 4 she showed into room No. 3, traveller No. 5 into room +No. 4, traveller No. 6 into room No. 5, and so on until she had put the +twelfth traveller into Room No. 11. She then went back to where she had +left the two travellers together, and asking the thirteenth traveller to +follow her, led him to No. 12, the remaining room. Thus all were +accommodated. Ask your friends to explain the mystery. + + +HOW TO TELL HER AGE + +Girls of a marriageable age do not like to tell how old they are, but +you can find out by following the subjoined instructions, the young lady +doing the figuring: Tell her to put down the number of the month in +which she was born, then to multiply it by 2, then to add 5, then to +multiply it by 50, then to add her age, then to subtract 365, then to +add 115, then tell her to tell you the amount she has left. The two +figures to the right will tell you her age and the remainder the month +of her birth. For example, the amount is 822, she is twenty-two years +old and was born in the eighth month (August). + + +A RACE IN ADDITION + +Tell a friend that you will race him in counting from 1 to 100, and +guarantee to win, under the following conditions: You will allow him to +start first, at any number from 1 to 10, and you are both to have the +privilege of adding any figure up to 10 to the last number called. For +instance, we will suppose he starts with 5. You call 15, having mentally +added 10 to his number. He then calls 20, having added 5; and so on, +until 100 is reached. Until he sees through the trick you will win every +time, and even then you will win if you start first and commence at 1. +In that case, as he can only add 10, his first call could not exceed 11, +to which you immediately add 1 and call 12. If his next call is 22, you +say 23. No matter what his additions may be, the numbers you must always +reach first are 12, 23, 34, 45, 56, 67, 78, and 89. When you call the +latter number, as he can only add 10 to it, your next call will, of +course, be 100. By this you will observe that, although you can only add +10 to your opponent's last number, you in reality add 11 to your own. So +you are, so to speak, always 1 ahead of him. If, when you suggest the +trick, you see your friend is not familiar with it, you can give him the +option of starting first, and you need not pick up the thread of your +winning numbers until you reach 50, adding low numbers to his additions, +which will help to puzzle him; but he will soon see that it is necessary +to reach 89; then he will notice you strike 78 and 67. When you see he +is getting on the right track, pick up the winning numbers earlier, and +at last insist that you must now start first. In starting with a person +who does not know the trick it is advisable, and more puzzling, to dodge +about at first and not get on the track of the winning numbers until 56 +or 67. But if your friend knows the trick and starts at 1 you cannot +beat him. I have seen good accountants puzzle for hours over this little +trick, which was invented by Mr. William Lawtey, a dear old friend of +mine. + + +TO PREDICT THE HOUR YOUR FRIEND INTENDS TO RISE ON THE FOLLOWING MORNING + +Request your friend to make up his mind as to the time he intends to +rise on the following morning, and then to mention an entirely different +hour to you. To the latter you mentally add twelve, and giving him the +number of the total, request him to look at his watch, and starting at +the hour preceding the one he has selected for rising, to count +backwards until he reaches the number you have given him, beginning with +the number which he previously gave you. Ask him to state the hour at +which he stops, which he will find is the one he selected for rising. +For instance; supposing your friend intends to rise at nine and gives +you four. To four you mentally add twelve and request him to start at +the hour before his getting-up time (which would be eight) and count +sixteen backwards on the face of the watch, starting with the number he +gave you--four--and when he reaches sixteen his finger or pencil will +rest upon nine, the hour he selected for getting up. + + + + +MATCH PUZZLES + + +EXPERIMENT WITH TEN MATCHES + +Lay ten matches side by side (Fig. 7) and request some one to lift each +match singly, and passing it over two matches, cross a third match with +it until there are five crosses on the table (Fig. 8). Two matches (and +only two whether crossed or single) must be passed