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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..e05ac1a --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #53235 (https://www.gutenberg.org/ebooks/53235) diff --git a/old/53235-0.txt b/old/53235-0.txt deleted file mode 100644 index e164157..0000000 --- a/old/53235-0.txt +++ /dev/null @@ -1,4608 +0,0 @@ -The Project Gutenberg EBook of The Practical Magician and Ventriloquist's -Guide, by Anonymous - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Practical Magician and Ventriloquist's Guide - A practical manual of fireside magic and conjuring - illusions, containing also complete instructions for - acquiring and practising the art of ventriloquism. - -Author: Anonymous - -Release Date: October 8, 2016 [EBook #53235] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE PRACTICAL MAGICIAN *** - - - - -Produced by Chris Curnow, Les Galloway and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - - THE - Practical Magician - AND - VENTRILOQUIST’S GUIDE. - - A PRACTICAL MANUAL OF - FIRESIDE MAGIC AND CONJURING ILLUSIONS, - CONTAINING ALSO - COMPLETE INSTRUCTIONS FOR ACQUIRING & PRACTISING - The Art of Ventriloquism. - - NEW YORK - HURST & CO., Publishers, - 75 NASSAU STREET. - - (Entered according to Act of Congress in the year 1876, by - THOMAS D. HURST, - in the office of the Librarian of Congress, at Washington, D.C.) - - - - - BEST BOOK ON THE “BLACK ART.” - - PARLOR PASTIMES. - - _A NEW BOOK ON_ - MAGIC, CONJURING, LEGERDEMAIN, - AND PRESTIDIGITATION. - - BY THE CELEBRATED - PROFESSOR RAYMOND - -This work is certainly the most exhaustive one on Magic that has ever -been issued. It exposes all the secrets of the Wizard’s Art. No trick -or illusion of importance is left unnoticed, and the explanations are -made in so simple a manner that any one of ordinary comprehension can -readily understand and perform them. The book thoroughly elucidates all -the mysteries connected with - - White Magic, - Natural Magic, - Jugglery, - Sleight-of-Hand, - Electricity, - Chemistry, - Cards, - Coins, - Galvanism, - Magnetism, - Legerdemain, - Necromancy, - Fireworks, - Mechanics, - The Black Art, - Prestidigitation. - -It also contains a grand assortment of - - _RIDDLES_, _CONUNDRUMS_, _CHARADES_, _ENIGMAS_, _REBUSES_, - _TRANSPOSITIONS_, _ANAGRAMS_, _PUZZLES_, - _PARADOXES_, _ACROSTICS_, _AND PROBLEMS_. - -A study of this extremely interesting work would make any one -thoroughly expert in the art of Amusing, whether in private or public. -The work may be consulted with profit either by the Amateur or -Professional Magician. - - Price Twenty-Five Cents. - - Sent to any address on receipt of price. Address - HURST & CO., 75 NASSAU STREET, NEW YORK. - - - - - CONTENTS. - - - PAGE - - Introduction. 8 - - Of palmistry and the passes. 9 - - To command a dime to pass into the centre of a ball of wool, - so that it will not be discovered till the ball is unwound - to the very last of its threads. 13 - - To change a bowl of ink into clear water with gold fish in it. 14 - - The dancing egg. 15 - - The walking cent. 16 - - Tricks with and without collusion. 19 - - To make a quarter and a penny change places while held in - the hands of two spectators. 23 - - Trick with the dime, handkerchief, and an orange or lemon. 23 - - How to double your pocket money. 24 - - The injured handkerchief restored. 25 - - To make a large die pass through the crown of a hat without - injuring it. 26 - - To produce from a silk handkerchief bon-bons, candies, - nuts, etc. 27 - - Practice. 29 - - A sudden and unexpected supply of feathers from under a - silk handkerchief or cloth. 31 - - Heads or Tails? 33 - - To cook pancakes or plumcakes in a hat over some candles. 34 - - To eat a dish of paper shavings and afterwards draw them - from your mouth like an Atlantic cable. 36 - - How to cut off a person’s nose without injuring him. 37 - - Tricks by magnetism, chemistry, galvanism and electricity. 39 - - The watch obedient to the word of command. 41 - - A chemical trick, to follow one where a young friend has - assisted. 43 - - To draw three spools off two tapes without those spools - having to come off the ends of those tapes, and while - the four ends of the tapes are held by four persons. 44 - - To restore a tape whole after it has been cut in the middle. 46 - - On the continuity of tricks. 49 - - The invisible hen, a very useful trick for supplying eggs for - breakfast or dinner. 53 - - Tricks with a plain gold ring. 56 - - Friendly suggestions. 59 - - The conjuror’s “bonus genius” or familiar messenger. 61 - - The shower of money. 63 - - To furnish the ladies with a magic supply of tea or coffee, - at their selection, from one and the same jug. 64 - - To furnish a treat to the gentlemen. 66 - - Ventriloquism. 67 - - Ventriloquism among the ancients. 70 - - Modern professors of the art. 71 - - The theory of ventriloquism. 76 - - The means by which it is effected. 79 - - Practical illustrations. 81 - - Polyphonic imitations. 87 - - A mountain echo. 88 - - Points to be remembered. 88 - - Concluding remarks. 90 - - To make the magic whistle. 91 - - [Illustration: Decoration] - - - - - THE PRACTICAL MAGICIAN - - AND - - VENTRILOQUIST’S GUIDE. - - - - -CHAPTER I - -INTRODUCTORY. - - -My object in writing these hints on CONJURING is for the benefit of -amateurs to promote lively and entertaining amusement for the home -circle and social gatherings. - -My large experience enables me to explain and simplify many of the -best tricks and illusions of the art. I present the key to many of the -mystical mysteries which have puzzled and bewildered our childhood days -as well as confounded us in our maturer years. - -The young student can in a very short time, if he be in the least -of an ingenious turn, amuse and astonish his friends, neighbors and -acquaintances. - -Preference has been given to those tricks which suggest others, the -more complete and difficult performances and illusions have been passed -by as being out of place; I shall not, therefore, in these elementary -papers advert to those experiments which require ample resources, or -a prepared stage, for exhibiting them—or which can only be displayed -to advantage by consummate skill and the most adroit manipulation—but -confine my remarks at present to those branches of the art to the -performance of which a young amateur may aspire with prospect of -success. - -A few hours’ practice will enable the learner to execute the simple -tricks that I shall first treat of; and they will only require -for their display such articles as are readily available in every -household. Most of them will be supplied by any company of a few -friends, and if not in the parlor, can be brought from no greater -distance than the kitchen or housekeeper’s room; such as handkerchiefs, -coins, oranges, or eggs, a glass bowl, etc., etc. There may only -remain a few inexpensive articles to be supplied from repositories for -the sale of conjuring apparatus, or they may be had direct from the -publishers of this work. - -It may be well explicitly to avow that the time is quite gone by when -people will really believe that conjuring is to be done by supernatural -agencies. No faith is now reposed in the “black art of sorcery,” or -even in the art to which the less repulsive name was given of “white -magic.” Many years have elapsed since conjurors have seriously assumed -to themselves any credit as possessing supernatural powers, or as -enabled by spiritual agency to reveal that which is unknown to science -and philosophy, or mysteriously to work astonishing marvels. - -A well-marked contrast exists between the old school of conjurors and -those of modern times. The former, who used boldly to profess that they -employed mysterious rites and preternatural agency, designedly put the -spectator upon false interpretations, while they studiously avoided -giving any elucidation of the phenomena, nor would ever admit that the -wonders displayed were to be accounted for by the principles of science -and natural philosophy. - -Modern conjurors advance no such pretensions. They use as -scientifically as possible the natural properties of matter to aid -in their exhibition of wonderful results. They are content to let the -exhibition of their art appear marvelous. They sometimes mystify the -matter, and so increase the puzzle, in order to heighten the interest -and amusement of the spectators; but they throw aside any solemn -asseveration of possessing hidden powers, or of ability to fathom -mysterious secrets. - -It may be admitted that proficients and exhibitors still adopt language -that has become current with conjurors, and in common parlance it may -be asserted that the wonderful Mr. So-and-So undertakes to pass some -solid object through a wall or a table; to change black into white, and -white into black; to place rings in closely-fastened boxes, or draw -money out of people’s ears; and conjurors may with ridiculous humor -distract the attention of spectators, so that accurate observation -is not fixed upon the object that is to undergo before their eyes -some singular transformation; but no outrageous bombast or positive -falsehoods are commonly advanced. And the practical meaning of any -exaggerated pretension is clearly understood to mean no more than that -Mr. So-and-So undertakes to present before you what, TO ALL APPEARANCE, -is the conversion of black into white, or vice versa; and the audience -are clearly aware that no more is assumed to be presented to them -than a very striking illusion, undistinguishable from a reality; and -how this is effected will be in many cases wholly untraceable, and -therefore the trick is inimitable. - -We may be permitted to feel some pleasure in the conviction that -the exhibition of our art in its more striking exploits is really -marvelous, and very attractive; for we certainly have the power of -placing some astonishing phenomena before our audience; and we may -surely prize the estimation with which the uninitiated are disposed to -honor us, but we erect no vain-glorious assumptions upon these data, -as we are quite contented with fair praise intelligently accorded to -us. And so far from closely concealing the principles and arcana of -our science, we are ready plainly to avow that it all depends upon -faculties that all may attain by patient culture, and exhibit by -careful practice. Undoubtedly there are less and greater degrees of -excellence to be obtained by proportionate intelligence and dexterity. -There are attainments in the art, at which, by natural qualification -and peculiar adaptation, special study, practice, and experience -enable some few only to arrive. These qualifications cannot be easily -communicated to every one who might wish to possess them; and therefore -the highest adepts will ever have an incommunicable distinction. But -this is no more than is the case in the medical, the legal, and any -learned profession, in all which the most eminent proficients reserve -to themselves, or unavoidably retain, an unquestioned superiority. -At the same time there is much in our art that may be communicated, -and the present papers will show to our friends that we are willing -to impart to others such portions of our art as they are capable of -acquiring; and we trust that what we shall communicate to them will -furnish them much rational recreation among themselves, and enable -them to supply innocent and interesting amusement to their friends and -companions. - - - - -CHAPTER II. - -OF PALMISTRY AND PASSES. - - -The true nature and limit of the art of Conjuring has now been -defined—what it is that we assume to do, and wherein we have -discontinued the exaggerated pretensions of the conjurors of the old -school; and I have hinted in what respects, and within what bounds, a -young amateur may gim at exhibiting some amusing experiments in our -art. But it remains for me to explain the grand pre-requisite for a -novice to cultivate before he should attempt to exhibit before others -even the simplest tricks of prestidigitation or legerdemain, to which -we at present confine our attention. - -I have first to speak of PALMISTRY, not in the sense that the -fortune-teller uses the word, but as expressing the art of the conjuror -in secreting articles in the PALM of one hand while he appears to -transfer those articles to his other hand. It is absolutely necessary -that the young amateur should acquire the habit of doing this so -adroitly as to escape the observation of others while doing it openly -before their eyes. - -The two principal passes are the following: - - FIRST PASS; or, method of apparently carrying an object from the right - hand to the left, while actually retaining it in the right hand. - -The reader will please to observe that the illustrative sketches depict -the hands of the performer as seen by himself. - - -FIRST POSITION OF PASS 1. - -The right hand, having the knuckles and back of the fingers turned -toward the spectators, and holding openly a cent, or some similar -object, between the thumb and forefinger, must be moved toward the left -hand. - -The left hand must be held out, with the back of the hand toward the -ground, as exhibited in the illustration. (Fig. 1.) - - [Illustration: FIG. 1. First Position of Pass 1.] - - -SECOND POSITION OF PASS 1. - -The left hand must appear to close over the object that is brought -toward it, at the same instant that the right hand secretes and -withdraws that object. - -The left hand that appeared to receive it must continue closed. The -right hand, though it actually retains the object, must be allowed to -hang loosely over it, so that it appears to have nothing in it. - - [Illustration: FIG. 2. Second Position of Pass 1.] - -The performer then may blow upon the closed left hand, and may say, -“Fly,” or “Begone,” or any similar expression, and then open his -left hand, holding it forward. Of course there is nothing in it, and -the object seems to have flown from it, and the spectators are much -surprised. - - SECOND PASS.—Method of apparently transferring an object from the left - hand to the right, while retaining it in the left hand. - - -FIRST POSITION. - -Let the left hand hold up the object in its open palm. The right hand -is brought toward the left hand, but only appears to grasp it. - - [Illustration: FIG. 3. First Position of Pass 2.] - - -SECOND POSITION. - -The left hand secretes the object in its palm, while the fingers are -allowed to fall loosely down, appearing to retain nothing under them. -At the very same moment the right hand must be closed, and remain -in shape as if containing the object, with the second joints of the -fingers pointed toward the spectators, and the back of the hand toward -the ground. The performer then holding his right hand forward, may blow -on it and say “Change—fly,” and opening that hand, the spectator deems -the object has passed away from it, though in fact it has remained all -along in the left hand. - - [Illustration: FIG. 4. Second Position of Pass 2.] - -The illusion in either of these passes is, that the spectator seeing -both hands move as if the object were passing from one to the other, -thinks it has done so; whereas, in fact, the object always remains in -the hand where it was first visible to the spectators. The BACK of that -hand where the object is first displayed must afterwards be kept well -toward the spectators. - -Observe, the eye of the performer must rest always on the hand or -object at which he desires the spectators to look, and whatever he -wishes them not to notice, he himself must refrain from looking at. - -If it is not required that the very object that has been held up in -these passes be seen again by the spectators, the performer must -quietly pocket it, or drop it on a handkerchief on his table, or inside -a hat, or otherwise get rid of it as soon as he conveniently can. - -On the contrary, if that very object must be again produced or -transferred to a person standing at some little distance, this must be -effected by one of the following methods: - -Either you must take care beforehand to place adroitly in that person’s -cap or pocket a double or similar object. - -Or, you must walk up to him, and putting your hand on his hair, sleeve, -or pocket, quickly place there the object you have all along retained, -and which you must pretend by this manœuvre to find in his possession. - -Or, lastly, you will see in the first trick subjoined, a method of -substituting one object for another. - - * * * * * - -FIRST TRICK.—To command a dime to pass into the centre of a ball of -Berlin wool, so that it will not be discovered till the ball is unwound -to the very last of its threads. - -REQUISITE PREPARATIONS, TO BE MADE PRIVATELY. - -You will require a glass bowl or quart basin, and you must have a -flattened tube of tin about four inches long. It must be just large -enough to let a dime slide easily through it by its own weight. Round -the end on this tube wind a ball of Berlin wool of bright color, -covering about two inches of the tube, and projecting about an inch -beyond the end of it. Place this ball with the tube in it in your -right-hand pocket of coat tail, (or in the left breast-pocket, if that -is large enough to hold it completely covered.) Lastly, place a dime -concealed in the palm of your left hand. - -Commence the exhibition of the trick by requesting one of the -spectators to mark a dime (or cent) of his own, so that he will be sure -to know it again. Then ask him to lend you that coin. Holding it up in -your right hand, you may say, “Now, ladies and gentlemen, this is the -marked dime which I shall experiment with. The gentleman has accurately -marked it, so that there can be no mistake about its identity when -reproduced.” Then by Pass 1 pretend to transfer the marked coin to your -left hand, but in reality retain it in your right hand. Next, hand with -your left hand your own dime (which had been secreted in that hand) to -some person, and request him to hold it. Choose for this person some -one three or four yards distant from yourself, and also from the person -who originally marked the coin. It is unnecessary to explain that you -do so, lest the two should compare notes. Of course, the person who -is asked to hold it will believe that it is the very dime that was -borrowed. - -You may proceed to say: “Now we want a ball of worsted.” So, placing -your right hand in your pocket, pretend to feel about for something in -your pocket, and while doing so you must place the dime in the top of -the tin tube, and shake it down. Then carefully draw the tube out of -the ball of worsted; and leave the tube in your pocket, but draw the -ball out of your pocket, pressing it together while doing so. - -Then request some one to feel the ball in order to ascertain that it -has no opening towards its centre. - -You may here make some humorous remark about your having such a ball in -your pocket. As for instance: - -“Ladies may think it odd that I have such a ball of Berlin wool in my -pocket. It was bought to please my cousin Mary Ann, or my Aunt Tabitha. -Well, it will do very fairly for our experiment.” - -Then request some one to hold the glass basin containing the woollen -ball. While you retain in your hand the end of the woollen thread, -address the gentleman who has consented to hold the dime, asking him -to hand it to you. Take it in your right hand, pretend by Pass 1 to -transfer it to your left hand, but in reality keep it concealed in your -right hand. - -Holding up your closed left hand, (which in fact has nothing in it,) -you may say: - -“Now, dime, pass along this woollen thread into the very centre of the -woollen ball which is there held in the glass bowl or basin.” - -Blow upon your left hand, and show that the dime is gone. - -You must adroitly get rid of the dime, which has remained secreted in -your right hand, by placing it in your pocket or sleeve while making -some humorous remark, or while asking some lady or gentleman to draw -the woollen thread till it is all unwound. It will be done the quicker -by letting the ball be confined loosely in the bowl with two fingers -preventing its leaping out. - -Draw attention to how completely the coin is wrapped up till you arrive -at the very last circles, when it will drop into the bowl. - -Hand the dime to the owner who marked it, and let him declare whether -he recognizes it as the very one he lent you. His affirmative will -surprise the spectators. - - -SECOND TRICK.—To change a bowl of ink into clear water, with gold fish -in it. - -REQUISITE PREPARATION, TO BE MADE PRIVATELY BEFOREHAND. - -The same glass bowl as in previous trick. If your bowl has not a foot -to it, it must be placed on something that will hold it high above your -table. Some small fish, a white plate or saucer, a piece of black silk -just fitting the inside of your bowl, a spoon of peculiar construction, -so that in a hollow handle it will retain about a teaspoonful of ink, -which will not run out as long as a hole near the top of the handle is -kept covered or stopped. A large tumbler and two or three minnows will -do for a simpler exhibition, but will, of course, not be so pleasing to -the eye. - -Place the black silk so as to cover the part of the bowl that is -shaded; when damp it will adhere to the glass. Pour in clear water to -fill the space covered by the black silk, and place the fish in the -water. - - [Illustration: FIG. 5.] - -Commence the trick in public thus: Holding the spoon-handle slanting up -and uncovering the hole in the handle, the ink which you have placed -in the handle will run into the bowl of the spoon, and the spoon being -held carefully to the surface of the water, concealing the black silk, -will give the spectators the impression that you fill the spoon from -the glass bowl. - -Pour the spoonful of ink on a white saucer, and show it round to -convince the spectators it is ink. They will see it is undeniably ink, -and they will conclude, if the spoon were properly lifted out of the -bowl, that the glass bowl contains nothing but ink. - -Borrowing a silk handkerchief, place it for a few seconds over the -bowl, and feigning to be inviting fish to come to the bowl, exclaim -“Change!” Then, placing your hand on the edge of the bowl near -yourself, draw off the handkerchief, and with it take care to catch -hold also of the black silk. The bowl when uncovered will exhibit -the fish swimming about in clear water. While the spectators are -surprised at the fish, return the handkerchief, having first dropped -out of it the black silk on your side of the table. Decline giving any -explanation, as people will not thank you for dispelling the illusion. - - -THIRD TRICK.—The Dancing Egg. - -REQUISITE PREPARATION TO BE MADE IN PRIVATE. - -An egg-shell that has been blown (my young friends will know that the -way to blow an egg is to make a small hole at each end of the egg. -Then, by blowing at one end, the yolk will be driven out, and the -egg-shell be left empty.) - -Make a hole also on the side of the egg, in which insert a chip of -wood, or a small pin, held by a fine black silk thread, about twelve or -fourteen inches long, which must have a loop at the far end, which loop -fasten to a button on the coat or waistcoat; and have on a dark vest, -otherwise the dark thread becoming visible, will reveal the moving -power. - - [Illustration: FIG. 6.] - -Commence by borrowing two black hats. If there is an instrument in -the room, ask some one to play a lively tune, as “eggs are fond of -lively music to dance to.” Then, with the brim of a hat in each hand, -interpose the round of each hat successively under the thread that -holds the egg, moving them from your breast toward the egg. The egg -will appear to move of itself over the hats, as you place them under -it. - -You must not allow people to handle the egg on the thread afterwards, -for when they see the simplicity of the process they will undervalue -the trick, whereas it appears marvellous as long as they do not -understand how the extraordinary movements are produced. And in these -illusions, as Hudibras expresses it, - - Doubtless, the pleasure is as great - In being cheated as to cheat. - - -FOURTH TRICK.—The Walking Cent. - -PRELIMINARY PREPARATION IN PRIVATE. - -Ask for a long dark hair from some lady’s tresses. Have a pin in shape -of a hook, or a small loop affixed to the end of this hair, and fasten -a little piece of beeswax (less than a pea) at the other end of the -hair. Fasten the hair by the loop to a button on your vest, taking care -to wear a dark-colored vest. The hair may be allowed to hang from your -vest, with the beeswax visible. Have a glass of water or cup on the -table. - -Commence the exhibition of the trick by borrowing a cent. While -pretending to examine the cent to see if it is a good one, press the -waxed end of the hair firmly to the under side of the cent, and place -it about a foot from the edge of a table. Then bid the cent to move -toward you, to the right or to the left, and by gently moving your body -in whatever direction you name, the hair will draw the cent in the same -direction. You may say, while your left hand is near the table, “Now, -cent, move up my arm.” Advancing your arm gently, the cent will appear -to move up to your elbow. It is your arm that moves, but it will appear -to the spectators as if the cent moved; or you may help it up the -outside of the sleeve by interposing your right hand under the hair, so -as to draw up the cent, while appearing to beckon it. - -“Now, cent, as you have performed so well, you shall have a bath.” -Placing the tumbler near the edge of the table, draw the cent into it. -After exhibiting it in the water, say, “Oh, cent, you must not stay so -long in the water.” Then jerk it out upon the table. Detach the waxed -end of the hair by your nail, after which return the cent to the person -who loaned it to you. - -When performing this trick, in order to keep the spectators at a little -distance, you must inform them that “the cent is very susceptible to -magnetic influences, and request ladies not to approach too near it, as -the loadstones of their eyes are the cause of the magnetic attraction.” - - [Illustration: FIG. 7.] - -My young friends must remember that it is absolutely necessary to -keep up in spectators their belief in the mysterious, and therefore -must decline on the spot to give explanations before or after the -performance of this trick, however they may be disposed to reveal the -secret privately to any friend. A singular instance is recorded of -a person who was grievously disappointed when by importunity he had -received an explanation of this very trick, which had appeared at -first to him a most marvellous phenomenon; and he was quite annoyed -when the gilt was stripped off his ginger-bread. It is said that a -gentleman walked into a coffee-room at Manchester, England, and was -exhibiting to a friend the above trick. A traveler at a table near them -had his attention drawn by their laughing discourse, while one of them -exhibited the trick to the other. The cold barrier of English reserve -was broken down, and he addressed one of the strangers, requesting to -be informed how the trick was done. For his part he imagined it must -be connected with some perfectly new philosophical law of attraction -involved in the experiment. “Will you be kind enough to tell me? I -shall be happy to offer a fee to learn it. I was about to proceed by -the next train, but I will gladly defer my journey to understand this, -which appears so unaccountable.” - -The gentleman declined for a considerable time; but at length, being -overcome by the importunity, in order to get rid of the matter, -assented. The time of the departure of the train had arrived and passed -by, and the aspirant offered two guineas to learn the trick. The -gentleman acceded to his request on condition that he should faithfully -promise not to reveal it to others, or to make public the mystery. -“Agreed,” says the traveler. The mail train was gone—the money paid—the -trick exhibited and explained to him. “Oh!” cried the traveler, -“how easy and plain it is. What a simpleton I have been to lose my -journey and spend my money only to learn how you—.” “Stop!” cried the -gentleman, “remember you have promised not to divulge the secret.” -“Yes, but how foolish to care for an experiment which only depends -on—.” “Stop, sir, stop. Are you going to tell all the room?” and thus -a good half-hour’s amusement was caused by the traveler fretting over -his simplicity, and having relinquished an important journey for -that which, though marvellous while a secret, became so simple and -uninteresting to him after an explanation. - - - - -CHAPTER III. - -TRICKS WITH AND WITHOUT COLLUSION. - - -In resuming my hints to amateurs, I shall now offer some remarks upon -two subjects. - -FIRST.—I will notice the class of tricks that are performed by the -collusion of a confederate. Old books on conjuring record several of -this description, and some conjurors still practise them. But I do -not advise the inexperienced frequently to exhibit tricks of this -sort, for the co-operation of assistants used in them is liable to be -traced by spectators, or to be divulged by the person who has been -employed to aid in the exhibition of them. They may, indeed, be very -well as a make-shift until dexterity of hand is acquired; but they -will always rank as an inferior branch of the science of conjuring, -and if the collusion is discovered, it will throw discredit even -upon those tricks which the same performer may exhibit without such -collusive arrangement. An instance of the annoying failure of such -dependence upon confederates is recorded in “Houdin’s Memoirs.” It is -there related that Torrini, at the commencement of his career, was -insidiously induced by an envious rival (Pinetti) to undertake a public -exhibition of his art before a very grand assembly. Torrini was at the -time diffident of his own attainments, but he was persuaded to make -the attempt by the assurance of Pinetti that he would take care that -several confederates should be present, and should help in carrying out -sundry illusions which he would have to display. One of these was, that -the conjuror, after borrowing a ring, was to restore it magically into -the possession of its owner. The ring was borrowed, and some mysterious -gesticulations practised; but instead of the contemplated result being -produced, the false confederate proclaimed aloud that he had lent -a very valuable jewelled ring, and had only received back a common -copper ring. The audience was of course disappointed at such words so -derogatory to the conjuror. This unpleasant feeling was deepened by -the malicious meddling of another false confederate. Torrini had to -present some cards to the King of Naples, who was honoring the assembly -by witnessing the exhibition, and a card was selected by his Majesty. -Instead, however, of being pleased with what he saw on the card, the -king manifested intense disapprobation. The confederate had written on -the card words of disrespect and insult, and Torrini had to retire amid -the loud censures of the enraged spectators. There may be no danger -of so disastrous results to a young amateur; but dissatisfaction of -a milder kind will probably ensue whenever it is discovered that any -trick has depended upon the secret co-operation of an assistant among -the spectators. - -The SECOND topic which I propose at present to discuss is the -employment of mechanism—such mechanical constructions as boxes with -false sides, cabinets with secret drawers, or double compartments, etc. - -It makes a great difference whether such arrangements are used as -subordinate aids, or as constituting the essence and substance of -the illusion. In the former respect it is quite legitimate to take -advantage of any well-arranged mechanical aid subordinately. In fact, -nearly all tricks must be performed with some modified aid of artistic -contrivance, or with mechanical implements adroitly used. The conjuror, -therefore, unavoidably requires, and may advantageously employ, -mechanical arrangements to give greater effect to his illusions. I only -wish to dissuade the learner from relying solely upon mere mechanical -puzzles, or artistic contrivances, for furnishing an interesting -exhibition of the conjuror’s art. - -The fewer the contrivances which he employs of this sort, and the more -entirely the performance rests upon sleight-of-hand the more lively -will be the surprise of the spectators. - -I myself prefer doing without the aid of any confederate, and without -mechanical aids; but I must remember that I am writing for amateurs and -novices in the art, and that, in proportion as they are unpractised -in palmistry, and in what the French term prestidigitation, (preste -digite, signifying “ready fingers,”) it will be desirable for them, at -first, to have the assistance which mechanism will supply towards the -exhibition of their tricks. - -Let them, however, keep such aids as subordinate and as secret as -possible. For instance, in the preparation for exhibiting the first -trick described on page 12, the small tin tube (which is requisite for -the performance of that trick) must not be seen by the audience, either -BEFORE or AFTER the trick is exhibited, but must be kept secreted in -the pocket. Again, in Trick No. 4, the preparation of the hair and -beeswax must be made PRIVATELY beforehand; and these implements must -vanish out of sight when the trick is over. And the reader must observe -that in both the first and fourth tricks the mechanical aid employed -is the minor and subordinate part of the tricks, and that a successful -exhibition of either of them depends really on the dexterity of the -passes, and of manipulations by the performer. - -It may be admitted, then, that, with regard to the first topic of our -present paper, the young conjuror need not be restrained from employing -the subordinate aid of an assistant, so far as this may carry him over -difficulties which he cannot otherwise surmount in the present stage of -his imperfect skill. - -And in regard to the second topic, the employment of mechanical -contrivances, (though it may be well to begin with those departments of -the art which are easier, because aided by mechanical apparatus,) it -will be desirable for the amateur to strive to get free from dependence -upon such aids. Mechanical arrangements cannot be wholly discarded at -any time, and the conjuror will always require a few implements; but -the more he advances in dexterity of hand, quickness of eye, control of -his hand and eye, instantaneous adaptation of his words and movements -to contingencies as they arise, the more able will he become to elude -the observation of the most watchful spectators, and to mislead their -imagination, so that they shall fancy that they see him DO things which -he only APPEARS to do, and shall blindly fail to observe actions and -movements carried out before their very eyes. - -And here let me say, that I have, by long experience, come to the -conviction, that the simpler and more common the objects are on which, -and with which, a trick is performed, and the less anything beyond -dexterity of hand is openly used, the greater will be the astonishment -and the amusement of the spectators. There are, it is true, some very -striking and complicated illusions which it is impossible to present -without resorting to artistic contrivances of mechanical or scientific -arrangement. On these illusions, as being beyond the power of a young -amateur, I need not dwell. Nor need the preceding remarks be considered -as any disparagement of the combinations and extrinsic aid which are -indispensable for developing such startling illusions. The scope of my -present remarks is simply to this effect, that to depend mainly upon -the co-operation of a confederate, or upon mechanical contrivances, for -what can be far better carried out by mere sleight-of-hand, will not -pass for a satisfactory exhibition of conjuring now-a-days; and the -amateur will find that, as he advances in skill and dexterity, he will -swim more freely the less he trusts to such unsubstantial bladders to -uphold him. - -Having thus discussed my two topics I shall now add explanations of a -few more tricks, which the learner may practise with the hope of making -progress in the art of conjuring. The only way to make such progress -and gain high attainments in the art, is to practise diligently over -and over again the passes I have described in my former paper, and to -learn to do a few tricks neatly, and without hesitation or stumbling. -I subjoin, therefore, some simple but effective tricks, in which they -will do well to perfect themselves. - - -TRICK 5.—To make a quarter and a penny change places, while held in the -hands of two spectators. - -PREPARATION. - -Have a quarter of your own secreted in your right hand. Then borrow two -handkerchiefs, and a quarter and a penny, from any one in the audience. -Tell the lender to mark or accurately observe them, so that he will -know them again. In placing them on the table, substitute your own -quarter for the borrowed one, and conceal the borrowed one in your palm. - -MEMORANDUM. - -It is better to use things borrowed than coin of your own. Still, the -conjuror should provide himself with articles requisite to display any -trick, or otherwise much delay may occasionally arise while borrowing -them. - -Commence the trick by pointing out where the quarter and the penny are -lying on the table. Take up the penny and show it openly to all. Then -take up one of the handkerchiefs, and while pretending to wrap up the -penny in it, substitute in its place the borrowed quarter which you -had concealed in your palm, and ask one of your friends to feel that -it is enfolded in the handkerchief, and bid him hold the handkerchief -enclosing it above his head. Ask him if he has got the penny there -safely. He will reply that he has. - -Then take up your own quarter which was laid upon the table; pretend -to wrap it up in the second handkerchief, but adroitly substitute the -penny, (which you concealed in your palm while wrapping up the first -handkerchief.) Ask some friend to hold it up above his head, indulging -in some facetious remark. Slip your own quarter into your pocket. Clap -your hands or wave your wand, saying, “Change.” Tell your friends to -unfold their handkerchiefs. They will be astonished to find that the -quarter and penny have changed places. - - -TRICK 6.—Another trick with the dime, handkerchief, and an orange or -lemon. - -PREPARATION. - -Have an orange or lemon ready, with a slit made in its side -sufficiently large to admit the dime easily; and have in your pocket -a good-sized silk handkerchief with a dime stitched into one of its -corners. - -Borrow a marked dime. Take out your handkerchief, and while pretending -to wrap this dime in the handkerchief, conceal it in your palm, -and take care that the one previously sewn into the corner of the -handkerchief can be felt easily through the handkerchief. Giving it -to one of your friends, tell him to feel that it has the dime in it, -and to hold it up over his head firmly. While giving these directions -to your friend, the dime that is in your palm must be transferred to -your pocket, and introduced into the slit of the orange. Then bring the -orange out of your pocket, and place it on a table; you will keep the -slit on the side away from the audience. - -Then make a few mesmeric passes over the hand of the person that holds -the handkerchief, saying, “I will now destroy the sense of feeling -in your hands. Tell me, can you feel the dime?” He will say, “Yes.” -You can reply, “Oh, you must be wrong, sir. See! I will shake out the -handkerchief.” Taking hold of one corner of it, shake it out, saying, -“Observe, nothing will fall to the ground. You see that you were -mistaken about feeling it in the handkerchief.” - -The fact is, the dime being stitched in the ‘corner’ could not fall -out, and you must take care not to let that corner of the handkerchief -hit against the ground. Put the handkerchief in your pocket, and say, -“But I must return the borrowed dime.” Exclaim: “Fly, dime, into the -orange on the table.” Cut up orange, and show the dime concealed in it, -and then restore it to its owner, asking him to tell the audience if he -finds it to be his own marked dime. - - -TRICK 7.—How to double your pocket money. - -The only preparation is to have four cents concealed in your left palm. - -Commence the trick by calling forward one of the spectators, and let -him bring up his hat with him. - -Then borrow five cents, or have them ready to produce from your own -pocket should there be any delay. - -Request your friend, while he places them one by one on a small plate -or saucer, to count them audibly, so that the company may hear their -number correctly. Inquire, “How many are there?” He will answer, -“Five.” Take up the saucer and pour them into your left hand, (where -the other four are already concealed.) Then say, “Stay, I will place -these in your hat, and you must raise it above your head, for all to -see that nothing is added subsequently to them.” You will have placed -these nine cents in his hat unsuspected by him. - -Borrow five cents more. Make Pass 1, as described on page 9, appearing -to throw these five into your left hand, but really retaining them in -your right hand, which is to fall by your side as if empty. - -Afterwards get rid of four of the five cents into your pocket, -retaining only one in your right palm. - -Hold up your closed left hand, and say, while blowing on it: “Pass, -cents, from my left hand into the hat. Now, sir, be kind enough to see -if they have come into your possession. Please to count them aloud -while placing them in the saucer.” He will be surprised, as well as the -spectators, to find that the cents in his hat have become nine. - -You may then put on a rather offended look, and say: “Ah, sir! ah! -I did not think you would do so! You have taken one out, I fear.” -Approaching your right hand to his sleeve, shake the sleeve, and let -the one cent, which you have in your own hand, drop audibly into the -saucer. It will raise a laugh against the holder of the hat. You can -say: “Excuse me, I only made it appear that you had taken one. However, -you see that the original money is now doubled.” - - -TRICK 8.—The injured handkerchief restored. - -PREPARATION. - -Have a dime of your own wrapped in the centre of a piece of cambric -about five or six inches in diameter, the ends falling down loose. -Conceal these in the palm of your left hand. - -Borrow a marked dime from any of the spectators, and a white cambric -handkerchief. Throw the handkerchief spread out over your left palm, -(holding under the handkerchief your own dime wrapped in the small -piece of cambric.) - -Openly place the borrowed dime on the centre of the spread-out -handkerchief. Keeping hold of that dime, jerk the ends of the -handkerchief over, so as to fall loose down from the lower side of your -left hand. Draw out from between your thumb and fingers (that is from -the upper side of your left hand) about two inches of the smaller piece -of cambric, containing your own dime. The spectators will naturally -conceive the two pieces of cambric you hold in that hand to be merely -the cambric handkerchief. - -Call any of the spectators forward, and request him to mark off with -his knife the portion of the piece of cambric which holds your own -dime, and whisper to him to cut it completely off, and to let the dime -drop on the table. The spectators will believe that he has cut a hole -in the handkerchief itself, and that the dime falling out is the one -you recently borrowed, whereas it is in fact the other piece of cambric -that has been cut, and the borrowed coin remains still wrapped up in -the handkerchief. - -Pretend to blame the person who cut the two inches off, saying: “Dear -me, sir, what have you done? You have quite destroyed this nice -handkerchief. Well, I hope, madam, you will pardon the mistake, if I -manage by magic to restore to you your handkerchief in perfect order, -and I request you to allow me to try to do so.” Carefully holding in -the candle the edges of the cambric, (both of the part cut off and of -the portion from which it was cut,) and letting the real handkerchief -hang down from the same hand, pretend with a conjuring wand to weld -together the edges of the cambric when they get hot, as a blacksmith -welds metals together. You can prevent the flame from reaching the -real handkerchief by tightly pressing your fingers. Then exclaim: “Oh, -where is the dime?” and while picking it up from the table, get quietly -rid of the pieces of cambric with their burnt edges into a hat or some -corner unseen by the audience. - -Holding up the dime which you had just lifted from the table say: “But -to complete my trick I must replace this dime in the centre of the -restored handkerchief, whence it was cut out.” - -Make the Pass 1, appearing to pass it into the centre of the -handkerchief, but retaining it in your hand, and afterwards secretly -pocket it. The handkerchief has already the borrowed dime in it. Say to -the handkerchief: “Change—restore!” and unfolding it, show the borrowed -coin in it. Shake out the handkerchief and show it is all sound and -right, and restore it with thanks, as well as the borrowed dime, to the -owners. - - -TRICK 9.—To make a large die pass through the crown of a hat without -injuring it. - -I will now give my young friends a nice, easy trick, requiring very -little dexterity, as the articles for its exhibition can be purchased -at any depot for the sale of conjuring apparatus; therefore the most -diffident amateur will be able to display this trick. - -PREPARATION. - -Have a die exactly like the common dice, only it may be about two -inches square. Have two covers for it, one of them exactly resembling -the appearance of a die, only hollow, except that one side of it is -open, so that it can easily be placed over, or be taken off, the solid -die. - -The other cover may be of decorated material, and it is intended to be -placed over the first die-cover. Let this last cover be made of some -pliant material, so that by compressing gently two of its sides with -your fingers, while lifting it up, you can lift up the first die-cover, -which will be within it. - -Commence the trick by borrowing two hats; place one with its rims -upwards on the table, and show that you place in that hat the die with -its first cover on it. But say, “I forgot to appeal to the company -whether they will like to see the trick done visibly or invisibly.” -They will most likely say, “Visibly;” but it is of no consequence which -answer they make, for the process of the trick is the same in either -case. - -Take out from the lower hat the first cover, which is painted exactly -like a die, and having placed the second hat (with its rims downwards) -on the other hat, display the first cover, and openly place it on the -crown of the upper hat. All the spectators will believe it to be the -solid die itself. Then take your penknife; you may just thrust it -into the crown of the hat, and pretend to cut all round the die-cover -there lying; say—“I shall now bid it move into the lower hat, but it -will not do so while uncovered, so I must place this ornamental cover -over it.” Do so; show that you have nothing in your hands or sleeves; -then wave your wand or your hand, and say, “Change, pass, die, into -the lower hat.” Give it a little time. Then, compressing the outward -cover gently, lift off also with it the painted die-cover, which it has -inside it. Lift up the lower hat, and show the company the solid die -lying in it. Show all that the upper hat has received no injury. - -The illusion to the audience will be that the solid die has passed -through the crown of the upper hat without at all injuring it. Return -the hats to the owners, and show them to be uninjured. - - -TRICK 10.—To produce from a silk handkerchief bon-bons, candies, nuts, -etc. - -PREPARATION. - -Have packages of various candies, wrapped up in bags of the thinnest -tissue paper, and place them on your table rather sheltered from -observation. Have also a plate or two on your table. - -MEMORANDUM. - -It will be always desirable to have the table removed two or three -yards at least from the spectators, and of a height that they cannot -see the surface of it while sitting down in front of it. - -Commence the trick by borrowing a silk handkerchief, or any large -handkerchief. After turning it about, throw it out on the table, so as -to fall over one of these packages. - -Having carefully observed where the bag lies, place your left hand -so as to take up the bag while catching hold of the middle of the -handkerchief. - -Taking the handkerchief up by nearly the centre, the edges of it will -fall around and conceal the bag; make some pretended wavings of your -wand or right hand over the handkerchief, and say, “Now, handkerchief, -you must supply my friends with some bon-bons.” Squeeze with your right -hand the lower part of the bag which is under the handkerchief; the bag -will burst, and you can shake out into a plate its contents. - -Asking some one to distribute them among your young friends, you can -throw the handkerchief (as it were carelessly) over another bag, from -which you can in the same way produce a liberal supply of some other -sweetmeats, or macaroon biscuits, etc., etc., all of which will be duly -appreciated by the juveniles, and they will applaud as long as you -choose to continue this SWEET trick. - - - - -CHAPTER IV. - -PRACTICE. - - -In conjuring, as in all other arts and sciences, perseverance is -requisite in order to become expert and successful. There is no royal -road, or possibility of acquiring the end, without exercising the means -to that end. Let my young friends, then, carefully practise over and -over again the passes and the tricks which I have already explained to -them. It is the only way to attain dexterity and confidence, without -which they will never be able to make any creditable exhibition of -the art of conjuring. After they have attained considerable skill and -sleight-of-hand in displaying a few tricks, they will easily extend the -range of their performances, and gradually rise to greater ability. I -may, therefore, parody an old injunction for obtaining success, and -say: There are three rules for its attainment: The first is “Practice.” -The second is “Practice.” The third is “Practice.” In a word, constant -and careful practice is requisite, if any wish to be successful as -amateur conjurors. They should never attempt to exhibit before their -friends any tricks that they have not so frequently practised that no -bungling or hitch is likely to occur in their performance of it. - -Let no one be staggered by the simplicity of the processes recommended -in these tricks. The result will in fact be all the more astonishing, -the simpler the operations employed. - -The great point is the address of the performer, and that will -carry through successfully the means employed. However simple and -insignificant those means may appear to the learner when they have been -explained to him, if there is good address and accurate manipulation, -the astonishment at the result will be infinitely greater than any one -would imagine possible to be produced by such simple means. - -There is one help that I can suggest towards the better management -of the hands in concealing or removing objects; it is the use of a -conjuror’s rod or short magic wand. This is, now-a-days, commonly a -stick of about fifteen inches long, resembling a common rule, or a -partially-ornamented one. You may often have observed this simple -emblem of the conjuror’s power, and deemed it a mere idle or useless -affectation. The conjuror waves it mystically or majestically as he -may be disposed. Of course you are right in your judgment that it can -do no good magically; but it does not follow that it is useless. The -fact is, that it is really of considerable service to him. If he wants -to hold a coin or any object concealed in his hand, without others -observing the fact of his hand being closed, the wand in that hand is a -blind for its concealment. He may require to pick up or lay down some -object, and he can do so while openly fetching or laying down his wand. -If he wants to gain time, for any illusion or process of change, he -can obtain it while engaging the attention of the spectators by some -fantastic movements of his wand. By the use of the wand, therefore, you -will be able to prevent the observation of your audience too pointedly -following the movements which you wish to carry on secretly. You may -also, at the same time, dispel their attention by humorous remarks, -preventing it from being concentrated on watching your movements. - -As a general rule, you must not apprise your audience of what you are -actually doing, but must often interpose some other thought or object -to occupy their mind. For instance: Do you desire that a person should -not examine too closely any object which you place in his hand, tell -him to hold it well above his head. That takes it out of the range -of his eyes. It would never do to tell him not to look at it. He -would then immediately suspect that you are afraid of something being -observed. - -Have you perchance forgotten to bring on your table any article -requisite for displaying any trick, a feint must be made that you must -have more candles, or must remove some other object, thus gaining the -opportunity to fetch what you require without naming it. - -Do not even announce too fully or vauntingly beforehand what is to be -the result or development of any trick; rather proceed with it, and -let the audience come unexpectedly upon a result which they had not -contemplated. Their surprise will be greater, and their amusement more -lively, at such unexpected result. - -It is for this reason that it will be well to avoid the repetition of -the same trick in the same evening, though requested to perform it over -again. The minds of the spectators have already traced once the whole -performance of it—the beginning, the middle, the end. The zest of it, -therefore, is gone off; their minds are languid and disinterested about -its second repetition; and the conjuror’s art proportionately sinks in -their estimation. - -Having offered these general remarks, I will now invite the attention -of my young friends to another batch of interesting tricks, which, with -a little effort, they may succeed in exhibiting. - - -TRICK 11.—A sudden and unexpected supply of feathers from under a silk -handkerchief or cloth. - -PREPARATION. - -Have ready a good supply of plumes of feathers. They may be obtained -from a fur or fancy store, or purchased there loose, and tied up so as -to lie thin and flexible where you wish to place them. You may have at -least four batches of them. The common hackle feather will do, stitched -round a thin piece of whalebone. Feathers that are a little injured for -sale as ornaments may be picked up at little cost. - -Take off your coat. You may then have one or more batches of feathers -placed round each arm; the lower point of the stem on which the -feathers are fixed being near your wrist, and the top of each batch of -feathers confined near your elbow by a slight worsted string, so that -they do not stick out the coat sleeve too much, or slip down together -if two batches are concealed in the same sleeve. You can have one or -more batches placed just within each side of your waistcoat, with the -lower point of the stem within easy reach of your hand—about four -inches below your chin. Then put your coat on. - - [Illustration: FIG. 8.] - -Commence the trick by borrowing a large silk handkerchief or cloth of -the same size. Show it to be empty by holding out the two top corners -in front of your breast, and shake the handkerchief while it falls -loosely down over your vest. Then moving the handkerchief toward your -left, catch hold (with your right thumb and finger) of the end of -the stem of the plume, No. 1, and draw it from under the left side -of your vest. It will remain concealed behind the handkerchief while -you move your two hands to the right, which will draw out the plume -from under your vest, then over the centre of your chest. Then toss -the handkerchief about, enveloping the first batch of feathers; say, -“Handkerchief, you must supply me with some feathers.” In a minute or -so, take off the handkerchief, and display the plume to the spectators. - -Show the spectators again that the handkerchief is quite empty. Move -your arms toward your right till your left hand comes just over -the edge of the right side of your vest. With your left thumb and -forefinger catch hold of the stem of the feathers there concealed, and -by moving your arms back towards the left, you can draw out without its -being observed the plume that had been concealed under the right side -of your vest. Toss about and display as before this second batch of -feathers, and then place them aside. - -Then show to the company again that your handkerchief has nothing in -it, and lay the handkerchief over both your hands. While waving it -mysteriously about, exclaim that the handkerchief must furnish you with -some more feathers. Draw out of the left sleeve one of the plumes, -shake the feathers out while taking off the handkerchief from this, -which will be plume the third. - -Then, throwing your handkerchief over the hand, and clapping your hands -together, (with the left over the right hand,) manage to catch hold of -another point of a plume, and pull it out from your right sleeve while -waving about your two hands with the handkerchief over them. You have -now produced four plumes. - -The exhibition may be continued to an increased number of plumes, if -you have more concealed in your sleeves, or elsewhere; but four will -probably be sufficient to manage at the commencement of your career as -an amateur conjuror. - - -TRICK 12.—Heads or Tails? - -I shall now give directions for reproducing, before a juvenile -audience, a trick that will carry us back to the primitive style of -conjuring in old times. I cannot say that there is anything very -scientific or elevated in it, but, if neatly and adroitly executed, it -will tell very well with a youthful audience. - -PREPARATION. - -You must take care that your table be so placed that none of the -spectators can see behind yourself or the table. You must provide -yourself with some young pet of the juveniles, such as a puppy, -a kitten, or any other small pet. The performer must either have -some little bag hanging under his coat-tails, or some provision for -concealing the little animal behind him, or in a drawer before him; so -that there will be no chance of any of the audience seeing it before -the proper time. He must have ready also a penny, or any coin. - -To begin the exhibition of the trick. Standing with all the nonchalance -you can assume, and placing one or both your arms behind your back, -you may say, “For a variety, I will challenge one of my young friends -to come and try which of us will succeed best in a few tosses of this -penny.” - -Induce some young person to come to the front of your table, and tell -him to bring forward his hat. Ask him to toss first with the cent and -put the hat over it, while you will guess “heads” or “tails.” Say it -shall be seen who is most successful in five guesses. After he has -tossed up twice, you can take the penny, and say, “Now, I will vary -the method of tossing. You shall name now which you choose, ‘heads’ or -‘tails.’” - -Toss up the penny, and while attention is occupied with this, and he -is looking to see which is uppermost, heads or tails, you withdraw -your left hand from behind you, holding the little animal you have -concealed, and slipping it into the hat, and turning the hat down over -it, exclaim, “Stay, I mean to pass the penny through the hat upon the -table, and the whole affair shall be settled by the result of the -present toss. You shall see the heads or tails on the table.” - -By Pass 1, pretend to place the penny on the hat, but retain it in your -right hand. Say, “Fly, pass, and quickly.” Lift the hat, and show both -head and tail on the little animal or pet there concealed. - -If you should have had a Guinea pig, you must make the guesses go on -till your adversary guesses “tails,” and then it will make a good laugh -to say, “He has won, and he had better now take it up by the tail.” - - -TRICK 13.—To cook pancakes or a flat plum cake in a hat, over some -candles. - -REQUISITE PREPARATION. - -Have two gallipots or earthen jars, of a size to go easily into a hat, -but of such dimensions that the one reversed will fit closely over the -other. Tie worsted or a strip of linen round the smaller gallipot, so -as to insure the larger one holding firmly round the smaller one. Have -ready some thin, fluent dough, some sugar, and a few currants, enough -for two or three pancakes or a small plum cake; also a spoon to stir -the ingredients up. - -Have at hand two or three warm pancakes that have just been prepared -by the cook for you, with the same ingredients as mentioned above. Let -them be firm and free from grease. Have also at hand two small plates, -with knives and forks. - -Commence the exhibition by borrowing two hats, to give you a choice -with which to perform. You can remark that as you should be sorry to -injure your friend’s hat, you will secure it from being soiled by -placing some paper in it as a lining. Hold up the paper to show it is -only paper, and then openly place it in the hat, and lay the hat down -on its side on the table near you, having the brim towards you. - -Have the ready-prepared pancakes lying near you, and whilst taking off -the attention of the spectators by pretending to arrange the articles -on your table, slip the prepared pancakes or plum-cake into the hat. - - [Illustration: FIG. 9.] - -Unobserved, also place the smaller gallipot in the hat, and while -doing so, if requisite, add some remark, such as: “Please to shut, -or open, that door,” or any words that will draw off the attention -of the spectators from what you are doing. You must next, with some -parade, mix the fluent dough with the sugar and currants in the larger -gallipot. It must be fluent enough to pour out slowly, apparently into -the hat, but really into the smaller gallipot, which has been already -concealed inside the hat. Show you have emptied the larger gallipot, -all but a little; then, placing it over the smaller gallipot again, -empty the very last of it, and press the larger gallipot firmly down -over the smaller one. Then, with it, lift the smaller gallipot also, -with its contents, while you appear only to take back the larger -gallipot. Remove the gallipots, as supposed to be empty, out of sight. -“Now, ladies and gentlemen, I must request your patience a few minutes -for the process of cooking.” Put two or three candles near one another, -and move the hat at a safe distance above them for two or three -minutes, making in the meantime any laughable remarks that may occur to -you, such as: “My young friends will find this capital way of supplying -themselves with a delicate dish when they have lost their puddings -from being in the black books of their teacher or parents,” or any -similar humorous remark; but take care not to burn the hat whilst the -(supposed) cooking is going on. After a short interval, place the hat -on the table, and with some little ceremony take out the real pancakes -or plum-cake. Let it be cut up and handed round to the juveniles who -may be present. - -REMARKS. - -A more finished or surer arrangement for holding the dough, etc., can -be made with a tin apparatus, which can be prepared by any tinman, upon -the same principle as the gallipots, taking care not to have it made -larger than the inside of a youth’s hat. - - [Illustration: FIG. 10.] - -An amateur can render a common table more suitable for concealing any -little object he wishes to have secreted, by placing three or four -tumblers under each end of a plank, about the length to extend across -the table, and throwing any common cloth over the board and table, -or a kitchen table, covered with a cloth, having a drawer pulled out -about six inches, will furnish a very good conjuror’s table. It is -well to have the table rather broad, so as to keep the spectators at a -sufficient distance. - - - TRICK 14.—TO EAT A DISH OF PAPER SHAVINGS, AND DRAW THEM OUT OF YOUR - MOUTH LIKE AN ATLANTIC CABLE. - -PREPARATION. - -Procure three or four yards of the thinnest tissue paper of various -colors. Cut these up in strips of half an inch or three-quarters of an -inch breadth, and join them. They will form a continuous strip of many -feet in length. Roll this up carefully in a flat coil, as ribbons are -rolled up. Let it make a coil about as large as the top of an egg-cup -or an old-fashioned hunting-watch. Leave out of the innermost coil -about an inch or more of that end of the paper, so that you can easily -commence unwinding it from the centre of the coil. - -Procure a large dish or basketful of paper-shavings, which can be -obtained at little cost from any bookbinder’s or stationer’s. Shaken -out it will appear to be a large quantity. As you wish it to appear -that you have eaten a good portion of them, you can squeeze the -remainder close together, and then there will appear to be few left, -and that your appetite has reason to be satisfied. - -Commence the trick by proclaiming you have a voracious appetite, so -that you can make a meal off paper-shavings. Bend down over the plate, -and take up handful after handful, pretend to munch them in your mouth, -and make a face as if swallowing them, and as you take up another -handful, put out those previously in your mouth, and put them aside. -Having gone on with this as long as the spectators seem amused by it, -at last, with your left hand, slip the prepared ball of tissue paper -into your mouth, managing to place towards your teeth the end you wish -to catch hold of with your right hand, for pulling the strip out from -your mouth. You will take care also not to open your teeth too widely, -lest the whole coil or ball should come out all at once. - -Having got hold of the end, draw it slowly and gently forward. It will -unroll to a length of twenty yards or more in a continuous strip, much -to the amusement of the spectators. - -When it has come to the end, you may remark: “I suppose we have come -to a fault, as there is a ‘solution of continuity here, just as the -strongest cables break off,’ so we must wait to pick up the end again, -and go on next year, when the Great Eastern again goes out with its -next Atlantic Cable.” - - -TRICK 15.—How to cut off a nose—of course without actual injury. - -PREPARATION. - -Have ready a piece of calico of light color, or a white apron, a sponge -saturated with a little liquid of the color of blood—port-wine, or the -juice of beet-root, will do; also two knives, resembling each other, -the one of them whole, the other with a large notch in its blade, so -that when placed over the nose it will appear to have cut through the -bridge of the nose. A cutler could supply such knives, or they may be -purchased at the depots for conjuring apparatus. - -Having placed out these articles on your table with seriousness and -imposing formality, show to the audience the knife that is whole, and -call upon them to observe that it is sufficiently strong and sharp. -The other knife must be placed somewhere near you, but where it is -sheltered from the observation of the spectators. - -Ask some young friend to step forward, assuring him that you will not -hurt him. Make him sit down on a chair facing the audience. After -having measured the real knife across his nose, say: “But I may as well -protect your clothes from being soiled, so I will put an apron round -your neck.” Go to the table to take up the apron, and, in doing so, -place down the real knife where it cannot be seen, and, with your left -hand take up the conjuror’s knife, holding it by the blade, lest any -one should observe the notch in it. Conceal at the same time also, in -your left hand, the piece of sponge. - -Advancing to the chair, tuck, with your right hand, the apron round the -youth’s neck. Then press the conjuror’s knife firmly over the nose and -leave it there, as if you had cut into the bridge of the nose. At the -same time gently squeeze the sponge, and a little of the liquid will -make an alarming appearance on the face and on the apron; go on for a -short time, covering the face and apron with (apparent) blood. When the -audience have seen it long enough, seize up the apron, wipe the face -of the youth quite clean, throw away the conjuror’s knife, and exhibit -your young friend to the audience all right, and dismiss him with some -facetious remark on his courage in undergoing the alarming operation. - - - - -CHAPTER V. - -TRICKS BY MAGNETISM, CHEMISTRY, GALVANISM, OR ELECTRICITY. - - -There is a class of tricks about which I must say a few words, viz., -those that require to be exhibited by the help of magnetism, chemistry, -galvanism, or electricity. I need not dwell long on them, for I do -not consider them such as the young people, for whom these notes are -written, can be recommended to devote their attention to, for the -following reasons: in the first place, they are, with a few exceptions, -attended with considerable expense. Secondly, the tricks connected with -the powerful agencies of galvanism and electricity are dangerous to the -unskilful operator; and, even in experienced hands, the most effective -of them are uncertain things to manage; therefore their effect cannot -be depended on. - -Some very interesting tricks have, doubtless, at times been exhibited -by the help of galvanism and electricity. We have read of a conjuror -by such help confounding a powerful Arab, by first letting him lift -with ease a box, and afterwards rendering it impossible for him to -raise it, when an electric current had, to his dismay, paralyzed all -his strength. It is evident that an experiment of this kind could not -be safely attempted by any but a very experienced person. We read -also of conjurors who have surprised their audience by receiving them -in a dimly-lit theatre, and then firing off a pistol, (to startle -the audience and cover the real mode of operation,) they have by -electricity lighted up one hundred lamps at once. This has proved -very successful on some occasions; but on others, notwithstanding the -most careful preparation and the greatest precaution, it has been -found that the apparatus would not act, and the impatient spectators -have visited the disappointing failure with their indignant murmurs. -Other conjurors have become so attached to electric experiments, that -they have proposed to regulate all the clocks of a large district by -electricity, or have amused themselves by turning electric or galvanic -currents to the door-handles of their houses, so that unsuspecting -strangers, on touching them, were startled with electric shocks. There -is also a trick for rendering one portion of a portrait electric by a -metal plate concealed under it, and the spectators being invited to -touch some part of the picture, have, on touching the spots that were -charged with electricity, received a shock or powerful blow, as if the -portrait resented their touching it. - -Having briefly given the character of this class of tricks, and stated -that they not only require expensive apparatus, but are attended with -danger to the inexperienced, there still remains another serious -objection, viz., that, like the experiments performed by automaton -figures or complicated machinery, they are liable to fail, through -any trifling disarrangement, just at the moment when the performer -is hoping that his audience will be delighted with his surprising -exhibition. - -For these reasons I shall not stay to describe the more elaborate of -these tricks, as, however interesting they may be to the scientific, -they would not, in a youthful amateur’s hands, be sure to produce the -amusement which it is my primary object to supply. - -The simpler experiments of magnetism and chemistry may well be -regarded as recreations of science, interesting curiosities, suitable -enough to be exhibited by a professor of chemistry for amusement and -instruction; but even these can hardly be considered as belonging to -“conjuring proper.” Young people do not care, at festive parties, to -watch red liquids turning into green, blue, and yellow; or the mixture -of different chemical ingredients producing strange conversions into -varied substances; nor will experiments that are interesting as -chemical curiosities produce the same excitement and pleasing surprise -that the wonders of sleight-of-hand do. In a word, such experiments in -a private circle of young friends fail to constitute the most amusing -kind of parlor magic, while upon a public stage they are too minute for -any large audience to trace and comprehend. - -Lest, however, my young readers should think that I have any desire -to shut them out from any field of reasonable pleasure, I will now -carefully select one or two examples of tricks connected with the -sciences of magnetism and chemistry, and which may, even in the hands -of amateurs, produce a safe and pleasing exhibition. - -In the following trick they will find an amusing instance of the -combination of science with rational recreation. - - -TRICK 16.—The watch obedient to the word of command. - -The magnet is a well-known agent in producing several toys for the -entertainment of the young, and though its attraction is wonderful, -there is no danger likely to arise from employing it, in the same way -as might arise from unskilful dabbling with electricity, galvanism, or -chemical powers, and a strange and singular effect may be produced by -placing a magnet of some little strength near a watch. - -Supposing the young conjuror to have provided himself with a powerful -but not very large magnet, let him conceal it in the palm, or under -a thin glove in his left hand, or near the edge of the cuff of his -sleeve. Let him then borrow a lady’s watch, (without chain,) and the -thinner the watch-case is, and if it has a glass, the better. Let him -then call forward a youth, and placing the watch in his own right hand, -and near to the ear of the other, ask him if he hears it going: he will -answer “Yes.” - -Let him next bid the watch to stop; and on taking it in his left hand, -where the magnet is concealed, it will stop, if held steadily; and on -inquiring of his young friend whether he can hear it, he will reply -“No.” - -Observe: you must keep systematically to using your right hand when -you wish to make the watch go on, and to your left when you wish it -to stop. Appealing to others among the company, the performer may -then tell the watch to go on, and holding it in his right hand, and -giving it a slight shake, apply it to one of their ears; it will be -heard “tic, tic;” then holding it in his left hand and telling it to -stop, they will also find that it does stop. You can pretend to doubt -whether they are all deaf of one ear, but lastly may declare that this -is caused by the obedient disposition of the watch, which so orderly -obeys your command. Remind your audience that savages upon first seeing -a watch believe it to be a living animal with power to think and act of -itself. “At any rate,” you may conclude, “the present watch seems to -hear, to understand, and to obey my orders.” - -It will be an amusing addition to the above trick to say that you will -now order the watch to fly away and conceal itself. - -You must for this purpose have provided yourself with an electro-plated -locket resembling a lady’s watch, and have two loaves ready in some -convenient corner. - -When the watch has finished its “manual and platoon” exercise on the -platform, you may say, “I will now place this watch visibly to all -upon the table.” Turn round to go to your table, and in walking to it, -substitute the locket for the watch, and place the locket on some spot -visible to all. It will not be distinguishable from the watch by the -spectators at six or eight yards’ distance from them. Conceal the watch -itself in the palm of your hand. You can now exclaim, “I require two -loaves,” and walking towards them, slip the watch into the one you have -prepared with a slit in its side. Advancing to the audience, ask in -which loaf they will prefer that you shall bid the watch fly. If they -name the one in which you have concealed it, proceed to break open the -loaf and find the watch. But suppose they name the wrong one: you then, -remembering that the left hand of the spectators is your right hand, -proceed with the true loaf, whichever they have named, or manage to -cross the position of the loaves as you place them on the table. - -Then taking up the locket with your right hand, make Pass 1, as if -transferring it to your left hand, but really retaining it in your -right hand (as described in my first paper.) Blow upon your closed left -hand, and say, “Watch, fly into that loaf.” Clap your hands. It is gone. - -Advancing to the loaf, get rid of the locket from your right hand; take -up the loaf, break it open on the other side from that in which the -locket was introduced, bring out the watch, and appeal to the lady to -declare whether it is the same which she lent to you. - - -TRICK 17. - -An experiment with a very mild dash of electricity in it, which will at -any rate be a popular trick with most people that try it. It will do -for a small entertainment, or at any joyous party of young people. It -does not, however, require a large number to be present, but, contrary -to the usual scientific tricks, its development comes off better with -one companion than with a dozen. - -PREPARATION. - -You must induce your cousin Jemima, or some other young lady who is -just of age to have cut her eye-teeth, to consent to help you by -accompanying you to a room with closed shutters and no candles. A -moderate-sized looking-glass must be on the table, the smaller the -better, for reasons below assigned. Have ready at hand some ounces of -hard candy. - -You commence the trick by placing yourselves, hand-in-hand, before the -looking glass. If it is rather small, your heads will be the closer—in -order to see the reflection of both at once. Then, with mouths as open -as may be, try which of you can crush his or her share of sugar-candy -with the teeth the quickest. In the glass will appear the reflection of -sparks of electricity, as the experiment proceeds. If your companion -is nervous, you can of course support her with one arm—ladies are -sometimes susceptible, whether from animal magnetism or what not. The -electric sparks coming between the lips may also be attractive, and you -may be tempted to try whether the electricity evaporates the sweetness; -but of course you must not be tempted to forget the philosophical -nature of the experiment; and, if you behave with propriety, the lady -will doubtless, on her return to the company, tell them, in a staid -manner, that the experiment was all right; and perhaps when you see -her, even a day or two afterwards, you will observe there is an arch -dimple on her cheek and an electric sparkle lighting up her eye—and I -should not wonder if you should feel a desire to try the experiment -over again. - - -TRICK 18.—A chemical trick to follow one where a young friend has -assisted. - -PREPARATION. - -You must have a wine-glass, a saucer, and a teaspoon, and the chemical -bottles No. 1 (silicate of potash) and No. 2 (aluminate of potash,) -which can be obtained from any druggist. - -At the close of some trick in which any young friend has assisted, you -can say: “Well, my young friend, you have assisted me so courteously -and well that I must, in order to express my thanks, ask you to take a -glass of wine. Do you like wine? Ah, I see by your smile you do.” - -Pour out of bottle No. 1 half a glass, and, going towards him, stop -short and say: “Ah, but I am afraid your mamma would be displeased with -me if I gave you wine so strong without any water, and I should be -sorry to tempt you to drink what she would disapprove. Stay, I will mix -a little water with it.” - -Mix some of No. 2 bottle, so as to fill the wine-glass, and say: “Oh, -never mind losing the pure wine; I dare say you will like it very well -as it is,” and make a few chatty remarks, to give the liquids time to -mingle their effects in the glass; and after a minute or two say: “Ah! -I’ll tell you what I am sure your mamma would like still better—if I -could give you some calves’-foot jelly. Now, I really believe, if I -were to stir it with this teaspoon, and try my magic wand over it, -I can turn it to jelly. Let us try.” Occupy a little time while it -is becoming like jelly, and go on with a little more talk till you -see that it has become solid. Then say: “Well, after all, I will not -deprive you of your wine; so here it is. Please drink it.” Putting it -to his lips, he will find it has become so solid that he cannot drink -it, but it can be turned out quite solid into the saucer, and a general -laugh will greet him on the disappointment of his wine. - -Having submitted a few remarks upon the class of tricks that are to -be performed by help of the sciences, magnetism, chemistry, etc., and -having stated my reasons for my not more fully discussing them, I will -now proceed to give an explanation of one or two more that are better -suited for the practice of amateurs. - - - TRICK 19.—To draw three spools off two tapes without those spools - having to come off the ends of the tapes, and while the four ends of - the tapes are held by four persons. - -PREPARATION. - -You must have two narrow tapes of about four feet long, bent as in Fig. -11. Red tape I prefer. - -You must next insert about half an inch of A through the loop of B, and -bring it back down on the other part of A. - -A spool such as cotton is wound on, or an ornamented ball with a hole -drilled through it, just large enough to hold the tapes lightly, will -be required (Fig. 13.) - - [Illustration: FIGS. 11, 12.] - - [Illustration: FIG. 13.] - - [Illustration: FIG. 14.] - -The spool or ball must be put on the tapes at the extreme ends of the -tape B, and drawn to the left, till it just covers the noose at K. as -in Fig. 14. - -N. B.—All the above should be prepared before the spectators are -invited to witness the trick. - -Commence the exhibition by calling upon the spectators to observe that -you hold a reel, or ball, through which two tapes are passed. - -You may then produce two more spools, or wooden balls, and place one of -them over the ends at A, and the other over the ends at B. - - [Illustration: FIG. 15.] - -The following will then be the appearance of the balls or spools and -the tapes passed through them (Fig. 15): - -You may move about the spools 2 and 3, to show how the tape runs -through them, but you must not move spool 1. - -You may then say that the puzzle is to get the spools off the tapes -while the four ends are held firmly in the hands of four persons. -Appoint four persons to hold them, and you may then say: “To make -doubly sure, I will tie one of the ends at A to one of the ends at B -with (the first half of) a knot.” It does not signify which ends you -take to do this, so that you take one A and one B. “I will now pull -these two ends so tight that it will draw the three spools together, -and also tighten all along one side of them.” - - [Illustration: FIG. 16.] - -Then, while four persons hold firmly the extreme ends of the tapes, you -must take shorter hold of the two A’s with your left hand, (where it -is marked by a dotted line, Fig. 16,) and also take hold of the other -tapes where a dotted line is marked on them towards B. Then drawing -your arms wider apart, so as to pull the tapes steadily, the spools -or balls will fall to the ground without passing over the ends of the -tapes. - - -TRICK 20.—To restore a tape whole after it has been cut in the middle. - -PREPARATION. - -Have five or six yards of tape about three-quarters of an inch broad. - -Take half the length in each hand. You will be able to show the -audience that you are about to cut it in the middle, by holding it in -two loops of equal length. Call their attention pointedly to the equal -division of the full length. - -The tape will thus appear to the performer in the position represented -in Fig. 17. - -Observe the tape A crosses at z the tape B on the side next to the -performer, whereas the tape D is to cross the tape y on the side -farthest from him. - -Fig. 18 represents the hands as they appear to the performer himself, -holding the tape with the thumb and forefinger at the crossings of the -tape at y and z, while the outward sides of each loop are to be held by -the three other fingers of each hand. - - [Illustration: FIG. 17.] - - [Illustration: FIG. 18.] - -To proceed with the trick: Holding your hands in this position, (Fig. -18,) you must request one of the spectators to cut through the tape at -x, but just as he is about to do so, you must quickly lower your hands -two or three inches, and then raise them again. This movement will -conceal the following operation. You drop the part (B) of the tape held -in your right hand, and at the same moment pick up with that hand the -other tape marked C. - -This will bring the portion of tape from C to D, so that it now becomes -the transverse tape, substituted in place of the tape marked x, and -your young friend will then cut it—instead of the original tape marked -x—without being aware that he is so doing. - -When the tape has been cut through, you can put your hands near -together, allowing the two ends of the little piece of the tape—C D—to -be seen, but concealing from the spectators that you have hold of two -pieces, one a very long one, and the other only about five inches long. -You can then say: “Now I have to join these two ends, and to restore -the tape whole as at first.” You then turn the little piece C D round -the piece y, which is in your left hand, and you tie a knot with the -ends of that little piece. You must not tie this knot very tight, and -after you have tied it, you drop the other end of the tape altogether -out of your right hand. - - [Illustration: FIG. 19.] - -The appearance which the tapes will then have is represented in Fig. -19. That is, you will seem to hold the equally divided pieces of the -long tape joined in a knot at y, whereas in fact it is only the small -end piece C D, tied round the middle of the long tape, which you hold -between the thumb and forefinger of the left hand. Exhibit the knot -to the company, and say: “I admit that this knot hardly looks like -a perfect restoration; I must employ my best art to get rid of its -unsightly appearance.” - -Ask some one to hold, at about three yards’ distance, the end marked -with small d, retaining hold of the centre—at y—in your left hand, -which quite covers the knot. Tell your friend to wind the tape round -his hand, and, while pretending to show him how to do this, by winding -the part which you hold round your left hand, slide away towards your -right the loose knot under your right hand. Then, holding out the end -of the tape A towards another friend, to hold at about three yards’ -distance to the right, slip from off the long tape the little movable -knot under your right hand, just before he takes hold of this end of -the tape. Conceal in your right hand the little end-piece of tape, -until you can get rid of it into your pocket, or into any unobserved -spot. Blow upon your left hand, which is supposed still to cover the -knot, saying: “Knot, begone!—Restore!” Take up your left hand, and show -the tape to be free from any knot, or join from one end of it to the -other. - - - - -CHAPTER VI. - -ON THE CONTINUITY OF TRICKS. - - -It may be useful now to invite attention to the theory of preserving a -continuity in the development of tricks, where circumstances admit of -this being done. Sundry displays of legerdemain admit of being adroitly -linked together; and I shall endeavor to explain why such an harmonious -continuity is preferable to an unconnected series of isolated tricks; -for when once a novice gets a clear perception of this principle, he -will be able, according to his own special taste, to produce a pleasing -variety of combinations in his experiments. He will thus rise above -being a mere copyist of the methods used by others, and so will give a -zest and freshness to his performances. - -Now, there are many short and secondary dashes of legerdemain, which a -spirited performer will be able to introduce in addition to the tricks -which he is exhibiting. There are also several ornamental or fanciful -little tricks which would not rivet the attention of an audience if -exhibited by themselves. These, though unqualified to shine as the main -object of observation, may nevertheless be worked into the evening’s -entertainment as amusing by-play, and may thus prevent the interest -of the spectators from flagging. They may come in as accessories—as -stimulating side-dishes—causing the entertainment to bear a continuous -character, instead of merely consisting of sundry isolated experiments. - -Let me be allowed to substantiate what I have advanced by reference to -some of the tricks which I have already described. - -The reader will have seen that, in some of the tricks explained in -previous papers, there is simply some one definite object to be carried -out. For instance, in the two tricks which concluded the last paper, -the performer simply undertakes to throw the spools off the tape, or -to restore a tape which has been cut. He sets about this, accomplishes -it, and the trick is over. This is all very well as far as it goes. -If the trick is really a good one, it is like a host furnishing his -guests with a solid joint to satisfy their appetite; and it may do so. -But still it comes short of a lively entertainment. It is confessedly -dull for an audience to come to pauses or gaps between isolated tricks. -Their attention is unoccupied while the performer, having finished -off one trick, is making mute preparations to introduce some other -trick wholly unconnected with what has gone before. Such a method -will not keep awake the lively interest that the skilful combination -of the conjuror’s art will sustain. I maintain that varied by-play -and supplementary sets-off will greatly heighten the interest of the -performance. - -It will also serve to disarm the suspicious and incredulous, preparing -them to believe what they might otherwise stand on their guard against. -Bare tricks brought forward as isolated experiments give time for the -mind to take its estimate of their possibility; and, of course, in -attempting to exhibit wonders, the improbability of them is apt to -stare people strongly in the face. They are perfectly convinced that -a dime cannot fly into an orange at the other end of the room, that -ink cannot become water, nor a hat be safely used as a frying-pan; -but if you interpose appearances and movements that are consistent -with such processes going on, they are gradually prepared to recognize -as a legitimate result what you have previously indicated as the -contemplated end of those processes. - -The amplification or fuller development which I speak of can be -effected at any of the following stages: - - 1. In the introductory matter leading on to the main trick or - transformation: - - 2. In the subsequent stages of its development; or, - - 3. In the winding-up smartly or variedly the conclusion of a trick. - -I do not say that every trick is to be amplified or loaded with -extraneous matter in all these different stages, (that would be to -run into the contrary extreme of over-cumbrous amplification;) but I -will endeavor to point out the effect of such development in the above -three stages of a trick, and if I can show that amplification in each -several one may be an improvement, I may be considered to have made -good my proposition that any trick may be improved and rendered more -interesting by one or other of those amplifications. - -Let us see if we cannot lay down a bill of fare for our guests which, -going beyond a solid joint, (good as that may be in its way,) will -furnish them with some relishing accessory in the first course of a -trick, some stimulant side-dishes with its second course, or may please -with some bon-bons before the entertainment is quite concluded. - - -1. INTRODUCTORY. - -Now, first as to introductory matter. Suppose a conjuror is able to -perform Trick 3—the “Dancing Egg”—it will waken up his audience if, -instead of proceeding at once with the trick, he can by sleight-of-hand -find out an egg in the whiskers or necktie of some unwatchful -spectator, and afterwards substitute for it the egg prepared with a -hair and wax. - -The chief aim of introductory matter should be to enlist the thoughts -and expectations of your audience under your command, so as to preclude -their watching what you are driving at. Show all you can safely show -openly; enlarge upon the things being submitted to their own eyes and -touch; engage their eyes and ears with certain appearances leading -their thoughts to adopt your suggestions, so that, when you approach -the development intended, they have had no reason to suspect your -motives; thus having their confidence, you can jump at once to their -credulity, though there may, in fact, exist some gap, or illogical -process, which they omit to notice. - - -2. DURING THE SUCCESSIVE STAGES OF A TRICK. - -I often vary and render more interesting the development of a trick by -some little by-play. - -For instance, in the trick which I often use as my first trick I make -a candle an amusing helper, by snatching it from the candle-stick, and -asking some one to hold it wrapt up in paper. - -And this unexpected service of the candle is wrought into the body of -the trick which I have in hand. - -I change also a crystal ball into an orange by skilful manipulation. - -By such brief diversion of the attention of the spectators, their -eyes are withdrawn from watching too narrowly some manœuvre that is -requisite to carry out the more important trick which you have in hand. - -Or you may actually make an act, which is a mere accessory, cover some -important portion of the trick; as in the tape trick (No. 20.) While -PRETENDING TO SHOW YOUR ASSISTANT HOW TO HOLD the tape in HIS hand, you -slip the knot away unperceived wider YOUR OWN hand. - - -3. IN CONCLUDING A TRICK. - -It greatly adds to the efficiency of a trick to let it finish off with -a sparkle, or some playful addition which gilds its exit. - -For instance, in the trick of doubling the pocket-money, (7th trick,) -the little by-play of finding, or rather pretending to find, some -coins secreted in the sleeve of the young friend who has helped you, -is sure to bring out a good-humored laugh at the termination of the -trick. Again, in Trick 16, the additional fact of finding the watch in -the loaf makes a lively termination of the performance of the obedient -watch. In the 18th Trick, the glass of wine becoming solid might be -used as a good finish to any trick where some friend has assisted in -its exhibition. - -You may often raise a good-humored laugh by appearing to swallow any -object which you have used in a trick—as an orange, ball, egg, or -dime—and afterwards bringing it out from your sleeve; or, by the use of -Pass 1, to drive a coin up one sleeve, round the back of your neck, and -down the other sleeve, into your right hand. - -I not only consider such Amplifications of a trick lively and -interesting, but I maintain this to be the best way of employing -many secondary and short tricks wherever they can be brought in -appropriately as offshoots of longer and more important ones. - - -TRICK 21.