over at a time. + + 1 2 3 4 5 6 7 8 9 10 + | | | | | | | | | | + | | | | | | | | | | + | | | | | | | | | | + Fig. 7. + + \ / \ / \ / \ / \ / + \ \ \ \ \ + / \ / \ / \ / \ / \ + Fig. 8. + +The secret is that No. 1 must be crossed first and No. 9 second, or the +trick cannot be accomplished. + +The following are the correct moves: 4 over 2 and 3 and crossed on 1; 6 +over 7 and 8 and crossed on 9; 8 over 7 and 5, crossed on 3; 2 over the +3 and 5, crossed on 7; the 10 over the 9 and 7, crossed on 5. + + +THE MAGIC NINE + +Make the figure 9 with a long tail with matches (Fig. 9) and tell a +member of the company to think of a number, which must exceed the number +of matches in the tail; and, commencing at the first match in the +latter, count mentally round the figure, stop when he reaches the number +thought of, and then, recommencing at the match he stopped at, count the +reverse way, this time avoiding the tail, and continuing on the upper +part of the 9 until he again reaches the number he selected, when you +will point to the match he has stopped at. This you can do very easily, +for if there are seven matches in the tail he will, of course, stop at +the seventh match on the left from the tail, as will be seen by the +numbering on the diagram, which assumes he thought of fifteen. Each time +the puzzle is tried vary the length of the tail by taking some matches +out of the latter and adding them to the upper part of the figure, or +vice versa. If this is not done the stop will always be made at the same +match, which will give the trick away. + + [Illustration] + Fig. 9. + + +TRIANGLES WITH MATCHES + +Make three equilateral triangles with six matches. Of course, two can be +made with five matches; but then there is one over, and how to make a +third triangle with only one match is a puzzler. It is as easy as +possible. Make a triangle with three matches, and stand the other three +upon end inside the triangle in the form of a tripod (Fig. 10). + + [Illustration] + Fig. 10. + +Here is another triangular puzzle. With five matches form two +equilateral triangles. Tell the company they are to remove three +matches; then add two and make two more equilateral triangles. This is +only a "sell." You do not say where the two matches are to be added. You +add them to the three removed, and form the same figure over again (Fig. +11). + + /|\ + / | \ + / | \ + \ | / + \ | / + \|/ + Fig. 11. + + +MATCH SQUARES + +Make nine squares with twenty-four matches (Fig. 12). Then request some +one to remove eight matches, and without touching those left, to leave +two perfect squares. + + -- -- -- + | | | | + -- -- -- + | | | | + -- -- -- + | | | | + -- -- -- + Fig. 12. + +Fig. 13 shows the solution. + + -- -- -- + | | + -- + | | | | + -- + | | + -- -- -- + Fig. 13. + + +YOUR OPPONENT MUST TAKE THE LAST MATCH + +Place twenty-five matches in a row on the table. Request some one to +select one end of the row and to take one, two, or three matches from +it, you having the same privilege at the other end; and you guarantee he +will be compelled to take the last match no matter how he may vary the +number he takes. + +The secret is to remove four matches each time between you. For +instance, if your opponent takes three you take one; if he takes two you +take two; if he takes one you take three and so on. It is obvious if +four matches are taken six times one match will be left on the table, +which your opponent must take. + + +A SHAKESPEAREAN QUOTATION + +Lay five matches on the table and request a member of the company to +form a well-known quotation from Shakespeare by the addition of three +more matches (Fig. 14). "But," some one will say, "how does KINI +represent a Shakespearean quotation?" Your reply is obvious: "Can't you +see KINI is 'a little more than kin, but rather less than kind'?" + + | / | |\ | | + |/ | | \ | | + |\ | | \ | | + | \ | | \| | + Fig. 14. + + +NUMERAL + +Place five matches on the table and challenge any one to make them into +thirteen without breaking any of them, and then, without moving them, to +make eight by the use of a card. The solution will be found in Fig. 15. + + \ / | | | + \ | | | + / \ | | | + Fig. 15. + +To make eight, hide the lower half of the row from sight, and it of +course shows viii. + + +SIX AND FIVE MAKE NINE + +Place six matches on the table and request a person to add five more in +such a manner as to make nine. The solution is shown in Fig. 16. + + _____ + |\ | | |\ | | + | \ | | | \ | |_____ + | \ | | | \ | | + | \| | | \| |_____ + Fig. 16. + + +THE ARTFUL SCHOOLBOYS + +At a certain school were four long dormitories, built in the form of a +square, in which thirty-two boys occupied beds, as shown by matches in +Fig. 17. + + |||| |||| |||| + + |||| |||| + + |||| |||| |||| + Fig. 17. + +By this arrangement the master, in going his rounds at night, counted +twelve boys in each corridor. One night four boys absented themselves +from the school, and the remaining boys rearranged themselves in such a +manner that the master was still able to count twelve boys in each +corridor, and the absence of their four comrades was not noticed. How +they did it is shown in Fig. 18. + + ||||| || ||||| + + || || + + ||||| || ||||| + Fig. 18. + +The four absentees returned on the following night, accompanied by four +friends; but the master was unable to notice the addition, for he again +counted twelve boys in each dormitory. The new arrangement was as Fig. +19. + + ||| |||||| ||| + + |||||| |||||| + + ||| |||||| ||| + Fig. 19. + +There were now thirty-six boys sleeping in the dormitories, and next +night they were joined by four more, which brought the number up to +forty, and yet the master only counted twelve in each dormitory on his +rounds that night. How the new distribution was made is shown in Fig. +20. + + || |||||||| || + + |||||||| |||||||| + + || |||||||| || + Fig. 20. + +Next night four more chums popped in for a snooze, making a total of +forty-four, and again the master was bamboozled by the following +readjustment (Fig. 21). + + [Illustration] + | |||||||||| | + + |||||||||| |||||||||| + + | |||||||||| | + Fig. 21. + +History is silent upon the subject of the arrangement at the +breakfast-tables. + +The proper way to present this puzzle to your friends is to lay +forty-four matches on the table, and after showing the initial +arrangement, allow them to work the rest out for themselves. + + +WHAT ARE MATCHES MADE OF? + +Arrange fourteen matches as in Fig. 22, and tell your friends to take +away any three matches they may select without disturbing the others, +and replace one in any position they may choose in such a way as to show +what matches are made of. They will endeavour to form the word "wood"; +but Fig. 23 gives the correct solution. + + ----- ----- ----- + | | | | \ / | | + | | | | \ / | | + | | | | \/ | | + ----- ----- ----- + Fig. 22. + + ----- ----- + | | | \ / | + | | | \ / |----- + | | | \/ | + ----- ----- ----- + Fig. 23. + + +A SHEEP PEN + +Arrange eight matches as shown in Fig. 24, and state that this +enclosure, formed by eight hurdles, is supposed to hold one hundred +sheep. Ask your friends how many more hurdles would be required to +enable the enclosure to contain two hundred sheep? The reply is +generally eight more, and your friends will be surprised to learn that +only two more hurdles are required--one at each end across the +enclosure. Three hurdles being moved to admit of the introduction of the +additional two, the pen will, of course, be doubled in size. + + ----- ----- ----- + | | + | | + | | + ----- ----- ----- + Fig. 24. + + +POST AND RAIL PUZZLE + +Put the following question to the company: Supposing there was a tunnel +through a hill and a post and rail fence was constructed through it, and +another fence was made exactly above it, over the hill, how many more +posts would be required for the latter route, supposing they were the +same distance apart by both routes? + +After several calculations have been made you can astonish the company +by telling them that exactly the same number of posts would be required +for both routes, which you can prove by making a rough sketch of the +diagram, Fig. 25, and placing matches on it to represent the posts. + + [Illustration] + Fig. 25. + + + + +SIMPLE MISCELLANEOUS TRICKS + + +A GOOD AFTER-DINNER TRICK + +Procure an egg, an apple, an orange, and two dozen nuts. Place the +latter on a plate, and request three persons during your absence from +the room to each pocket one of the three former, asserting that you will +eventually state in whose pockets the different articles are to be +found. On returning to the room present to one of the persons you have +asked to assist you one nut, to a second person two nuts, and to the +third three nuts, which will of course leave eighteen nuts on the plate. +You must mentally name the person to whom you gave one nut "number one," +to the person holding two nuts "number