—The invisible hen: a very useful trick for supplying eggs for -breakfast or dinner. - -PREPARATION. - - [Illustration: FIG. 20.] - -In order to save the invisible hen trouble and delay, it will be -advisable to have eight or ten egg-shells, (as described in Trick 3;) -or some light imitation eggs, painted white, may be bought at any depot -of conjuring apparatus. A linen or camlet bag may also be procured from -the same depot, though I think a bag made at home, according to the -following directions, to be preferable. - -It must be about the size of a small pillow, two feet three inches -across, and one foot nine inches deep. It has one of its sides of -double cloth, (x,) the other single, (z,) in the same way as leather -writing-cases have a pocket on one side, and a single cover on the -other. The double side is stitched together all round, with the -exception of an opening at A, which must be about five inches long, or -large enough to admit easily a hand to put in or take out the eggs. -This double side of the bag must always be kept towards the performer, -whereas the single side must be always kept towards the spectators; -and the only opening between these two sides is between C and D. On -the interior of the side of the double cloth bag, a strip or kind of -frill of the same cloth must be sewn, with an elastic binding round -the pockets or cups for eggs. The elastic binding will keep them in -these pockets, unless they are pressed by the thumb or finger, so as to -release them and let them fall into the centre of the double bag. The -strip has the appearance of a string of inverted egg-cups, thus: - - [Illustration: FIG. 21.] - -The position of it in the bag is indicated in Fig. 21 by the dots -running across the bag; but the strip itself is never seen by the -spectators, for it is placed on the inner side of the double bag, which -is always towards the performer. - -Having carefully prepared the above apparatus, commence the exhibition -of the trick by holding up the bag by the corners C and D, as -represented in Fig. 21. Shake the bag well while so holding it, showing -it to be (apparently) empty. - -After having thus exhibited the bag, thrust both your hands down -inside it to the corners A and B. Holding those corners, pull the bag -inside out, and again show it to be empty, in this reversed position, -represented in Fig. 21. - -As the spectators have now seen it thoroughly, inside and outside, you -may put the question to them, “whether they admit it to be empty, as -they ought to know.” - -While holding the bag by the same corners A and B, you must now gather -the bag a little closer together, and holding it well up—see Fig. -21—press with your thumb one of the eggs out of its elastic cup. This -can be easily done without any one observing the movement. This egg, -with a little gentle shaking, will fall into the large bag made by the -double side; but it cannot fall to the ground, however much you shake -it, for there is no opening but at A, and that is upwards towards your -right hand, so you may shake the bag boldly. - - [Illustration: FIG. 22.] - -You next lower the bag a little, and spread it on your chest, letting -it rest there while you move your hands from A and B to take hold of -the corners C and D; and you must give an opening for what had hitherto -been the higher part of the bag, to drop through between the opening -that there is between C and D. This will keep the double side of the -bag (x) still towards yourself, and the bag will now be returned to its -original position (Fig. 21.) With your left hand retaining hold of the -corner D, and lowering the bag towards your right hand, shake well the -loosened egg down towards the corner A. Search with your right hand -about that corner, and the opening of the double bag, and you will be -able to bring out the egg that had been loosened while the bag was in -position 3. - -Take out that egg; shake the bag well, as if it were quite empty: and -then, thrusting both your hands into the interior corners at A and B, -turn the bag inside out; bring it to position 2, ready to re-commence -bringing out the other eggs one by one, as long as the spectators are -interested. While you hold the bag in position 2, you can safely let -any young person feel to the bottom of the bag, as he will not be -likely to suspect the eggs are towards the top of the bag on the side -near to yourself. - -The same bag may be used also much to the amusement of children, by -your loading it with walnuts, chestnuts, small apples, or pears, or any -bon-bon of about the size of an egg; and then allowing the children, -one by one, to feel in your lucky bag for what you take care they shall -find in their successive searches. - - -A SERIES OF TRICKS, 22, 23, 24.—The chief agent being a plain gold ring. - -PREPARATION. - -You must be provided with a small thin wire pointed at both ends, -which, being bent round, will resemble an ordinary plain gold ring. - -You must also have on your table an orange or a lemon, a box or bowl, a -tumbler, and a dessert-knife. - -And you must have four or five needlefuls of thick cotton, which have -been previously steeped for about an hour in a wine-glass of water, -with a teaspoonful of salt in it; and have been afterwards completely -dried, so as to burn easily. - - -TRICK 22. - -Having the fictitious ring in the palm of your hand, commence by -requesting any lady present to oblige you by lending you a plain gold -ring, and borrow also from some gentleman a colored silk handkerchief. -Appear to place the borrowed ring in that handkerchief, but in reality -place in it the rounded fictitious ring. Doubling the centre of the -handkerchief round it, request some gentleman to hold it, so as to -be sure he has got the ring in the handkerchief—while you fetch a -slight cord to fasten it. While going to your table to fetch this -cord, you slip the real ring into a slit in the orange which you had -prepared, and which closes readily over it. You then tie the cord -round the handkerchief, about two inches from the ring, and, calling -the spectators to notice how it is secured, take hold of that part of -the handkerchief which incloses the fictitious ring in your own hand, -and tell the gentleman to place one by one the four corners of the -handkerchief over your hand. Directly he has begun to do this, your -fingers must proceed to unbend and open the fictitious ring, and to -press it by its pointed end through the silk, and conceal it in your -own palm. You tell your assistant to blow upon the handkerchief and -open it—the ring is gone, and you return the handkerchief to the owner. -Fetch the orange from your table, and ask some one to cut it open, and -he will find the lady’s ring in the centre of the orange. - - -TRICK 23. - -You are now to proceed immediately to the next development of the -mysterious powers of the plain ring, which ladies so much admire. You -may commence by remarking that “you have little doubt that this symbol -of love and obedience will at your command pass through the table, -solid as it is. Let us try.” - -Place the tumbler on the table—produce your own silk handkerchief, to -the centre of which a plain ring is already fastened by a doubled silk -thread of about 4 inches length. - -Use Pass 1 with the real ring, as if passing it into the handkerchief: -conceal that ring, and substitute for it the fictitious ring. - -Then addressing the spectators, say: - -“Now, ladies and gentlemen, I will drop this ring into the glass, so -as you shall hear it fall.” Do so. Let the handkerchief rest over the -glass for a minute or two. “Now I must place this bowl under the table -to receive the ring.” In so placing the bowl, you must silently place -the real ring in it. Then say aloud, “Change, ring; pass from the glass -through the table into the bowl below.” Lift up the handkerchief, and -while inviting one or two to come and examine the glass and the bowl, -smooth your forehead with the handkerchief as if heated, and pass it -into your pocket. Your young friends will be astonished to find the -ring not in the glass, where they heard it tinkle, but in the bowl -underneath the table. - - -TRICK 24. - -“Now, ring, you have amused us so well, that you shall, like Mahomet, -be sustained in the air without visible support.” - -Place over a common walking-stick some of your prepared cotton -threads, having twisted two or three of them together, and united them -in a loop, which you draw through the ring, and then slip the ring -through the end of the loop. The ring will then hang suspended about a -foot below the stick. The stick itself may be steadily fixed, resting -on the back of two chairs at an elevation, so as to be easily seen by -the company. - -When the ring has been thus suspended, set fire to the cotton about two -inches above the ring; the flame will run upwards towards the stick; -blow it out when about two inches from the stick, and the ring will -remain pendulous in the air for some little time after the cotton has -been burnt. - -The suspension is said to be caused by a filament, or fine thread of -glass—which has been formed by the ashes of the cotton uniting with the -heated salt, with which the cotton had been prepared. - -Now this trick would be too simple an experiment to be exhibited by -itself; but coming as a finish to two other tricks, which have been -performed with the same ring, the spectators - - Will give it honor due. - -I trust that I have satisfactorily established the assertion that a -combination of congenial tricks will often tell more effectively than -the same tricks would if exhibited without such combination. - - - - -CHAPTER VII. - -FRIENDLY SUGGESTIONS. - - -As the amateur will aspire to come before his parlor audience some day -or other, it may be some little service and help to him to give a few -suggestions as to the best way of conducting such an exhibition, and to -specify the kind of tricks to which he will do well to limit himself. -It will be desirable to open with an off-hand expression of his wish to -place before them a few amusing tricks to wile away an hour; and let -him assume a lively air, for his own liveliness will sustain that of -the spectators. - -There are some conjurors who, though they can perform good tricks, -exhibit them in such a heavy, uninteresting way that they create no -enthusiasm. An over-anxious look, coupled with a creeping, fearful -movement, and a dull, monotonous voice, will suggest distrust and -dissatisfaction, even where the audience has come together prepossessed -with the expectation of mirth and glee. Let none assume, then, to -wave the conjuror’s wand till he has himself some confidence in his -powers, knows what he purposes to do, and means to carry it out. -I would say that a moderate degree of assumption, a gay vivacity, -ready to break out into a smile, a cheerful spirit, and a joyous -voice, will go a great way to bespeak favor, which the performer can -quickly repay by dashing off his tricks with enthusiasm. The language -used by the conjurer should be studiously guarded. Let there be no -vain-glorious assertions, no self-praise, but respectful deference -to the judgment of the spectators; rather inclining to give them the -credit of understanding more than they do, than twitting them with -understanding less. Be neither overbearing with conceited “chaff” upon -any of the company; nor, on the other hand, venture upon extreme and -disconcerting compliments to any person present. Rather, as a courteous -master of the ceremonies, conduct the experiments with a simple effort -to please and to amuse all. With the exhibition of an amateur, the -performance of some lively airs upon the piano by any friend will form -an agreeable accompaniment, especially if the spirited and humorous -melodies are introduced, which the public taste recognizes as the tunes -of the day. You will do well to have your table neatly and carefully -arranged. Let it not lie too near to the spectators, nor within reach -of too minute inspection. It should be of sufficient height to show -the main objects placed on it; but the surface of it may be just high -enough to be sheltered from the spectators clearly viewing every -article upon it. The ornaments should be few, yet, at the same time, be -serviceable to shade a few articles which it may be policy to conceal. - -1. The centre table may be a moderate-sized kitchen table, with a -drawer to stand open; so that the performer can take any article out -of the drawer with one hand, while engaging the eyes of the spectators -with his other hand. A colored cloth should be over the tables, on the -side towards the spectators. - -2. Two small tables, at the sides of the centre table, may also be -useful, as in Fig. 23. - - [Illustration: FIG. 23.] - -3. With tables arranged somewhat in this manner, the amateur will -be able to take up articles, from either the surface or back of the -tables, without attracting notice to his doing so. He must practise -taking up things with one hand, while his other hand and his eyes are -ostensibly occupied with some other object; for if the spectators see -him looking behind his table, their eyes will immediately follow in the -same direction. - -The amateur will do well to select the simpler tricks for his first -attempts, and never pretend to exhibit even those without having -frequently and diligently practised them. He must make up his -resolution to train his hands to the passes, and to the several -manœuvres in the tricks, as diligently as young ladies train their -fingers to the keys of the piano. - -And let them not be discouraged if they feel awkward and nervous at -first. Some of the best conjurors have candidly confessed their early -failings and misgivings. With practice and perseverance this will, in -most cases, wear off. I would augur that, if they feel an interest in -the art, and a desire to excel in it, they will most probably secure a -measure of success that will amply repay their efforts. - - -TRICK 25.—The Conjuror’s “Bonus Genius,” or Familiar Messenger. - -This is an old trick that has delighted thousands, and may amuse -thousands more, if adroitly performed. There are only the simplest -mechanical arrangements connected with it; its successful exhibition -depends upon the dexterity and vivacity of the performer. - -PREPARATION. - -You must have a strong wooden doll, about eight or ten inches high; the -head must fix on or off by a peg at the bottom of the throat, being -placed in a hole made at the top of the bust. Besides a close-fitting -dress to its body, a large, loose, fantastic cloak must be placed round -the whole figure, but must be so arranged as to allow the head to be -pushed down through the part of the cloak that covers the bust, and -an elastic pocket must be neatly made inside the cloak to receive and -retain the head. - -Having the above apparatus ready, you may commence by saying: - -“Allow me, ladies and gentlemen, to introduce my learned friend and -assistant—indefatigable in traveling to the most distant parts on any -message I may wish to send him. He used to be recognized by early -conjurors as their Bonus Genius—their good familiar spirit. But, -whatever his special title, he is gifted with the art of rendering -himself visible or invisible, as he feels disposed, while he travels to -distant countries. - -“Allow me to call your attention to the solid frame and unflinching -nerves, at any rate to the well-seasoned constitution of my friend. -[Rap him loudly, rap, rap, rap, on the table.] The raps he received -during his education doubtless accustomed him to bear much without -flinching. Though his travels have ranged from China to Peru, from the -Equator to the Poles, you perceive he still sounds like a hardy Pole -himself. (Rap, rap, rap.) - -“I perceive, however, by the glaring of his eye, that, after my too -rough handling, he is desirous of starting on his travels. I suppose -we must provide him with the needful for his expenses. Large sums are -given now-a-days to special correspondents in foreign countries; who -will kindly give him sufficient? He will want a golden or silver key -to open some curiosities he may wish to inspect in foreign cities. -(Pause.) Oh, well, as there is a delay about it, I must myself supply -him. I think I have a few disposable coins in my pocket: he shall have -them.” - -Suiting the action to the word, while your left hand holds the upper -part of the cloak near the neck, so as to cover what you are doing, -you withdraw the wooden body with your right hand, while you move your -right hand down to your pocket for the coins. You then leave the body -of the doll in your pocket, and taking out the coins, present them to -the head and cloak of the figure, which is held in your left hand, -saying: “There, my good friend, you can now, if you wish, proceed -on your tour to Algiers, or Dahomey, or Timbuctoo, or wherever the -universal Yankee travelers fancy at the present to resort. - -“Ah, I see he is pleased and in good spirits again. He wishes -apparently to bid you good-bye. You will excuse his looking also round -about him, to judge whether the weather is fair to set out; after -which I will lay my hand on his head to express my good wishes for his -journey. I dare say he will not stay much longer after that than a -schoolboy does after his master has bid him good-bye.” - -Place with formal ceremony your hand on his head, press it down through -the opening below it, receive it in your left hand underneath the -cloak, and bestow it safely in the pocket. - -Affect astonishment at finding the gown alone left in your hands, and -fold it up with a lamentation at his departure. You may say: “It is -clear that he has chosen to go to a hot climate, as he has left his -cloak behind him.” - -Discourse for a few minutes about sending a telegram to overtake him at -London or San Francisco—talk about the sea-passage, railways, tunnels, -and what not. - -“Ah, but I need none of these if I wish him back. I can summon him -again by a few mystic wavings of my wand and by secret art. Hey, my -friend, I need thy presence; quick, return, I pray you. I wish to see -you again in your familiar garb— - - By the pricking of my thumbs, - Something ghostly hither comes.” - -Swell out the cloak with your left hand, and at the same time thrust up -the head from the pocket. It will appear as if the whole figure stood -before them. - -Then say: “I fear, dear friend, I have trespassed by abridging your -tour. You can hardly have traversed Algeria, crossed the mountains -of the moon, or found the birthplace of the Nile; and no one returns -now-a-days without some such marvel to relate. I will let you depart -again. As some people say to troublesome visitors: ‘You may depart now; -please to call again to-morrow.’” - -Repeat the manœuvre, as before, of secreting the head. Then exclaim: -“Alas! he is gone in earnest, like the sojourner of a day (with mock -pathos.) When we have lost him, we feel our loneliness.” - -Fold up sorrowfully the cloak of the departed, and so conclude the -trick. - - -TRICK 26.—The Shower of Money. - -A dozen silver coins, or pennies, will be equally useful in exhibiting -this trick; but some fictitious coin, in color resembling gold, will -perhaps more effectively delight those who are charmed by the yellow -glitter of the precious metal. The performer must have provided himself -with so many of these in his left hand as he purposes to produce at the -end of the trick, and two of the same coin also must be concealed in -his right palm. He must further borrow a hat from one of the company. - -The imagination of the spectators having been excited by the -expectation of beholding a shower of money, the adept in -sleight-of-hand, keeping one of the two coins in his right hand -concealed, must advance the other coin to the end of his forefinger -and thumb, while he pretends to pick a coin out of the candle, or of -the rim of a hat, or from a lady’s fan or shoulder, or may pretend -to clutch a coin floating in the air. As he brings away his prize, -he may rattle it against the other coin concealed in his right hand. -Then, making Pass 1, he may pretend to pass it into the hat, being -careful precisely at the same moment to drop, audibly, a coin from his -left hand into the hat which he holds in that hand. Let him tell the -audience to keep count how many he collects: it will rather distract -their attention. - -He can continue this pleasant appearance of acquiring wealth for ten -minutes, or as long as he can devise various methods of appearing -to clutch it, till the number with which he stored his left hand is -exhausted. - -He may then request some one to count out, audibly, into a plate the -coins collected in the hat, which will coincide with the number he has -appeared to collect so magically from various sources. When adroitly -done, this trick is very pleasing and effective. - - - TRICK 27.—To Furnish Ladies With a Magic Supply of Tea or Coffee, at - their selection, From One and the Same Jug. - -PREPARATION. - -Have a metal jug to hold not less than three pints. It must be -constructed with two compartments in the lower part of it, holding -about a pint and a quarter each, and these must each have a pipe -connected with the spout of the jug and another pipe connecting -with its handle, and in the handle a small hole about the size of a -letter—o—in this print. These lower compartments must be filled with -good tea and coffee before the jug is produced. - -The upper chamber or compartment, like the upper portion of a patent -coffee-pot, must have no communication with the lower divisions, and -must be well closed also at the top with a tin cover, closely fitting. -Have half a dozen small tea-cups and half a dozen small coffee-cups -ready on a tray. - -Begin the trick by placing openly in the upper compartment -coffee-berries and tea, mixing them together. Take up, as a sudden -thought, an old blacking bottle, and pretend to pour from it into -the jug, to furnish highly-colored liquid to improve the coffee; and -a little gunpowder, about a teaspoonful, may be fired off over the -mixture to make the tea strong. Wave your wand over the jug. - -Then you may address the ladies: inform them that the ingredients are -well mixed, and invite them to name which they will prefer, “tea or -coffee,” as you can produce either at their command from the same jug. - -Get some friend to hand the cups, while you follow him, and, by -unstopping the holes in the handle for admitting air upon the coffee or -tea, the one of them that each lady names will flow out from the spout -of this magic jug. - - - TRICK 28.—A Pleasing Exhibition for both the Performer and the - Audience to view when they feel a little Exhausted. - -PREPARATION. - -Have two pint bottles and one quart bottle; the pint bottles to -be filled, one with a liquid resembling port, the other with one -resembling sherry; the large bottle to be at first empty. Three opaque -metal stands—the centre one to stand under the quart bottle, to have a -large cavity to hold a quart, and the upper part of this stand to be -full of large holes, like a cullender, for the liquor to run from the -opening at H into that cavity. - - [Illustration: FIG. 24.] - -You must also have three metal covers, of proper size to cover the -above three bottles—these covers to have handles at top, so as to be -easily lifted. The large centre cover is simply a cover; but the two -side ones, which are to cover the pint bottles, must be made with metal -cavities large enough to hold, one a pint of port, the other a pint of -sherry, at top, with a descending pipe to fall into the mouths of the -pint bottles. - -[Illustration: FIG. 25.] - -There must be a small hole at top of each of the small covers, at B -and C, which hole, being covered with tinfoil, will, as long as it is -closed, prevent the wine from running out at D. But when the tinfoil is -scraped off, and the hole admits the air, the wine will then be able to -run into the pint bottles. - -The above apparatus being all ready, commence by saying: “I will -now pour this pint of port and this pint of sherry into the large -bottle, mixing them inseparably together.” Having done so, remove the -stopper at bottom of the large bottle as you place it on its stand, -and immediately place the large cover over it. The mixed liquid will -gradually run out into the concealed cavity in the stand. - -You must now talk a little magic nonsense, to draw off the attention, -while you place the special covers over each of the small bottles, -so that the descending pipes in the covers fit in the necks of the -bottles. Remove the tinfoil with which you had covered the holes at A -and B. - -With a few magic waves of your wand, and words of art, say: “I shall -now cause the mixed liquids in the centre bottle to appear severally in -their own original bottles.” Let the covers remain a few seconds. Clap -your hands, saying: “Change, begone!” Lift the centre cover: the large -bottle will be seen to be empty. Lift successively the covers from the -small bottles: they will be seen to have each their proper wine—one -port, the other sherry. - - -TRICK 29.—To Furnish a Treat to the Gentlemen. - -For this the magic bottle must be procured. One with three or four -compartments is amply sufficient. In these place gin, sherry, and port -wine, respectively. The bottle will have three or four holes, on which -you place your fingers as if stopping the holes of a flute. You may -have a bucket of water and a common bottle, resembling the magic one -in size and appearance, near your table. Have ready also a tray of -wine-glasses of thick glass, and holding only a very small quantity. - -Exhibit the common bottle to the audience, and then place it on your -table, and direct attention to some of the other articles on your -table. “Now I must begin my experiment. I will wash and drain my -bottle, that you may see the experiment from the beginning to the end.” -Place it in the bucket, and while shaking it about, and letting the -water run out, exchange it for the magic bottle lying by the bucket. -Wipe that carefully with a napkin, as if drying it, and calling -two or three of the audience forward at a time, inquire which they -prefer. Have the stops according to alphabetical order to prevent your -mistaking—gin, port, sherry. Continue supplying the small glasses as -called for, till your bottle gets nearly empty, and then pour them out -indiscriminately. There will have been sufficient to satisfy the most -eager. - -But if you wish to continue the trick, yen may have a second magic -bottle prepared in the same way, and you will easily, while propounding -some magic charm and gesticulating, make some pretence that will enable -you to exchange the empty for the second bottle, and so proceed. - - - - -VENTRILOQUISM MADE EASY. - - -WHAT IS VENTRILOQUISM? - -Before we take the reader into the precise and minute instructions -which he will have to study and practice ere he can become the -possessor of the coveted art, it will be necessary to inform him what -Ventriloquism[1] is, and in what it consists. In doing so, we shall -endeavor to be as plain and clear as possible. Ventriloquism may be -divided into two sections, or general heads, the first of which may be -appropriately designated as Polyphonism, and consists of the simple -imitation of the voices of human creatures, of animals, of musical -instruments, and sounds and noises of every description in which no -illusion is intended, but where, on the contrary, the imitation is -avowedly executed by the mimic, amongst which we may classify sawing, -planing, door-creaking, sounds of musical instruments, and other -similar imitations. - - [1] Literally signifying belly-speaking, from _venter_, the belly, and - _loquor_, I speak. - -Secondly, we have ventriloquism proper, which consists in the imitation -of such voices, sounds, and noises, not as originating in him, but -in some other appropriate source at a given or varying distance, in -any or even in several directions, either singly or together—a process -exciting both wonder and amusement, and which may be accomplished by -thousands who have hitherto viewed the ventriloquist as invested with a -power wholly denied by nature to themselves. It is needless to observe, -that when the imitations are effected without a movement of mouth, -features, or body, the astonishment of the audience is considerably -enhanced. - -The terms polyphony, mimicry, or imitation, are employed to -designate results obtained in reference to the first division of the -subject, where no illusion is intended; while the term ventriloquism -distinguishes those under the second division, where an illusion is -palpably produced. The first is much more common than the latter; -indeed, there is scarcely a public school which does not possess at -least one boy capable of imitating the mewing of a cat, the barking -of a dog, or the squeaking voice of an old woman. On the other hand, -from a want of the knowledge of _how_ to proceed, it is very seldom -that even a blundering attempt at ventriloquism is heard, except from a -public platform. - -There have been many statements put forward defining ventriloquism, -but we are decidedly of opinion that the theory of two of the most -celebrated of foreign ventriloquists, Baron de Mengen and M. St. Gille, -who were sufficiently unselfish to avow the secret of their art, is not -only the most correct, but it is at once the most reasonable and the -most natural. - -From Baron de Mengen’s account of himself, and the observations made by -M. de la Chapelle, in his frequent examinations of St. Gille, whom we -shall afterwards refer to, it seems that the factitious ventriloquist -voice does not (as the etymology of the word imports) proceed from the -belly, but is formed in the inner parts of the mouth and throat. - -The art does not depend on a particular structure or organization of -these parts, but may be acquired by almost any one ardently desirous of -attaining it, and determined to persevere in repeated trials. - -The judgments we form concerning the situation and distance of bodies, -by means of the senses mutually assisting and correcting each other, -seem to be entirely founded on experience; and we pass from the sign -to the thing signified by it immediately, or at least without any -intermediate steps perceptible to ourselves. - -Hence it follows that if a man, though in the same room with another, -can by any peculiar modifications of the organs of speech, produce -a sound which, in faintness, tone, body, and every other sensible -quality, perfectly resembles a sound delivered from the roof of an -opposite house, the ear will naturally, without examination, refer it -to that situation and distance; the sound which he hears being only -a sign, which from infancy he has become accustomed, by experience, -to associate with the idea of a person speaking from a house-top. A -deception of this kind is practised with success on the organ and other -musical instruments. - -Rolandus, in his “Aglossostomographia,” mentions, that if the -mediastinum, which is naturally a single membrane, be divided into two -parts, the speech will seem to come out of the breast, so that the -bystanders will fancy the person possessed. - -Mr. Gough, in the “Manchester Memoirs,” vol. v. part ii. p. 622 London, -1802, investigates the method whereby men judge by the ear of the -position of sonorous bodies relative to their own persons. - -This author observes, in general that a sudden change in direction of -sound, our knowledge of which, he conceives, does not depend on the -impulse in the ear, but on other facts, will be perceived when the -original communication is interrupted, provided there be a sensible -echo. This circumstance will be acknowledged by any person who has had -occasion to walk along a valley, intercepted with buildings, at the -time that a peal of bells is ringing in it. The sound of the bells, -instead of arriving constantly at the ears of the person so situated, -is frequently reflected in a short time from two or three different -places. These deceptions are, in many cases, so much diversified by -the successive interpositions of fresh objects, that the steeple -appears, in the hearer’s judgment, to perform the part of an expert -ventriloquist on a theatre—the extent of which is adapted to its own -powers, and not to those of the human voice. - -The similarity of effect which connects this phenomenon with -ventriloquism, convinced the author, whenever he heard it, that what -we know to be the cause in one instance, is also the cause in the -other, viz., that the echo reaches the ear, while the original sound is -intercepted by accident in the case of the bells _but by art_, in the -case of the ventriloquist. - -It is the business of the ventriloquist to amuse his admirers with -tricks resembling the foregoing delusion; and it will be readily -granted that he has a subtle sense, highly corrected by experience to -manage, on which account the judgment must be cheated as well as the -ear. - -This can only be accomplished by making the pulses, constituting his -words strike the heads of his hearers, not in the right lines that -join their persons and his. He must therefore, know how to disguise -the true direction of his voice; because the artifice will give him an -opportunity to substitute almost any echo he chooses in the place of -it. But the superior part of the human body has been already proved -to form an extensive seat of sound, from every point of which the -pulses are repelled as if they diverge from a common centre. This is -the reason why people, who speak in the usual way, cannot conceal the -direction of their voices, which in reality _fly off towards all points -at the same instant_. The ventriloquist, therefore, by some means or -other, acquires the difficult habit of _contracting_ the field of -sound within the _compass of his lips_, which enables him to confine -the real path of his voice to narrow limits. For he who is master of -his art has nothing to do but to place his mouth obliquely to the -company, and to dart his words out of his mouth—if the expression may -be used—whence they will then strike the ears of the audience as that -from an unexpected quarter. Nature seems to fix no bounds to this -kind of deception, only care must be taken not to let the path of -the direct pulses pass too near the head of the person who is played -upon, but the divergency of the pulses make him perceive the voice -itself. Our readers will, therefore, not be surprised that the French -Academy adopted this view of the subject, and laid down that the art -consists in an _accurate imitation of any given sound as it reaches the -ear_. In conformity with a theory so incontrovertible, physiologists -have suggested a variety of movements of the vocal organs to explain -still further the originating cause; and some have gone so far as to -contend for a peculiarity of structure in these organs as an essential -requirement; but they have wisely omitted to specify what. Nothing, -however, can be more accurate than the description of “the _essence_” -of ventriloquy in the “English Cyclopædia”—namely, that it “_consists -in creating illusions as to the distance and direction whence a sound -has travelled_.” How those sounds are produced, we shall show in -another chapter. - - -VENTRILOQUISM AMONGST THE ANCIENTS. - -Charles Lamb gave utterance to the thought that it was “pleasant to -contemplate the head of the Ganges,” but the student of ventriloquism -finds it difficult to obtain a view of the source of his art. In the -dim and misty ages of antiquity, he may trace under various guises the -practice of it. Many of the old superstitions were fostered by its -means; from the cradle of mankind to the birthplace of idolatry, we -incidentally learn of the belief in a familiar spirit—a second voice, -which afterwards took the form of divination. - -The various kinds of divination amongst the nations of antiquity which -were stated by the priesthood to be by a spirit, a familiar spirit, -or a spirit of divination, are now supposed to have been effected by -means of ventriloquism. Divination by a familiar spirit can be tracked -through a long period of time. By reference to Leviticus xx. 27 it will -be seen that the Mosaic law forbade the Hebrews to consult those having -familiar spirits, and to put to death the possessor. The Mosaic law was -given about fifteen hundred years before Christ. Divining by a familiar -spirit was, however, so familiar to the Jews, that the prophet Isaiah -draws a powerful illustration from the kind of voice heard in such -divination, see Isaiah xxix. 4. - -There can be little doubt but the Jews became acquainted with this -voice during their compulsory captivity in Egypt. In many of the -mysteries which accompanied the worship of Osiris, the unearthly -voice speaking from hidden depths of unknown heights was common. Some -philosophers have imagined that a series of tubes and acoustical -appliances were used to accomplish these mysterious sounds. The statute -of Memnon will instantly suggest itself as a familiar instance. The -gigantic stone-head was heard to speak when the first rays of the -worshipped sun glanced on its impassive features. The magic words were -undoubtedly pronounced by the attendant priest, for we find a similar -trick prevalent throughout the whole history of ventriloquism, and even -now the public professors of the art know how much depends on fixing -the attention of their audience on the object or place from whence the -sound is supposed to proceed. The Jews carried the art with them into -Palestine, for we trace the agency throughout their history. - -The Greeks practised a mode of divination termed gastromancy, where the -diviner replied without moving his lips, so that the consulter believed -he heard the actual voice of a spirit speaking from its residence -within the priest’s belly. - -In the Acts of the Apostles (xvi. 16), mention is made of a young woman -with a familiar spirit meeting the Apostles in the city of Philippi, -in Macedonia,—St. Chrysostom and other early Fathers of the Christian -Church mention divination by a familiar spirit as practised in their -day. The practice of similar divination is still common in the East; -it lingers on the banks of the Nile, and is even practised among the -Esquimaux. This divination by a familiar spirit has been practised -upwards of three thousand years. - - -MODERN PROFESSORS OF THE ART. - -The earliest notice of ventriloquial illusion, as carried out in -modern times, has reference to Louis Brabant, _valet-de-chambre_ of -Francis I., who is said to have fallen in love with a beautiful and -rich heiress, but was rejected by the parents as a low, unsuitable -match. However, the father dying, he visits the widow; and on his -first appearance in the house she hears herself accosted in a voice -resembling that of her dead husband, and which seemed to proceed from -above. “Give my daughter in marriage to Louis Brabant, who is a man of -great fortune and excellent character. I now endure the inexpressible -torments of purgatory, for having refused her to him; obey this -admonition and I shall soon be delivered; you will provide a worthy -husband for your daughter, and procure everlasting repose to the soul -of your poor husband.” - -The dread summons, which had no appearance of proceeding from Louis, -whose countenance exhibited no change, and whose lips were close and -motionless, was instantly complied with; but the deceiver, in order -to mend his finances for the accomplishment of the marriage contract, -applies to one Cornu, an old and rich banker at Lyons, who had -accumulated immense wealth by usury, and extortion, and was haunted by -remorse of conscience. After some conversation on demons and spectres, -the pains of purgatory, &c., during an interval of silence, a voice is -heard, like that of the banker’s deceased father, complaining of his -dreadful situation in purgatory, and calling upon him to rescue him -from thence, by putting into the hands of Louis Brabant, then with him, -a large sum for the redemption of Christians in slavery with the Turks; -threatening him at the same time with eternal damnation if he did not -thus expiate his own sins. Upon a second interview, in which his ears -were saluted with the complaints and groans of his father, and of all -his deceased relations, imploring him, for the love of God, and in the -name of every saint in the calendar, to have mercy on his own soul and -others, Cornu obeyed the heavenly voice, and gave Louis 10,000 crowns, -with which he returned to Paris, and married his mistress. - -The works of M. L’Abbe La Chapelle, issued 1772, and before alluded -to, contain descriptions of the ventriloquial achievements of Baron -Mengen at Vienna; and those of M. St. Gille, near Paris, are equally -interesting and astonishing. The former ingeniously constructed a doll -with moveable lips, which he could readily control by a movement of the -fingers under the dress; and with this automaton he was accustomed to -hold humorous and satirical dialogues. He ascribed proficiency in his -art to the frequent gratification of a propensity for counterfeiting -the cries of the lower animals, and the voices of persons with whom he -was brought in contact. So expert, indeed, had practice rendered him -in this way, that the sounds uttered by him did not seem to issue from -his own mouth. La Chapelle, having heard many surprising circumstances -related concerning one M. St. Gille, a grocer at St. Germainen-Laye, -near Paris, whose powers as a ventriloquist had given occasion to many -singular and diverting scenes, formed the resolution of seeing him. -Being seated with him on the opposite side of a fire, in a parlor on -the ground floor, and very attentively observing him, the Abbe, after -half an hour’s conversation with M. St. Gille, heard himself called, on -a sudden, by his name and title, in a voice that seemed to come from -the roof of a house at a distance; and whilst he was pointing to the -house from which the voice had appeared to him to proceed, he was yet -more surprised at hearing the words, “it was not from that quarter,” -apparently in the same kind of voice as before, but which now seemed to -issue from under the earth at one of the corners of the room. In short, -this factitious voice played, as it were, everywhere about him, and -seemed to proceed from any quarter or distance from which the operator -chose to transmit it to him. To the Abbe, though conscious that the -voice proceeded from the mouth of M. St. Gille, he appeared absolutely -mute while he was exercising his talent; nor could any change in -his countenance be discovered. But he observed that M. St. Gille -presented only the profile of his face to him while he was speaking as -a ventriloquist. - -On another occasion, M. St. Gille sought for shelter from a storm in -a neighboring convent; and finding the community in mourning, and -inquiring the cause, he was told that one of their body, much esteemed -by them, had lately died. Some of their religious attended him to the -church, and showing him the tomb of their deceased brother, spoke very -feelingly of the scanty honors that had been bestowed on his memory, -when suddenly, a voice was heard, apparently proceeding from the roof -of the choir, lamenting the situation of the defunct in purgatory, and -reproaching the brotherhood with their want of zeal on his account. The -whole community being afterwards convened in the church, the voice from -the roof renewed its lamentations and reproaches, and the whole convent -fell on their faces, and vowed a solemn reparation. Accordingly, they -first chanted a _De profundis_ in full choir; during the intervals -of which the ghost occasionally expressed the comfort he received -from their pious exercises and ejaculations in his behalf. The prior, -when this religious service was concluded, entered into a serious -conversation with M. St. Gille, and inveighed against the incredulity -of our modern sceptics and pretended philosophers on the article of -ghosts and apparitions; and St. Gille found it difficult to convince -the fathers that the whole was a deception. - -M. St. Gille, in 1771, submitted his attainments in this direction to -several experiments before MM. Leroy and Fouchy, Commissioners of the -Royal Academy of Sciences, and other persons of exalted rank, in order -to demonstrate that his mimicry was so perfect as to reach the point -of complete illusion. For this purpose a report was circulated that a -spirit’s voice had been heard at times in the environs of St. Germain, -and that the commission was appointed to verify the fact. The company, -with the exception of one lady, were apprised of the real nature of -the case, the intention being to test the strength of the illusion -upon her. The arrangement was that they should dine together in the -country, in the open air; and while they were at table, the lady was -addressed in a supernatural voice, now coming from the top of adjoining -trees, then descending until it approached her, next receding and -plunging into the ground, where it ceased. For upwards of two hours was -this startling manifestation continued with such adroitness that she -was convinced the voice belonged to a person from another world, and -subsequent explanation failed to convince her to the contrary. - -M. Alexandre, the famous ventriloquist, had an extraordinary facility -in counterfeiting all the expressions of countenance and bodily -conditions common to humanity. When in London, his mimetic powers, -which he was fond of exercising both in public and private, made his -company in high request among the upper circles. The Lord Mayor of the -City, in particular, received the ventriloquist with great distinction, -and invited him several times to dine at the Mansion House. But it -unluckily happened that on every occasion when M. Alexandre dined -there, he could not stay to spend the evening, having contracted -engagements elsewhere. The Lord Mayor expressed much regret at this, -and the ventriloquist himself was annoyed on the same account, being -willing to do his best to entertain the guests whom the Lord Mayor had -asked each time to meet him. - -At last, on meeting M. Alexandre one day, the Lord Mayor engaged him to -dine at the Mansion House on a remote day. “I fix it purposely,” said -his lordship, “at so distant a period, because I wish to make sure this -time of your remaining with us through the evening.” Through fear of -seeming purposely to slight his lordship, M. Alexandre did not dare to -tell the Mayor that on that very morning he had accepted an invitation -from a nobleman of high rank to spend at his house the evening of the -identical day so unfortunately pitched on by the civic dignitary. All -the ventriloquist said in reply was, “I promise, my lord to remain at -the Mansion House, till you, yourself think it time for me to take my -leave.” “Ah, well,” said the Lord Mayor, and he went off perfectly -satisfied. - -At the appointed day Alexandre sat himself down at the magistrate’s -board. Never had the ventriloquist comported himself with so much -spirit and gaiety. He insisted on devoting bumpers to each and every -lady present. - -The toasts went round, the old port flowed like water, and the artiste -in particular seemed in danger of loosing his reason under its potent -influence. When others stopped, he stopped not, but continued filling -and emptying incessantly. By and by, his eyes began to stare, his -visage became purple, his tongue grew confused, his whole body seemed -to steam of wine, and finally he sank from his chair in a state of -maudlin, helpless insensibility. - -Regretting the condition of his guest, the Lord Mayor got him quietly -lifted, and conveyed to his own carriage, giving orders for him to -be taken home to his lodgings. As soon as M. Alexandre was deposited -there, he became a very different being. It was now ten o’clock, and -but half an hour was left to him to prepare for his appointed visit to -the Duke of ——’s _soiree_. The ventriloquist disrobed himself, taking -first from his breast a quantity of sponge which he had placed beneath -his waist coat, and into the pores of which he had, with a quick and -dexterous hand, poured the greater portion of the wine which he had -apparently swallowed. - -Having washed from his person all tokens of his simulated -intoxication, and dressed himself anew, M. Alexandre then betook -himself to the mansion of the nobleman to whom he had engaged himself. - -On the following day the fashionable newspapers gave a detailed account -of the grand party at his Grace the Duke of ——’s, and eulogized to the -skies the entertaining performances of M. Alexandre, who, they said, -had surpassed himself on this occasion. Some days afterwards, the Lord -Mayor encountered M. Alexandre. “Ah, how are you?” said his lordship. -“Very well, my lord,” was the reply. “Our newspapers are pretty pieces -of veracity,” said his lordship. “Have you seen the _Courier_ of the -other day? Why, it makes you out to have exhibited in great style last -Thursday night at his Grace of ——’s!” “It has but told the truth,” said -the mimic. “What? impossible!” cried the Mayor. “You do not remember, -then, the state into which you unfortunately got at the Mansion House?” -And thereupon the worthy magistrate detailed to the ventriloquist -the circumstances of his intoxication, and the care that had been -taken with him, with other points of the case. M. Alexandre heard his -lordship to an end, and then confessed the stratagem which he had -played off, and the cause of it. - -“I had promised,” said Alexandre, “to be with his Grace at half-past -ten. I had also promised not to leave you till you yourself considered -it fit time. I kept my word in both cases—you know the way.” The civic -functionary laughed heartily, and on the following evening Alexandre -made up for his trick by making the Mansion House ring with laughter -till daylight. - -Many anecdotes are told respecting M. Alexandre’s power of assuming the -faces of other people. At Abbotsford, during a visit there, he actually -sat to a sculptor five times in the character of a noted clergyman, -with whose real features the sculptor was well acquainted. When the -sittings were closed and the bust modelled, the mimic cast off his wig -and assumed dress, and appeared with his own natural countenance, to -the terror almost of the sculptor, and to the great amusement of Sir -Walter and others who had been in the secret. - -Of this most celebrated ventriloquist it is related that on one -occasion he was passing along the Strand, when a friend desired a -specimen of his abilities. At this instant a load of hay was passing -along near Temple Bar, when Alexandre called attention to the -suffocating cries of a man in the centre of the hay. A crowd gathered -round and stopped the astonished carter, and demanded why he was -carrying a fellow-creature in his hay. The complaints and cries of -the smothered man now became painful, and there was every reason