two," and the one who has three +nuts "number three." + +Announce your intention of again leaving the room, and request your +three assistants to help themselves during your absence to nuts as +follows--the one holding the apple to take the same number of nuts you +presented him with, the one who has the egg to twice as many as you gave +him, and the holder of the orange to four times as many as he originally +received. + +Impress on them that the number of nuts they take must be _in addition_ +to those they already hold. + +On returning to the room you glance at the nuts remaining in the plate +and at once call for the egg, apple, and orange from their respective +holders. + +EXPLANATION. + +You must memorise the following Latin words: Attento, Beato, Cantores, +Erocat, Fortasse, Glossema, numbering them 1, 2, 3, 4, 5, and 7. The +initials of these words, it will be observed, are the first six letters +of the alphabet, omitting D, which is not required; A, of course, +standing for Apple, E for Egg, and O for Orange. + +On returning to the room after your second absence count the number of +nuts remaining on plate, refer to the Latin words, and you have the key. +Supposing there are only two nuts left, take the second word, Beato, and +reject the consonants, when the vowels will remain in proper order, E, +A, O. The E being first shows the egg is in the pocket of the person +whom you have designated as "number one." The A being second indicates +"number two" has the apple, and the O, the third letter, means "number +three" holds the orange. + +Supposing there are seven nuts left, take the seventh word, Glossema, +reject the consonants as before, and pick out the vowels, O, E, A, which +proves "number one" person holds the orange, "number two" the egg, and +"number three" the apple, and so on with the other Latin words, the +remaining number of nuts always indicating the word from which you are +to select the vowels. This trick may be repeated _ad lib._ without fear +of detection. + + +TO REMOVE A SERVIETTE RING FROM A TAPE HELD ON THE THUMBS OF ANOTHER +PERSON + +Obtain a piece of tape, or string, about three feet in length and tie +the ends; pass this loop through a serviette ring and the ends of the +loop over the thumbs of a friend (Fig. 26). + + [Illustration] + Fig. 26. + +Take hold of the tape with your left forefinger at A and pull it forward +and down; with your right forefinger pull the tape at B, from +underneath, forward and upward, which will cause the two parts to cross +each other. Then with your right forefinger and thumb place the tape B +over the thumb D; move the ring toward D and with your right forefinger +and thumb take the tape at C from underneath and carry it also over the +thumb D. Take hold of the ring and pull it gently, as you slip your left +forefinger out of the loop A, when it will at once be released without +the tape leaving either thumb. + + +AN EXPERIMENT IN GRAVITY + +Give a person two half-crowns and request him to hold them horizontally +between the tips of his thumb and finger of his right hand, the coins +touching each other. Then request him to drop the lower coin in his left +hand and you will tell him which side will come uppermost. First note +which side of the coin is underneath when you place them in position, +for that will be the uppermost side when it reaches his left hand. The +lower coin will turn completely over in the act of falling: nothing can +prevent it. The distance between the hands should be from fourteen to +sixteen inches. + + +A SCISSORS FEAT + +Hold a pair of scissors on the first two joints of your little fingers +with your palms upward, their blades pointing to the floor (Fig. 27). +Then throw the points over toward you, turning your hands at the same +time and bringing your knuckles back to back, the scissors standing out +straight from you (Fig. 28). + + [Illustration] + Fig. 27. + + [Illustration] + Fig. 28. + +I have never seen any one accomplish this simple feat until they learned +the secret. When you throw the scissors over on the palms of your hands, +with their points toward your chest, allow the blades to rest there for +an instant with the tips of your little fingers touching your palms +through the scissors' bows; then bring the backs of your fingers +together with your hands closed and the points of the scissors outward. +The uninitiated, instead of allowing the bows to slip to the points of +the little fingers, hold them tight on the second joints and, of course, +fail. + + +ANOTHER TRICK WITH A PAIR OF SCISSORS + +This trick consists of fastening the scissors securely to the back of a +chair with a piece of string and then removing them without cutting or +untying the string. First make a loop of a piece of string about two +feet in length and pass the double end through one of the bows and the +two loose ends through the loop and pull tight. Next pass the two single +ends through the other bow of the scissors and tie them to the back of +the chair. The puzzle is how to remove them, which is simple enough when +you know how. Loosen the loop and draw it upwards and pass it through +the other bow, and then over both bows and points, when the scissors +will be free. + + +AN INDESTRUCTIBLE CIGARETTE PAPER + +Take three cigarette papers, fold one up into a very small square, and +paste it lightly on the top right corner of the second paper. The third +paper roll lengthwise, and conceal it in your ear. Show the first paper +between both thumbs and fingers, your right thumb on the pasted corner, +then proceed to tear it up into squares, placing the pieces in front of +each other before tearing again. When it is in pieces about the size of +the pasted square, under the shelter of your left hand, with its back to +the audience, separate the pieces from the square and hold the latter up +between your right thumb and finger. Then, pretending to moisten your +left forefinger on your tongue, slip the pieces in your mouth and +conceal them there, and carefully unfold the square held in the other +hand, when the paper will appear to have been restored. You then roll +the paper length wise, and say, "I will swallow it." Put it in your +mouth and pretend to do so. Putting your left hand to your ear, say, "I +will now reproduce from my ear." Pull out the paper concealed there very +carefully, and as you turn to lay it on your table allow the pieces in +your mouth to drop into your hand. + + +TO CUT AN APPLE IN TWO WITH YOUR FINGER + +With a needle and strong thread take a stitch of about half an inch in +its side, leaving several inches of the thread hanging from where you +puncture it. Reinserting the needle in the hole it made coming out, take +another stitch of half an inch, and again reinsert the needle where it +came out. Take similar stitches all round the apple until the needle +comes out of the first hole made, and then cross the two ends of the +thread and pull them steadily until all the thread comes out of the +hole. The apple is now cut through, although the skin does not show it. + +Slip this apple in your pocket, and during dessert select an apple as +much like the prepared one as possible. Having previously placed your +serviette over your knees, with the prepared apple in it, drop the apple +just selected and pick up the former with your right hand while you turn +your plate over with your left hand. Putting the apple on its side on +the inverted plate, laying your forefinger on the apple you give the +former a smart blow with your right fist, when the apple will fall in +two pieces. + + +A TRICK WITH DOMINOES + +Take a full set of dominoes--twenty-eight pieces--turn them face +downward on the table; shuffle them thoroughly; then tell the company to +turn them over and match them in the ordinary way, while you take a seat +at the other end of the room with your back to the table. They can +blindfold you if they wish. As soon as all the pieces are matched you +call out the numbers shown at the two ends of the row. Return to the +table, turn the dominoes over again, shuffle them as before with the +right hand; again turn your back, and call out the end numbers. You can +repeat this any number of times without detection, unless some one +should count the pieces and find only twenty-seven. Each time you have +shuffled them you have dropped a piece concealed in your right hand, and +extracted and palmed another. One piece taken from a set of dominoes +invariably indicates by its numbers the numbers at the two ends of a row +when the pieces are all properly matched. + + +AN ESCAPE + +Ask some one to tie your wrists together with a handkerchief, and then +to pass a cord between your arms behind your tied wrists, and hold the +ends securely. Have towel or cloth thrown over your hands, and after a +very brief interval tell the person who holds the ends of the cord to +pull. When he does so, the latter will pass from your hands and fall on +the floor. You remove the cloth, and show that your wrists are still +tied together. + +EXPLANATION.