to -believe that he was dying. The crowd, regardless of the stoppage to -the traffic, instantly proceeded to unload the hay into the street. -The smothered voice urged them to make haste, but the feelings of the -people may be imagined when the cart was empty and nobody was found, -while Alexandre and his friend walked off laughing at the unexpected -results of their trick. - -It would be obviously invidious to compare the merits of living -professors. Mr. Maccabe, Mr. Gallagher, Mr. Thurton and Mr. Macmillan -have long been favorites with the public. - - -THE THEORY OF VENTRILOQUISM. - -Many physiologists aver that ventriloquism is obtained by speaking -during the inspiration of air. It is quite possible to articulate under -these circumstances, and the plan may with advantage be occasionally -adopted; but our own practical experience and close observation of many -public performers, and of not a few private friends who have attained -distinctness and no small amount of facility in the art, convince us -that the general current of utterance is, as in ordinary speech, during -_expiration_ of the breath. Some imagine that the means of procuring -the required imitation are comprised in a thorough management of the -echoes of sound. Unfortunately, however, for this theory, an echo only -repeats what has been already brought into existence. Several eminent -ventriloquists, including the late Mr. Matthews, have displayed the -vocal illusion while walking in the streets. Baron Mengen describes -as follows his mode of speaking, when he desired the illusion to take -the direction of a voice emanating from the doll: “_I press my tongue -against the teeth, and then circumscribe a cavity between my left check -and teeth, in which the voice is produced by the air held in reserve in -the pharynx_. The sounds thus receive a hollow and muffled tone, which -causes them to appear to come from a distance.” The Baron furthermore -mentions that it is essential to have the breath well under control, -and not to respire more than can be avoided. M. St. Gille was seen to -look somewhat exhausted when the vocal illusion grew less perfect. We -ourselves, and all ventriloquists with whom we have conferred, have -acknowledged that they have experienced fatigue in the chest, and have -attributed it to the slow expiration of the breath. M. St. Gille, with -the majority of ventriloquists, was often compelled to cough during the -progress of his exercitation. - -To attain an exact and positive knowledge of the modifications of voice -specified as ventriloquism, it is important to be familiar with the -distinctions of the sounds uttered by the mouth; and to ascertain how -the organs act in producing those vocal modifications, it is necessary -to know how the breath is vocalized in all distinctions of pitch, -loudness, and quality, by the ordinary actions of the vocal organs. In -ordinary language, we speak of noise, of common sound, and of musical -sound-terms employed by Dr. Thomas Young in illustrating the mechanical -agencies of articulation:—“A quill striking against a piece of wood -causes a noise, but striking successively against the teeth of a wheel, -or of a comb, a continued sound, and, if the teeth of the wheel are -at equal distances, and the velocity of the rotation is constant, -a musical sound. The general terms—pitch, loudness, quality, and -duration, embrace all the distinctions with which the musician has to -deal, and which he uses in his art.” - -The distinguishing feature of musical sound is its uniform pitch -throughout its duration, and acoustically musical sound is composed of -an equal number of impulses or noises produced in equal tones. - -The general terms—pitch, loudness, quality, and duration, also embrace -all the distinctions heard in ordinary sounds. These sounds differ -from the musical in the pitch constantly varying throughout their -duration, as the human voice in speaking, and the voice of quadrupeds. -Acoustically such sounds are composed of an unequal number of impulses -or noises produced in equal tones. And from this circumstance pitch, in -the strictly musical sense, is not a property of ordinary sound. - -The general terms—loudness and quality, embrace all the distinctions -heard in a noise, as in the collision of two unelastic sticks. Pitch -and duration can scarcely be considered as belonging to common noise. -Thus we have—(1) noise whose audible distinctions are comprehended -under the general terms loudness and quality; (2) common sound, whose -audible distinctions are comprehended under the general terms—loudness, -quality, duration, and every varying pitch; (3) musical sound, whose -audible distinctions are comprehended under the general terms—loudness, -quality, duration, and uniform pitch. - -Phonation, or the production of voice, is a result of actions taking -place under two distinct classes of laws—namely, the ordinary -mechanical laws of acoustics, and the physiological laws of muscular -movement. The adjustment of the vocal mechanism to be brought into -operation by the current of air, is made by actions under the latter -laws; and phonation is the result of the reaction of the mechanism on -the current of air, by mechanical movements under the former laws. -Now, the pitch of the voice essentially depends on the tension of the -vocal ligaments; the loudness or the extent of the excursion of these -ligaments in their vibration; the duration on the continuance of the -vocalizing causes; the quality on the organization of the larynx, and -also on the form and size of the vocal tube. The form and size of -this tube can be altered in various ways—for instance, by dilating -or contracting the pharynx; by dilating or contracting the mouth; by -contracting the communication between the pharynx and mouth, so as -to constitute them distinct chambers, or by dilating the opening so -as to throw them into one, which is chiefly attained by movements -of the soft palate; and by altering the form of the mouth’s cavity, -which is effected by varying the position of the tongue. Each of these -modifications of the vocal tube conveys a peculiarity of quality to -the voice,—all, however, being local or laryngeal sounds. Moreover, -sounds can be produced in the vocal tube, apart from the larynx. These, -strictly speaking, are not vocal sounds, though some of them may be of -a definite and uniform pitch, while others are mere noises—as rustling, -whispering, gurgling, whistling, snoring, and the like. Now, as -everything audible comes under the classes of noise, sound, or musical -sound, and as each variety originates in the vocal apparatus of man, it -is obvious that _an ordinary vocal apparatus is all that is required -for the achievement of the feats_ of ventriloquism. - -A person having an ear acutely perceptive to the nice distinctions of -sounds, may, by a little practice, imitate many sounds with accuracy. -Those persons, however, who are highly endowed with the mental -requisites, which consist of an intense desire to mimic, coupled with -the ability to originate mimetic ideas, are able to imitate sounds at -first hearing. - -We next proceed to treat of those illusions, where the voice so -perfectly counterfeits the reality intended, that it appears not to -issue from the mimic, but from an appropriate source, in whatever -direction, and at whatever distance the source may be. We do not hear -the distance which a sound has travelled from its source, but we judge -the distance from our former experience, by comparing the loudness -which we hear with the known distance and known loudness of similar -sounds heard on former occasions. Common experience will prove that we -oftener err in estimating the distance of uncommon than of familiar -sounds. In apology for such an error, the ordinary language is, “It -seemed too loud to come so far,” or “It seemed too near to be so faint -a sound,” as the case may be,—both of which are apologies for an -erroneous judgment, and not for faulty hearing. Near sounds are louder -than distant ones. Now, by preserving the same _pitch_, _quality_, and -_duration_, but with an _accurately graduated reduction of loudness_, -a series forming a _perspective_ of sounds may be created, which, -falling in succession on the ear, will suggest to the mind a constantly -increasing distance of the sound’s source. The estimate, then, which is -formed of the distance which a sound has travelled before reaching the -ear is a judgment of the mind formed by comparing a present perception -(by hearing) with the remembrance of a former loudness in connection -with its known distance. With regard to direction, it is observed, -“The direction whence a sound comes seems to be judged of by the right -of left ear receiving the stronger impression, which, however, can -only take place when the sound’s source is in a plane, or nearly so, -with a line passing through both cars. It is familiarly known that -a person in a house cannot by the noise of an approaching carriage -judge with certainty whether it is coming from the right or left. He -accurately judges it to be approaching, passing, or receding, as the -case may be, by the gradations of loudness, but is unable to decide -with certainty whether its approach or recession is from up or down -the street. Enough has been stated to show that we do not _hear_, but -that we judge _the direction a sound has travelled from its source on -reaching the ear_.” The ventriloquist indicates, either directly or -indirectly, the direction from which he wishes his audience to believe -the sound is coming. Thus he directly indicates it by words, such -as—“Are you up there?” “He is up the chimney,” “He is in the cellar,” -“Are you down there?” &c., as illustrated in the various examples. He -indirectly indicates it by some suggestive circumstance, as an action -or gesture, which is so skilfully unobtrusive and natural as to effect -its object without being discovered. Thus, when the ventriloquist -looks or listens in any direction, or even simply turns towards any -point, as if he expected sound to come thence, _the attention of an -audience is by that means instantly directed also to the same place_. -Thus, before a sound is produced, the audience expect it to come in -the _suggested direction_; and the ventriloquist has merely, by his -_adjustment of vocal loudness_, to indicate the necessary distance, -when a _misjudgment of the audience will complete the illusion which he -has begun_. - -The effect which is produced on sound by its travelling from a -distance, is observed to be:— - -(1) That its loudness is reduced in proportion to its distance. - -(2) That its _pitch_ remains unaltered. - -(3) That its _quality_ or _tone_ is somewhat altered. - -(4) That its duration remains unaltered. - -(5) That the human speech is _somewhat obscured_, chiefly in the -_consonant_ sounds. - -It must be remembered that the ventriloquist makes the sound, not as -it is heard at its source, _but as it is heard after travelling from a -distance_. - - -THE MEANS BY WHICH IT IS EFFECTED. - -Before entering upon the first and easy lessons, it will be as well -to consider the means by which the effect is produced. The Student is -supposed to have made himself thoroughly acquainted with the previous -chapter, as to the effect to be produced, _not on himself_, but _on the -spectators and audience_. And we may assure him, that if he has a fair -range of voice, a diligent observance of the rules which we are about -to lay down, coupled with attention to the nature of sound as it falls -upon the ear, will lead him to such triumphs as, in all probability, -he never imagined he could have attained—an assurance which we are -emboldened to offer from _our own pursuit and practical realization of -the art_. - -The student must bear in mind that the means are _simply natural -ones_, used in accordance with _natural laws_. We have given him the -acoustical theory of the effect on the auric nerve, and the means are -the organs of respiration and sound, with the adjoining muscles. They -are the diaphragm, the lungs, the trachea, the larynx, the pharynx, -and the mouth. The diaphragm is a very large convex muscle, situated -below the lungs, and having full power over respiration. The lungs are -the organs of respiration, and are seated at each side of the chest; -they consist of air-tubes minutely ramified in a loose tissue, and -terminating in very small sacs, termed air-cells. The trachea is a -tube, the continuation of the larynx, commonly called the windpipe: -through this the air passes to and from the lungs. It is formed -of cartilaginous rings, by means of which it may be elongated or -shortened. The larynx is that portion of the air-tube immediately above -the trachea: its position is indicated by a large projection in the -throat. In the interior of this part of the throat are situated the -vocal chords. They are four bands of elastic substance somewhat similar -to India-rubber. The cavity, or opening between these vocal chords is -called the glottis: it possesses the power of expanding or contracting -under the influence of the muscles of the larynx. The pharynx is a -cavity above the larynx, communicating with the nasal passages: it is -partially visible when the mouth is opened and the tongue lowered. Near -this part of the root of the tongue is situated the epiglottis, which -acts as a lid or cover in closing over the air-tube during the act of -swallowing. The mouth forms a cavity to reflect and strengthen the -resonance of the vibrations produced in the air-tube; it also possesses -numberless minute powers of contraction and modification. - -We now proceed to give the instructions to which we have -referred—instructions guaranteed by a proficiency which we are ever -ready to submit to the ordeal of a critical examination, either in -private or in public. - -If the student will pay strict attention to the parts printed in -_italics_, and will practice the voices here specified, he will find -that they are the _key to all imitative sounds and voices_; and, -according to the range of his voice and the capabilities of his mimetic -power, he will be enabled to imitate the voices of little children, of -old people, and, in fact, almost every sound which he hears. - -Too much attention cannot be bestowed on the _study of sound as it -falls on the ear_, and an endeavor to imitate it as it is heard—_for -the “secret” of the art is, that as perspective is to the eye so is -ventriloquism to the ear_. When we look at a painting of a landscape, -some of the objects appear at a distance; but we know that it is only -the skill of the artist which has made it appear as the eye has seen -it in reality. In exactly the same manner a ventriloquist acts upon -and deceives the ear, by _producing sounds_ as they are heard from any -known distances. - - -PRACTICAL ILLUSTRATIONS. - -NO. I. - -THE VOICE IN THE CLOSET - -This is the voice in which Mr. Frederic Maccabe, the celebrated -mimic and ventriloquist, excels, and the clever manner in which he -can adapt it off-hand, as it were, will be best illustrated by the -fact mentioned to us by the gentleman in question, whom we call Mr. -B. in Mr. Maccabe’s presence. Mr. B., who was an invalid, suffering -from some nervous disorder, originating by overwork and anxiety, was -travelling in Ireland in search of health, and when on his way from -Dublin to Cork, he lay exhausted in a corner of a railway-carriage, -muffled up in cloaks and wrappers in a paroxysm of pain. At Mallow, two -gentlemen entered the carriage, one of whom was in exuberant spirits, -and commenced telling some amusing anecdotes. At length the porter -came to collect the tickets. They were all handed in but one, when the -following colloquy ensued:— - -_Porter._—A gentleman hasn’t given me his ticket. - -_Gentleman._—Bill, in the next compartment, has the ticket, (tapping at -the partition). Haven’t you, Bill? - -The imaginary Bill, who appeared to be suffering from a severe -cold, replied that he had, and the porter would not take it. The -official went off to find the ticket, but Bill, in the mean time had -vanished. Back came the porter and indignantly demanded the ticket. -He was interrupted by a shrill voice in the opposite compartment, -crying,—“Porter! porter! why don’t you come and take the ticket! -There’s some one insulting me!” Away went the chivalric porter, to -come back puzzled and chafed to receive the ticket, which was handed -to him. His hand had not reached the coveted piece of pasteboard, ere -the yell of a terrier under the wheels caused the porter to draw back, -amid bursts of laughter, during which the ticket was thrown out, and -the train moved on. And Mr. Frederic Maccabe stood confessed, but not -penitent. - -_Voice No 1._—To acquire this voice, which we so name for distinction’s -sake, speak any word or sentence in your own natural tones; then open -the mouth and _fix the jaws_ fast, as though you were trying to hinder -any one from opening them farther or shutting them; draw the tongue -back in a ball; speak the same words, and the sound, instead of being -formed in the mouth will be formed in the pharynx. Great attention must -be paid to holding the jaws rigid. The sound will then be found to -imitate a voice heard from the other side of a door when it is closed, -or under a floor, or through a wall. To ventriloquize with this voice, -let the operator stand with his back to the audience against a door. -Give a gentle tap at the door, and call aloud in a natural voice, -inquiring “Who is there?” This will have the effect of drawing the -attention of the audience to a person supposed to be outside. Then fix -the jaw as described, and utter in voice No. 1, any words you please, -such as “I want to come in.” Ask questions in the natural voice and -answer in the other. When you have done this, open the door a little, -and hold a conversation with the imaginary person. As the door is now -open, it is obvious that the voice must be altered, for a voice will -not sound to the ear when a door is open the same as when closed. -Therefore the voice must be made to _appear_ face to face, or close to -the ventriloquist. To do this the voice must not be altered from the -_original note_ or _pitch_, but be made in another part of the mouth. -This is done by closing the lips tight and drawing one corner of the -mouth downwards, or towards the ear. Then let the lips open at that -corner only, the other part to remain closed. Next breathe, as it were, -the words out of the orifice formed. Do not speak distinctly, but expel -the breath in short puffs at each word, and as loud as possible. By so -doing you will _cause the illusion_ in the mind of the listeners, that -they hear the same voice which they heard when the door was closed, -but which is now heard more distinctly and nearer on account of the -door being open. This voice must always be used when the ventriloquist -wishes it to appear that the sound comes from some one close at hand, -but through an obstacle. The description of voice and dialogue may be -varied as in the following examples— - -EX. 1. THE SUFFOCATED VICTIM.—This was a favorite illustration of -Mr. Love, the polyphonist. A large box or close cupboard is used -indiscriminately, as it may be handy. The student will rap or kick the -box apparently by accident. The voice will then utter a hoarse and -subdued groan, apparently from the box or closet. - -STUDENT (_pointing to the box with an air of astonishment_): What is -that? - -VOICE: I won’t do so any more. I am nearly dead. - -STUDENT: Who are you? How came you there? - -VOICE: I only wanted to see what was going on. Let me out, do. - -STUDENT: But I don’t know who you are. - -VOICE: Oh yes, you do. - -STUDENT: Who are you? - -VOICE: Your old schoolfellow, Tom, ——. You know me. - -STUDENT: Why, he’s in Canada. - -VOICE (_sharply_): No he ain’t, he’s here; but be quick. - -STUDENT (_opening the lid_): Perhaps he’s come by the underground -railroad? Hallo! - -VOICE (_not so muffled as described in direction_): Now then, give us a -hand. - -STUDENT (_closing the lid or door sharply_): No, I won’t. - -VOICE (_as before_): Have pity (_Tom, or Jack, or Mr. ——, as the case -may be_), or I shall be choked. - -STUDENT: I don’t believe you are what you say. - -VOICE: Why don’t you let me out and see before I am dead? - -STUDENT (_opening and shutting the lid or door and varying the voice -accordingly_): Dead! not you. When did you leave Canada? - -VOICE: Last week. Oh? I am choking. - -STUDENT: Shall I let him out? (_opening the door_). There’s no one here. - -2. THE MILKMAN AT THE DOOR.—This affords a capital opportunity of -introducing a beggar, watercress or milkman, and may be varied -accordingly. We will take Skyblue, the milkman; and we would impress -on the student, that, although we give these _simple_ dialogues, _they -are merely intended as illustrations for the modest tyro_, not to -be implicitly followed when greater confidence and proficiency are -attained. - -VOICE: Milk below! - -STUDENT: Is it not provoking that a milkman always comes when he is not -wanted, and is absent when we are waiting for the cream? - -VOICE: (_whistling a bar of “Shoo Fly”_). - -STUDENT: Oh, yes, always the broken-hearted milkman as if he was not as -happy as a king. - -VOICE (_nearer_): Milk below! Why, Sally, where’s the can? - -STUDENT: Sally will be long in answering, I think. - -VOICE: Sally’s gadding with the police. Milk below! - -STUDENT (_slightly opening the door_): We don’t want any milk, my good -man. - -VOICE: No skim milk for the cat, or cream for tea? - -ANOTHER VOICE: Watercresses! - -STUDENT: Really, this is too bad. Go away. - -VOICE: You owe me ten cents for last week’s milk; I was to wait. - -STUDENT: This is intolerable. I’ll send for the police. - -VOICE [_ironically_]: Send for Sally and p’lice, I’ll foller. - -STUDENT: Impudent rascal. - -VOICE: Keep your compliments at home, Master Idlebones. - -STUDENT [_opining the door_]: I’ll report you to your master. - -VOICE [_louder, as the door is opened_]: Will you, young -Whippersnapper, pay us the dime, and let us go? - -STUDENT offers to pay, while the voice gets weaker in the distance with -“Milk below!” until it becomes inaudible. - -A conversation may be held in a similar strain with _cellarman_: and, -as a rule, the lower notes of the voice will be best for voices in the -basement, and formed as low in the chest as possible. - -STUDENT: Thomas, are you coming? - -VOICE BELOW [_gruffly_]: I should think I was. - -STUDENT: We are waiting for the beer. - -VOICE [_partly aside_]: The longer you wait, the greater our honor. -Mary, have another drop. - -STUDENT: Why, the scamp is drinking the beer! Thomas! Who’s there with -you? - -VOICE: Myself. [_Aside_] Make haste with the pot, Mary; he’s in such a -hurry. - -STUDENT: You drinking rascal, how dare you! - -VOICE: Coming, sir. The barrel’s nearly empty. - -STUDENT: I should think so, tippling as you are at it. - -VOICE: Now don’t be saucy. - -STUDENT: The fellow is getting intoxicated. Thomas! - -VOICE: Wait till I come. I have waited for you many times. - -STUDENT: I suppose it is of no use hurrying you? - -VOICE: No, it isn’t, my young tippler. I’m COMING! _coming!!_ coming!!! - -From this illustration the student may proceed to try the second voice. - - -NO. II. - -_Voice No. 2._—This is the more easy to be acquired. It is the voice -by which all ventriloquists make a supposed person speak from a long -distance, or from, or through the ceiling. In the first place, with -your back to the audience, _direct their attention_ to the ceiling -by _pointing to it or by looking intently at it_. Call loudly, and -ask some question, as though you believed some person to be concealed -there. Make your own voice very distinct, and as near the lips as -possible, inasmuch as that will help the illusion. Then in _exactly -the same tone and pitch_ answer; _but, in order that the same voice may -seem to proceed from the point indicated, the words must be formed at -the back part of the roof of the mouth_. To do this the lower jaw must -be drawn back and held there, the mouth open, which _will cause the -palate to be elevated and drawn nearer to the pharynx_, and the sound -will be reflected in that cavity, and appear to come from the roof. Too -much attention cannot be paid to the manner in which the breath is used -in this voice. When speaking to the supposed person, expel the words -with a deep, quick breath. - -When answering in the imitative manner, the breath must be _held -back and expelled very slowly and the voice will come in a subdued -and muffled manner_, little above a whisper, but so as to be well -distinguished. To cause the supposed voice to come nearer by degrees, -call loudly, and say, “I want you down here,” or words to that effect. -_At the same time make a motion downwards with your hand._ Hold some -conversation with the voice and cause it to say, “I am coming,” or, -“Here I am,” each time _indicating the descent with the hand_ (_see -examples_). When the voice is supposed to approach nearer, the sound -must alter, to denote the progress of the movement. Therefore let the -voice at every supposed step, roll, as it were, by degrees, _from the -pharynx more into the cavity of the mouth_, and at each supposed step, -_contracting the opening of the mouth_, until the lips are drawn up -as if you were whistling. By so doing the cavity of the mouth will be -very much enlarged. This will cause the voice to be _obscured, and -so appear_ to come nearer by degrees. At the same time, care must be -taken not to articulate the consonant sounds plainly, as that would -cause the disarrangement of the lips and cavity of the mouth; and in -all _imitation voices_ the consonants must scarcely be articulated at -all, _especially if the ventriloquist faces the audience_. For example; -suppose the imitative voice is made to say, “Mind what you are doing, -you bad boy,” it must be spoken as if it were written “’ind ’ot you’re -doing, you ’ad whoy.”[2] This kind of articulation may be practised, -by forming the words in the pharynx, and then sending them out of -the mouth by sudden expulsions of the breath clean from the lungs at -every word. This is most useful in ventriloquism, and to illustrate -it we will take _the man on the roof_ as an illustration. This is an -example almost invariably successful, and is constantly used by skilled -professors of the art. As we have before repeatedly intimated, the eyes -and attention of the audience must be directed to the _supposed spot_ -from whence the illusive voice is supposed to proceed. - -[2] It is very rarely that a ventriloquist shows a full face to his -audience: it is only done when he is at a great distance from them, and -is pronouncing the labial sounds, in the manner given, for any movement -of the jaws would help to destroy the illusion. - -STUDENT: Are you up there, Jem? - -VOICE: Hallo! who’s that? - -STUDENT: It’s I! Are you nearly finished? - -VOICE: Only three more slates to put on, master. - -STUDENT: I want you here, Jem. - -VOICE: I am coming directly. - -STUDENT: Which way, Jem? - -VOICE: Over the roof and down the trap. (Voice is supposed to be moving -as the student turns and points with his finger.) - -STUDENT: Which way? - -VOICE (_nearer_): Through the trap and down the stairs. - -STUDENT: How long shall you be? - -VOICE: Only a few minutes. I am coming as fast as I can. - -The voice now approaches the door, and is taken up by the same tone, -but produced as in the first voice. As another illustration, we will -introduce the reader to - -THE INVISIBLE SWEEP.—This is a striking example of the second voice. -Let the student pretend to look up the chimney, and rehearse the -following or some similar colloquy:— - -STUDENT: Are you up there? - -VOICE: Yes. Chimley want sweep? - -STUDENT: Really, it is extraordinary. What are you doing? - -VOICE: Looking for birds’-nests. - -STUDENT: Birds’-nests! There are none there. - -VOICE: Dick says there be. - -STUDENT: Come down! - -VOICE: I shan’t. - -STUDENT: (_stirring the fire_); I’ll make you show yourself. - -VOICE: I say, don’t; it’s so hot. - -STUDENT: Come down, then. - -VOICE: Don’t be so stupid. Let I alone. - -STUDENT: Will you come down? - -VOICE: Yes, I will. - -STUDENT: What’s your name? - -VOICE (_much nearer_): Sam Lillyvite. I say, what do you want me for -among company? - -STUDENT: To show yourself, - -VOICE (_nearer_): What for? - -STUDENT: To let these ladies and gentlemen see that there are many -strange things between heaven and earth, but not Sam Lillyvite, the -sweep. - -Another good illustration is to hold a conversation with a friend -who lives on the first floor, and with whom you can converse on -any subject—as the _retired and mysterious student_—but the moment -the student can master the elementary sounds, he will not need our -assistance in providing him with dialogues, which, however simple they -may be to read, have _an extraordinary effect when properly spoken_. - - -POLYPHONIC IMITATIONS. - -THE TORMENTING BEE.—It is related that Mr. Love, when young, took -great delight in imitating the buzzing of insects and the cries of -animals; indeed, it is difficult to decide whether he or Mr. Thurton -most excelled in this particular species of mimetic illusion. In all -imitations of insect noises, the bee should be heard to hum gently at -first, so as in a private party not likely to attract attention till -the right pitch is obtained, and be it remembered that the sound, -without being particularly loud, can be made to penetrate every corner -of a large room. The illusion is greatly increased by pretending to -catch the offending and intrusive insect. The humble bee, the wasp, -and the bluebottle fly are best to imitate, and afford an agreeable -relief to the other exercises of ventriloquial power. To imitate the -tormenting bee, the student must use considerable pressure on his -chest, as if he was about to groan suddenly, but instead of which, the -sound must be confined and prolonged in the throat; the greater the -pressure, the higher will be the faint note produced, and which will -perfectly resemble the buzzing of the bee or wasp. - -Now, to imitate the buzzing of a bluebottle fly, it will be necessary -for the sound to be made with the lips instead of the throat; this -is done by closing the lips very tight, except at one corner, where -a small aperture is left, fill that cheek full of wind, but not the -other, then slowly blow or force the wind contained in the cheek out of -the aperture: if this is done properly, it will cause a sound exactly -like the buzzing of a bluebottle fly. These two instances will show how -necessary it is for the ventriloquist to study minutely the different -effects of sound upon his hearers in all his exploits. And to make -the above properly effective, he should turn his face to a wall; with -a handkerchief strike at the pretended bee or fly, at the same time -pretend to follow his victim first this way and then that, and finally -to “dab” his pocket-handkerchief on the wall as though he had killed -it; the sounds should be at times suddenly louder and then softer, -which will make it appear as it is heard in different parts of the room. - -THE SPECTRE CARPENTER.—The noise caused by planing and sawing wood can -also be imitated without much difficulty, and it causes a great deal of -amusement. The student must, however, bear in mind that every action -must be _imitated_ as well as the noise, for the eye assists to delude -the ear. We have even seen ventriloquists carry this eye-deception so -far as to have a few shavings to scatter as they proceed, and a piece -of wood to fall when the sawing is ended. To imitate planing, the -student must stand at a table a little distance from the audience, and -appear to take hold of a plane and push it forward: the sound as of -a plane is made as though you were dwelling on the last part of the -word hu_sh_—dwell upon the _sh_ a little, as _tsh_, and then clip it -short by causing the tongue to close with the palate, then over again. -Letters will not convoy the peculiar sound of sawing—it must be studied -from nature. - - -A MOUNTAIN ECHO. - -Some persons imagine ventriloquism to be an echo; but, as we have said, -an echo only repeats what has been said before—it could not answer a -question. - -An echo is reflected sound, and the reflecting body must be at such -a distance that the interval between the perception of the original -and reflected sounds may be sufficient to prevent them from being -blended together. No reflecting surface will produce a distant echo, -unless its distance from the spot where the sound proceeds is at least -56½ feet, because the shortest interval sufficient to render sounds -distinctly appreciable by the ear is about one-tenth of a second; -therefore, if sounds follow at a shorter interval, they will form a -resonance instead of an echo; and the time a sound would take to go -and return from a reflecting surface, 56½ feet distance, would be -one-tenth of a second. - -It would, therefore, be impossible for a ventriloquist to produce an -echo in a room of ordinary size, as the walls, being so near, would -cause the sounds to be blended, and would only produce one impression -on the ear; and yet the skilled ventriloquist can with ease imitate, in -a room, a mountain echo. We will give the instructions, as it is very -amusing. - -Turn your back to the listeners; whistle loud several short, quick -notes, just as if you were whistling for a dog; then, as quick as -possible, after the last note, and as softly and subdued as possible to -be heard, whistle about a third the number of notes, but it must be in -_the same note or pitch_; this will cause the last whistle to appear -just like an echo at a great distance. This imitation, if well done, -never fails to take the listeners by surprise, and causes astonishment. -The same thing can be done by shouting. Call aloud any sentence, such -as—“Holloa, you there!” Let your voice be formed close to the lips; -then quickly, and mind in the _same pitch or note_, speak the same -words very subdued and formed at the back of the mouth. This is not -difficult, and is very effective. - - -POINTS TO BE REMEMBERED. - -In giving the succeeding instructions, it must be borne in mind that -the power and acuteness of hearing is possessed in a greater or less -degree by different individuals, and depends upon the sensibility of -the auric nerves. It will not be out of place nor uninteresting to show -the effect of sound and the manner in which it is heard by the organs -of the ear. It is said that the human ear is capable of appreciating -as many as twenty-four thousand vibrations in a second, and that the -whole range of human hearing, from the lowest note of the organ to the -highest known cry of insects, as of the cricket, includes nine octaves. - -Sound first strikes the drum or tympanum, a thin membrane which closes -the aperture of the ear; when this drum vibrates by the sonorous -undulations of the external air; the vibrations are communicated by -minute bones, muscles, and fluid in the cavity of the ear, and are -then conveyed to the brain; and to show how absolutely necessary it -is that all the organs of the would-be ventriloquist should be entire -and without fault to succeed well, we will show how the ventriloquist -makes that nice distinction of the gradation of sound, and by which he -is enabled to judge whether he is causing his voice _to appear_ at the -proper distance from his audience or not. - -Let any one firmly close both ears by stopping them, then speak a few -words; now, as the cars are stopped, the sound cannot enter immediately -to the drum of the ear, but it takes cognizance of the sound by a -passage called the eustachian tube, which extends from the back part of -the mouth to the cavity immediately behind the drum of the ear. - -The sound vibrations made in the mouth are transmitted along this tube -to the interior part of the organs of hearing. Now it is by a nice -judgment of sound by this tube that the professional ventriloquist -judges the majority of his voices, especially those greatly obscured or -muffled. Not only must the auric nerves of the would-be ventriloquist -be perfect, but he will become more proficient as he is able to study -and understand the human voice. There is the language of emotion, or -natural language. When we say natural, we mean the language by which -the feelings manifest themselves without previous teaching, and which -is recognized and felt without teaching. Some of them are the scream of -terror, the shout of joy, the laugh of satisfaction, laugh of sarcasm, -ridicule, &c., which are made by man, and understood by fellow-men, -whatever may be the speech or country of the other. - -There are also distinct qualities of voice, peculiar to each person, -both in tone and quality, and the best practice is to try and imitate -three or four people’s voices, and let them be of a different tone and -pitch. - -The ordinary compass of the voice is about twelve notes, and a very -good practice to the attainment of the art is to call aloud in a -certain note, _and then in the octave to that note_; do this several -times a day, changing the note, also speak a sentence all in the same -note or pitch, properly called intonation, loud at first, and then by -degrees lower; this kind of practice will enable the ear to judge of -the modulation required to make a voice appear to recede or come near -by degrees. - - -CONCLUDING REMARKS. - -When the student is acquainted with the voices before described, he -may imitate many others by _contraction and expansion of the glottis, -and by modification of the cavity of the pharynx and mouth_. The best -way to practice is in a room by himself, to talk loud, and, while so -doing, to make all sorts of _contortions with the muscles of the mouth -and jaws—first fixing the jaws_ in the manner already described, _then -drawing the lips inward, next putting them forward, at the same time -putting the tongue in different shapes and positions in the mouth_; -also by speaking in the natural voice, and answering in the _falsetto -pitch_, which is the imitating voice for women and children. - -We are confident that enough has been said to enable any one with a -good range of voice to attain proficiency in the art; the student -always remembering (and it cannot be too often repeated) that _to -render a voice perspective, the most essential thing is to attend to -the study of sound as it falls upon the ear; then imitate that sound -by the different contractions and expansions of the muscles of the -throat, mouth, face and jaws_. During these various contractions and -expansions, draw in a long breath and talk, first rapidly, then slowly, -but always with a _slow expiration of breath_. Do this a dozen times -consecutively for several days, at the same time taking particular care -to _elevate and depress the roof of the mouth_, especially the back -part, as this movement will cause the voice to appear near, or at a -distance. Ample directions have been given how all this is done, but -let it be understood that it is most essential. The student may then -practice before a friend, and he will be astonished to find that he can -deceive any listener, as to the point from which the sound comes; and -will be gratified that he has become the source of great amusement to -himself as well as in the circle in which he moves. - -Thus we have acquired a working power in the art which, we trust, we -have now explained to the satisfaction of the reader. The progress of -the student will, of course, be facilitated by an inherent propensity -of mimicry, which often approaches some of the minor attainments of -ventriloquism. In every company some person may be found who, without -any professional instruction, can give admirable imitations, of the -voice, gait, and peculiarities of a friend or acquaintance; thus -proving that Nature, to some extent, supplies the basis upon which, -if we may use the phrase, the complete superstructure of vocal -illusion may be raised. The possession of this quality would amount, -comparatively, to little, without instruction and perseverance. Here, -as in other respects, practice makes perfect; and, more than that, a -diligent application of our rules will invest the originally defective -amateur with an attainment which the ignorant will attribute to the -possession of a supernatural gift. - -All we need say in conclusion is, that the rules propounded will not -only clear away imaginary difficulties from the path of the student, -but entitle him, like ourselves, to an acquirement more or less near -perfection, according to a natural gift of mimicry, and to the zeal -with which he may study and practice the art. - - -THE MAGIC WHISTLE. - -It will be pleasant when the wind is howling without, among the -snow-laden limbs of the trees, to be reminded of the gay summer by the -counterfeit notes of the woodland songsters; or, wandering among the -woods and fields in spring or summer time, how glorious to challenge -the feathered musicians to a contest of skill with you in their own -sweet language. We propose to instruct the reader in the manufacture of -a little instrument by which the notes of birds, voices of animals, and -various peculiar sounds may be imitated. - -First, look at the annexed diagram, and then procure a leek and cut -off from the green leaf thereof a piece about the size of the diagram; -then lay it on a smooth table, and with the thumb-nail delicately -scrape away a small semi-circular patch of the green pulpy substance -of the leaf [as represented in the diagram], being careful to leave -the fine membrane of outer skin of the leaf uninjured—and there is the -instrument complete. It may require several experiments to make the -first one, but once having discovered the right way, they are very -easily manufactured. The reader may not be aware of the fact that the -leaf of the leek has a fine transparent outer skin, which is quite -tough, but by breaking and carefully examining one or two leaves, he -will soon find out what we allude to. - - [Illustration: The section of leaf.] - -The way of using this instrument is to place it in the roof of the -mouth with the side on which is the membrane downwards; then place it -gently in its place with the tongue, and blow between the tongue and -the upper teeth. After the first two or three attempts, you will be -able to produce a slight sound like a mild grunt; then as you practice -it you will find you can prolong and vary the sound somewhat, so that -in the course of a couple of days you can imitate the barking of a dog -and the neighing of a horse. With two or three weeks’ practice, you -will be able to imitate some of the song birds; but to produce exact -counterfeits of the best singing birds will probably require months of -study; the result, however, will reward you for all your pains, for -certainly to be able to carry a mocking bird, canary, thrush, cat-bird -and sucking-pig in your vest pocket, is no small accomplishment. - -When not using the instrument, it should be kept in a glass of water to -prevent its drying. - - - - - THE - - Hunters’ and Trappers’ - - COMPLETE GUIDE. - - A MANUAL OF INSTRUCTION IN THE ART OF - - HUNTING, TRAPPING AND FISHING. - - -This book will be found very valuable to those who have not had -experience in these healthy, manly and profitable pursuits. The book is -thorough in detail in every respect. The young sportsman can learn how -to use the Gun or Rifle with ease and precision, and become an unerring -shot. 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The instructions will enable anyone to -become thoroughly expert in the Sports and Pastimes of the River, Field -or Forest. Illustrations are given, where needed, to elucidate matters, -as in the construction of traps, &c. - -This book will place many in a position to turn their spare time to a -very profitable account. Furs and Skins are always in demand, and if -properly caught and managed, sell for large prices.—=Price 25 Cents.= - - _Address all orders to_ - -HURST & Co., 75 Nassau Street, N. Y. - - - CHEAPEST AND BEST IN THE WORLD. - - THE N. Y. HOME MAGNET - _Is a Beautifully Illustrated, Large, 32 Column Paper_. - - Published regularly every month, at the low rate of FIFTY CENTS - A YEAR. The price is the only “cheap” thing about it. Handsomely - illustrated. 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No delay in filling orders. - -Send stamp for our Agents’ Terms, List of Premiums and Specimen Copy of -THE HOME MAGNET. - -Remember, that we give more actual value to our subscribers than any -other paper has ever offered. DO NOT FAIL to send FIFTY CENTS and get -the most Lively, Spirited and Unique Paper ever issued, for a WHOLE -YEAR, with a VALUABLE PREMIUM, worth much more than the price asked for -the Paper alone. Address - - HURST & COMPANY, PUBLISHERS, - _75 and 77 Nassau Street, N. Y._ - - - THE BOOK OF KNOWLEDGE - - AND - - Sure Guide to Rapid Wealth. - -Fortunes are made every day by the manufacturing and selling of some -of the articles here given. Directions are given for making all kinds -of Cosmetics, Lotions, Ointments, Patent Medicines, Soaps, Cements, -etc. The secrets used by Metal workers, how to make Gold, Silver and -the various precious stones, with many practical directions for working -and using the commoner metals. 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The substance, -also, of all that has been, brought to light by the researches and -investigations of modern Astrologers and Professors is here laid before -the reader in a plain and intelligible manner. - -=This Book contains=: - - The celebrated Grecian Oracle of Destiny.—The renowned Egyptian - Fortune Telling Tablets.—The Great Hindoo Trial of Destiny.—Palmistry, - the art of telling fortunes by the lines on the hand.—Fifty-two - Grecian observations on moles.—How to make the Dumb Cake.—The birth of - children, and foretelling other events by the moon’s age and the days - of the week.—To know if your love of a person will be mutual.—Charms, - Spells and Incantations.—To procure Dreams, Tokens, and other insights - into futurity.—Fast of St. Agnes—The Nine Keys.—Magic Rose.—Cupid’s - Nosegay.—The Ring and the Olive Branch.—Love’s Cordial.—The Witches - Chain.—Love Letters.—Strange Bed.—To see a future husband.—To - know what fortune your future husband will have.—The Lovers’ - Charm.—Hymenial Charm.—For a girl to ascertain if she will soon - marry.—Physiognomy; the art of discovering a person’s disposition - by their features.—How to tell a person’s character by means of - Cabalistic calculations.—Fortune-telling by means of a tea or coffee - cup—How to read your fortune by the white of an egg.—To choose a - husband by the hair.—Lucky days.—Fortune telling by dice.—Fortune - telling by cards.—Dreams and their interpretation.—A complete - dictionary of dreams. - - =This Book will acquaint you truthfully about= - - What your portion in life will be. - - What you will to successful in. - - What you are adapted for. - - What your absent wife is doing. - - What your absent husband is occupied with. - - What your future partner will be. - - What your destiny is. - - Whether your intended is true to you. - - Whether you will be childless. - - Whether you will die an old maid. - - Whether you will have money left you. - - Whether your marriage will be happy. - - Whether you will be successful in your love affairs. - - Whether you will be a widow. - - Whether you will get a divorce. - - Whether you will be disappointed in money matters. - -The book is, in fact, a perfect Oracle of Fate, and may be consulted -with certainty upon all matters that relate to your present or future -prospects. - - - =Price 25 Cents.= - [pointing hand] Sent by Mail to any address, on receipt of Price. - - - NEW AND INDISPENSABLE MANUALS. - - “THE ‘MAGNET’ HAND-BOOKS.” - These books are the _very best_ ever issued upon the various subjects - of which they treat. Each volume is complete and perfect, and - thoroughly practical. Each book contains 100 pages large 12mo., well - printed and bound in handsome illuminated covers. PRICE TWENTY-FIVE - CENTS EACH. - - PARLOR PASTIMES; or, THE WHOLE ART OF AMUSING, for public or private - entertainments. An entirely new work by the celebrated Professor - RAYMOND, on MAGIC, CONJURING, LEGERDEMAIN, and PRESTIDIGITATION. It - is a complete exposé of the Wizard’s Art. No trick or illusion of - importance is left unnoticed, and the instructions and explanations - are so simple and exhaustive that a child could perform them. This - book thoroughly elucidates and explains all the mysteries and wonders - associated with all kinds of magic and occult science. It tells how to - make, operate and perform with Coins, Cards, Fire works, Mechanical - Devices and Magnetic Contrivances. The book also contains a large - collection of RIDDLES, CONUNDRUMS, CHARADES, ENIGMAS, REBUSSES, - PUZZLES, ACROSTICS, TRANSPOSITIONS, ANAGRAMS, PARADOXES, AND PROBLEMS. - A study of this interesting work would make any one thoroughly expert - in amusing either a public or private audience. =Price 25 Cents.= - - HOW TO WRITE A LETTER. A complete letter writer for ladies and - gentlemen. This book is not a collection of letters and examples, as - is generally the case with all “Complete Letter Writers” now in use, - but is a book which actually tells how to write a letter upon any - subject out of the writer’s “own head.” It gives much very necessary - information relating to Punctuation, Spelling, Grammar, Writing for - the Press, Legal Importance of Letters, Love, Courtship and Marriage. - It also contains the Art of Rapid Writing, by the abbreviation of - longhand and a DICTIONARY OF ABBREVIATIONS. This book is worth its - weight in gold to all. No one can fail to be benefited by some of the - information it contains. It contains all the points and features that - are in other Letter-Writers, with very much that is new, original and - very important, and which cannot be got in any other book. =Price 25 - Cents.= - - THE AMERICAN BOOK OF GENTEEL BEHAVIOR. A complete handbook of modern - etiquette for ladies and gentlemen. A perusal of this work will enable - every one to rub off the rough husks of ill-breeding and neglected - education, and substitute for them gentlemanly ease, and graceful, - ladylike deportment, (as the case may be), so that their presence will - be sought for, and they will not only learn that great art of being - thoroughly at _home_ in all societies, but will have the rarer gift - of making everybody around them feel easy, contented and happy. This - work is fully up to the requirements of the times; it describes the - etiquette of our very best society. - - Get at once this greatest _Hand-Book of Modern Etiquette_.—=Price 25 - Cents.= - - PERSONAL BEAUTY; Or the whole art of attaining bodily vigor, physical - developement, beauty of feature and symmetry of form, with the science - of _Dressing with Taste, Elegance and Economy_. To those to whom - Nature has been sparing in its gifts, suggestions are here offered - that will enable them to overcome these defects, and to become - beautiful, elegant and graceful, and to be admired and sought after by - the opposite sex.—_Illustrated._—=Price 25 Cents.= - - - _Copies of the above books sent to any part of the world on receipt - of price._ - - Address HURST & CO., Publishers, 75 Nassau St., New York. - - * * * * * - -Transcriber's Notes - -Obvious typographical errors have been silently corrected. Variations -in hyphenation have been standardised but all other spelling and -punctuation remains unchanged. - -The following corrections have been made. - - Trick 8 Paragraph 4 – The cambric becomes calico in this paragraph. It - has been changed back to cambric - - Fig. 10 was originally labelled Fig 25. - Fig. 23 was originally labelled Fig. 22 - -Italics are represented thus _italic_, bold thus =bold=. - - - - - - -End of the Project Gutenberg EBook of The Practical Magician and -Ventriloquist's Guide, by Anonymous - -*** END OF THIS PROJECT GUTENBERG EBOOK THE PRACTICAL MAGICIAN *** - -***** This file should be named 53235-0.txt or 53235-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/3/2/3/53235/ - -Produced by Chris Curnow, Les Galloway and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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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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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: The Practical Magician and Ventriloquist's Guide - A practical manual of fireside magic and conjuring - illusions, containing also complete instructions for - acquiring and practising the art of ventriloquism. - -Author: Anonymous - -Release Date: October 8, 2016 [EBook #53235] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE PRACTICAL MAGICIAN *** - - - - -Produced by Chris Curnow, Les Galloway and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - -<hr class="chap" /> - - -<h1> -<span class="xxs">THE</span><br /> -<span class="xxl">Practical Magician</span><br /> -<span class="xs">AND</span><br /> -VENTRILOQUIST’S GUIDE.</h1> - -<p class="center small">A PRACTICAL MANUAL OF</p> -<p class="center">FIRESIDE MAGIC AND CONJURING ILLUSIONS,</p> -<p class="center small">CONTAINING ALSO</p> -<p class="center">COMPLETE INSTRUCTIONS FOR ACQUIRING & PRACTISING</p> -<p class="center">The Art of Ventriloquism.</p> - -<p class="center"><span class="smcap">New York</span><br /> -HURST & CO., Publishers,<br /> -75 <span class="smcap">Nassau Street</span>.</p> - -<p class="center xs">(Entered according to Act of Congress in the year 1876, by <span class="smcap">Thomas D. Hurst</span>, in -the office of the Librarian of Congress, at Washington, D.C.) -</p> - -<hr class="chap" /> -<div class="chapter"></div> - - -<p class="center">BEST <span class="u">BOOK ON THE “BLACK</span> ART.”<br /> - -<span class="xl">PARLOR PASTIMES</span>.</p> - -<p class="center"><i>A NEW BOOK ON</i><br /> -<b>MAGIC, CONJURING, LEGERDEMAIN,<br /> -AND PRESTIDIGITATION.</b></p> - -<p class="center"><small>BY THE CELEBRATED</small><br /> -PROFESSOR RAYMOND</p> - -<div class="small"> -<p>This work is certainly the most exhaustive one on Magic that has ever -been issued. It exposes all the secrets of the Wizard’s Art. No trick or -illusion of importance is left unnoticed, and the explanations are made in -so simple a manner that any one of ordinary comprehension can readily -understand and perform them. The book thoroughly elucidates all the -mysteries connected with</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr> - <td align="left">White Magic,</td> - <td align="left">Galvanism,</td> -</tr> -<tr> - <td align="left"><span class="i1">Natural Magic,</span></td> - <td align="left"><span class="i1">Magnetism,</span></td> -</tr> -<tr> - <td align="left"><span class="i2">Jugglery,</span></td> - <td align="left"><span class="i2">Legerdemain,</span></td> -</tr> -<tr> - <td align="left"><span class="i3">Sleight-of-Hand,</span></td> - <td align="left"><span class="i3">Necromancy,</span></td> -</tr> -<tr> - <td align="left"><span class="i4">Electricity,</span></td> - <td align="left"><span class="i4">Fireworks,</span></td> -</tr> -<tr> - <td align="left"><span class="i5">Chemistry,</span></td> - <td align="left"><span class="i5">Mechanics,</span></td> -</tr> -<tr> - <td align="left"><span class="i6">Cards,</span></td> - <td align="left"><span class="i6">The Black Art,</span></td> -</tr> -<tr> - <td align="left"><span class="i7">Coins,</span></td> - <td align="left"><span class="i7">Prestidigitation.</span></td> -</tr> -</table></div> - - -<p>It also contains a grand assortment of</p></div> - -<p class="center"> -<i>RIDDLES</i>, <i>CONUNDRUMS</i>, <i>CHARADES</i>, <i>ENIGMAS</i>, <i>REBUSES</i>, -<i>TRANSPOSITIONS</i>, <i>ANAGRAMS</i>, <i>PUZZLES</i>, -<i>PARADOXES</i>, <i>ACROSTICS</i>, <i>AND PROBLEMS</i>. -</p> - -<p class="small">A study of this extremely interesting work would make any one thoroughly -expert in the art of Amusing, whether in private or public. The -work may be consulted with profit either by the Amateur or Professional -Magician.</p> - -<p class="center"> -Price Twenty-Five Cents.</p> - -<p class="small">Sent to any address on receipt of price. Address</p> -<p class="center"><span class="smcap">HURST & CO., 75 Nassau Street, New York</span>.</p> - -<hr class="chap" /> -<div class="chapter"></div> -<p><span class="pagenum"><a name="Page_ii" id="Page_ii">[Pg ii]</a></span></p> - - - -<blockquote> -<h2 id="CONTENTS">CONTENTS.</h2> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr> - <td class="crb" colspan="2"><small>PAGE</small></td> -</tr> -<tr> - <td class="ch"><a href="#CHAPTER_I">Introduction.</a></td> - <td class="crb">8</td> -</tr> -<tr> - <td class="ch"><a href="#CHAPTER_II">Of palmistry and the passes</a>.</td> - <td class="crb">9</td> -</tr> -<tr> - <td class="ch"><a href="#FIRST_TRICK">To command a dime to pass into the centre of a ball of wool, -so that it will not be discovered till the ball is unwound -to the very last of its threads</a>.</td> - <td class="crb">13</td> -</tr> -<tr> - <td class="ch"><a href="#SECOND_TRICK">To change a bowl of ink into clear water with gold fish in it</a>.</td> - <td class="crb">14</td> -</tr> -<tr> - <td class="ch"><a href="#THIRD_TRICK">The dancing egg</a>.</td> - <td class="crb">15</td> -</tr> -<tr> - <td class="ch"><a href="#FOURTH_TRICK">The walking cent</a>.</td> - <td class="crb">16</td> -</tr> -<tr> - <td class="ch"><a href="#CHAPTER_III">Tricks with and without collusion</a>.</td> - <td class="crb">19</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_5">To make a quarter and a penny change places while held in -the hands of two spectators</a>.</td> - <td class="crb">23</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_6">Trick with the dime, handkerchief, and an orange or lemon.</a></td> - <td class="crb">23</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_7">How to double your pocket money</a>.</td> - <td class="crb">24</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_8">The injured handkerchief restored</a>.</td> - <td class="crb">25</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_9">To make a large die pass through the crown of a hat without -injuring it</a>.</td> - <td class="crb">26</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_10">To produce from a silk handkerchief bon-bons, candies, -nuts, etc</a>.</td> - <td class="crb">27</td> -</tr> -<tr> - <td class="ch"><a href="#CHAPTER_IV">Practice</a>.</td> - <td class="crb">29</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_11">A sudden and unexpected supply of feathers from under a -silk handkerchief or cloth</a>.</td> - <td class="crb">31</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_12">Heads or Tails</a>?</td> - <td class="crb">33</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_13">To cook pancakes or plumcakes in a hat over some candles</a>.</td> - <td class="crb">34</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_14">To eat a dish of paper shavings and afterwards draw them -from your mouth like an Atlantic cable</a>.</td> - <td class="crb">36</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_15">How to cut off a person’s nose without injuring him</a>.</td> - <td class="crb">37</td> -</tr> -<tr> - <td class="ch"><a href="#CHAPTER_V">Tricks by magnetism, chemistry, galvanism and electricity</a>.</td> - <td class="crb">39</td> -</tr> -<tr> - <td class="ch"><span class="pagenum" id="Page_iii">iii</span><a href="#TRICK_16">The watch obedient to the word of command</a>.</td> - <td class="crb">41</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_17">No title.</a>.</td> - <td class="crb">43</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_18">A chemical trick, to follow one where a young friend has assisted</a>.</td> - <td class="crb">43</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_19">To draw three spools off two tapes without those spools -having to come off the ends of those tapes, and while -the four ends of the tapes are held by four persons</a>.</td> - <td class="crb">44</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_20">To restore a tape whole after it has been cut in the middle</a>.</td> - <td class="crb">46</td> -</tr> -<tr> - <td class="ch"><a href="#CHAPTER_VI">On the continuity of tricks</a>.</td> - <td class="crb">49</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_21">The invisible hen, a very useful trick for supplying eggs for -breakfast or dinner</a>.</td> - <td class="crb">53</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_22">Tricks with a plain gold ring</a>.</td> - <td class="crb">56</td> -</tr> -<tr> - <td class="ch"><a href="#CHAPTER_VII">Friendly suggestions</a>.</td> - <td class="crb">59</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_25">The conjuror’s “bonus genius” or familiar messenger</a>.</td> - <td class="crb">61</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_26">The shower of money</a>.</td> - <td class="crb">63</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_27">To furnish the ladies with a magic supply of tea or coffee, -at their selection, from one and the same jug</a>.</td> - <td class="crb">64</td> -</tr> -<tr> - <td class="ch"><a href="#TRICK_28">To furnish a treat to the gentlemen</a>.</td> - <td class="crb">66</td> -</tr> -<tr> - <td class="ch"><a href="#VENTRILOQUISM_MADE_EASY">Ventriloquism</a>.</td> - <td class="crb">67</td> -</tr> -<tr> - <td class="ch"><a href="#VENTRILOQUISM_AMONGST_THE_ANCIENTS">Ventriloquism among the ancients</a>.</td> - <td class="crb">70</td> -</tr> -<tr> - <td class="ch"><a href="#MODERN_PROFESSORS_OF_THE_ART">Modern professors of the art</a>.</td> - <td class="crb">71</td> -</tr> -<tr> - <td class="ch"><a href="#THE_THEORY_OF_VENTRILOQUISM">The theory of ventriloquism</a>.</td> - <td class="crb">76</td> -</tr> -<tr> - <td class="ch"><a href="#THE_MEANS_BY_WHICH_IT_IS_EFFECTED">The means by which it is effected</a>.</td> - <td class="crb">79</td> -</tr> -<tr> - <td class="ch"><a href="#PRACTICAL_ILLUSTRATIONS">Practical illustrations</a>.</td> - <td class="crb">81</td> -</tr> -<tr> - <td class="ch"><a href="#POLYPHONIC_IMITATIONS">Polyphonic imitations</a>.</td> - <td class="crb">87</td> -</tr> -<tr> - <td class="ch"><a href="#A_MOUNTAIN_ECHO">A mountain echo</a>.</td> - <td class="crb">88</td> -</tr> -<tr> - <td class="ch"><a href="#POINTS_TO_BE_REMEMBERED">Points to be remembered</a>.</td> - <td class="crb">88</td> -</tr> -<tr> - <td class="ch"><a href="#CONCLUDING_REMARKS">Concluding remarks</a>.</td> - <td class="crb">90</td> -</tr> -<tr> - <td class="ch"><a href="#THE_MAGIC_WHISTLE">To make the magic whistle</a>.</td> - <td class="crb">91</td> -</tr> -</table></div> - -<div class="figcenter" > -<img src="images/i-004.jpg" alt="decoration" /> -</div></blockquote> - - -<div class="chapter"></div> - - -<p><span class="pagenum" id="Page_5">5</span></p> - - - - -<p class="half-title"><span class="smcap">The Practical Magician</span><br /> - -<span class="xs">AND</span><br /> - -<small>VENTRILOQUIST’S GUIDE</small>.</p> - - - - -<h2><a name="CHAPTER_I" id="CHAPTER_I">CHAPTER I</a><br /> - -<small>INTRODUCTORY.</small></h2> - - -<p>My object in writing these hints on <span class="smcap">Conjuring</span> is for the benefit -of amateurs to promote lively and entertaining amusement -for the home circle and social gatherings.</p> - -<p>My large experience enables me to explain and simplify many -of the best tricks and illusions of the art. I present the key to -many of the mystical mysteries which have puzzled and bewildered -our childhood days as well as confounded us in our maturer -years.</p> - -<p>The young student can in a very short time, if he be in the -least of an ingenious turn, amuse and astonish his friends, neighbors -and acquaintances.</p> - -<p>Preference has been given to those tricks which suggest -others, the more complete and difficult performances and -illusions have been passed by as being out of place; I<span class="pagenum" id="Page_6">6</span> -shall not, therefore, in these elementary papers advert to those -experiments which require ample resources, or a prepared stage, -for exhibiting them—or which can only be displayed to advantage -by consummate skill and the most adroit manipulation—but -confine my remarks at present to those branches of the art -to the performance of which a young amateur may aspire with -prospect of success.</p> - -<p>A few hours’ practice will enable the learner to execute the -simple tricks that I shall first treat of; and they will only require -for their display such articles as are readily available in -every household. Most of them will be supplied by any company -of a few friends, and if not in the parlor, can be brought -from no greater distance than the kitchen or housekeeper’s -room; such as handkerchiefs, coins, oranges, or eggs, a -glass bowl, etc., etc. There may only remain a few inexpensive -articles to be supplied from repositories for the sale of conjuring -apparatus, or they may be had direct from the publishers of -this work.</p> - -<p>It may be well explicitly to avow that the time is quite gone -by when people will really believe that conjuring is to be done -by supernatural agencies. No faith is now reposed in the -“black art of sorcery,” or even in the art to which the less repulsive -name was given of “white magic.” Many years have -elapsed since conjurors have seriously assumed to themselves -any credit as possessing supernatural powers, or as enabled by -spiritual agency to reveal that which is unknown to science and -philosophy, or mysteriously to work astonishing marvels.</p> - -<p>A well-marked contrast exists between the old school of conjurors -and those of modern times. The former, who used boldly -to profess that they employed mysterious rites and preternatural -agency, designedly put the spectator upon false interpretations, -while they studiously avoided giving any elucidation -of the phenomena, nor would ever admit that the wonders displayed -were to be accounted for by the principles of science and -natural philosophy.</p> - -<p>Modern conjurors advance no such pretensions. They use as -scientifically as possible the natural properties of matter to aid<span class="pagenum" id="Page_7">7</span> -in their exhibition of wonderful results. They are content to -let the exhibition of their art appear marvelous. They sometimes -mystify the matter, and so increase the puzzle, in order -to heighten the interest and amusement of the spectators; but -they throw aside any solemn asseveration of possessing hidden -powers, or of ability to fathom mysterious secrets.</p> - -<p>It may be admitted that proficients and exhibitors still adopt -language that has become current with conjurors, and in common -parlance it may be asserted that the wonderful Mr. So-and-So -undertakes to pass some solid object through a wall or a table; -to change black into white, and white into black; to place -rings in closely-fastened boxes, or draw money out of people’s -ears; and conjurors may with ridiculous humor distract the attention -of spectators, so that accurate observation is not fixed -upon the object that is to undergo before their eyes some singular -transformation; but no outrageous bombast or positive -falsehoods are commonly advanced. And the practical meaning -of any exaggerated pretension is clearly understood to mean no -more than that Mr. So-and-So undertakes to present before you -what, <span class="smcap">TO ALL APPEARANCE</span>, is the conversion of black into white, -or vice versa; and the audience are clearly aware that no more -is assumed to be presented to them than a very striking illusion, -undistinguishable from a reality; and how this is effected -will be in many cases wholly untraceable, and therefore the -trick is inimitable.</p> - -<p>We may be permitted to feel some pleasure in the conviction -that the exhibition of our art in its more striking exploits is -really marvelous, and very attractive; for we certainly have -the power of placing some astonishing phenomena before our -audience; and we may surely prize the estimation with which -the uninitiated are disposed to honor us, but we erect no vain-glorious -assumptions upon these data, as we are quite contented -with fair praise intelligently accorded to us. And so far from -closely concealing the principles and arcana of our science, we -are ready plainly to avow that it all depends upon faculties that -all may attain by patient culture, and exhibit by careful practice. -Undoubtedly there are less and greater degrees of excel<span class="pagenum" id="Page_8">8</span>lence -to be obtained by proportionate intelligence and dexterity. -There are attainments in the art, at which, by natural qualification -and peculiar adaptation, special study, practice, and experience -enable some few only to arrive. These qualifications -cannot be easily communicated to every one who might wish to -possess them; and therefore the highest adepts will ever have -an incommunicable distinction. But this is no more than is -the case in the medical, the legal, and any learned profession, -in all which the most eminent proficients reserve to themselves, -or unavoidably retain, an unquestioned superiority. At the -same time there is much in our art that may be communicated, -and the present papers will show to our friends that we are willing -to impart to others such portions of our art as they are capable -of acquiring; and we trust that what we shall communicate -to them will furnish them much rational recreation among -themselves, and enable them to supply innocent and interesting -amusement to their friends and companions.</p> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum" id="Page_9">9</span></p> - - - - -<h2><a name="CHAPTER_II" id="CHAPTER_II">CHAPTER II.</a><br /> - -<small>OF PALMISTRY AND PASSES.</small></h2> - - -<p>The true nature and limit of the art of Conjuring has now -been defined—what it is that we assume to do, and -wherein we have discontinued the exaggerated pretensions -of the conjurors of the old school; and I have hinted in -what respects, and within what bounds, a young amateur may -gim at exhibiting some amusing experiments in our art. But -it remains for me to explain the grand pre-requisite for a novice -to cultivate before he should attempt to exhibit before others -even the simplest tricks of prestidigitation or legerdemain, to -which we at present confine our attention.</p> - -<p>I have first to speak of <span class="smcap">Palmistry</span>, not in the sense that the -fortune-teller uses the word, but as expressing the art of the -conjuror in secreting articles in the <span class="smcap">PALM</span> of one hand while he -appears to transfer those articles to his other hand. It is absolutely -necessary that the young amateur should acquire the habit -of doing this so adroitly as to escape the observation of others -while doing it openly before their eyes.</p> - -<p>The two principal passes are the following:</p> - -<blockquote> - -<p>FIRST PASS; or, method of apparently carrying an -object from the right hand to the left, while actually retaining -it in the right hand.</p></blockquote> - -<p>The reader will please to observe that the illustrative sketches -depict the hands of the performer as seen by himself.</p> - - -<p class="subt">FIRST POSITION OF PASS 1.</p> - -<p>The right hand, having the knuckles and back of the fingers -turned toward the spectators, and holding openly a cent, or -some similar object, between the thumb and forefinger, must -be moved toward the left hand.</p> - -<p>The left hand must be held out, with the back of the hand -toward the ground, as exhibited in the illustration. (Fig. 1.)</p> - -<p><span class="pagenum" id="Page_10">10</span></p> - - -<div class="figcenter" > -<img src="images/i_010.jpg" alt="" /> -<div class="caption"><span class="smcap">Fig. 1.</span><br /> -First Position of Pass 1.</div> -</div> - -<p class="subt">SECOND POSITION OF PASS 1.</p> - -<p>The left hand must appear to close over the object that is -brought toward it, at the same instant that the right hand secretes -and withdraws that object.</p> - -<p>The left hand that appeared to receive it must continue -closed. The right hand, though it actually retains the object, -must be allowed to hang loosely over it, so that it appears to -have nothing in it.</p> - -<div class="figcenter" > -<img src="images/i_010-2.jpg" alt="" /> -<div class="caption"><span class="smcap">Fig. 2.</span><br /> -Second Position of Pass 1.</div> -</div> - -<p>The performer then may blow upon the closed left hand, and -may say, “Fly,” or “Begone,” or any similar expression, and -then open his left hand, holding it forward. Of course there is -nothing in it, and the object seems to have flown from it, and -the spectators are much surprised.</p> - -<blockquote> - -<p>SECOND PASS.—Method of apparently transferring -an object from the left hand to the right, while retaining -it in the left hand.</p></blockquote> - - -<p class="subt">FIRST POSITION.</p> - -<p>Let the left hand hold up the object in its open palm. The<span class="pagenum" id="Page_11">11</span> -right hand is brought toward the left hand, but only appears to -grasp it.</p> - -<div class="figcenter" > -<img src="images/i_011-1.jpg" alt="" /> -<div class="caption"><span class="smcap">Fig. 3.</span><br /> -First Position of Pass 2.</div> -</div> - - -<p class="subt">SECOND POSITION.</p> - -<p>The left hand secretes the object in its palm, while the fingers -are allowed to fall loosely down, appearing to retain nothing -under them. At the very same moment the right hand must be -closed, and remain in shape as if containing the object, with the -second joints of the fingers pointed toward the spectators, and -the back of the hand toward the ground. The performer then -holding his right hand forward, may blow on it and say “Change—fly,” -and opening that hand, the spectator deems the object -has passed away from it, though in fact it has remained all along -in the left hand.</p> - -<div class="figcenter" > -<img src="images/i_011-2.jpg" alt="" /> -<div class="caption"><span class="smcap">Fig. 4.</span><br /> -Second Position of Pass 2.</div> -</div> - -<p>The illusion in either of these passes is, that the spectator -seeing both hands move as if the object were passing from one -to the other, thinks it has done so; whereas, in fact, the object<span class="pagenum" id="Page_12">12</span> -always remains in the hand where it was first visible to the spectators. -The <span class="smcap">BACK</span> of that hand where the object is first displayed -must afterwards be kept well toward the spectators.</p> - -<p>Observe, the eye of the performer must rest always on the -hand or object at which he desires the spectators to look, and -whatever he wishes them not to notice, he himself must refrain -from looking at.</p> - -<p>If it is not required that the very object that has been held up -in these passes be seen again by the spectators, the performer -must quietly pocket it, or drop it on a handkerchief on his table, -or inside a hat, or otherwise get rid of it as soon as he conveniently -can.</p> - -<p>On the contrary, if that very object must be again produced -or transferred to a person standing at some little distance, this -must be effected by one of the following methods:</p> - -<p>Either you must take care beforehand to place adroitly in that -person’s cap or pocket a double or similar object.</p> - -<p>Or, you must walk up to him, and putting your hand on his -hair, sleeve, or pocket, quickly place there the object you have -all along retained, and which you must pretend by this manœuvre -to find in his possession.</p> - -<p>Or, lastly, you will see in the first trick subjoined, a method -of substituting one object for another.</p> - -<hr class="tb" /> - -<h3><a id="FIRST_TRICK"></a>FIRST TRICK.—To command a dime to pass into the -centre of a ball of Berlin wool, so that it will not be discovered -till the ball is unwound to the very last of its -threads.</h3> - -<p class="subt">REQUISITE PREPARATIONS, TO BE MADE PRIVATELY.</p> - -<p>You will require a glass bowl or quart basin, and you must -have a flattened tube of tin about four inches long. It must be -just large enough to let a dime slide easily through it by its own -weight. Round the end on this tube wind a ball of Berlin wool -of bright color, covering about two inches of the tube, and projecting -about an inch beyond the end of it. Place this ball with -the tube in it in your right-hand pocket of coat tail, (or in the -left breast-pocket, if that is large enough to hold it completely -covered.) Lastly, place a dime concealed in the palm of your -left hand.</p> - -<p>Commence the exhibition of the trick by requesting one of the -spectators to mark a dime (or cent) of his own, so that he will -be sure to know it again. Then ask him to lend you that coin.<span class="pagenum" id="Page_13">13</span> -Holding it up in your right hand, you may say, “Now, ladies -and gentlemen, this is the marked dime which I shall experiment -with. The gentleman has accurately marked it, so that -there can be no mistake about its identity when reproduced.” -Then by Pass 1 pretend to transfer the marked coin to your left -hand, but in reality retain it in your right hand. Next, hand -with your left hand your own dime (which had been secreted in -that hand) to some person, and request him to hold it. Choose -for this person some one three or four yards distant from yourself, -and also from the person who originally marked the coin. -It is unnecessary to explain that you do so, lest the two should -compare notes. Of course, the person who is asked to hold it -will believe that it is the very dime that was borrowed.</p> - -<p>You may proceed to say: “Now we want a ball of worsted.” -So, placing your right hand in your pocket, pretend to feel -about for something in your pocket, and while doing so you -must place the dime in the top of the tin tube, and shake it -down. Then carefully draw the tube out of the ball of worsted; -and leave the tube in your pocket, but draw the ball out of your -pocket, pressing it together while doing so.</p> - -<p>Then request some one to feel the ball in order to ascertain -that it has no opening towards its centre.</p> - -<p>You may here make some humorous remark about your having -such a ball in your pocket. As for instance:</p> - -<p>“Ladies may think it odd that I have such a ball of Berlin -wool in my pocket. It was bought to please my cousin Mary -Ann, or my Aunt Tabitha. Well, it will do very fairly for our -experiment.”</p> - -<p>Then request some one to hold the glass basin containing the -woollen ball. While you retain in your hand the end of the -woollen thread, address the gentleman who has consented to -hold the dime, asking him to hand it to you. Take it in your -right hand, pretend by Pass 1 to transfer it to your left hand, -but in reality keep it concealed in your right hand.</p> - -<p>Holding up your closed left hand, (which in fact has nothing -in it,) you may say:</p> - -<p>“Now, dime, pass along this woollen thread into the very -centre of the woollen ball which is there held in the glass bowl -or basin.”</p> - -<p>Blow upon your left hand, and show that the dime is gone.</p> - -<p>You must adroitly get rid of the dime, which has remained -secreted in your right hand, by placing it in your pocket or -sleeve while making some humorous remark, or while asking -some lady or gentleman to draw the woollen thread till it is all -unwound. It will be done the quicker by letting the ball be -confined loosely in the bowl with two fingers preventing its -leaping out.</p> - -<p><span class="pagenum" id="Page_14">14</span></p> - -<p>Draw attention to how completely the coin is wrapped up till -you arrive at the very last circles, when it will drop into the -bowl.</p> - -<p>Hand the dime to the owner who marked it, and let him declare -whether he recognizes it as the very one he lent you. -His affirmative will surprise the spectators.</p> - - -<h3><a id="SECOND_TRICK"></a>SECOND TRICK.—To change a bowl of ink into clear -water, with gold fish in it.</h3> - -<p class="subt">REQUISITE PREPARATION, TO BE MADE PRIVATELY BEFOREHAND.</p> - -<p>The same glass bowl as in previous trick. If your bowl has -not a foot to it, it must be placed on something that will hold it -high above your table. Some small fish, a white plate or saucer, -a piece of black silk just fitting the inside of your bowl, a -spoon of peculiar construction, so that in a hollow handle it will -retain about a teaspoonful of ink, which will not run out as long -as a hole near the top of the handle is kept covered or stopped. -A large tumbler and two or three minnows will do for a simpler -exhibition, but will, of course, not be so pleasing to the eye.</p> - -<p>Place the black silk so as to cover the part of the bowl that is -shaded; when damp it will adhere to the glass. Pour in clear -water to fill the space covered by the black silk, and place the -fish in the water.</p> - -<div class="figcenter" > -<img src="images/i_014.jpg" alt="" /> -<div class="caption"><span class="smcap">Fig. 5.</span></div> -</div> - -<p>Commence the trick in public thus: Holding the spoon-handle -slanting up and uncovering the hole in the handle, the ink -which you have placed in the handle will run into the bowl of -the spoon, and the spoon being held carefully to the surface of -the water, concealing the black silk, will give the spectators the -impression that you fill the spoon from the glass bowl.</p> - -<p>Pour the spoonful of ink on a white saucer, and show it round -to convince the spectators it is ink. They will see it is undeniably -ink, and they will conclude, if the spoon were properly<span class="pagenum" id="Page_15">15</span> -lifted out of the bowl, that the glass bowl contains nothing but -ink.</p> - -<p>Borrowing a silk handkerchief, place it for a few seconds over -the bowl, and feigning to be inviting fish to come to the bowl, -exclaim “Change!” Then, placing your hand on the edge of -the bowl near yourself, draw off the handkerchief, and with it -take care to catch hold also of the black silk. The bowl when -uncovered will exhibit the fish swimming about in clear water. -While the spectators are surprised at the fish, return the handkerchief, -having first dropped out of it the black silk on your -side of the table. Decline giving any explanation, as people -will not thank you for dispelling the illusion.</p> - - -<h3><a id="THIRD_TRICK"></a>THIRD TRICK.—The Dancing Egg.</h3> - -<p class="subt">REQUISITE PREPARATION TO BE MADE IN PRIVATE.</p> - -<p>An egg-shell that has been blown (my young friends will know -that the way to blow an egg is to make a small hole at each end -of the egg. Then, by blowing at one end, the yolk will be -driven out, and the egg-shell be left empty.)</p> - -<p>Make a hole also on the side of the egg, in which insert a -chip of wood, or a small pin, held by a fine black silk thread, -about twelve or fourteen inches long, which must have a loop at -the far end, which loop fasten to a button on the coat or waistcoat; -and have on a dark vest, otherwise the dark thread becoming -visible, will reveal the moving power.</p> - -<div class="figcenter" > -<img src="images/i_015.jpg" alt="" /> -<div class="caption"><span class="smcap">Fig. 6.</span></div> -</div> - -<p>Commence by borrowing two black hats. If there is an instrument -in the room, ask some one to play a lively tune, as -“eggs are fond of lively music to dance to.” Then, with the -brim of a hat in each hand, interpose the round of each hat -successively under the thread that holds the egg, moving them -from your breast toward the egg. The egg will appear to move -of itself over the hats, as you place them under it.</p> - -<p><span class="pagenum" id="Page_16">16</span></p> - -<p>You must not allow people to handle the egg on the thread afterwards, -for when they see the simplicity of the process they -will undervalue the trick, whereas it appears marvellous as long -as they do not understand how the extraordinary movements -are produced. And in these illusions, as Hudibras expresses it,</p> - -<div class="poetry-container"><div class="poetry"><div class="stanza"> -<div class="verse">Doubtless, the pleasure is as great</div> -<div class="verse">In being cheated as to cheat.</div> -</div></div></div> - - -<h3><a id="FOURTH_TRICK"></a>FOURTH TRICK.—The Walking Cent.</h3> - -<p class="subt">PRELIMINARY PREPARATION IN PRIVATE.</p> - -<p>Ask for a long dark hair from some lady’s tresses. Have a -pin in shape of a hook, or a small loop affixed to the end of this -hair, and fasten a little piece of beeswax (less than a pea) at the -other end of the hair. Fasten the hair by the loop to a button -on your vest, taking care to wear a dark-colored vest. The -hair may be allowed to hang from your vest, with the beeswax -visible. Have a glass of water or cup on the table.</p> - -<p>Commence the exhibition of the trick by borrowing a cent. -While pretending to examine the cent to see if it is a good one, -press the waxed end of the hair firmly to the under side of the -cent, and place it about a foot from the edge of a table. Then -bid the cent to move toward you, to the right or to the left, and -by gently moving your body in whatever direction you name, -the hair will draw the cent in the same direction. You may -say, while your left hand is near the table, “Now, cent, move -up my arm.” Advancing your arm gently, the cent will appear -to move up to your elbow. It is your arm that moves, but it -will appear to the spectators as if the cent moved; or you may -help it up the outside of the sleeve by interposing your right -hand under the hair, so as to draw up the cent, while appearing -to beckon it.</p> - -<p>“Now, cent, as you have performed so well, you shall have a -bath.” Placing the tumbler near the edge of the table, draw -the cent into it. After exhibiting it in the water, say, “Oh, -cent, you must not stay so long in the water.” Then jerk it out -upon the table. Detach the waxed end of the hair by your -nail, after which return the cent to the person who loaned it -to you.</p> - -<p>When performing this trick, in order to keep the spectators at -a little distance, you must inform them that<span class="pagenum" id="Page_17">17</span> “the cent is very -susceptible to magnetic influences, and request ladies not to approach -too near it, as the loadstones of their eyes are the cause -of the magnetic attraction.”</p> - -<div class="figcenter" > -<img src="images/i_017.jpg" alt="" /> -<div class="caption"><span class="smcap">Fig. 7.</span></div> -</div> - -<p>My young friends must remember that it is absolutely necessary -to keep up in spectators their belief in the mysterious, and -therefore must decline on the spot to give explanations before or -after the performance of this trick, however they may be disposed -to reveal the secret privately to any friend. A singular -instance is recorded of a person who was grievously disappointed -when by importunity he had received an explanation of this very -trick, which had appeared at first to him a most marvellous phenomenon; -and he was quite annoyed when the gilt was stripped -off his ginger-bread. It is said that a gentleman walked into a -coffee-room at Manchester, England, and was exhibiting to a -friend the above trick. A traveler at a table near them had his -attention drawn by their laughing discourse, while one of them -exhibited the trick to the other. The cold barrier of English -reserve was broken down, and he addressed one of the strangers, -requesting to be informed how the trick was done. For his part -he imagined it must be connected with some perfectly new philosophical -law of attraction involved in the experiment.<span class="pagenum" id="Page_18">18</span> “Will -you be kind enough to tell me? I shall be happy to offer a fee -to learn it. I was about to proceed by the next train, but I will -gladly defer my journey to understand this, which appears so -unaccountable.”</p> - -<p>The gentleman declined for a considerable time; but at -length, being overcome by the importunity, in order to get rid -of the matter, assented. The time of the departure of the train -had arrived and passed by, and the aspirant offered two guineas -to learn the trick. The gentleman acceded to his request on -condition that he should faithfully promise not to reveal it to -others, or to make public the mystery. “Agreed,” says the -traveler. The mail train was gone—the money paid—the trick -exhibited and explained to him. “Oh!” cried the traveler, -“how easy and plain it is. What a simpleton I have been to -lose my journey and spend my money only to learn how you—.” -“Stop!” cried the gentleman, “remember you have promised -not to divulge the secret.” “Yes, but how foolish to care for -an experiment which only depends on—.” “Stop, sir, stop. -Are you going to tell all the room?” and thus a good half-hour’s -amusement was caused by the traveler fretting over his simplicity, -and having relinquished an important journey for that -which, though marvellous while a secret, became so simple and -uninteresting to him after an explanation.</p> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum" id="Page_19">19</span></p> - - - - -<h2><a name="CHAPTER_III" id="CHAPTER_III">CHAPTER III.</a><br /> - -<small>TRICKS WITH AND WITHOUT COLLUSION.</small></h2> - - -<p>In resuming my hints to amateurs, I shall now offer some remarks -upon two subjects.</p> - -<p><span class="smcap">First.</span>—I will notice the class of tricks that are performed by -the collusion of a confederate. Old books on conjuring record -several of this description, and some conjurors still practise -them. But I do not advise the inexperienced frequently to exhibit -tricks of this sort, for the co-operation of assistants used -in them is liable to be traced by spectators, or to be divulged by -the person who has been employed to aid in the exhibition of -them. They may, indeed, be very well as a make-shift until -dexterity of hand is acquired; but they will always rank as an -inferior branch of the science of conjuring, and if the collusion -is discovered, it will throw discredit even upon those tricks -which the same performer may exhibit without such collusive -arrangement. An instance of the annoying failure of such dependence -upon confederates is recorded in “Houdin’s Memoirs.” -It is there related that Torrini, at the commencement of his career, -was insidiously induced by an envious rival (Pinetti) to -undertake a public exhibition of his art before a very grand assembly. -Torrini was at the time diffident of his own attainments, -but he was persuaded to make the attempt by the assurance -of Pinetti that he would take care that several confederates -should be present, and should help in carrying out sundry -illusions which he would have to display. One of these was, -that the conjuror, after borrowing a ring, was to restore it magi<span class="pagenum" id="Page_20">20</span>cally -into the possession of its owner. The ring was borrowed, -and some mysterious gesticulations practised; but instead of the -contemplated result being produced, the false confederate proclaimed -aloud that he had lent a very valuable jewelled ring, and -had only received back a common copper ring. The audience -was of course disappointed at such words so derogatory to the -conjuror. This unpleasant feeling was deepened by the malicious -meddling of another false confederate. Torrini had to -present some cards to the King of Naples, who was honoring the -assembly by witnessing the exhibition, and a card was selected -by his Majesty. Instead, however, of being pleased with what -he saw on the card, the king manifested intense disapprobation. -The confederate had written on the card words of disrespect and -insult, and Torrini had to retire amid the loud censures of the -enraged spectators. There may be no danger of so disastrous -results to a young amateur; but dissatisfaction of a milder kind -will probably ensue whenever it is discovered that any trick has -depended upon the secret co-operation of an assistant among -the spectators.</p> - -<p>The <span class="smcap">SECOND</span> topic which I propose at present to discuss is the -employment of mechanism—such mechanical constructions as -boxes with false sides, cabinets with secret drawers, or double -compartments, etc.</p> - -<p>It makes a great difference whether such arrangements are -used as subordinate aids, or as constituting the essence and substance -of the illusion. In the former respect it is quite legitimate -to take advantage of any well-arranged mechanical aid subordinately. -In fact, nearly all tricks must be performed with -some modified aid of artistic contrivance, or with mechanical -implements adroitly used. The conjuror, therefore, unavoidably -requires, and may advantageously employ, mechanical arrangements -to give greater effect to his illusions. I only wish -to dissuade the learner from relying solely upon mere mechanical -puzzles, or artistic contrivances, for furnishing an interesting -exhibition of the conjuror’s art.</p> - -<p>The fewer the contrivances which he employs of this sort, and -the more entirely the performance rests upon sleight-of-hand -the more lively will be the surprise of the spectators.</p> - -<p><span class="pagenum" id="Page_21">21</span></p> - -<p>I myself prefer doing without the aid of any confederate, and -without mechanical aids; but I must remember that I am writing -for amateurs and novices in the art, and that, in proportion -as they are unpractised in palmistry, and in what the French -term prestidigitation, (preste digite, signifying “ready fingers,”) -it will be desirable for them, at first, to have the assistance -which mechanism will supply towards the exhibition of their -tricks.</p> - -<p>Let them, however, keep such aids as subordinate and as secret -as possible. For instance, in the preparation for exhibiting -the first trick described on page 12, the small tin tube (which is -requisite for the performance of that trick) must not be seen by -the audience, either <span class="smcap">BEFORE</span> or <span class="smcap">AFTER</span> the trick is exhibited, but -must be kept secreted in the pocket. Again, in Trick No. 4, -the preparation of the hair and beeswax must be made <span class="smcap">PRIVATELY</span> -beforehand; and these implements must vanish out of -sight when the trick is over. And the reader must observe that -in both the first and fourth tricks the mechanical aid employed -is the minor and subordinate part of the tricks, and that a successful -exhibition of either of them depends really on the dexterity -of the passes, and of manipulations by the performer.</p> - -<p>It may be admitted, then, that, with regard to the first topic -of our present paper, the young conjuror need not be restrained -from employing the subordinate aid of an assistant, so far as -this may carry him over difficulties which he cannot otherwise -surmount in the present stage of his imperfect skill.</p> - -<p>And in regard to the second topic, the employment of mechanical -contrivances, (though it may be well to begin with -those departments of the art which are easier, because aided by -mechanical apparatus,) it will be desirable for the amateur to -strive to get free from dependence upon such aids. Mechanical -arrangements cannot be wholly discarded at any time, and the -conjuror will always require a few implements; but the more -he advances in dexterity of hand, quickness of eye, control of -his hand and eye, instantaneous adaptation of his words and -movements to contingencies as they arise, the more able will he -become to elude the observation of the most watchful specta<span class="pagenum" id="Page_22">22</span>tors, -and to mislead their imagination, so that they shall fancy -that they see him <span class="smcap">DO</span> things which he only <span class="smcap">APPEARS</span> to do, and -shall blindly fail to observe actions and movements carried out -before their very eyes.</p> - -<p>And here let me say, that I have, by long experience, come to -the conviction, that the simpler and more common the objects -are on which, and with which, a trick is performed, and the less -anything beyond dexterity of hand is openly used, the greater -will be the astonishment and the amusement of the spectators. -There are, it is true, some very striking and complicated illusions -which it is impossible to present without resorting to artistic -contrivances of mechanical or scientific arrangement. On -these illusions, as being beyond the power of a young amateur, -I need not dwell. Nor need the preceding remarks be considered -as any disparagement of the combinations and extrinsic aid -which are indispensable for developing such startling illusions. -The scope of my present remarks is simply to this effect, that -to depend mainly upon the co-operation of a confederate, or -upon mechanical contrivances, for what can be far better carried -out by mere sleight-of-hand, will not pass for a satisfactory exhibition -of conjuring now-a-days; and the amateur will find -that, as he advances in skill and dexterity, he will swim more -freely the less he trusts to such unsubstantial bladders to uphold -him.</p> - -<p>Having thus discussed my two topics I shall now add explanations -of a few more tricks, which the learner may practise with -the hope of making progress in the art of conjuring. The only -way to make such progress and gain high attainments in the art, -is to practise diligently over and over again the passes I have -described in my former paper, and to learn to do a few tricks -neatly, and without hesitation or stumbling. I subjoin, therefore, -some simple but effective tricks, in which they will do well -to perfect themselves.</p> - -<p><span class="pagenum" id="Page_23">23</span></p> - - -<h3><a id="TRICK_5"></a>TRICK 5.