--When your hands are covered, move your elbows out, which +will separate your wrists, push the second finger of your right hand +between them, and with it pull the bight of the cord through the bandage +round your wrists, slip it over one hand, and when your assistant pulls +the cord it will pass off clear of your hands. + + +CIGARETTE PAPERS AND SERVIETTES + +Screw three cigarette papers up into pellets and cover each of them with +a folded serviette. Then lift the serviette on your right with your left +hand (to show that the pellet is still there) and transfer it to your +right, holding it with your thumb on top and fingers underneath, and +re-cover the pellet. As you do this nip the pellet between the tips of +your first and second fingers in such a way that it does not show in +front of them as you withdraw your hand palm upwards. Then raise the +centre serviette with your left hand, transfer it to your right, as +before, and re-cover the pellet, and as you do so, drop the pellet +concealed between your fingers under it. Then raise the third serviette +with your left hand, transfer it to your right, re-cover the pellet, +and, in doing so, nip the latter between your fingers, as you did the +first one. Then say: "There are three pellets on the table covered by +serviettes. I command the one here (pointing to the one on your left) to +travel invisibly to the centre serviette." Turn the serviette over, and +show the pellet has gone. Then lift the centre serviette with your left +hand, and show the two pellets under it. Transfer it to your right hand, +and, in replacing it, drop the concealed pellet. Then say: "We have now +two pellets under the centre serviette, and one under this one" +(pointing to the one on your left). "I command this one to join its +fellows." Lift the serviette as you speak, and show the pellet has gone; +lift up the centre serviette, and the three pellets will be found +together. + + +FOUR CIGARETTE PAPERS + +This is a variation of the previous trick. Roll up five cigarette papers +into pellets. Conceal one at the root of the left thumb, and form a +square with the others on the table. Show your hands empty (the +concealed pellet will not be observed if properly held), and cross your +hands over the pellets on the table. With the tips of your right fore +and second fingers nip one of the pellets on your left, and at the same +time drop the pellet concealed in your left hand between the two on your +right. Move both hands away quickly, and one of the pellets on your left +will appear to have travelled invisibly under your right hand. Again +cross your hands, passing your right hand under the left, and as you do +so drop the pellet concealed between your fingers, covering it at once +with the left hand. Then nip the remaining pellet with your right first +and second fingers, as before, and, on lifting your hands, all four +pellets will appear on your right. You can get rid of the remaining +pellet by dropping it on the floor, or on your lap if you are sitting at +the table. + + +A HINDOO SWINDLE + +This effect is practically unknown to the Western Conjurer, but has been +one of the stock-in-trade among magicians in India for years. It +involves a principle (that of transfer) which is capable of extensive +development in the use of modern magic. + +REQUISITES.--(1) A piece of brittle unglazed earthenware. (A piece of +substance akin to thin flowerpot is used in India.) (2) A stick of +specially prepared soft charcoal. + +A piece of earthenware is given, upon which a spectator is requested to +write his initials with a piece of charcoal supplied. The correct +preparation of this charcoal was conveyed to me by a Hindoo, and is as +follows: Procure a piece of boxwood or beech, the former for preference, +place it in the fire until reduced to a red glowing mass, remove it with +tongs and immediately place it into a thick jar and cover up very +tightly till cool. + +The earthenware is taken by the performer and crushed up under his heel. +The spectator is then asked to wave his right hand over the broken +pieces, and upon the palm being turned upwards the absolute initials in +all detail are found imprinted upon his hand. + +PRESENTATION.