—To make a quarter and a penny change -places, while held in the hands of two spectators.</h3> - -<p class="subt">PREPARATION.</p> - -<p>Have a quarter of your own secreted in your right hand. -Then borrow two handkerchiefs, and a quarter and a penny, -from any one in the audience. Tell the lender to mark or accurately -observe them, so that he will know them again. In placing -them on the table, substitute your own quarter for the borrowed -one, and conceal the borrowed one in your palm.</p> - -<p class="subt">MEMORANDUM.</p> - -<p>It is better to use things borrowed than coin of your own. -Still, the conjuror should provide himself with articles requisite -to display any trick, or otherwise much delay may occasionally -arise while borrowing them.</p> - -<p>Commence the trick by pointing out where the quarter and -the penny are lying on the table. Take up the penny and show -it openly to all. Then take up one of the handkerchiefs, and -while pretending to wrap up the penny in it, substitute in its -place the borrowed quarter which you had concealed in your -palm, and ask one of your friends to feel that it is enfolded in -the handkerchief, and bid him hold the handkerchief enclosing -it above his head. Ask him if he has got the penny there safely. -He will reply that he has.</p> - -<p>Then take up your own quarter which was laid upon the table; -pretend to wrap it up in the second handkerchief, but -adroitly substitute the penny, (which you concealed in your -palm while wrapping up the first handkerchief.) Ask some -friend to hold it up above his head, indulging in some facetious -remark. Slip your own quarter into your pocket. Clap your -hands or wave your wand, saying, “Change.” Tell your friends -to unfold their handkerchiefs. They will be astonished to find -that the quarter and penny have changed places.</p> - - -<h3><a id="TRICK_6"></a>TRICK 6.—Another trick with the dime, handkerchief, -and an orange or lemon.</h3> - -<p class="subt">PREPARATION.</p> - -<p>Have an orange or lemon ready, with a slit made in its side -sufficiently large to admit the dime easily; and have in your -pocket a good-sized silk handkerchief with a dime stitched into -one of its corners.</p> - -<p><span class="pagenum" id="Page_24">24</span></p> - -<p>Borrow a marked dime. Take out your handkerchief, and -while pretending to wrap this dime in the handkerchief, conceal -it in your palm, and take care that the one previously sewn into -the corner of the handkerchief can be felt easily through the -handkerchief. Giving it to one of your friends, tell him to feel -that it has the dime in it, and to hold it up over his head firmly. -While giving these directions to your friend, the dime that is in -your palm must be transferred to your pocket, and introduced -into the slit of the orange. Then bring the orange out of your -pocket, and place it on a table; you will keep the slit on the side -away from the audience.</p> - -<p>Then make a few mesmeric passes over the hand of the person -that holds the handkerchief, saying, “I will now destroy -the sense of feeling in your hands. Tell me, can you feel the -dime?” He will say, “Yes.” You can reply, “Oh, you must -be wrong, sir. See! I will shake out the handkerchief.” Taking -hold of one corner of it, shake it out, saying, “Observe, -nothing will fall to the ground. You see that you were mistaken -about feeling it in the handkerchief.”</p> - -<p>The fact is, the dime being stitched in the ‘corner’ could not -fall out, and you must take care not to let that corner of the -handkerchief hit against the ground. Put the handkerchief in -your pocket, and say, “But I must return the borrowed dime.” -Exclaim: “Fly, dime, into the orange on the table.” Cut up -orange, and show the dime concealed in it, and then restore it -to its owner, asking him to tell the audience if he finds it to be -his own marked dime.</p> - - -<h3><a id="TRICK_7"></a>TRICK 7.—How to double your pocket money.</h3> - -<p>The only preparation is to have four cents concealed in your -left palm.</p> - -<p>Commence the trick by calling forward one of the spectators, -and let him bring up his hat with him.</p> - -<p>Then borrow five cents, or have them ready to produce from -your own pocket should there be any delay.</p> - -<p>Request your friend, while he places them one by one on a -small plate or saucer, to count them audibly, so that the company -may hear their number correctly. Inquire, “How many -are there?” He will answer, “Five.” Take up the saucer and -pour them into your left hand, (where the other four are already -concealed.) Then say, “Stay, I will place these in your hat, -and you must raise it above your head, for all to see that nothing -is added subsequently to them.” You will have placed -these nine cents in his hat unsuspected by him.</p> - -<p>Borrow five cents more. Make Pass 1, as described on page -9, appearing to throw these five into your left hand, but really<span class="pagenum" id="Page_25">25</span> -retaining them in your right hand, which is to fall by your side -as if empty.</p> - -<p>Afterwards get rid of four of the five cents into your pocket, -retaining only one in your right palm.</p> - -<p>Hold up your closed left hand, and say, while blowing on it: -“Pass, cents, from my left hand into the hat. Now, sir, be -kind enough to see if they have come into your possession. -Please to count them aloud while placing them in the saucer.” -He will be surprised, as well as the spectators, to find that the -cents in his hat have become nine.</p> - -<p>You may then put on a rather offended look, and say: “Ah, -sir! ah! I did not think you would do so! You have taken -one out, I fear.” Approaching your right hand to his sleeve, -shake the sleeve, and let the one cent, which you have in your -own hand, drop audibly into the saucer. It will raise a laugh -against the holder of the hat. You can say: “Excuse me, I -only made it appear that you had taken one. However, you see -that the original money is now doubled.”</p> - - -<h3><a id="TRICK_8"></a>TRICK 8.—The injured handkerchief restored.</h3> - -<p class="subt">PREPARATION.</p> - -<p>Have a dime of your own wrapped in the centre of a piece of -cambric about five or six inches in diameter, the ends falling -down loose. Conceal these in the palm of your left hand.</p> - -<p>Borrow a marked dime from any of the spectators, and a -white cambric handkerchief. Throw the handkerchief spread -out over your left palm, (holding under the handkerchief your -own dime wrapped in the small piece of cambric.)</p> - -<p>Openly place the borrowed dime on the centre of the spread-out -handkerchief. Keeping hold of that dime, jerk the ends of -the handkerchief over, so as to fall loose down from the lower -side of your left hand. Draw out from between your thumb -and fingers (that is from the upper side of your left hand) about -two inches of the smaller piece of cambric, containing your own -dime. The spectators will naturally conceive the two pieces of -cambric you hold in that hand to be merely the cambric handkerchief.</p> - -<p>Call any of the spectators forward, and request him to mark -off with his knife the portion of the piece of cambric which holds -your own dime, and whisper to him to cut it completely off, and -to let the dime drop on the table. The spectators will believe -that he has cut a hole in the handkerchief itself, and that the -dime falling out is the one you recently borrowed, whereas it is -in fact the other piece of cambric that has been cut, and the borrowed -coin remains still wrapped up in the handkerchief.</p> - -<p><span class="pagenum" id="Page_26">26</span></p> - -<p>Pretend to blame the person who cut the two inches off, saying: -“Dear me, sir, what have you done? You have quite destroyed -this nice handkerchief. Well, I hope, madam, you will -pardon the mistake, if I manage by magic to restore to you your -handkerchief in perfect order, and I request you to allow me to -try to do so.” Carefully holding in the candle the edges of the -cambric, (both of the part cut off and of the portion from which -it was cut,) and letting the real handkerchief hang down from -the same hand, pretend with a conjuring wand to weld together -the edges of the cambric when they get hot, as a blacksmith -welds metals together. You can prevent the flame from reaching -the real handkerchief by tightly pressing your fingers. -Then exclaim: “Oh, where is the dime?” and while picking it -up from the table, get quietly rid of the pieces of cambric with -their burnt edges into a hat or some corner unseen by the audience.</p> - -<p>Holding up the dime which you had just lifted from the table -say: “But to complete my trick I must replace this dime in the -centre of the restored handkerchief, whence it was cut out.”</p> - -<p>Make the Pass 1, appearing to pass it into the centre of the -handkerchief, but retaining it in your hand, and afterwards secretly -pocket it. The handkerchief has already the borrowed -dime in it. Say to the handkerchief: “Change—restore!” and -unfolding it, show the borrowed coin in it. Shake out the handkerchief -and show it is all sound and right, and restore it with -thanks, as well as the borrowed dime, to the owners.</p> - - -<h3><a id="TRICK_9"></a>TRICK 9.—To make a large die pass through the crown -of a hat without injuring it.</h3> - -<p>I will now give my young friends a nice, easy trick, requiring -very little dexterity, as the articles for its exhibition can be purchased -at any depot for the sale of conjuring apparatus; therefore -the most diffident amateur will be able to display this trick.</p> - -<p class="subt">PREPARATION.</p> - -<p>Have a die exactly like the common dice, only it may be about -two inches square. Have two covers for it, one of them exactly -resembling the appearance of a die, only hollow, except that -one side of it is open, so that it can easily be placed over, or be -taken off, the solid die.</p> - -<p>The other cover may be of decorated material, and it is intended -to be placed over the first die-cover. Let this last cover -be made of some pliant material, so that by compressing gently -two of its sides with your fingers, while lifting it up, you can -lift up the first die-cover, which will be within it.</p> - -<p><span class="pagenum" id="Page_27">27</span></p> - -<p>Commence the trick by borrowing two hats; place one with -its rims upwards on the table, and show that you place in that -hat the die with its first cover on it. But say, “I forgot to appeal -to the company whether they will like to see the trick done -visibly or invisibly.” They will most likely say, “Visibly;” but -it is of no consequence which answer they make, for the process -of the trick is the same in either case.</p> - -<p>Take out from the lower hat the first cover, which is painted -exactly like a die, and having placed the second hat (with its -rims downwards) on the other hat, display the first cover, and -openly place it on the crown of the upper hat. All the spectators -will believe it to be the solid die itself. Then take your -penknife; you may just thrust it into the crown of the hat, and -pretend to cut all round the die-cover there lying; say—“I -shall now bid it move into the lower hat, but it will not do so -while uncovered, so I must place this ornamental cover over it.” -Do so; show that you have nothing in your hands or sleeves; -then wave your wand or your hand, and say, “Change, pass, -die, into the lower hat.” Give it a little time. Then, compressing -the outward cover gently, lift off also with it the painted -die-cover, which it has inside it. Lift up the lower hat, and -show the company the solid die lying in it. Show all that the -upper hat has received no injury.</p> - -<p>The illusion to the audience will be that the solid die has passed -through the crown of the upper hat without at all injuring -it. Return the hats to the owners, and show them to be uninjured.</p> - - -<h3><a id="TRICK_10"></a>TRICK 10.—To produce from a silk handkerchief bon-bons, -candies, nuts, etc.</h3> - -<p class="subt">PREPARATION.</p> - -<p>Have packages of various candies, wrapped up in bags of the -thinnest tissue paper, and place them on your table rather sheltered -from observation. Have also a plate or two on your -table.</p> - -<p class="subt">MEMORANDUM.</p> - -<p>It will be always desirable to have the table removed two or -three yards at least from the spectators, and of a height that -they cannot see the surface of it while sitting down in front of -it.</p> - -<p>Commence the trick by borrowing a silk handkerchief, or any -large handkerchief. After turning it about, throw it out on the -table, so as to fall over one of these packages.</p> - -<p>Having carefully observed where the bag lies, place your left<span class="pagenum" id="Page_28">28</span> -hand so as to take up the bag while catching hold of the middle -of the handkerchief.</p> - -<p>Taking the handkerchief up by nearly the centre, the edges -of it will fall around and conceal the bag; make some pretended -wavings of your wand or right hand over the handkerchief, and -say, “Now, handkerchief, you must supply my friends with -some bon-bons.” Squeeze with your right hand the lower part -of the bag which is under the handkerchief; the bag will burst, -and you can shake out into a plate its contents.</p> - -<p>Asking some one to distribute them among your young -friends, you can throw the handkerchief (as it were carelessly) -over another bag, from which you can in the same way produce -a liberal supply of some other sweetmeats, or macaroon biscuits, -etc., etc., all of which will be duly appreciated by the juveniles, -and they will applaud as long as you choose to continue -this <span class="smcap">SWEET</span> trick.</p> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum" id="Page_29">29</span></p> - - - - -<h2><a name="CHAPTER_IV" id="CHAPTER_IV">CHAPTER IV.</a><br /> - -<small>PRACTICE.</small></h2> - - -<p>In conjuring, as in all other arts and sciences, perseverance is -requisite in order to become expert and successful. There -is no royal road, or possibility of acquiring the end, without exercising -the means to that end. Let my young friends, then, -carefully practise over and over again the passes and the tricks -which I have already explained to them. It is the only way to -attain dexterity and confidence, without which they will never -be able to make any creditable exhibition of the art of conjuring. -After they have attained considerable skill and sleight-of-hand -in displaying a few tricks, they will easily extend the range -of their performances, and gradually rise to greater ability. I -may, therefore, parody an old injunction for obtaining success, -and say: There are three rules for its attainment: The first is -“Practice.” The second is “Practice.” The third is “Practice.” -In a word, constant and careful practice is requisite, if -any wish to be successful as amateur conjurors. They should -never attempt to exhibit before their friends any tricks that they -have not so frequently practised that no bungling or hitch is -likely to occur in their performance of it.</p> - -<p>Let no one be staggered by the simplicity of the processes -recommended in these tricks. The result will in fact be all the -more astonishing, the simpler the operations employed.</p> - -<p>The great point is the address of the performer, and that will -carry through successfully the means employed. However simple -and insignificant those means may appear to the learner -when they have been explained to him, if there is good address<span class="pagenum" id="Page_30">30</span> -and accurate manipulation, the astonishment at the result will -be infinitely greater than any one would imagine possible to be -produced by such simple means.</p> - -<p>There is one help that I can suggest towards the better management -of the hands in concealing or removing objects; it is -the use of a conjuror’s rod or short magic wand. This is, now-a-days, -commonly a stick of about fifteen inches long, resembling -a common rule, or a partially-ornamented one. You may -often have observed this simple emblem of the conjuror’s power, -and deemed it a mere idle or useless affectation. The conjuror -waves it mystically or majestically as he may be disposed. Of -course you are right in your judgment that it can do no good -magically; but it does not follow that it is useless. The fact is, -that it is really of considerable service to him. If he wants to -hold a coin or any object concealed in his hand, without others -observing the fact of his hand being closed, the wand in that -hand is a blind for its concealment. He may require to pick up -or lay down some object, and he can do so while openly fetching -or laying down his wand. If he wants to gain time, for any illusion -or process of change, he can obtain it while engaging the -attention of the spectators by some fantastic movements of his -wand. By the use of the wand, therefore, you will be able to -prevent the observation of your audience too pointedly following -the movements which you wish to carry on secretly. You -may also, at the same time, dispel their attention by humorous -remarks, preventing it from being concentrated on watching -your movements.</p> - -<p>As a general rule, you must not apprise your audience of what -you are actually doing, but must often interpose some other -thought or object to occupy their mind. For instance: Do you -desire that a person should not examine too closely any object -which you place in his hand, tell him to hold it well above his -head. That takes it out of the range of his eyes. It would -never do to tell him not to look at it. He would then immediately -suspect that you are afraid of something being observed.</p> - -<p>Have you perchance forgotten to bring on your table any article -requisite for displaying any trick, a feint must be made<span class="pagenum" id="Page_31">31</span> -that you must have more candles, or must remove some other -object, thus gaining the opportunity to fetch what you require -without naming it.</p> - -<p>Do not even announce too fully or vauntingly beforehand -what is to be the result or development of any trick; rather -proceed with it, and let the audience come unexpectedly upon a -result which they had not contemplated. Their surprise will be -greater, and their amusement more lively, at such unexpected -result.</p> - -<p>It is for this reason that it will be well to avoid the repetition -of the same trick in the same evening, though requested to perform -it over again. The minds of the spectators have already -traced once the whole performance of it—the beginning, the -middle, the end. The zest of it, therefore, is gone off; their -minds are languid and disinterested about its second repetition; -and the conjuror’s art proportionately sinks in their estimation.</p> - -<p>Having offered these general remarks, I will now invite the -attention of my young friends to another batch of interesting -tricks, which, with a little effort, they may succeed in exhibiting.</p> - - -<h3><a id="TRICK_11"></a>TRICK 11.—A sudden and unexpected supply of feathers -from under a silk handkerchief or cloth.</h3> - -<p class="subt">PREPARATION.</p> - -<p>Have ready a good supply of plumes of feathers. They may -be obtained from a fur or fancy store, or purchased there loose, -and tied up so as to lie thin and flexible where you wish to place -them. You may have at least four batches of them. The common -hackle feather will do, stitched round a thin piece of whalebone. -Feathers that are a little injured for sale as ornaments -may be picked up at little cost.</p> - -<p>Take off your coat. You may then have one or more batches -of feathers placed round each arm; the lower point of the stem -on which the feathers are fixed being near your wrist, and the -top of each batch of feathers confined near your elbow by a -slight worsted string, so that they do not stick out the coat -sleeve too much, or slip down together if two batches are concealed -in the same sleeve. You can have one or more batches -placed just within each side of your waistcoat, with the lower<span class="pagenum" id="Page_32">32</span> -point of the stem within easy reach of your hand—about four -inches below your chin. Then put your coat on.</p> - -<div class="figcenter" > -<img src="images/i_032.jpg" alt="" /> -<div class="caption"><span class="smcap">Fig. 8.</span><br /> -Position 1.<span class="i5">Position 2.</span></div> -</div> - -<p>Commence the trick by borrowing a large silk handkerchief or -cloth of the same size. Show it to be empty by holding out the -two top corners in front of your breast, and shake the handkerchief -while it falls loosely down over your vest. Then moving -the handkerchief toward your left, catch hold (with your right -thumb and finger) of the end of the stem of the plume, No. 1, -and draw it from under the left side of your vest. It will remain -concealed behind the handkerchief while you move your -two hands to the right, which will draw out the plume from under -your vest, then over the centre of your chest. Then toss -the handkerchief about, enveloping the first batch of feathers; -say, “Handkerchief, you must supply me with some feathers.” -In a minute or so, take off the handkerchief, and display the -plume to the spectators.</p> - -<p>Show the spectators again that the handkerchief is quite -empty. Move your arms toward your right till your left hand -comes just over the edge of the right side of your vest. With -your left thumb and forefinger catch hold of the stem of the -feathers there concealed, and by moving your arms back towards -the left, you can draw out without its being observed the -plume that had been concealed under the right side of your -vest. Toss about and display as before this second batch of -feathers, and then place them aside.</p> - -<p>Then show to the company again that your handkerchief has -nothing in it, and lay the handkerchief over both your hands.<span class="pagenum" id="Page_33">33</span> -While waving it mysteriously about, exclaim that the handkerchief -must furnish you with some more feathers. Draw out of -the left sleeve one of the plumes, shake the feathers out while -taking off the handkerchief from this, which will be plume the -third.</p> - -<p>Then, throwing your handkerchief over the hand, and clapping -your hands together, (with the left over the right hand,) -manage to catch hold of another point of a plume, and pull it -out from your right sleeve while waving about your two hands -with the handkerchief over them. You have now produced four -plumes.</p> - -<p>The exhibition may be continued to an increased number of -plumes, if you have more concealed in your sleeves, or elsewhere; -but four will probably be sufficient to manage at the -commencement of your career as an amateur conjuror.</p> - - -<h3><a id="TRICK_12"></a>TRICK 12.—Heads or Tails?</h3> - -<p>I shall now give directions for reproducing, before a juvenile -audience, a trick that will carry us back to the primitive style of -conjuring in old times. I cannot say that there is anything -very scientific or elevated in it, but, if neatly and adroitly executed, -it will tell very well with a youthful audience.</p> - -<p class="subt">PREPARATION.</p> - -<p>You must take care that your table be so placed that none of -the spectators can see behind yourself or the table. You must -provide yourself with some young pet of the juveniles, such as -a puppy, a kitten, or any other small pet. The performer must -either have some little bag hanging under his coat-tails, or some -provision for concealing the little animal behind him, or in a -drawer before him; so that there will be no chance of any of -the audience seeing it before the proper time. He must have -ready also a penny, or any coin.</p> - -<p>To begin the exhibition of the trick. Standing with all the -nonchalance you can assume, and placing one or both your arms -behind your back, you may say, “For a variety, I will challenge -one of my young friends to come and try which of us will succeed -best in a few tosses of this penny.”</p> - -<p>Induce some young person to come to the front of your table, -and tell him to bring forward his hat. Ask him to toss first -with the cent and put the hat over it, while you will guess -“heads” or “tails.” Say it shall be seen who is most success<span class="pagenum" id="Page_34">34</span>ful -in five guesses. After he has tossed up twice, you can take -the penny, and say, “Now, I will vary the method of tossing. -You shall name now which you choose, ‘heads’ or ‘tails.’”</p> - -<p>Toss up the penny, and while attention is occupied with this, -and he is looking to see which is uppermost, heads or tails, you -withdraw your left hand from behind you, holding the little animal -you have concealed, and slipping it into the hat, and turning -the hat down over it, exclaim, “Stay, I mean to pass the -penny through the hat upon the table, and the whole affair shall -be settled by the result of the present toss. You shall see the -heads or tails on the table.”</p> - -<p>By Pass 1, pretend to place the penny on the hat, but retain -it in your right hand. Say, “Fly, pass, and quickly.” Lift the -hat, and show both head and tail on the little animal or pet -there concealed.</p> - -<p>If you should have had a Guinea pig, you must make the -guesses go on till your adversary guesses “tails,” and then it -will make a good laugh to say, “He has won, and he had better -now take it up by the tail.”</p> - - -<h3><a id="TRICK_13"></a>TRICK 13.—To cook pancakes or a flat plum cake -in a hat, over some candles.</h3> - -<p class="subt">REQUISITE PREPARATION.</p> - -<p>Have two gallipots or earthen jars, of a size to go easily into -a hat, but of such dimensions that the one reversed will fit -closely over the other. Tie worsted or a strip of linen round -the smaller gallipot, so as to insure the larger one holding firmly -round the smaller one. Have ready some thin, fluent dough, -some sugar, and a few currants, enough for two or three pancakes -or a small plum cake; also a spoon to stir the ingredients -up.</p> - -<p>Have at hand two or three warm pancakes that have just been -prepared by the cook for you, with the same ingredients as mentioned -above. Let them be firm and free from grease. Have -also at hand two small plates, with knives and forks.</p> - -<p>Commence the exhibition by borrowing two hats, to give you -a choice with which to perform. You can remark that as you -should be sorry to injure your friend’s hat, you will secure it -from being soiled by placing some paper in it as a lining. Hold -up the paper to show it is only paper, and then openly place it -in the hat, and lay the hat down on its side on the table near -you, having the brim towards you.</p> - -<p>Have the ready-prepared pancakes lying near you, and whilst<span class="pagenum" id="Page_35">35</span> -taking off the attention of the spectators by pretending to arrange -the articles on your table, slip the prepared pancakes or -plum-cake into the hat.</p> - -<div class="figcenter" > -<img src="images/i_035.jpg" alt="" /> -<div class="caption"><span class="smcap">Fig. 9.</span></div> -</div> -<p>Unobserved, also place the smaller gallipot in the hat, and -while doing so, if requisite, add some remark, such as: “Please -to shut, or open, that door,” or any words that will draw off the -attention of the spectators from what you are doing. You must -next, with some parade, mix the fluent dough with the sugar -and currants in the larger gallipot. It must be fluent enough to -pour out slowly, apparently into the hat, but really into the -smaller gallipot, which has been already concealed inside the -hat. Show you have emptied the larger gallipot, all but a little; -then, placing it over the smaller gallipot again, empty the very -last of it, and press the larger gallipot firmly down over the -smaller one. Then, with it, lift the smaller gallipot also, with -its contents, while you appear only to take back the larger gallipot. -Remove the gallipots, as supposed to be empty, out of -sight. “Now, ladies and gentlemen, I must request your patience -a few minutes for the process of cooking.” Put two or -three candles near one another, and move the hat at a safe distance -above them for two or three minutes, making in the meantime -any laughable remarks that may occur to you, such as: -“My young friends will find this capital way of supplying -themselves with a delicate dish when they have lost their puddings -from being in the black books of their teacher or parents,” -or any similar humorous remark; but take care not to burn the -hat whilst the (supposed) cooking is going on. After a short<span class="pagenum" id="Page_36">36</span> -interval, place the hat on the table, and with some little ceremony -take out the real pancakes or plum-cake. Let it be cut -up and handed round to the juveniles who may be present.</p> - -<p class="subt">REMARKS.</p> - -<p>A more finished or surer arrangement for holding the dough, -etc., can be made with a tin apparatus, which can be prepared -by any tinman, upon the same principle as the gallipots, taking -care not to have it made larger than the inside of a youth’s -hat.</p> - -<div class="figcenter" > -<img src="images/i_036.jpg" alt="" /> -<div class="caption"><span class="smcap">Fig. 10.</span></div> -</div> - -<p>An amateur can render a common table more suitable for concealing -any little object he wishes to have secreted, by placing -three or four tumblers under each end of a plank, about the -length to extend across the table, and throwing any common -cloth over the board and table, or a kitchen table, covered with -a cloth, having a drawer pulled out about six inches, will furnish -a very good conjuror’s table. It is well to have the table rather -broad, so as to keep the spectators at a sufficient distance.</p> - - - - -<h3><a id="TRICK_14"></a>TRICK 14.—TO EAT A DISH OF PAPER SHAVINGS, -AND DRAW THEM OUT OF YOUR MOUTH LIKE AN -ATLANTIC CABLE.</h3> - -<p class="subt">PREPARATION.</p> - -<p>Procure three or four yards of the thinnest tissue paper of various -colors. Cut these up in strips of half an inch or three<span class="pagenum" id="Page_37">37</span>-quarters -of an inch breadth, and join them. They will form a -continuous strip of many feet in length. Roll this up carefully -in a flat coil, as ribbons are rolled up. Let it make a coil about -as large as the top of an egg-cup or an old-fashioned hunting-watch. -Leave out of the innermost coil about an inch or more -of that end of the paper, so that you can easily commence unwinding -it from the centre of the coil.</p> - -<p>Procure a large dish or basketful of paper-shavings, which can -be obtained at little cost from any bookbinder’s or stationer’s. -Shaken out it will appear to be a large quantity. As you wish it -to appear that you have eaten a good portion of them, you can -squeeze the remainder close together, and then there will appear -to be few left, and that your appetite has reason to be satisfied.</p> - -<p>Commence the trick by proclaiming you have a voracious appetite, -so that you can make a meal off paper-shavings. Bend -down over the plate, and take up handful after handful, pretend -to munch them in your mouth, and make a face as if swallowing -them, and as you take up another handful, put out those previously -in your mouth, and put them aside. Having gone on with -this as long as the spectators seem amused by it, at last, with -your left hand, slip the prepared ball of tissue paper into your -mouth, managing to place towards your teeth the end you wish -to catch hold of with your right hand, for pulling the strip out -from your mouth. You will take care also not to open your -teeth too widely, lest the whole coil or ball should come out all -at once.</p> - -<p>Having got hold of the end, draw it slowly and gently forward. -It will unroll to a length of twenty yards or more in a continuous -strip, much to the amusement of the spectators.</p> - -<p>When it has come to the end, you may remark: “I suppose -we have come to a fault, as there is a ‘solution of continuity -here, just as the strongest cables break off,’ so we must wait to -pick up the end again, and go on next year, when the Great -Eastern again goes out with its next Atlantic Cable.”</p> - - -<h3><a id="TRICK_15"></a>TRICK 15.—How to cut off a nose—of course without -actual injury.</h3> - -<p class="subt">PREPARATION.</p> - -<p>Have ready a piece of calico of light color, or a white apron, -a sponge saturated with a little liquid of the color of blood—port-wine, -or the juice of beet-root, will do; also two knives, -resembling each other, the one of them whole, the other with a -large notch in its blade, so that when placed over the nose it will<span class="pagenum" id="Page_38">38</span> -appear to have cut through the bridge of the nose. A cutler -could supply such knives, or they may be purchased at the depots -for conjuring apparatus.</p> - -<p>Having placed out these articles on your table with seriousness -and imposing formality, show to the audience the knife that -is whole, and call upon them to observe that it is sufficiently -strong and sharp. The other knife must be placed somewhere -near you, but where it is sheltered from the observation of the -spectators.</p> - -<p>Ask some young friend to step forward, assuring him that you -will not hurt him. Make him sit down on a chair facing the audience. -After having measured the real knife across his nose, -say: “But I may as well protect your clothes from being soiled, -so I will put an apron round your neck.” Go to the table to take -up the apron, and, in doing so, place down the real knife where -it cannot be seen, and, with your left hand take up the conjuror’s -knife, holding it by the blade, lest any one should observe the -notch in it. Conceal at the same time also, in your left hand, -the piece of sponge.</p> - -<p>Advancing to the chair, tuck, with your right hand, the apron -round the youth’s neck. Then press the conjuror’s knife firmly -over the nose and leave it there, as if you had cut into the bridge -of the nose. At the same time gently squeeze the sponge, and -a little of the liquid will make an alarming appearance on the -face and on the apron; go on for a short time, covering the face -and apron with (apparent) blood. When the audience have seen -it long enough, seize up the apron, wipe the face of the youth -quite clean, throw away the conjuror’s knife, and exhibit your -young friend to the audience all right, and dismiss him with -some facetious remark on his courage in undergoing the alarming -operation.</p> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum" id="Page_39">39</span></p> - - - - -<h2><a name="CHAPTER_V" id="CHAPTER_V">CHAPTER V.</a><br /> - -<small>TRICKS BY MAGNETISM, CHEMISTRY, GALVANISM, OR ELECTRICITY.</small></h2> - - -<p>There is a class of tricks about which I must say a few -words, viz., those that require to be exhibited by the help -of magnetism, chemistry, galvanism, or electricity. I need not -dwell long on them, for I do not consider them such as the -young people, for whom these notes are written, can be recommended -to devote their attention to, for the following reasons: -in the first place, they are, with a few exceptions, attended with -considerable expense. Secondly, the tricks connected with the -powerful agencies of galvanism and electricity are dangerous to -the unskilful operator; and, even in experienced hands, the -most effective of them are uncertain things to manage; therefore -their effect cannot be depended on.</p> - -<p>Some very interesting tricks have, doubtless, at times been -exhibited by the help of galvanism and electricity. We have -read of a conjuror by such help confounding a powerful Arab, by -first letting him lift with ease a box, and afterwards rendering it -impossible for him to raise it, when an electric current had, to -his dismay, paralyzed all his strength. It is evident that an experiment -of this kind could not be safely attempted by any but -a very experienced person. We read also of conjurors who have -surprised their audience by receiving them in a dimly-lit theatre, -and then firing off a pistol, (to startle the audience and cover -the real mode of operation,) they have by electricity lighted up<span class="pagenum" id="Page_40">40</span> -one hundred lamps at once. This has proved very successful on -some occasions; but on others, notwithstanding the most careful -preparation and the greatest precaution, it has been found -that the apparatus would not act, and the impatient spectators -have visited the disappointing failure with their indignant murmurs. -Other conjurors have become so attached to electric experiments, -that they have proposed to regulate all the clocks of -a large district by electricity, or have amused themselves by -turning electric or galvanic currents to the door-handles of their -houses, so that unsuspecting strangers, on touching them, were -startled with electric shocks. There is also a trick for rendering -one portion of a portrait electric by a metal plate concealed under -it, and the spectators being invited to touch some part of the -picture, have, on touching the spots that were charged with -electricity, received a shock or powerful blow, as if the portrait -resented their touching it.</p> - -<p>Having briefly given the character of this class of tricks, and -stated that they not only require expensive apparatus, but are -attended with danger to the inexperienced, there still remains -another serious objection, viz., that, like the experiments performed -by automaton figures or complicated machinery, they are -liable to fail, through any trifling disarrangement, just at the moment -when the performer is hoping that his audience will be delighted -with his surprising exhibition.</p> - -<p>For these reasons I shall not stay to describe the more elaborate -of these tricks, as, however interesting they may be to the -scientific, they would not, in a youthful amateur’s hands, be sure -to produce the amusement which it is my primary object to supply.</p> - -<p>The simpler experiments of magnetism and chemistry may -well be regarded as recreations of science, interesting curiosities, -suitable enough to be exhibited by a professor of chemistry -for amusement and instruction; but even these can hardly be -considered as belonging to “conjuring proper.” Young people -do not care, at festive parties, to watch red liquids turning into -green, blue, and yellow; or the mixture of different chemical -ingredients producing strange conversions into varied substances;<span class="pagenum" id="Page_41">41</span> -nor will experiments that are interesting as chemical curiosities -produce the same excitement and pleasing surprise that the -wonders of sleight-of-hand do. In a word, such experiments in -a private circle of young friends fail to constitute the most amusing -kind of parlor magic, while upon a public stage they are too -minute for any large audience to trace and comprehend.</p> - -<p>Lest, however, my young readers should think that I have any -desire to shut them out from any field of reasonable pleasure, I -will now carefully select one or two examples of tricks connected -with the sciences of magnetism and chemistry, and which may, -even in the hands of amateurs, produce a safe and pleasing exhibition.</p> - -<p>In the following trick they will find an amusing instance of the -combination of science with rational recreation.</p> - - -<h3><a id="TRICK_16"></a>TRICK 16.—The watch obedient to the word of command.</h3> - -<p>The magnet is a well-known agent in producing several toys -for the entertainment of the young, and though its attraction is -wonderful, there is no danger likely to arise from employing it, -in the same way as might arise from unskilful dabbling with -electricity, galvanism, or chemical powers, and a strange and -singular effect may be produced by placing a magnet of some -little strength near a watch.</p> - -<p>Supposing the young conjuror to have provided himself with -a powerful but not very large magnet, let him conceal it in the -palm, or under a thin glove in his left hand, or near the edge of -the cuff of his sleeve. Let him then borrow a lady’s watch, -(without chain,) and the thinner the watch-case is, and if it has -a glass, the better. Let him then call forward a youth, and placing -the watch in his own right hand, and near to the ear of the -other, ask him if he hears it going: he will answer “Yes.”</p> - -<p>Let him next bid the watch to stop; and on taking it in his -left hand, where the magnet is concealed, it will stop, if held -steadily; and on inquiring of his young friend whether he can -hear it, he will reply “No.”</p> - -<p>Observe: you must keep systematically to using your right -hand when you wish to make the watch go on, and to your left -when you wish it to stop. Appealing to others among the company, -the performer may then tell the watch to go on, and holding -it in his right hand, and giving it a slight shake, apply it to<span class="pagenum" id="Page_42">42</span> -one of their ears; it will be heard “tic, tic;” then holding it in -his left hand and telling it to stop, they will also find that it does -stop. You can pretend to doubt whether they are all deaf of -one ear, but lastly may declare that this is caused by the obedient -disposition of the watch, which so orderly obeys your command. -Remind your audience that savages upon first seeing a -watch believe it to be a living animal with power to think and -act of itself. “At any rate,” you may conclude, “the present -watch seems to hear, to understand, and to obey my orders.”</p> - -<p>It will be an amusing addition to the above trick to say that -you will now order the watch to fly away and conceal itself.</p> - -<p>You must for this purpose have provided yourself with an -electro-plated locket resembling a lady’s watch, and have two -loaves ready in some convenient corner.</p> - -<p>When the watch has finished its “manual and platoon” exercise -on the platform, you may say, “I will now place this watch -visibly to all upon the table.” Turn round to go to your table, -and in walking to it, substitute the locket for the watch, and -place the locket on some spot visible to all. It will not be distinguishable -from the watch by the spectators at six or eight -yards’ distance from them. Conceal the watch itself in the palm -of your hand. You can now exclaim, “I require two loaves,” -and walking towards them, slip the watch into the one you have -prepared with a slit in its side. Advancing to the audience, ask -in which loaf they will prefer that you shall bid the watch fly. -If they name the one in which you have concealed it, proceed to -break open the loaf and find the watch. But suppose they name -the wrong one: you then, remembering that the left hand of the -spectators is your right hand, proceed with the true loaf, whichever -they have named, or manage to cross the position of the -loaves as you place them on the table.</p> - -<p>Then taking up the locket with your right hand, make Pass 1, -as if transferring it to your left hand, but really retaining it in -your right hand (as described in my first paper.) Blow upon -your closed left hand, and say, “Watch, fly into that loaf.” Clap -your hands. It is gone.</p> - -<p>Advancing to the loaf, get rid of the locket from your right -hand; take up the loaf, break it open on the other side from that -in which the locket was introduced, bring out the watch, and appeal -to the lady to declare whether it is the same which she lent -to you.</p> - - -<h3><a id="TRICK_17"></a>TRICK 17.</h3> - -<p>An experiment with a very mild dash of electricity in it, which -will at any rate be a popular trick with most people that try it. -It will do for a small entertainment, or at any joyous party of<span class="pagenum" id="Page_43">43</span> -young people. It does not, however, require a large number to -be present, but, contrary to the usual scientific tricks, its development -comes off better with one companion than with a dozen.</p> - -<p class="subt">PREPARATION.</p> - -<p>You must induce your cousin Jemima, or some other young -lady who is just of age to have cut her eye-teeth, to consent to -help you by accompanying you to a room with closed shutters -and no candles. A moderate-sized looking-glass must be on the -table, the smaller the better, for reasons below assigned. Have -ready at hand some ounces of hard candy.</p> - -<p>You commence the trick by placing yourselves, hand-in-hand, -before the looking glass. If it is rather small, your heads will -be the closer—in order to see the reflection of both at once. -Then, with mouths as open as may be, try which of you can -crush his or her share of sugar-candy with the teeth the quickest. -In the glass will appear the reflection of sparks of electricity, -as the experiment proceeds. If your companion is nervous, -you can of course support her with one arm—ladies are -sometimes susceptible, whether from animal magnetism or what -not. The electric sparks coming between the lips may also be -attractive, and you may be tempted to try whether the electricity -evaporates the sweetness; but of course you must not be tempted -to forget the philosophical nature of the experiment; and, if you -behave with propriety, the lady will doubtless, on her return to -the company, tell them, in a staid manner, that the experiment -was all right; and perhaps when you see her, even a day or two -afterwards, you will observe there is an arch dimple on her cheek -and an electric sparkle lighting up her eye—and I should not -wonder if you should feel a desire to try the experiment over -again.</p> - - -<h3><a id="TRICK_18"></a>TRICK 18.—A chemical trick to follow one where a -young friend has assisted.</h3> - -<p class="subt">PREPARATION.</p> - -<p>You must have a wine-glass, a saucer, and a teaspoon, and -the chemical bottles No. 1 (silicate of potash) and No. 2 (aluminate -of potash,) which can be obtained from any druggist.</p> - -<p>At the close of some trick in which any young friend has assisted, -you can say:<span class="pagenum" id="Page_44">44</span> “Well, my young friend, you have assisted -me so courteously and well that I must, in order to express my -thanks, ask you to take a glass of wine. Do you like wine? -Ah, I see by your smile you do.”</p> - -<p>Pour out of bottle No. 1 half a glass, and, going towards him, -stop short and say: “Ah, but I am afraid your mamma would -be displeased with me if I gave you wine so strong without any -water, and I should be sorry to tempt you to drink what she -would disapprove. Stay, I will mix a little water with it.”</p> - -<p>Mix some of No. 2 bottle, so as to fill the wine-glass, and say: -“Oh, never mind losing the pure wine; I dare say you will like -it very well as it is,” and make a few chatty remarks, to give the -liquids time to mingle their effects in the glass; and after a -minute or two say: “Ah! I’ll tell you what I am sure your -mamma would like still better—if I could give you some calves’-foot -jelly. Now, I really believe, if I were to stir it with this -teaspoon, and try my magic wand over it, I can turn it to jelly. -Let us try.” Occupy a little time while it is becoming like jelly, -and go on with a little more talk till you see that it has become -solid. Then say: “Well, after all, I will not deprive you of -your wine; so here it is. Please drink it.” Putting it to his -lips, he will find it has become so solid that he cannot drink it, -but it can be turned out quite solid into the saucer, and a general -laugh will greet him on the disappointment of his wine.</p> - -<p>Having submitted a few remarks upon the class of tricks that -are to be performed by help of the sciences, magnetism, chemistry, -etc., and having stated my reasons for my not more fully -discussing them, I will now proceed to give an explanation of -one or two more that are better suited for the practice of amateurs.</p> - - -<h3><a id="TRICK_19"></a>TRICK 19.—To draw three spools off two tapes without -those spools having to come off the ends of the tapes, -and while the four ends of the tapes are held by four -persons.</h3> - -<p class="subt">PREPARATION.</p> - -<p>You must have two narrow tapes of about four feet long, bent -as in Fig. 11. Red tape I prefer.</p> - -<p>You must next insert about half an inch of A through the loop -of B, and bring it back down on the other part of A.</p> - -<p>A spool such as cotton is wound on, or an ornamented ball -with a hole drilled through it, just large enough to hold the tapes -lightly, will be required (Fig. 13.)</p> - -<p><span class="pagenum" id="Page_45">45</span></p> - -<div class="figcenter" > -<div class="caption"><span class="smcap">Figs. 11, 12.</span></div> -<img src="images/i_045-1.jpg" alt="" /> -</div> - -<div class="figcenter" > -<div class="caption"><span class="smcap">Fig. 13.</span></div> -<img src="images/i_045-2.jpg" alt="" /> -</div> - -<div class="figcenter" > -<div class="caption"><span class="smcap">Fig. 14.</span></div> -<img src="images/i_045-3.jpg" alt="" /> -</div> - -<p>The spool or ball must be put on the tapes at the extreme ends -of the tape B, and drawn to the left, till it just covers the noose -at K. as in Fig. 14.</p> - -<p>N. B.—All the above should be prepared before the spectators -are invited to witness the trick.</p> - -<p>Commence the exhibition by calling upon the spectators to -observe that you hold a reel, or ball, through which two tapes -are passed.</p> - -<p>You may then produce two more spools, or wooden balls, and -place one of them over the ends at A, and the other over the -ends at B.</p> - -<div class="figcenter" > -<div class="caption"><span class="smcap">Fig. 15.</span></div> -<img src="images/i_045-4.jpg" alt="" /> -</div> - -<p>The following will then be the appearance of the balls or spools -and the tapes passed through them (Fig. 15):</p> - -<p><span class="pagenum" id="Page_46">46</span></p> - -<p>You may move about the spools 2 and 3, to show how the tape -runs through them, but you must not move spool 1.</p> - -<p>You may then say that the puzzle is to get the spools off the -tapes while the four ends are held firmly in the hands of four -persons. Appoint four persons to hold them, and you may then -say: “To make doubly sure, I will tie one of the ends at A to -one of the ends at B with (the first half of) a knot.” It does -not signify which ends you take to do this, so that you take one -A and one B. “I will now pull these two ends so tight that it -will draw the three spools together, and also tighten all along one -side of them.”</p> - -<div class="figcenter" > -<div class="caption"><span class="smcap">Fig. 16.</span></div> -<img src="images/i_046.jpg" alt="" /> -</div> - -<p>Then, while four persons hold firmly the extreme ends of the -tapes, you must take shorter hold of the two A’s with your left -hand, (where it is marked by a dotted line, Fig. 16,) and also take -hold of the other tapes where a dotted line is marked on them -towards B. Then drawing your arms wider apart, so as to pull -the tapes steadily, the spools or balls will fall to the ground without -passing over the ends of the tapes.</p> - - -<h3><a id="TRICK_20"></a>TRICK 20.—To restore a tape whole after it has been -cut in the middle.</h3> - -<p class="subt">PREPARATION.</p> - -<p>Have five or six yards of tape about three-quarters of an inch -broad.</p> - -<p>Take half the length in each hand. You will be able to show -the audience that you are about to cut it in the middle, by holding -it in two loops of equal length. Call their attention pointedly -to the equal division of the full length.</p> - -<p>The tape will thus appear to the performer in the position -represented in Fig. 17.</p> - -<p>Observe the tape A crosses at z the tape B on the side next to -the performer, whereas the tape D is to cross the tape y on the -side farthest from him.</p> - -<p><span class="pagenum" id="Page_47">47</span></p> - -<p>Fig. 18 represents the hands as they appear to the performer -himself, holding the tape with the thumb and forefinger at the -crossings of the tape at y and z, while the outward sides of each -loop are to be held by the three other fingers of each hand.</p> -<div class="figcenter"> -<div class="caption"><span class="smcap">Fig. 17.</span></div> -<img src="images/i_047-1.jpg" alt="" /></div> - -<div class="figcenter"> -<div class="caption"><span class="smcap">Fig. 18.<br /> -Left Hand,</span><span class="i4">Right Hand.</span></div> -<img src="images/i_047-2.jpg" alt="" /> -</div> - -<p>To proceed with the trick: Holding your hands in this position, -(Fig. 18,) you must request one of the spectators to cut -through the tape at x, but just as he is about to do so, you must -quickly lower your hands two or three inches, and then raise -them again. This movement will conceal the following operation. -You drop the part (B) of the tape held in your right -hand, and at the same moment pick up with that hand the other -tape marked C.</p> - -<p>This will bring the portion of tape from C to D, so that it now -becomes the transverse tape, substituted in place of the tape -marked x, and your young friend will then cut it—instead of the -original tape marked x—without being aware that he is so -doing.</p> - -<p>When the tape has been cut through, you can put your hands -near together, allowing the two ends of the little piece of the<span class="pagenum" id="Page_48">48</span> -tape—C D—to be seen, but concealing from the spectators -that you have hold of two pieces, one a very long one, and the -other only about five inches long. You can then say: “Now I -have to join these two ends, and to restore the tape -whole as at first.” You then turn the little piece C -D round the piece y, which is in your left hand, and -you tie a knot with the ends of that little piece. -You must not tie this knot very tight, and after you -have tied it, you drop the other end of the tape altogether -out of your right hand.</p> - -<div class="figcenter" > -<div class="caption"><span class="smcap">Fig. 19.</span></div> -<img src="images/i_048.jpg" alt="" /> -</div> - -<p>The appearance which the tapes will then have is -represented in Fig. 19. That is, you will seem to -hold the equally divided pieces of the long tape -joined in a knot at y, whereas in fact it is only the -small end piece C D, tied round the middle of the -long tape, which you hold between the thumb and -forefinger of the left hand. Exhibit the knot to the -company, and say: “I admit that this knot hardly -looks like a perfect restoration; I must employ my -best art to get rid of its unsightly appearance.”</p> - -<p>Ask some one to hold, at about three yards’ distance, -the end marked with small d, retaining hold of -the centre—at y—in your left hand, which quite covers -the knot. Tell your friend to wind the tape round -his hand, and, while pretending to show him how to -do this, by winding the part which you hold round -your left hand, slide away towards your right the loose knot under -your right hand. Then, holding out the end of the tape A -towards another friend, to hold at about three yards’ distance to -the right, slip from off the long tape the little movable knot under -your right hand, just before he takes hold of this end of the -tape. Conceal in your right hand the little end-piece of tape, -until you can get rid of it into your pocket, or into any unobserved -spot. Blow upon your left hand, which is supposed still -to cover the knot, saying: “Knot, begone!—Restore!” Take -up your left hand, and show the tape to be free from any knot, -or join from one end of it to the other.</p> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum" id="Page_49">49</span></p> - - - - -<h2><a name="CHAPTER_VI" id="CHAPTER_VI">CHAPTER VI.</a><br /> - -<small>ON THE CONTINUITY OF TRICKS.</small></h2> - - -<p>It may be useful now to invite attention to the theory of preserving -a continuity in the development of tricks, where -circumstances admit of this being done. Sundry displays of -legerdemain admit of being adroitly linked together; and I shall -endeavor to explain why such an harmonious continuity is preferable -to an unconnected series of isolated tricks; for when once -a novice gets a clear perception of this principle, he will be -able, according to his own special taste, to produce a pleasing -variety of combinations in his experiments. He will thus rise -above being a mere copyist of the methods used by others, and -so will give a zest and freshness to his performances.</p> - -<p>Now, there are many short and secondary dashes of legerdemain, -which a spirited performer will be able to introduce in addition -to the tricks which he is exhibiting. There are also several -ornamental or fanciful little tricks which would not rivet the -attention of an audience if exhibited by themselves. These, -though unqualified to shine as the main object of observation, -may nevertheless be worked into the evening’s entertainment as -amusing by-play, and may thus prevent the interest of the spectators -from flagging. They may come in as accessories—as -stimulating side-dishes—causing the entertainment to bear a -continuous character, instead of merely consisting of sundry -isolated experiments.</p> - -<p>Let me be allowed to substantiate what I have advanced by -reference to some of the tricks which I have already described.</p> - -<p><span class="pagenum" id="Page_50">50</span></p> - -<p>The reader will have seen that, in some of the tricks explained -in previous papers, there is simply some one definite object to -be carried out. For instance, in the two tricks which concluded -the last paper, the performer simply undertakes to throw the -spools off the tape, or to restore a tape which has been cut. He -sets about this, accomplishes it, and the trick is over. This is -all very well as far as it goes. If the trick is really a good one, -it is like a host furnishing his guests with a solid joint to satisfy -their appetite; and it may do so. But still it comes short of a -lively entertainment. It is confessedly dull for an audience to -come to pauses or gaps between isolated tricks. Their attention -is unoccupied while the performer, having finished off one trick, -is making mute preparations to introduce some other trick -wholly unconnected with what has gone before. Such a method -will not keep awake the lively interest that the skilful combination -of the conjuror’s art will sustain. I maintain that varied -by-play and supplementary sets-off will greatly heighten the interest -of the performance.</p> - -<p>It will also serve to disarm the suspicious and incredulous, -preparing them to believe what they might otherwise stand on -their guard against. Bare tricks brought forward as isolated experiments -give time for the mind to take its estimate of their -possibility; and, of course, in attempting to exhibit wonders, -the improbability of them is apt to stare people strongly in the -face. They are perfectly convinced that a dime cannot fly into -an orange at the other end of the room, that ink cannot become -water, nor a hat be safely used as a frying-pan; but if you interpose -appearances and movements that are consistent with such -processes going on, they are gradually prepared to recognize as -a legitimate result what you have previously indicated as the -contemplated end of those processes.</p> - -<p>The amplification or fuller development which I speak of can -be effected at any of the following stages:</p> - - -<p class="hang">1. In the introductory matter leading on to the main trick or -transformation:</p> - -<p class="hang">2. In the subsequent stages of its development; or,</p> - -<p class="hang">3. In the winding-up smartly or variedly the conclusion of a -trick.</p> - -<p><span class="pagenum" id="Page_51">51</span></p> - -<p>I do not say that every trick is to be amplified or loaded with -extraneous matter in all these different stages, (that would be to -run into the contrary extreme of over-cumbrous amplification;) -but I will endeavor to point out the effect of such development -in the above three stages of a trick, and if I can show that amplification -in each several one may be an improvement, I may -be considered to have made good my proposition that any trick -may be improved and rendered more interesting by one or other -of those amplifications.</p> - -<p>Let us see if we cannot lay down a bill of fare for our guests -which, going beyond a solid joint, (good as that may be in its -way,) will furnish them with some relishing accessory in the -first course of a trick, some stimulant side-dishes with its second -course, or may please with some bon-bons before the entertainment -is quite concluded.</p> - - -<p class="subt">1. INTRODUCTORY.</p> - -<p>Now, first as to introductory matter. Suppose a conjuror is -able to perform Trick 3—the “Dancing Egg”—it will waken up -his audience if, instead of proceeding at once with the trick, he -can by sleight-of-hand find out an egg in the whiskers or necktie -of some unwatchful spectator, and afterwards substitute -for it the egg prepared with a hair and wax.</p> - -<p>The chief aim of introductory matter should be to enlist the -thoughts and expectations of your audience under your command, -so as to preclude their watching what you are driving at. -Show all you can safely show openly; enlarge upon the things -being submitted to their own eyes and touch; engage their eyes -and ears with certain appearances leading their thoughts to -adopt your suggestions, so that, when you approach the development -intended, they have had no reason to suspect your motives; -thus having their confidence, you can jump at once to -their credulity, though there may, in fact, exist some gap, or illogical -process, which they omit to notice.</p> - - -<p class="subt">2. DURING THE SUCCESSIVE STAGES OF A TRICK.</p> - -<p>I often vary and render more interesting the development of -a trick by some little by-play.</p> - -<p><span class="pagenum" id="Page_52">52</span></p> - -<p>For instance, in the trick which I often use as my first trick I -make a candle an amusing helper, by snatching it from the candle-stick, -and asking some one to hold it wrapt up in paper.</p> - -<p>And this unexpected service of the candle is wrought into the -body of the trick which I have in hand.</p> - -<p>I change also a crystal ball into an orange by skilful manipulation.</p> - -<p>By such brief diversion of the attention of the spectators, -their eyes are withdrawn from watching too narrowly some manœuvre -that is requisite to carry out the more important trick -which you have in hand.</p> - -<p>Or you may actually make an act, which is a mere accessory, -cover some important portion of the trick; as in the tape trick -(No. 20.) While <span class="smcap">PRETENDING TO SHOW YOUR ASSISTANT HOW TO -HOLD</span> the tape in <span class="smcap">HIS</span> hand, you slip the knot away unperceived -wider <span class="smcap">YOUR OWN</span> hand.</p> - - -<p class="subt">3. IN CONCLUDING A TRICK.</p> - -<p>It greatly adds to the efficiency of a trick to let it finish off -with a sparkle, or some playful addition which gilds its exit.</p> - -<p>For instance, in the trick of doubling the pocket-money, (7th -trick,) the little by-play of finding, or rather pretending to -find, some coins secreted in the sleeve of the young friend who -has helped you, is sure to bring out a good-humored laugh at -the termination of the trick. Again, in Trick 16, the additional -fact of finding the watch in the loaf makes a lively termination -of the performance of the obedient watch. In the 18th Trick, -the glass of wine becoming solid might be used as a good finish -to any trick where some friend has assisted in its exhibition.</p> - -<p>You may often raise a good-humored laugh by appearing to -swallow any object which you have used in a trick—as an orange, -ball, egg, or dime—and afterwards bringing it out from -your sleeve; or, by the use of Pass 1, to drive a coin up one -sleeve, round the back of your neck, and down the other sleeve, -into your right hand.</p> - -<p>I not only consider such Amplifications of a trick lively and -interesting, but I maintain this to be the best way of employing<span class="pagenum" id="Page_53">53</span> -many secondary and short tricks wherever they can be brought -in appropriately as offshoots of longer and more important -ones.</p> - - -<h3><a id="TRICK_21"></a>TRICK 21.—The invisible hen: a very useful trick for -supplying eggs for breakfast or dinner.</h3> - - -<p class="subt">PREPARATION.</p> - -<div class="figcenter" > -<div class="caption"><span class="smcap">Fig. 20.</span></div> -<img src="images/i_053.jpg" alt="" /> -<div class="caption">Position 1.<span class="i8">Position 2.</span></div> -</div> - -<p>In order to save the invisible hen trouble and delay, it will be -advisable to have eight or ten egg-shells, (as described in Trick -3;) or some light imitation eggs, painted white, may be bought -at any depot of conjuring apparatus. A linen or camlet bag -may also be procured from the same depot, though I think a bag<span class="pagenum" id="Page_54">54</span> -made at home, according to the following directions, to be preferable.</p> - -<p>It must be about the size of a small pillow, two feet three -inches across, and one foot nine inches deep. It has one of its -sides of double cloth, (x,) the other single, (z,) in the same way -as leather writing-cases have a pocket on one side, and a single -cover on the other. The double side is stitched together all -round, with the exception of an opening at A, which must be -about five inches long, or large enough to admit easily a hand to -put in or take out the eggs. This double side of the bag must -always be kept towards the performer, whereas the single side -must be always kept towards the spectators; and the only opening -between these two sides is between C and D. On the interior -of the side of the double cloth bag, a strip or kind of frill -of the same cloth must be sewn, with an elastic binding round -the pockets or cups for eggs. The elastic binding will keep them -in these pockets, unless they are pressed by the thumb or finger, -so as to release them and let them fall into the centre of the -double bag. The strip has the appearance of a string of inverted -egg-cups, thus:</p> - -<div class="figcenter" > -<div class="caption"><span class="smcap">Fig. 21.</span></div> -<img src="images/i_054.jpg" alt="" /> -</div> - -<p>The position of it in the bag is indicated in Fig. 21 by the -dots running across the bag; but the strip itself is never seen -by the spectators, for it is placed on the inner side of the double -bag, which is always towards the performer.</p> - -<p>Having carefully prepared the above apparatus, commence the -exhibition of the trick by holding up the bag by the corners C -and D, as represented in Fig. 21. Shake the bag well while so -holding it, showing it to be (apparently) empty.</p> - -<p>After having thus exhibited the bag, thrust both your hands -down inside it to the corners A and B. Holding those corners, -pull the bag inside out, and again show it to be empty, in this -reversed position, represented in Fig. 21.</p> - -<p>As the spectators have now seen it thoroughly, inside and outside, -you may put the question to them, “whether they admit -it to be empty, as they ought to know.”</p> - -<p>While holding the bag by the same corners A and B, you -must now gather the bag a little closer together, and holding it -well up—see Fig. 21—press with your thumb one of the eggs out -of its elastic cup. This can be easily done without any one observing -the movement. This egg, with a little gentle shaking,<span class="pagenum" id="Page_55">55</span> -will fall into the large bag made by the double side; but it cannot -fall to the ground, however much you shake it, for there is -no opening but at A, and that is upwards towards your right -hand, so you may shake the bag boldly.</p> - -<div class="figcenter" > -<img src="images/i_055.jpg" alt="" /> -<div class="caption"><span class="smcap">Fig. 22.</span></div> -<div class="caption">Position 3.<span class="i8">Position 4.</span></div> -</div> - -<p>You next lower the bag a little, and spread it on your chest, -letting it rest there while you move your hands from A and B -to take hold of the corners C and D; and you must give an -opening for what had hitherto been the higher part of the bag, -to drop through between the opening that there is between C -and D. This will keep the double side of the bag (x) still towards -yourself, and the bag will now be returned to its original -position (Fig. 21.) With your left hand retaining hold of the -corner D, and lowering the bag towards your right hand, shake -well the loosened egg down towards the corner A. Search with -your right hand about that corner, and the opening of the double -bag, and you will be able to bring out the egg that had been -loosened while the bag was in position 3.</p> - -<p><span class="pagenum" id="Page_56">56</span></p> - -<p>Take out that egg; shake the bag well, as if it were quite -empty: and then, thrusting both your hands into the interior -corners at A and B, turn the bag inside out; bring it to position -2, ready to re-commence bringing out the other eggs one by one, -as long as the spectators are interested. While you hold the bag -in position 2, you can safely let any young person feel to the -bottom of the bag, as he will not be likely to suspect the eggs -are towards the top of the bag on the side near to yourself.</p> - -<p>The same bag may be used also much to the amusement of -children, by your loading it with walnuts, chestnuts, small apples, -or pears, or any bon-bon of about the size of an egg; and -then allowing the children, one by one, to feel in your lucky bag -for what you take care they shall find in their successive -searches.</p> - - -<h3>A SERIES OF TRICKS, 22, 23, 24.—The chief agent -being a plain gold ring.</h3> - -<p class="subt">PREPARATION.</p> - -<p>You must be provided with a small thin wire pointed at both -ends, which, being bent round, will resemble an ordinary plain -gold ring.</p> - -<p>You must also have on your table an orange or a lemon, a box -or bowl, a tumbler, and a dessert-knife.</p> - -<p>And you must have four or five needlefuls of thick cotton, -which have been previously steeped for about an hour in a wine-glass -of water, with a teaspoonful of salt in it; and have been -afterwards completely dried, so as to burn easily.</p> - - -<h3><a id="TRICK_22"></a>TRICK 22.</h3> - -<p>Having the fictitious ring in the palm of your hand, commence -by requesting any lady present to oblige you by lending -you a plain gold ring, and borrow also from some gentleman a -colored silk handkerchief. Appear to place the borrowed ring in -that handkerchief, but in reality place in it the rounded fictitious -ring. Doubling the centre of the handkerchief round it, -request some gentleman to hold it, so as to be sure he has got -the ring in the handkerchief—while you fetch a slight cord to -fasten it. While going to your table to fetch this cord, you slip -the real ring into a slit in the orange which you had prepared, -and which closes readily over it. You then tie the cord round -the handkerchief, about two inches from the ring, and, calling<span class="pagenum" id="Page_57">57</span> -the spectators to notice how it is secured, take hold of that part -of the handkerchief which incloses the fictitious ring in your -own hand, and tell the gentleman to place one by one the four -corners of the handkerchief over your hand. Directly he has -begun to do this, your fingers must proceed to unbend and open -the fictitious ring, and to press it by its pointed end through the -silk, and conceal it in your own palm. You tell your assistant -to blow upon the handkerchief and open it—the ring is gone, -and you return the handkerchief to the owner. Fetch the orange -from your table, and ask some one to cut it open, and he -will find the lady’s ring in the centre of the orange.</p> - - -<h3><a id="TRICK_23"></a>TRICK 23.</h3> - -<p>You are now to proceed immediately to the next development -of the mysterious powers of the plain ring, which ladies so much -admire. You may commence by remarking that “you have little -doubt that this symbol of love and obedience will at your -command pass through the table, solid as it is. Let us try.”</p> - -<p>Place the tumbler on the table—produce your own silk handkerchief, -to the centre of which a plain ring is already fastened -by a doubled silk thread of about 4 inches length.</p> - -<p>Use Pass 1 with the real ring, as if passing it into the handkerchief: -conceal that ring, and substitute for it the fictitious -ring.</p> - -<p>Then addressing the spectators, say:</p> - -<p>“Now, ladies and gentlemen, I will drop this ring into the -glass, so as you shall hear it fall.” Do so. Let the handkerchief -rest over the glass for a minute or two. “Now I must -place this bowl under the table to receive the ring.” In so placing -the bowl, you must silently place the real ring in it. Then -say aloud, “Change, ring; pass from the glass through the table -into the bowl below.” Lift up the handkerchief, and while -inviting one or two to come and examine the glass and the bowl, -smooth your forehead with the handkerchief as if heated, and -pass it into your pocket. Your young friends will be astonished -to find the ring not in the glass, where they heard it tinkle, but -in the bowl underneath the table.</p> - - -<h3><a id="TRICK_24"></a>TRICK 24.</h3> - -<p>“Now, ring, you have amused us so well, that you shall, like -Mahomet, be sustained in the air without visible support.”</p> - -<p>Place over a common walking-stick some of your prepared<span class="pagenum" id="Page_58">58</span> -cotton threads, having twisted two or three of them together, -and united them in a loop, which you draw through the ring, and -then slip the ring through the end of the loop. The ring will -then hang suspended about a foot below the stick. The stick -itself may be steadily fixed, resting on the back of two chairs at -an elevation, so as to be easily seen by the company.</p> - -<p>When the ring has been thus suspended, set fire to the cotton -about two inches above the ring; the flame will run upwards towards -the stick; blow it out when about two inches from the -stick, and the ring will remain pendulous in the air for some little -time after the cotton has been burnt.</p> - -<p>The suspension is said to be caused by a filament, or fine thread -of glass—which has been formed by the ashes of the cotton uniting -with the heated salt, with which the cotton had been prepared.</p> - -<p>Now this trick would be too simple an experiment to be exhibited -by itself; but coming as a finish to two other tricks, which -have been performed with the same ring, the spectators</p> - -<p> -Will give it honor due.<br /> -</p> - -<p>I trust that I have satisfactorily established the assertion that -a combination of congenial tricks will often tell more effectively -than the same tricks would if exhibited without such combination.</p> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum" id="Page_59">59</span></p> - - - - -<h2><a name="CHAPTER_VII" id="CHAPTER_VII">CHAPTER VII.</a><br /> - -<small>FRIENDLY SUGGESTIONS.</small></h2> - - -<p>As the amateur will aspire to come before his parlor audience -some day or other, it may be some little service and help -to him to give a few suggestions as to the best way of conducting -such an exhibition, and to specify the kind of tricks to which he -will do well to limit himself. It will be desirable to open with -an off-hand expression of his wish to place before them a few -amusing tricks to wile away an hour; and let him assume a -lively air, for his own liveliness will sustain that of the spectators.</p> - -<p>There are some conjurors who, though they can perform good -tricks, exhibit them in such a heavy, uninteresting way that they -create no enthusiasm. An over-anxious look, coupled with a -creeping, fearful movement, and a dull, monotonous voice, will -suggest distrust and dissatisfaction, even where the audience has -come together prepossessed with the expectation of mirth and -glee. Let none assume, then, to wave the conjuror’s wand till -he has himself some confidence in his powers, knows what he -purposes to do, and means to carry it out. I would say that a -moderate degree of assumption, a gay vivacity, ready to break -out into a smile, a cheerful spirit, and a joyous voice, will go a -great way to bespeak favor, which the performer can quickly repay -by dashing off his tricks with enthusiasm. The language -used by the conjurer should be studiously guarded. Let there -be no vain-glorious assertions, no self-praise, but respectful deference -to the judgment of the spectators; rather inclining to -give them the credit of understanding more than they do, than -twitting them with understanding less. Be neither overbearing -with conceited “chaff” upon any of the company; nor, on the<span class="pagenum" id="Page_60">60</span> -other hand, venture upon extreme and disconcerting compliments -to any person present. Rather, as a courteous master of -the ceremonies, conduct the experiments with a simple effort to -please and to amuse all. With the exhibition of an amateur, -the performance of some lively airs upon the piano by any friend -will form an agreeable accompaniment, especially if the spirited -and humorous melodies are introduced, which the public taste -recognizes as the tunes of the day. You will do well to have -your table neatly and carefully arranged. Let it not lie too near -to the spectators, nor within reach of too minute inspection. -It should be of sufficient height to show the main objects placed -on it; but the surface of it may be just high enough to be sheltered -from the spectators clearly viewing every article upon it. -The ornaments should be few, yet, at the same time, be serviceable -to shade a few articles which it may be policy to conceal.</p> - -<p>1. The centre table may be a moderate-sized kitchen table, -with a drawer to stand open; so that the performer can take any -article out of the drawer with one hand, while engaging the eyes -of the spectators with his other hand. A colored cloth should -be over the tables, on the side towards the spectators.</p> - -<p>2. Two small tables, at the sides of the centre table, may also -be useful, as in Fig. 23.</p> - -<div class="figcenter" > -<div class="caption"><span class="smcap">FIG.</span> 23.</div> -<img src="images/i_060.jpg" alt="" /> -</div> - -<p>3. With tables arranged somewhat in this manner, the amateur -will be able to take up articles, from either the surface or -back of the tables, without attracting notice to his doing so. -He must practise taking up things with one hand, while his other -hand and his eyes are ostensibly occupied with some other object; -for if the spectators see him looking behind his table, their -eyes will immediately follow in the same direction.</p> - -<p><span class="pagenum" id="Page_61">61</span></p> - -<p>The amateur will do well to select the simpler tricks for his -first attempts, and never pretend to exhibit even those without -having frequently and diligently practised them. He must make -up his resolution to train his hands to the passes, and to the -several manœuvres in the tricks, as diligently as young ladies -train their fingers to the keys of the piano.</p> - -<p>And let them not be discouraged if they feel awkward and -nervous at first. Some of the best conjurors have candidly confessed -their early failings and misgivings. With practice and -perseverance this will, in most cases, wear off. I would augur -that, if they feel an interest in the art, and a desire to excel in -it, they will most probably secure a measure of success that will -amply repay their efforts.</p> - - -<h3><a id="TRICK_25">TRICK 25.—The Conjuror’s “Bonus Genius,” or Familiar -Messenger.</a></h3> - -<p>This is an old trick that has delighted thousands, and may -amuse thousands more, if adroitly performed. There are only -the simplest mechanical arrangements connected with it; its -successful exhibition depends upon the dexterity and vivacity of -the performer.</p> - -<p class="subt">PREPARATION.</p> - -<p>You must have a strong wooden doll, about eight or ten inches -high; the head must fix on or off by a peg at the bottom of the -throat, being placed in a hole made at the top of the bust. Besides -a close-fitting dress to its body, a large, loose, fantastic -cloak must be placed round the whole figure, but must be so arranged -as to allow the head to be pushed down through the part -of the cloak that covers the bust, and an elastic pocket must be -neatly made inside the cloak to receive and retain the head.</p> - -<p>Having the above apparatus ready, you may commence by -saying:</p> - -<p>“Allow me, ladies and gentlemen, to introduce my learned -friend and assistant—indefatigable in traveling to the most distant -parts on any message I may wish to send him. He used to -be recognized by early conjurors as their Bonus Genius—their -good familiar spirit. But, whatever his special title, he is gifted -with the art of rendering himself visible or invisible, as he feels -disposed, while he travels to distant countries.</p> - -<p>“Allow me to call your attention to the solid frame and unflinching -nerves, at any rate to the well-seasoned constitution of -my friend. [Rap him loudly, rap, rap, rap, on the table.] The -raps he received during his education doubtless accustomed him -to bear much without flinching. Though his travels have ranged<span class="pagenum" id="Page_62">62</span> -from China to Peru, from the Equator to the Poles, you perceive -he still sounds like a hardy Pole himself. (Rap, rap, -rap.)</p> - -<p>“I perceive, however, by the glaring of his eye, that, after -my too rough handling, he is desirous of starting on his travels. -I suppose we must provide him with the needful for his expenses. -Large sums are given now-a-days to special correspondents -in foreign countries; who will kindly give him sufficient? -He will want a golden or silver key to open some curiosities -he may wish to inspect in foreign cities. (Pause.) Oh, -well, as there is a delay about it, I must myself supply him. I -think I have a few disposable coins in my pocket: he shall have -them.”</p> - -<p>Suiting the action to the word, while your left hand holds the -upper part of the cloak near the neck, so as to cover what you -are doing, you withdraw the wooden body with your right hand, -while you move your right hand down to your pocket for the -coins. You then leave the body of the doll in your pocket, and -taking out the coins, present them to the head and cloak of the -figure, which is held in your left hand, saying: “There, my -good friend, you can now, if you wish, proceed on your tour to -Algiers, or Dahomey, or Timbuctoo, or wherever the universal -Yankee travelers fancy at the present to resort.</p> - -<p>“Ah, I see he is pleased and in good spirits again. He -wishes apparently to bid you good-bye. You will excuse his -looking also round about him, to judge whether the weather is -fair to set out; after which I will lay my hand on his head to express -my good wishes for his journey. I dare say he will not -stay much longer after that than a schoolboy does after his master -has bid him good-bye.”</p> - -<p>Place with formal ceremony your hand on his head, press it -down through the opening below it, receive it in your left hand -underneath the cloak, and bestow it safely in the pocket.</p> - -<p>Affect astonishment at finding the gown alone left in your -hands, and fold it up with a lamentation at his departure. You -may say: “It is clear that he has chosen to go to a hot climate, -as he has left his cloak behind him.”</p> - -<p>Discourse for a few minutes about sending a telegram to overtake -him at London or San Francisco—talk about the sea-passage, -railways, tunnels, and what not.</p> - -<p>“Ah, but I need none of these if I wish him back. I can -summon him again by a few mystic wavings of my wand and by -secret art. Hey, my friend, I need thy presence; quick, return, -I pray you. I wish to see you again in your familiar -garb—</p> - -<div class="poetry-container"><div class="poetry"><div class="stanza"> -<div class="verse">By the pricking of my thumbs,</div> -<div class="verse">Something ghostly hither comes.”</div> -</div></div></div> -<p><span class="pagenum" id="Page_63">63</span></p> -<p>Swell out the cloak with your left hand, and at the same time -thrust up the head from the pocket. It will appear as if the -whole figure stood before them.</p> - -<p>Then say: “I fear, dear friend, I have trespassed by abridging -your tour. You can hardly have traversed Algeria, crossed the -mountains of the moon, or found the birthplace of the Nile; and -no one returns now-a-days without some such marvel to relate. -I will let you depart again. As some people say to troublesome -visitors: ‘You may depart now; please to call again to-morrow.’”</p> - -<p>Repeat the manœuvre, as before, of secreting the head. Then -exclaim: “Alas! he is gone in earnest, like the sojourner of a -day (with mock pathos.) When we have lost him, we feel our -loneliness.”</p> - -<p>Fold up sorrowfully the cloak of the departed, and so conclude -the trick.</p> - - -<h3><a id="TRICK_26"></a>TRICK 26.—The Shower of Money.</h3> - -<p>A dozen silver coins, or pennies, will be equally useful in exhibiting -this trick; but some fictitious coin, in color resembling -gold, will perhaps more effectively delight those who are charmed -by the yellow glitter of the precious metal. The performer must -have provided himself with so many of these in his left hand as -he purposes to produce at the end of the trick, and two of the -same coin also must be concealed in his right palm. He must -further borrow a hat from one of the company.</p> - -<p>The imagination of the spectators having been excited by the -expectation of beholding a shower of money, the adept in sleight-of-hand, -keeping one of the two coins in his right hand concealed, -must advance the other coin to the end of his forefinger -and thumb, while he pretends to pick a coin out of the candle, -or of the rim of a hat, or from a lady’s fan or shoulder, or may -pretend to clutch a coin floating in the air. As he brings away -his prize, he may rattle it against the other coin concealed in his -right hand. Then, making Pass 1, he may pretend to pass it -into the hat, being careful precisely at the same moment to drop, -audibly, a coin from his left hand into the hat which he holds in -that hand. Let him tell the audience to keep count how many -he collects: it will rather distract their attention.</p> - -<p>He can continue this pleasant appearance of acquiring wealth -for ten minutes, or as long as he can devise various methods of -appearing to clutch it, till the number with which he stored his -left hand is exhausted.</p> - -<p>He may then request some one to count out, audibly, into a<span class="pagenum" id="Page_64">64</span> -plate the coins collected in the hat, which will coincide with the -number he has appeared to collect so magically from various -sources. When adroitly done, this trick is very pleasing and effective.</p> - - -<h3><a id="TRICK_27"></a>TRICK 27.—To Furnish Ladies With a Magic Supply of -Tea or Coffee, at their selection, From One and the -Same Jug.</h3> - -<p class="subt">PREPARATION.</p> - -<p>Have a metal jug to hold not less than three pints. It must -be constructed with two compartments in the lower part of it, -holding about a pint and a quarter each, and these must each -have a pipe connected with the spout of the jug and another -pipe connecting with its handle, and in the handle a small hole -about the size of a letter—o—in this print. These lower compartments -must be filled with good tea and coffee before the jug -is produced.</p> - -<p>The upper chamber or compartment, like the upper portion of -a patent coffee-pot, must have no communication with the lower -divisions, and must be well closed also at the top with a tin cover, -closely fitting. Have half a dozen small tea-cups and half a -dozen small coffee-cups ready on a tray.</p> - -<p>Begin the trick by placing openly in the upper compartment -coffee-berries and tea, mixing them together. Take up, as a -sudden thought, an old blacking bottle, and pretend to pour -from it into the jug, to furnish highly-colored liquid to improve -the coffee; and a little gunpowder, about a teaspoonful, may be -fired off over the mixture to make the tea strong. Wave your -wand over the jug.</p> - -<p>Then you may address the ladies: inform them that the ingredients -are well mixed, and invite them to name which they will -prefer, “tea or coffee,” as you can produce either at their command -from the same jug.</p> - -<p>Get some friend to hand the cups, while you follow him, and, -by unstopping the holes in the handle for admitting air upon the -coffee or tea, the one of them that each lady names will flow out -from the spout of this magic jug.</p> - - -<h3><a id="TRICK_28"></a>TRICK 28.—A Pleasing Exhibition for both the Performer -and the Audience to view when they feel a -little Exhausted.</h3> - -<p class="subt">PREPARATION.</p> - -<p>Have two pint bottles and one quart bottle; the pint bottles<span class="pagenum" id="Page_65">65</span> -to be filled, one with a liquid resembling port, the other with -one resembling sherry; the large bottle to be at first empty. -Three opaque metal stands—the centre one to stand under the -quart bottle, to have a large cavity to hold a quart, and the upper -part of this stand to be full of large holes, like a cullender, -for the liquor to run from the opening at H into that cavity.</p> - -<div class="figcenter" > -<div class="caption"><span class="smcap">Fig. 24.</span></div> -<img src="images/i_065-1.jpg" alt="" /> -</div> - -<p>You must also have three metal covers, of proper size to cover -the above three bottles—these covers to have handles at top, so -as to be easily lifted. The large centre cover is simply a cover; -but the two side ones, which are to cover the pint bottles, must -be made with metal cavities large enough to hold, one a pint of -port, the other a pint of sherry, at top, with a descending pipe -to fall into the mouths of the pint bottles.</p> - -<div class="figcenter" > -<div class="caption"><span class="smcap">Fig. 25.</span></div> -<img src="images/i_065-2.jpg" alt="" /> -</div> - -<p>There must be a small hole at top of each of the small covers, -at B and C, which hole, being covered with tinfoil, will, as long -as it is closed, prevent the wine from running out at D. But -when the tinfoil is scraped off, and the hole admits the air, the -wine will then be able to run into the pint bottles.</p> - -<p>The above apparatus being all ready, commence by saying: -“I will now pour this pint of port and this pint of sherry into -the large bottle, mixing them inseparably together.” Having<span class="pagenum" id="Page_66">66</span> -done so, remove the stopper at bottom of the large bottle as you -place it on its stand, and immediately place the large cover over -it. The mixed liquid will gradually run out into the concealed -cavity in the stand.</p> - -<p>You must now talk a little magic nonsense, to draw off the attention, -while you place the special covers over each of the -small bottles, so that the descending pipes in the covers fit in -the necks of the bottles. Remove the tinfoil with which you -had covered the holes at A and B.</p> - -<p>With a few magic waves of your wand, and words of art, say: -“I shall now cause the mixed liquids in the centre bottle to appear -severally in their own original bottles.” Let the covers remain -a few seconds. Clap your hands, saying: “Change, begone!” -Lift the centre cover: the large bottle will be seen to -be empty. Lift successively the covers from the small bottles: -they will be seen to have each their proper wine—one port, the -other sherry.</p> - - -<h3><a id="TRICK_29">TRICK 29.—To Furnish a Treat to the Gentlemen.</a></h3> - -<p>For this the magic bottle must be procured. One with three -or four compartments is amply sufficient. In these place gin, -sherry, and port wine, respectively. The bottle will have three -or four holes, on which you place your fingers as if stopping the -holes of a flute. You may have a bucket of water and a common -bottle, resembling the magic one in size and appearance, -near your table. Have ready also a tray of wine-glasses of thick -glass, and holding only a very small quantity.</p> - -<p>Exhibit the common bottle to the audience, and then place it -on your table, and direct attention to some of the other articles -on your table. “Now I must begin my experiment. I will -wash and drain my bottle, that you may see the experiment from -the beginning to the end.” Place it in the bucket, and while -shaking it about, and letting the water run out, exchange it for -the magic bottle lying by the bucket. Wipe that carefully with -a napkin, as if drying it, and calling two or three of the audience -forward at a time, inquire which they prefer. Have the -stops according to alphabetical order to prevent your mistaking—gin, -port, sherry. Continue supplying the small glasses as -called for, till your bottle gets nearly empty, and then pour them -out indiscriminately. There will have been sufficient to satisfy -the most eager.</p> - -<p>But if you wish to continue the trick, yen may have a second -magic bottle prepared in the same way, and you will easily, while -propounding some magic charm and gesticulating, make some -pretence that will enable you to exchange the empty for the second -bottle, and so proceed.</p> - -<hr class="chap" /> -<div class="chapter"></div> - -<p><span class="pagenum" id="Page_67">67</span></p> - - - - -<h2 id="VENTRILOQUISM_MADE_EASY">VENTRILOQUISM MADE EASY.</h2> - - -<h3>WHAT IS VENTRILOQUISM?</h3> - -<p>Before we take the reader into the precise and minute instructions -which he will have to study and practice ere he can become -the possessor of the coveted art, it will be necessary to inform him -what Ventriloquism<a id="FNanchor_1_1" href="#Footnote_1_1" class="fnanchor">1</a> is, and in what it consists. In doing so, we -shall endeavor to be as plain and clear as possible. Ventriloquism -may be divided into two sections, or general heads, the -first of which may be appropriately designated as Polyphonism, -and consists of the simple imitation of the voices of human -creatures, of animals, of musical instruments, and sounds and -noises of every description in which no illusion is intended, but -where, on the contrary, the imitation is avowedly executed by the -mimic, amongst which we may classify sawing, planing, door-creaking, -sounds of musical instruments, and other similar imitations.</p> - -<div class="footnote"> - -<p><a id="Footnote_1_1" href="#FNanchor_1_1" class="label">1</a> -Literally signifying belly-speaking, from <i lang="la">venter</i>, the belly, and <i lang="la">loquor</i>, I -speak.</p></div> - -<p>Secondly, we have ventriloquism proper, which consists in the -imitation of such voices,, sounds, and noises, not as originating in -him, but in some other appropriate source at a given or varying -distance, in any or even in several directions, either singly or together—a -process exciting both wonder and amusement, and -which may be accomplished by thousands who have hitherto -viewed the ventriloquist as invested with a power wholly denied -by nature to themselves. It is needless to observe, that when the -imitations are effected without a movement of mouth, features, -or body, the astonishment of the audience is considerably enhanced.</p> - -<p>The terms polyphony, mimicry, or imitation, are employed -to designate results obtained in reference to the first division of -the subject, where no illusion is intended; while the term ventriloquism -distinguishes those under the second division, where -an illusion is palpably produced. The first is much more common -than the latter; indeed, there is scarcely a public school -which does not possess at least one boy capable of imitating the -mewing of a cat, the barking of a dog, or the squeaking voice of<span class="pagenum" id="Page_68">68</span> -an old woman. On the other hand, from a want of the knowledge -of <em>how</em> to proceed, it is very seldom that even a blundering -attempt at ventriloquism is heard, except from a public platform.</p> - -<p>There have been many statements put forward defining ventriloquism, -but we are decidedly of opinion that the theory of two -of the most celebrated of foreign ventriloquists, Baron de Mengen -and M. St. Gille, who were sufficiently unselfish to avow the -secret of their art, is not only the most correct, but it is at once -the most reasonable and the most natural.</p> - -<p>From Baron de Mengen’s account of himself, and the observations -made by M. de la Chapelle, in his frequent examinations of -St. Gille, whom we shall afterwards refer to, it seems that the -factitious ventriloquist voice does not (as the etymology of the -word imports) proceed from the belly, but is formed in the inner -parts of the mouth and throat.</p> - -<p>The art does not depend on a particular structure or organization -of these parts, but may be acquired by almost any one ardently -desirous of attaining it, and determined to persevere in -repeated trials.</p> - -<p>The judgments we form concerning the situation and distance -of bodies, by means of the senses mutually assisting and correcting -each other, seem to be entirely founded on experience; and -we pass from the sign to the thing signified by it immediately, or -at least without any intermediate steps perceptible to ourselves.</p> - -<p>Hence it follows that if a man, though in the same room with -another, can by any peculiar modifications of the organs of -speech, produce a sound which, in faintness, tone, body, and -every other sensible quality, perfectly resembles a sound delivered -from the roof of an opposite house, the ear will naturally, without -examination, refer it to that situation and distance; the -sound which he hears being only a sign, which from infancy he -has become accustomed, by experience, to associate with the idea -of a person speaking from a house-top. A deception of this kind -is practised with success on the organ and other musical instruments.