--Hand the piece of earthenware to the spectator, together +with the charcoal; request that his initials shall be written on the +earthenware in a space marked the size of the tip of the index finger. +After this has been done, you take it back between the thumb and index +finger of the right hand, the finger over the initials exerting a firm +pressure which has the effect of transferring the writing to the latter. +Then place the earthenware under your heel and crush it. + +Now request the spectator to wave his right hand over the pieces. After +this has been done for a few seconds, boldly take hold of the hand (your +index finger firmly pressing upon its palm) and suggest that the hand is +not quite over the pieces, suiting the action to the word by slightly +pulling the hand forward; this has the effect of re-transferring the +reversed initials on to the spectator's palm, to be discovered a little +later upon the hand being turned over. + + +THE ELUSIVE MATCH--A CAPITAL IMPROMPTU TRICK + +EFFECT.--A match apparently thrown away persists in reappearing in +closed hand. + +REQUISITES.--A box of ordinary safety matches, together with an extra +match top, broken off about half an inch long. + +PRESENTATION.--First conceal the extra match top between the tips of the +index and second finger of the right hand. Now give the box of matches +to a spectator, and request that the tops of three of the matches be +broken off about half an inch long and handed to you. You then place +these upon the table and proceed to pick them up one at a time with the +right hand, and throw them into the left (each time closing that hand) +as follows: The first is thrown in quite fairly, the second one is also +thrown in but is secretly accompanied by the one which you have +previously concealed at the finger-tips, the third one you pick up and +apparently throw away, but really retaining it at the finger-tips as +above mentioned. You now open the left hand and throw three match tops +on to the table instead of the supposed two; apparently the one thrown +away has secretly travelled back to the left hand. This trick can be +repeated about three times without fear of detection, as you always have +a fourth match top in readiness at the finger-tips. Properly worked it +proves a very bewildering little trick. + + + + + HERCAT, + + Of the Egyptian Hall, Queen's Hall, Shaftsbury Theatre, + Lyceum Theatre, The Tivoli, Crystal Palace, &c., + + _Illusionist, Ventriloquist, Comedian, & Author,_ + + CAN BE ENGAGED FOR + + EVENING PARTIES, 'AT HOMES,' &c., + + IN HIS + + REFINED & ORIGINAL ENTERTAINMENT. + + SEND FOR CIRCULAR. + + LESSONS IN SLEIGHT OF HAND and VENTRILOQUISM. + + _Permanent Address_:-- + Care of 'THE ERA,' + 5 Tavistock Street, Strand, + London. W.C. + + + + +Dean's 6d. Champion Handbooks. + +_Crown 8vo. Profusely illustrated._ + + +*Cricket and How to Play.* By BOB ABEL. + +*Draughts.* By W. PATTERSON. + +*Indian Clubs, Dumb-Bells, and Sword Exercises.* With Diagrams. By the +late Prof. HARRISON. + +*Rowing, Sculling, Punting, and Yachting.* By "Straw Hat." + +*Art of Attack and Defence.* By Major ELLIOTT. + +*The Handbook of Boxing.* By JOHN C. EARL. + +*Gymnastics.* By Sergt.-Major S. G. 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By CAMPBELL +RAE-BROWN. + +*Bill Muggins.* By ROBERT OVERTON. + +*Me & Bill.* By ROBERT OVERTON. + +*A Domestic Syndicate.* By KATE FREILLIGRATH KROEKER. + +*The Amateur Stage.* By BENJAMIN CLAYTON. A Capital Handbook for +Amateurs. + +*A Blue Book for Sale.* By M. BEETHAM-EDWARDS. (M 2, F 3.) + +*The Two Clerks.* A Musical Comedietta. By GEORGE J. GOODRICH. (M 4, +F 3.) + +*Two of Eve's Daughters.* By FRANCIS W. MOORE. (M 2, F 3.) + + + + +SIXPENNY PLAYS FOR YOUNG ACTORS. + + M _males_; F females. + + +*Puss in Boots: or, The Miller's Favourite Son.* By Miss CORNER. (M 8, +F 5.) + +*Prince Bulbo.* Dramatised from Thackeray's "Rose and the Ring." By AMY +WHINYATES. (M 6, F 7.) + +*Jack's Ashore.* A Sailor Play. By MAUD HODGES. (M 8.) + +*The True Story of Catherine Parr.* By ELSA D'ESTERRE KEELING. (M 2, +F 6.) + +*How Matilda, First Queen of England, was Wooed and Won.* By ELSA +D'ESTERRE KEELING. In 4 Acts (M 6, F 7, and Supers.) + +*The Amateur Stage.* By BENJAMIN CLAYTON. + +*Aladdin.* By AMY WHINYATES. (M 3, F 5.) + +*Beauty and the Beast.* By Miss CORNER. Illustrated by N. WESTRUP. 18th +Edition. (M 2, F 4.) + + + + +Dean's Shilling Books for Elocutionists. + +_Crown 8vo._ + + +*Queer Fish.* Character Sketches. By ROBERT OVERTON. _7th Edition_, with +preface by Mrs. STIRLING. + +*A Round Dozen.* Character Sketches. By R. OVERTON. _4th Edition._ + +*Speech Studies.* Studies of Poems, with Recitations, Anecdote Sketches, +and Articles connected with Elocution. By EDWIN DREW. + +*Sylvia's Ride for Life,* and other Original Ballads for Recitation and +the Fireside. By FREDERICK G. WEBB. + +*Ryder's Last Race,* and other Humorous Ballads for Recitation. By +CAMPBELL RAE BROWN. Author of "Kissing Cup's Race." + +*Rhymes of the Times;* Serious Ballads for Recitation. By CAMPBELL RAE +BROWN. + +*Con O'Donnell,* and other Ballads. By E. OWENS BLACKBURNE. + +*Elocution made Easy.* By EDITH HERAUD, Elocutionist. + +*Ten Minutes.* Short Prose Tales and Recitations. By ROBERT OVERTON. + +*Dean's Children's Recitations,* Compiled by MAUD DEAN. _Limp cloth._ + +*Humorous Pieces.* By FRANCIS W. MOORE. + +*Tableaux Vivants and Living Waxworks,* with directions for stage +management. By G. J. GOODRICK. + +*Waterworks.* By ROBERT OVERTON. + +*The Record Reciter.* By ROBERT OVERTON. + +*The Child's Prize Reciter.* Compiled by M. DEAN. + + + + +Dean's 2/6 Plays and Reciters. + + +*The Overton Entertainer.* By ROBERT OVERTON. + +*Humorous Plays.* By FRANCIS W. MOORE. + + + +Dean's 6d. Reciters. _Limp Cloth 6d. each._ + + +*Only a Little Brown Sparrow, and other Recitations for Children.* +Compiled by MAUD DEAN. + +*Poetry for Children.* Compiled by MAUD DEAN. + +*Humorous Pieces*, Series I. By FRANCIS W. MOORE. + + " " " II. " " + + " " " III. " " + +*Holiday Yarns.* By ROBERT OVERTON. + +*A Bald Bold Man.* " " + +*The Child's Recitation Book.* Mrs. FAYLE. + +*Half a Dozen.* By ROBERT OVERTON. + +*Five Favourites.* " " + + + + +[Illustration: Hamley's Conjuring Tricks] + +Established 1760 + +The most reliable and up-to-date firm in the world for Conjuring Tricks, +Puzzles, Novelties, &c. + + + COIN TRICKS. [Illustration] BOXES OF TRICKS. + [Illustration] 1/4, 2/9, 5/10, + 5/6 Cabinet. 11/-, 15/9, 22/-, + 5/11 post free post free. + + Larger Sizes--30/-, 42/-, 63/-. Carriage on receipt. + + + [Illustration] + 1/- per box. + 1/3 post free. [Illustration] + 2/10, 5/10, 10/5, 20/5, 43/-, JOKES. + Assorted and 64/-, post free. 1/-, post free 1/3 + Puzzles, 2/6, " " 2/10 + 2/10, 5/10, [Illustration] + 11/-, 22/- Splendid fun + each, + post free. + + + Write for Illustrated Catalogue. + + 35 NEW OXFORD STREET, W.C. + + | 29 Ludgate Hill, E.C. 200 & 202 Regent St., W. + BRANCHES: | 510a & 512 Oxford Street, W. + | 59 Knightsbridge, S.W. + | 86 & 87 High Holborn, W.C. + + + + +TRANSCRIBER'S NOTE + + +List of changes from the printed edition (in parentheses the original +text): + + p. 5: "Hindu" changed to "Hindoo" to match the text (A Hindu Swindle) + + p. 7: "--a Laughable Trick" added to Contents entry. (The Rejected + Recruits) + + p. 8: question mark added to Contents entry. (What are Matches Made + of) + + p. 8: changed "of" into "in" in Contents entry. (An Experiment of + Gravity) + + p. 9: "someone" changed to "some one". (request someone to select a + card) + + p. 20: closing quote removed. (Which leaves five." The suit) + + p. 22: "anyone" changed to "any one". (that anyone is at liberty) + + p. 24: closing quote added. (You moved ---- cards. When you) + + p. 29: word "a" added. (requesting spectator) + + p. 30: duplicated "the" removed. (pick up the the bowl) + + p. 35: "someone" changed to "some one". (Ask someone to examine) + + p. 44: missing period added. (Fig 4) + + p. 49: "multiply" changed to "divide". (add 10, multiply by 2) + + p. 51: added missing minus sign in the displayed subtraction. (30) + + p. 52: period changed to comma (3 + 5 = 8. 9 - 8 = 1) + + p. 67: missing period added. (Fig 25) + + p. 72: "scissor's" changed into "scissors'" (the scissor's bows) + + p. 73: changed hyphen into space. (CIGARETTE-PAPER) (cigarette-papers) + + p. 82: "Eves'" changed into "Eve's". (Two of Eves' Daughters) + + p. 84: missing "l" added. (Ludgate Hi l) + + p. 84: missing "i" added. (H gh Holborn) + +... and some apparently missing or hardly visible periods and slashes +added in the advertisement pages. + + + + + +End of the Project Gutenberg EBook of More Conjuring, by Hercat + +*** END OF THIS PROJECT GUTENBERG EBOOK MORE CONJURING *** + +***** This file should be named 32788.txt or 32788.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/2/7/8/32788/ + +Produced by David Clarke and the Online Distributed +Proofreading Team at https://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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