</p> - -<p>Rolandus, in his “Aglossostomographia,” mentions, that if the -mediastinum, which is naturally a single membrane, be divided -into two parts, the speech will seem to come out of the breast, so -that the bystanders will fancy the person possessed.</p> - -<p>Mr. Gough, in the “Manchester Memoirs,” vol. v. part ii. p. -622 London, 1802, investigates the method whereby men judge by -the ear of the position of sonorous bodies relative to their own -persons.</p> - -<p>This author observes, in general that a sudden change in direction -of sound, our knowledge of which, he conceives, does not<span class="pagenum" id="Page_69">69</span> -depend on the impulse in the ear, but on other facts, will be perceived -when the original communication is interrupted, provided -there be a sensible echo. This circumstance will be acknowledged -by any person who has had occasion to walk along a valley, -intercepted with buildings, at the time that a peal of bells is ringing -in it. The sound of the bells, instead of arriving constantly at -the ears of the person so situated, is frequently reflected in a short -time from two or three different places. These deceptions are, in -many cases, so much diversified by the successive interpositions -of fresh objects, that the steeple appears, in the hearer’s judgment, -to perform the part of an expert ventriloquist on a theatre—the -extent of which is adapted to its own powers, and not to those of -the human voice.</p> - -<p>The similarity of effect which connects this phenomenon with -ventriloquism, convinced the author, whenever he heard it, that -what we know to be the cause in one instance, is also the cause in -the other, viz., that the echo reaches the ear, while the original -sound is intercepted by accident in the case of the bells <em>but by -art</em>, in the case of the ventriloquist.</p> - -<p>It is the business of the ventriloquist to amuse his admirers -with tricks resembling the foregoing delusion; and it will be readily -granted that he has a subtle sense, highly corrected by experience -to manage, on which account the judgment must be cheated -as well as the ear.</p> - -<p>This can only be accomplished by making the pulses, constituting -his words strike the heads of his hearers, not in the right -lines that join their persons and his. He must therefore, know -how to disguise the true direction of his voice; because the artifice -will give him an opportunity to substitute almost any echo he -chooses in the place of it. But the superior part of the human body -has been already proved to form an extensive seat of sound, from -every point of which the pulses are repelled as if they diverge from -a common centre. This is the reason why people, who speak -in the usual way, cannot conceal the direction of their voices, -which in reality <em>fly off towards all points at the same instant</em>. The -ventriloquist, therefore, by some means or other, acquires the -difficult habit of <em>contracting</em> the field of sound within the <em>compass of -his lips</em>, which enables him to confine the real path of his voice to -narrow limits. For he who is master of his art has nothing to -do but to place his mouth obliquely to the company, and to -dart his words out of his mouth—if the expression may be used—whence -they will then strike the ears of the audience as that -from an unexpected quarter. Nature seems to fix no bounds to -this kind of deception, only care must be taken not to let the -path of the direct pulses pass too near the head of the person who -is played upon, but the divergency of the pulses make him perceive -the voice itself. Our readers will, therefore, not be sur<span class="pagenum" id="Page_70">70</span>prised -that the French Academy adopted this view of the subject, -and laid down that the art consists in an <em>accurate imitation of any -given sound as it reaches the ear</em>. In conformity with a theory so -incontrovertible, physiologists have suggested a variety of -movements of the vocal organs to explain still further the originating -cause; and some have gone so far as to contend for a -peculiarity of structure in these organs as an essential requirement; -but they have wisely omitted to specify what. Nothing, -however, can be more accurate than the description of -“the <em>essence</em>” of ventriloquy in the “English Cyclopædia”—namely, -that it “<em>consists in creating illusions as to the distance and direction -whence a sound has travelled</em>.” How those sounds are produced, -we shall show in another chapter,</p> - - -<h3><a id="VENTRILOQUISM_AMONGST_THE_ANCIENTS"></a>VENTRILOQUISM AMONGST THE ANCIENTS.</h3> - -<p>Charles Lamb gave utterance to the thought that it was -“pleasant to contemplate the head of the Ganges,” but the -student of ventriloquism finds it difficult to obtain a view of -the source of his art. In the dim and misty ages of antiquity, -he may trace under various guises the practice of it. Many of -the old superstitions were fostered by its means; from the cradle -of mankind to the birthplace of idolatry, we incidentally -learn of the belief in a familiar spirit—a second voice, which -afterwards took the form of divination.</p> - -<p>The various kinds of divination amongst the nations of antiquity -which were stated by the priesthood to be by a spirit, a -familiar spirit, or a spirit of divination, are now supposed to have -been effected by means of ventriloquism. Divination by a familiar -spirit can be tracked through a long period of time. By -reference to Leviticus xx. 27 it will be seen that the Mosaic law -forbade the Hebrews to consult those having familiar spirits, and -to put to death the possessor. The Mosaic law was given about -fifteen hundred years before Christ. Divining by a familiar -spirit was, however, so familiar to the Jews, that the prophet -Isaiah draws a powerful illustration from the kind of voice heard -in such divination, see Isaiah xxix. 4.</p> - -<p>There can be little doubt but the Jews became acquainted with -this voice during their compulsory captivity in Egypt. In many -of the mysteries which accompanied the worship of Osiris, the -unearthly voice speaking from hidden depths of unknown heights -was common. Some philosophers have imagined that a series of -tubes and acoustical appliances were used to accomplish these -mysterious sounds. The statute of Memnon will instantly suggest -itself as a familiar instance. The gigantic stone-head was<span class="pagenum" id="Page_71">71</span> -heard to speak when the first rays of the worshipped sun glanced -on its impassive features. The magic words were undoubtedly -pronounced by the attendant priest, for we find a similar trick -prevalent throughout the whole history of ventriloquism, and -even now the public professors of the art know how much depends -on fixing the attention of their audience on the object or -place from whence the sound is supposed to proceed. The Jews -carried the art with them into Palestine, for we trace the agency -throughout their history.</p> - -<p>The Greeks practised a mode of divination termed gastromancy, -where the diviner replied without moving his lips, so that the -consulter believed he heard the actual voice of a spirit speaking -from its residence within the priest’s belly.</p> - -<p>In the Acts of the Apostles (xvi. 16), mention is made of a -young woman with a familiar spirit meeting the Apostles in the -city of Philippi, in Macedonia,—St. Chrysostom and other early -Fathers of the Christian Church mention divination by a familiar -spirit as practised in their day. The practice of similar divination -is still common in the East; it lingers on the banks of the -Nile, and is even practised among the Esquimaux. This divination -by a familiar spirit has been practised upwards of three -thousand years.</p> - - -<h3><a id="MODERN_PROFESSORS_OF_THE_ART"></a>MODERN PROFESSORS OF THE ART.</h3> - -<p>The earliest notice of ventriloquial illusion, as carried out in -modern times, has reference to Louis Brabant, <i lang="fr">valet-de-chambre</i> of -Francis I., who is said to have fallen in love with a beautiful and -rich heiress, but was rejected by the parents as a low, unsuitable -match. However, the father dying, he visits the widow; and on -his first appearance in the house she hears herself accosted in a -voice resembling that of her dead husband, and which seemed to -proceed from above. “Give my daughter in marriage to Louis -Brabant, who is a man of great fortune and excellent character. -I now endure the inexpressible torments of purgatory, for having -refused her to him; obey this admonition and I shall soon be -delivered; you will provide a worthy husband for your daughter, -and procure everlasting repose to the soul of your poor husband.”</p> - -<p>The dread summons, which had no appearance of proceeding -from Louis, whose countenance exhibited no change, and whose -lips were close and motionless, was instantly complied with; but -the deceiver, in order to mend his finances for the accomplishment -of the marriage contract, applies to one Cornu, an old and -rich banker at Lyons, who had accumulated immense wealth by<span class="pagenum" id="Page_72">72</span> -usury, and extortion, and was haunted by remorse of conscience. -After some conversation on demons and spectres, the pains of purgatory, -&c., during an interval of silence, a voice is heard, like -that of the banker’s deceased father, complaining of his dreadful -situation in purgatory, and calling upon him to rescue him from -thence, by putting into the hands of Louis Brabant, then with -him, a large sum for the redemption of Christians in slavery with -the Turks; threatening him at the same time with eternal damnation -if he did not thus expiate his own sins. Upon a second interview, -in which his ears were saluted with the complaints and -groans of his father, and of all his deceased relations, imploring -him, for the love of God, and in the name of every saint in the -calendar, to have mercy on his own soul and others, Cornu -obeyed the heavenly voice, and gave Louis 10,000 crowns, with -which he returned to Paris, and married his mistress.</p> - -<p>The works of M. L’Abbe La Chapelle, issued 1772, and before -alluded to, contain descriptions of the ventriloquial achievements -of Baron Mengen at Vienna; and those of M. St. Gille, -near Paris, are equally interesting and astonishing. The former -ingeniously constructed a doll with moveable lips, which he -could readily control by a movement of the fingers under the -dress; and with this automaton he was accustomed to hold humorous -and satirical dialogues. He ascribed proficiency in his -art to the frequent gratification of a propensity for counterfeiting -the cries of the lower animals, and the voices of persons with -whom he was brought in contact. So expert, indeed, had practice -rendered him in this way, that the sounds uttered by him did -not seem to issue from his own mouth. La Chapelle, having -heard many surprising circumstances related concerning one M. -St. Gille, a grocer at St. Germainen-Laye, near Paris, whose powers -as a ventriloquist had given occasion to many singular and diverting -scenes, formed the resolution of seeing him. Being seated -with him on the opposite side of a fire, in a parlor on the ground -floor, and very attentively observing him, the Abbe, after half an -hour’s conversation with M. St. Gille, heard himself called, on a -sudden, by his name and title, in a voice that seemed to come from -the roof of a house at a distance; and whilst he was pointing to -the house from which the voice had appeared to him to proceed, -he was yet more surprised at hearing the words, “it was not -from that quarter,” apparently in the same kind of voice as before, -but which now seemed to issue from under the earth at one -of the corners of the room. In short, this factitious voice played, -as it were, everywhere about him, and seemed to proceed from -any quarter or distance from which the operator chose to transmit -it to him. To the Abbe, though conscious that the voice proceeded -from the mouth of M. St. Gille, he appeared absolutely -mute while he was exercising his talent; nor could any change<span class="pagenum" id="Page_73">73</span> -in his countenance be discovered. But he observed that M. -St. Gille presented only the profile of his face to him while he -was speaking as a ventriloquist.</p> - -<p>On another occasion, M. St. Gille sought for shelter from a -storm in a neighboring convent; and finding the community in -mourning, and inquiring the cause, he was told that one of their -body, much esteemed by them, had lately died. Some of their religious -attended him to the church, and showing him the tomb of -their deceased brother, spoke very feelingly of the scanty honors -that had been bestowed on his memory, when suddenly, a -voice was heard, apparently proceeding from the roof of the -choir, lamenting the situation of the defunct in purgatory, and -reproaching the brotherhood with their want of zeal on his account. -The whole community being afterwards convened in the -church, the voice from the roof renewed its lamentations and reproaches, -and the whole convent fell on their faces, and vowed a -solemn reparation. Accordingly, they first chanted a <i lang="la">De profundis</i> -in full choir; during the intervals of which the ghost occasionally -expressed the comfort he received from their pious -exercises and ejaculations in his behalf. The prior, when this -religious service was concluded, entered into a serious conversation -with M. St. Gille, and inveighed against the incredulity of -our modern sceptics and pretended philosophers on the article of -ghosts and apparitions; and St. Gille found it difficult to convince -the fathers that the whole was a deception.</p> - -<p>M. St. Gille, in 1771, submitted his attainments in this direction -to several experiments before MM. Leroy and Fouchy, Commissioners -of the Royal Academy of Sciences, and other persons of -exalted rank, in order to demonstrate that his mimicry was so -perfect as to reach the point of complete illusion. For this purpose -a report was circulated that a spirit’s voice had been heard at -times in the environs of St. Germain, and that the commission was -appointed to verify the fact. The company, with the exception -of one lady, were apprised of the real nature of the case, the intention -being to test the strength of the illusion upon her. The -arrangement was that they should dine together in the country, in -the open air; and while they were at table, the lady was addressed -in a supernatural voice, now coming from the top of -adjoining trees, then descending until it approached her, next receding -and plunging into the ground, where it ceased. For upwards -of two hours was this startling manifestation continued -with such adroitness that she was convinced the voice belonged -to a person from another world, and subsequent explanation -failed to convince her to the contrary.</p> - -<p>M. Alexandre, the famous ventriloquist, had an extraordinary -facility in counterfeiting all the expressions of countenance and -bodily conditions common to humanity. When in London, -his mimetic powers, which he was fond of exercising both in pub<span class="pagenum" id="Page_74">74</span>lic -and private, made his company in high request among the upper -circles. The Lord Mayor of the City, in particular, received -the ventriloquist with great distinction, and invited him several -times to dine at the Mansion House. But it unluckily happened -that on every occasion when M. Alexandre dined there, he could -not stay to spend the evening, having contracted engagements -elsewhere. The Lord Mayor expressed much regret at this, and -the ventriloquist himself was annoyed on the same account, being -willing to do his best to entertain the guests whom the Lord Mayor -had asked each time to meet him.</p> - -<p>At last, on meeting M. Alexandre one day, the Lord Mayor engaged -him to dine at the Mansion House on a remote day. “I fix -it purposely,” said his lordship, “at so distant a period, because -I wish to make sure this time of your remaining with us through -the evening.” Through fear of seeming purposely to slight his -lordship, M. Alexandre did not dare to tell the Mayor that on -that very morning he had accepted an invitation from a nobleman -of high rank to spend at his house the evening of the -identical day so unfortunately pitched on by the civic dignitary. -All the ventriloquist said in reply was, “I promise, my lord to -remain at the Mansion House, till you, yourself think it time for -me to take my leave.” “Ah, well,” said the Lord Mayor, and -he went off perfectly satisfied.</p> - -<p>At the appointed day Alexandre sat himself down at the magistrate’s -board. Never had the ventriloquist comported himself -with so much spirit and gaiety. He insisted on devoting bumpers -to each and every lady present.</p> - -<p>The toasts went round, the old port flowed like water, and the -artiste in particular seemed in danger of loosing his reason under -its potent influence. When others stopped, he stopped not, but -continued filling and emptying incessantly. By and by, his eyes -began to stare, his visage became purple, his tongue grew confused, -his whole body seemed to steam of wine, and finally he -sank from his chair in a state of maudlin, helpless insensibility.</p> - -<p>Regretting the condition of his guest, the Lord Mayor got him -quietly lifted, and conveyed to his own carriage, giving orders for -him to be taken home to his lodgings. As soon as M. Alexandre -was deposited there, he became a very different being. It was -now ten o’clock, and but half an hour was left to him to prepare -for his appointed visit to the Duke of ——’s <i lang="fr">soiree</i>. The ventriloquist -disrobed himself, taking first from his breast a quantity of -sponge which he had placed beneath his waist coat, and into the -pores of which he had, with a quick and dexterous hand, poured -the greater portion of the wine which he had apparently swallowed.</p> - -<p>Having washed from his person all tokens of his simulated in<span class="pagenum" id="Page_75">75</span>toxication, -and dressed himself anew, M. Alexandre then betook -himself to the mansion of the nobleman to whom he had engaged -himself.</p> - -<p>On the following day the fashionable newspapers gave a detailed -account of the grand party at his Grace the Duke of ——’s, -and eulogized to the skies the entertaining performances of M. -Alexandre, who, they said, had surpassed himself on this occasion. -Some days afterwards, the Lord Mayor encountered M. -Alexandre. “Ah, how are you?” said his lordship. “Very -well, my lord,” was the reply. “Our newspapers are pretty -pieces of veracity,” said his lordship. “Have you seen the -<cite>Courier</cite> of the other day? Why, it makes you out to have exhibited -in great style last Thursday night at his Grace of ——’s!” “It -has but told the truth,” said the mimic. “What? impossible!” -cried the Mayor. “You do not remember, then, the state into -which you unfortunately got at the Mansion House?” And -thereupon the worthy magistrate detailed to the ventriloquist the -circumstances of his intoxication, and the care that had been -taken with him, with other points of the case. M. Alexandre -heard his lordship to an end, and then confessed the stratagem -which he had played off, and the cause of it.</p> - -<p>“I had promised,” said Alexandre, “to be with his Grace at -half-past ten. I had also promised not to leave you till you yourself -considered it fit time. I kept my word in both cases—you -know the way.” The civic functionary laughed heartily, and on -the following evening Alexandre made up for his trick by making -the Mansion House ring with laughter till daylight.</p> - -<p>Many anecdotes are told respecting M. Alexandre’s power of -assuming the faces of other people. At Abbotsford, during a -visit there, he actually sat to a sculptor five times in the character -of a noted clergyman, with whose real features the sculptor -was well acquainted. When the sittings were closed and -the bust modelled, the mimic cast off his wig and assumed dress, -and appeared with his own natural countenance, to the terror -almost of the sculptor, and to the great amusement of Sir -Walter and others who had been in the secret.</p> - -<p>Of this most celebrated ventriloquist it is related that on -one occasion he was passing along the Strand, when a friend desired -a specimen of his abilities. At this instant a load of hay -was passing along near Temple Bar, when Alexandre called attention -to the suffocating cries of a man in the centre of the hay. -A crowd gathered round and stopped the astonished carter, and -demanded why he was carrying a fellow-creature in his hay. -The complaints and cries of the smothered man now became -painful, and there was every reason to believe that he was dying. -The crowd, regardless of the stoppage to the traffic, instantly -proceeded to unload the hay into the street. The smothered<span class="pagenum" id="Page_76">76</span> -voice urged them to make haste, but the feelings of the people -may be imagined when the cart was empty and nobody was found, -while Alexandre and his friend walked off laughing at the unexpected -results of their trick.</p> - -<p>It would be obviously invidious to compare the merits of living -professors. Mr. Maccabe, Mr. Gallagher, Mr. Thurton and -Mr. Macmillan have long been favorites with the public.</p> - - -<h3><a id="THE_THEORY_OF_VENTRILOQUISM"></a>THE THEORY OF VENTRILOQUISM.</h3> - -<p>Many physiologists aver that ventriloquism is obtained by -speaking during the inspiration of air. It is quite possible to articulate -under these circumstances, and the plan may with advantage -be occasionally adopted; but our own practical experience -and close observation of many public performers, and of not -a few private friends who have attained distinctness and no -small amount of facility in the art, convince us that the general -current of utterance is, as in ordinary speech, during <em>expiration</em> -of the breath. Some imagine that the means of procuring the -required imitation are comprised in a thorough management of -the echoes of sound. Unfortunately, however, for this theory, -an echo only repeats what has been already brought into existence. -Several eminent ventriloquists, including the late Mr. -Matthews, have displayed the vocal illusion while walking in -the streets. Baron Mengen describes as follows his mode of -speaking, when he desired the illusion to take the direction -of a voice emanating from the doll: “<em>I press my tongue against -the teeth, and then circumscribe a cavity between my left check and -teeth, in which the voice is produced by the air held in reserve in the -pharynx</em>. The sounds thus receive a hollow and muffled tone, -which causes them to appear to come from a distance.” The -Baron furthermore mentions that it is essential to have the breath -well under control, and not to respire more than can be avoided. -M. St. Gille was seen to look somewhat exhausted when the vocal -illusion grew less perfect. We ourselves, and all ventriloquists -with whom we have conferred, have acknowledged that -they have experienced fatigue in the chest, and have attributed -it to the slow expiration of the breath. M. St. Gille, with the -majority of ventriloquists, was often compelled to cough during -the progress of his exercitation.</p> - -<p>To attain an exact and positive knowledge of the modifications -of voice specified as ventriloquism, it is important to be familiar -with the distinctions of the sounds uttered by the mouth; and to -ascertain how the organs act in producing those vocal modifications, -it is necessary to know how the breath is vocalized in all<span class="pagenum" id="Page_77">77</span> -distinctions of pitch, loudness, and quality, by the ordinary actions -of the vocal organs. In ordinary language, we speak of -noise, of common sound, and of musical sound-terms employed -by Dr. Thomas Young in illustrating the mechanical agencies of -articulation:—“A quill striking against a piece of wood causes a -noise, but striking successively against the teeth of a wheel, or of -a comb, a continued sound, and, if the teeth of the wheel are at -equal distances, and the velocity of the rotation is constant, a -musical sound. The general terms—pitch, loudness, quality, and -duration, embrace all the distinctions with which the musician -has to deal, and which he uses in his art.”</p> - -<p>The distinguishing feature of musical sound is its uniform -pitch throughout its duration, and acoustically musical sound is -composed of an equal number of impulses or noises produced in -equal tones.</p> - -<p>The general terms—pitch, loudness, quality, and duration, also -embrace all the distinctions heard in ordinary sounds. These -sounds differ from the musical in the pitch constantly varying -throughout their duration, as the human voice in speaking, and -the voice of quadrupeds. Acoustically such sounds are composed -of an unequal number of impulses or noises produced in equal -tones. And from this circumstance pitch, in the strictly musical -sense, is not a property of ordinary sound.</p> - -<p>The general terms—loudness and quality, embrace all the distinctions -heard in a noise, as in the collision of two unelastic -sticks. Pitch and duration can scarcely be considered as belonging -to common noise. Thus we have—(1) noise whose audible -distinctions are comprehended under the general terms loudness -and quality; (2) common sound, whose audible distinctions are -comprehended under the general terms—loudness, quality, -duration, and every varying pitch; (3) musical sound, whose -audible distinctions are comprehended under the general terms—loudness, -quality, duration, and uniform pitch.</p> - -<p>Phonation, or the production of voice, is a result of actions -taking place under two distinct classes of laws—namely, the ordinary -mechanical laws of acoustics, and the physiological laws -of muscular movement. The adjustment of the vocal mechanism -to be brought into operation by the current of air, is made by -actions under the latter laws; and phonation is the result of the -reaction of the mechanism on the current of air, by mechanical -movements under the former laws. Now, the pitch of the voice -essentially depends on the tension of the vocal ligaments; the -loudness or the extent of the excursion of these ligaments in their -vibration; the duration on the continuance of the vocalizing -causes; the quality on the organization of the larynx, and also -on the form and size of the vocal tube. The form and size of -this tube can be altered in various ways—for instance, by dilating<span class="pagenum" id="Page_78">78</span> -or contracting the pharynx; by dilating or contracting the -mouth; by contracting the communication between the pharynx -and mouth, so as to constitute them distinct chambers, or by dilating -the opening so as to throw them into one, which is chiefly -attained by movements of the soft palate; and by altering the -form of the mouth’s cavity, which is effected by varying the position -of the tongue. Each of these modifications of the vocal tube conveys -a peculiarity of quality to the voice,—all, however, being -local or laryngeal sounds. Moreover, sounds can be produced in -the vocal tube, apart from the larynx. These, strictly speaking, -are not vocal sounds, though some of them may be of a definite and -uniform pitch, while others are mere noises—as rustling, whispering, -gurgling, whistling, snoring, and the like. Now, as everything -audible comes under the classes of noise, sound, or musical -sound, and as each variety originates in the vocal apparatus of man, -it is obvious that <em>an ordinary vocal apparatus is all that is required for -the achievement of the feats</em> of ventriloquism.</p> - -<p>A person having an ear acutely perceptive to the nice distinctions -of sounds, may, by a little practice, imitate many sounds -with accuracy. Those persons, however, who are highly endowed -with the mental requisites, which consist of an intense desire -to mimic, coupled with the ability to originate mimetic ideas, are -able to imitate sounds at first hearing.</p> - -<p>We next proceed to treat of those illusions, where the voice so -perfectly counterfeits the reality intended, that it appears not to -issue from the mimic, but from an appropriate source, in whatever -direction, and at whatever distance the source may be. We -do not hear the distance which a sound has travelled from its -source, but we judge the distance from our former experience, by -comparing the loudness which we hear with the known distance -and known loudness of similar sounds heard on former occasions. -Common experience will prove that we oftener err in estimating -the distance of uncommon than of familiar sounds. In apology -for such an error, the ordinary language is, “It seemed too loud -to come so far,” or “It seemed too near to be so faint a sound,” -as the case may be,—both of which are apologies for an erroneous -judgment, and not for faulty hearing. Near sounds are louder -than distant ones. Now, by preserving the same <em>pitch</em>, <em>quality</em>, and -<em>duration</em>, but with an <em>accurately graduated reduction of loudness</em>, a series -forming a <em>perspective</em> of sounds may be created, which, falling in -succession on the ear, will suggest to the mind a constantly increasing -distance of the sound’s source. The estimate, then, -which is formed of the distance which a sound has travelled before -reaching the ear is a judgment of the mind formed by comparing -a present perception (by hearing) with the remembrance of -a former loudness in connection with its known distance. With -regard to direction, it is observed,<span class="pagenum" id="Page_79">79</span> “The direction whence a sound -comes seems to be judged of by the right of left ear receiving the -stronger impression, which, however, can only take place when -the sound’s source is in a plane, or nearly so, with a line passing -through both cars. It is familiarly known that a person in a -house cannot by the noise of an approaching carriage judge with -certainty whether it is coming from the right or left. He accurately -judges it to be approaching, passing, or receding, as the -case may be, by the gradations of loudness, but is unable to decide -with certainty whether its approach or recession is from up -or down the street. Enough has been stated to show that we do -not <em>hear</em>, but that we judge <em>the direction a sound has travelled from its -source on reaching the ear</em>.” The ventriloquist indicates, either directly -or indirectly, the direction from which he wishes his -audience to believe the sound is coming. Thus he directly indicates -it by words, such as—“Are you up there?” “He is up the -chimney,” “He is in the cellar,” “Are you down there?” &c., -as illustrated in the various examples. He indirectly indicates it -by some suggestive circumstance, as an action or gesture, which -is so skilfully unobtrusive and natural as to effect its object without -being discovered. Thus, when the ventriloquist looks or -listens in any direction, or even simply turns towards any point, -as if he expected sound to come thence, <em>the attention of an audience -is by that means instantly directed also to the same place</em>. Thus, before a -sound is produced, the audience expect it to come in the <em>suggested -direction</em>; and the ventriloquist has merely, by his <em>adjustment of -vocal loudness</em>, to indicate the necessary distance, when a <em>misjudgment -of the audience will complete the illusion which he has begun</em>.</p> - -<p>The effect which is produced on sound by its travelling from a -distance, is observed to be:—</p> - -<p>(1) That its loudness is reduced in proportion to its distance.</p> - -<p>(2) That its <em>pitch</em> remains unaltered.</p> - -<p>(3) That its <em>quality</em> or <em>tone</em> is somewhat altered.</p> - -<p>(4) That its duration remains unaltered.</p> - -<p>(5) That the human speech is <em>somewhat obscured</em>, chiefly in the -<em>consonant</em> sounds.</p> - -<p>It must be remembered that the ventriloquist makes the sound, -not as it is heard at its source, <em>but as it is heard after travelling from a -distance</em>.</p> - - -<h3><a id="THE_MEANS_BY_WHICH_IT_IS_EFFECTED"></a>THE MEANS BY WHICH IT IS EFFECTED.</h3> - -<p>Before entering upon the first and easy lessons, it will be as well -to consider the means by which the effect is produced. The Student -is supposed to have made himself thoroughly acquainted<span class="pagenum" id="Page_80">80</span> -with the previous chapter, as to the effect to be produced, <em>not on -himself</em>, but <em>on the spectators and audience</em>. And we may assure him, -that if he has a fair range of voice, a diligent observance of the -rules which we are about to lay down, coupled with attention to -the nature of sound as it falls upon the ear, will lead him to such -triumphs as, in all probability, he never imagined he could have -attained—an assurance which we are emboldened to offer from -<em>our own pursuit and practical realization of the art</em>.</p> - -<p>The student must bear in mind that the means are <em>simply natural -ones</em>, used in accordance with <em>natural laws</em>. We have given him -the acoustical theory of the effect on the auric nerve, and the -means are the organs of respiration and sound, with the adjoining -muscles. They are the diaphragm, the lungs, the trachea, the -larynx, the pharynx, and the mouth. The diaphragm is a very -large convex muscle, situated below the lungs, and having full -power over respiration. The lungs are the organs of respiration, -and are seated at each side of the chest; they consist of air-tubes -minutely ramified in a loose tissue, and terminating in very small -sacs, termed air-cells. The trachea is a tube, the continuation of -the larynx, commonly called the windpipe: through this the air -passes to and from the lungs. It is formed of cartilaginous rings, -by means of which it may be elongated or shortened. The larynx -is that portion of the air-tube immediately above the trachea: its -position is indicated by a large projection in the throat. In the -interior of this part of the throat are situated the vocal chords. -They are four bands of elastic substance somewhat similar to -India-rubber. The cavity, or opening between these vocal -chords is called the glottis: it possesses the power of expanding -or contracting under the influence of the muscles of the larynx. -The pharynx is a cavity above the larynx, communicating with -the nasal passages: it is partially visible when the mouth is -opened and the tongue lowered. Near this part of the root of the -tongue is situated the epiglottis, which acts as a lid or cover in -closing over the air-tube during the act of swallowing. The mouth -forms a cavity to reflect and strengthen the resonance of the vibrations -produced in the air-tube; it also possesses numberless -minute powers of contraction and modification.</p> - -<p>We now proceed to give the instructions to which we have referred—instructions -guaranteed by a proficiency which we are -ever ready to submit to the ordeal of a critical examination, either -in private or in public.</p> - -<p>If the student will pay strict attention to the parts printed in -<em>italics</em>, and will practice the voices here specified, he will find that -they are the <em>key to all imitative sounds and voices</em>; and, according to -the range of his voice and the capabilities of his mimetic power, -he will be enabled to imitate the voices of little children, of old -people, and, in fact, almost every sound which he hears.</p> - -<p><span class="pagenum" id="Page_81">81</span></p> - -<p>Too much attention cannot be bestowed on the <i>study of sound as -it falls on the ear</i>, and an endeavor to imitate it as it is heard—<i>for -the “secret” of the art is, that as perspective is to the eye so is -ventriloquism to the ear</i>. When we look at a painting of a landscape, -some of the objects appear at a distance; but we know -that it is only the skill of the artist which has made it appear as -the eye has seen it in reality. In exactly the same manner a ventriloquist -acts upon and deceives the ear, by <i>producing sounds</i> as -they are heard from any known distances.</p> - - -<h3><a id="PRACTICAL_ILLUSTRATIONS"></a>PRACTICAL ILLUSTRATIONS.</h3> - -<p class="center"><span class="smcap">No. I.</span></p> - -<p class="subt">THE VOICE IN THE CLOSET</p> - -<p>This is the voice in which Mr. Frederic Maccabe, the celebrated -mimic and ventriloquist, excels, and the clever manner in -which he can adapt it off-hand, as it were, will be best illustrated -by the fact mentioned to us by the gentleman in question, whom -we call Mr. B. in Mr. Maccabe’s presence. Mr. B., who was an -invalid, suffering from some nervous disorder, originating by overwork -and anxiety, was travelling in Ireland in search of health, -and when on his way from Dublin to Cork, he lay exhausted in a -corner of a railway-carriage, muffled up in cloaks and wrappers -in a paroxysm of pain. At Mallow, two gentlemen entered -the carriage, one of whom was in exuberant spirits, and commenced -telling some amusing anecdotes. At length the porter came -to collect the tickets. They were all handed in but one, when the -following colloquy ensued:—</p> - -<p><i>Porter.</i>—A gentleman hasn’t given me his ticket.</p> - -<p><i>Gentleman.</i>—Bill, in the next compartment, has the ticket, (tapping -at the partition). Haven’t you, Bill?</p> - -<p>The imaginary Bill, who appeared to be suffering from a severe -cold, replied that he had, and the porter would not take -it. The official went off to find the ticket, but Bill, in the -mean time had vanished. Back came the porter and indignantly -demanded the ticket. He was interrupted by a shrill -voice in the opposite compartment, crying,—“Porter! porter! -why don’t you come and take the ticket! There’s some one -insulting me!” Away went the chivalric porter, to come back -puzzled and chafed to receive the ticket, which was handed to -him. His hand had not reached the coveted piece of pasteboard, -ere the yell of a terrier under the wheels caused the porter to -draw back, amid bursts of laughter, during which the ticket<span class="pagenum" id="Page_82">82</span> -was thrown out, and the train moved on. And Mr. Frederic -Maccabe stood confessed, but not penitent.</p> - -<p><i>Voice No 1.</i>—To acquire this voice, which we so name for distinction’s -sake, speak any word or sentence in your own natural -tones; then open the mouth and <i>fix the jaws</i> fast, as though you -were trying to hinder any one from opening them farther or shutting -them; draw the tongue back in a ball; speak the same -words, and the sound, instead of being formed in the mouth will -be formed in the pharynx. Great attention must be paid to -holding the jaws rigid. The sound will then be found to imitate -a voice heard from the other side of a door when it is -closed, or under a floor, or through a wall. To ventriloquize -with this voice, let the operator stand with his back to the audience -against a door. Give a gentle tap at the door, and call -aloud in a natural voice, inquiring “Who is there?” This will -have the effect of drawing the attention of the audience to a -person supposed to be outside. Then fix the jaw as described, -and utter in voice No. 1, any words you please, such as -“I want to come in.” Ask questions in the natural voice and -answer in the other. When you have done this, open the door -a little, and hold a conversation with the imaginary person. As -the door is now open, it is obvious that the voice must be altered, -for a voice will not sound to the ear when a door is open the -same as when closed. Therefore the voice must be made to <i>appear</i> -face to face, or close to the ventriloquist. To do this the -voice must not be altered from the <i>original note</i> or <i>pitch</i>, but be -made in another part of the mouth. This is done by closing the -lips tight and drawing one corner of the mouth downwards, or -towards the ear. Then let the lips open at that corner only, the -other part to remain closed. Next breathe, as it were, the words -out of the orifice formed. Do not speak distinctly, but expel the -breath in short puffs at each word, and as loud as possible. By -so doing you will <i>cause the illusion</i> in the mind of the listeners, -that they hear the same voice which they heard when the door -was closed, but which is now heard more distinctly and nearer -on account of the door being open. This voice must always be -used when the ventriloquist wishes it to appear that the sound -comes from some one close at hand, but through an obstacle. -The description of voice and dialogue may be varied as in the following -examples—</p> - -<p><span class="smcap">Ex. 1. The Suffocated Victim.</span>—This was a favorite illustration -of Mr. Love, the polyphonist. A large box or close cupboard -is used indiscriminately, as it may be handy. The student -will rap or kick the box apparently by accident. The voice will -then utter a hoarse and subdued groan, apparently from the box -or closet.</p> - -<p><span class="pagenum" id="Page_83">83</span></p> - -<p><span class="smcap">Student</span> (<i>pointing to the box with an air of astonishment</i>): What -is that?</p> - -<p><span class="smcap">Voice</span>: I won’t do so any more. I am nearly dead.</p> - -<p><span class="smcap">Student</span>: Who are you? How came you there?</p> - -<p><span class="smcap">Voice</span>: I only wanted to see what was going on. Let me -out, do.</p> - -<p><span class="smcap">Student</span>: But I don’t know who you are.</p> - -<p><span class="smcap">Voice</span>: Oh yes, you do.</p> - -<p><span class="smcap">Student</span>: Who are you?</p> - -<p><span class="smcap">Voice</span>: Your old schoolfellow, Tom, ——. You know me.</p> - -<p><span class="smcap">Student</span>: Why, he’s in Canada.</p> - -<p><span class="smcap">Voice</span> (<i>sharply</i>): No he ain’t, he’s here; but be quick.</p> - -<p><span class="smcap">Student</span> (<i>opening the lid</i>): Perhaps he’s come by the underground -railroad? Hallo!</p> - -<p><span class="smcap">Voice</span> (<i>not so muffled as described in direction</i>): Now then, give us -a hand.</p> - -<p><span class="smcap">Student</span> (<i>closing the lid or door sharply</i>): No, I won’t.</p> - -<p><span class="smcap">Voice</span> (<i>as before</i>): Have pity (<i>Tom, or Jack, or Mr. ——, as the -case may be</i>), or I shall be choked.</p> - -<p><span class="smcap">Student</span>: I don’t believe you are what you say.</p> - -<p><span class="smcap">Voice</span>: Why don’t you let me out and see before I am dead?</p> - -<p><span class="smcap">STUDENT</span> (<i>opening and shutting the lid or door and varying the -voice accordingly</i>): Dead! not you. When did you leave Canada?</p> - -<p><span class="smcap">Voice</span>: Last week. Oh? I am choking.</p> - -<p><span class="smcap">Student</span>: Shall I let him out? (<i>opening the door</i>). There’s no -one here.</p> - -<p>2. <span class="smcap"> The Milkman at the Door.</span>—This affords a capital opportunity -of introducing a beggar, watercress or milkman, and -may be varied accordingly. We will take Skyblue, the milkman; -and we would impress on the student, that, although we give -these <i>simple</i> dialogues, <i>they are merely intended as illustrations for the -modest tyro</i>, not to be implicitly followed when greater confidence -and proficiency are attained.</p> - -<p><span class="smcap">Voice</span>: Milk below!</p> - -<p><span class="smcap">Student</span>: Is it not provoking that a milkman always comes -when he is not wanted, and is absent when we are waiting for -the cream?</p> - -<p><span class="smcap">Voice</span>: (<i>whistling a bar of “Shoo Fly”</i>).</p> - -<p><span class="smcap">Student</span>: Oh, yes, always the broken-hearted milkman as if -he was not as happy as a king.</p> - -<p><span class="smcap">Voice</span> (<i>nearer</i>): Milk below! Why, Sally, where’s the can?</p> - -<p><span class="smcap">Student</span>: Sally will be long in answering, I think.</p> - -<p><span class="smcap">Voice</span>: Sally’s gadding with the police. Milk below!</p> - -<p><span class="smcap">Student</span> (<i>slightly opening the door</i>): We don’t want any milk, my -good man.</p> - -<p><span class="smcap">Voice</span>: No skim milk for the cat, or cream for tea?</p> - -<p><span class="pagenum" id="Page_84">84</span></p> - -<p><span class="smcap">Another Voice</span>: Watercresses!</p> - -<p><span class="smcap">Student</span>: Really, this is too bad. Go away.</p> - -<p><span class="smcap">Voice</span>: You owe me ten cents for last week’s milk; I was to -wait.</p> - -<p><span class="smcap">Student</span>: This is intolerable. I’ll send for the police.</p> - -<p><span class="smcap">Voice</span> [<i>ironically</i>]: Send for Sally and p’lice, I’ll foller.</p> - -<p><span class="smcap">Student</span>: Impudent rascal.</p> - -<p><span class="smcap">Voice</span>: Keep your compliments at home, Master Idlebones.</p> - -<p><span class="smcap">Student</span> [<i>opining the door</i>]: I’ll report you to your master.</p> - -<p><span class="smcap">Voice</span> [<i>louder, as the door is opened</i>]: Will you, young Whippersnapper, -pay us the dime, and let us go?</p> - -<p><span class="smcap">Student</span> offers to pay, while the voice gets weaker in the distance -with “Milk below!” until it becomes inaudible.</p> - -<p>A conversation may be held in a similar strain with <i>cellarman</i>: -and, as a rule, the lower notes of the voice will be best for voices -in the basement, and formed as low in the chest as possible.</p> - -<p><span class="smcap">Student</span>: Thomas, are you coming?</p> - -<p><span class="smcap">Voice below</span> [<i>gruffly</i>]: I should think I was.</p> - -<p><span class="smcap">Student</span>: We are waiting for the beer.</p> - -<p><span class="smcap">Voice</span> [<i>partly aside</i>]: The longer you wait, the greater our honor. -Mary, have another drop.</p> - -<p><span class="smcap">Student</span>: Why, the scamp is drinking the beer! Thomas! -Who’s there with you?</p> - -<p><span class="smcap">Voice</span>: Myself. [<i>Aside</i>] Make haste with the pot, Mary; he’s -in such a hurry.</p> - -<p><span class="smcap">Student</span>: You drinking rascal, how dare you!</p> - -<p><span class="smcap">Voice</span>: Coming, sir. The barrel’s nearly empty.</p> - -<p><span class="smcap">Student</span>: I should think so, tippling as you are at it.</p> - -<p><span class="smcap">Voice</span>: Now don’t be saucy.</p> - -<p><span class="smcap">Student</span>: The fellow is getting intoxicated. Thomas!</p> - -<p><span class="smcap">Voice</span>: Wait till I come. I have waited for you many times.</p> - -<p><span class="smcap">Student</span>: I suppose it is of no use hurrying you?</p> - -<p><span class="smcap">Voice</span>: No, it isn’t, my young tippler. I’m <span class="smcap">COMING</span>! <i>coming!!</i> -coming!!!</p> - -<p>From this illustration the student may proceed to try the second -voice.</p> - - -<p class="center"><span class="smcap">No. II.</span></p> - -<p><i>Voice No. 2.</i>—This is the more easy to be acquired. It is the -voice by which all ventriloquists make a supposed person speak -from a long distance, or from, or through the ceiling. In the -first place, with your back to the audience, <i>direct their attention</i> to -the ceiling by <i>pointing to it or by looking intently at it</i>. Call loudly, -and ask some question, as though you believed some person to -be concealed there. Make your own voice very distinct, and as -near the lips as possible, inasmuch as that will help the illusion.<span class="pagenum" id="Page_85">85</span> -Then in <i>exactly the same tone and pitch</i> answer; <i>but, in order that the -same voice may seem to proceed from the point indicated, the words must -be formed at the back part of the roof of the mouth</i>. To do this the lower -jaw must be drawn back and held there, the mouth open, which -<i>will cause the palate to be elevated and drawn nearer to the pharynx</i>, -and the sound will be reflected in that cavity, and appear to come -from the roof. Too much attention cannot be paid to the manner -in which the breath is used in this voice. When speaking to -the supposed person, expel the words with a deep, quick breath.</p> - -<p>When answering in the imitative manner, the breath must be -<i>held back and expelled very slowly and the voice will come in a -subdued and muffled manner</i>, little above a whisper, but so as to be -well distinguished. To cause the supposed voice to come nearer -by degrees, call loudly, and say, “I want you down here,” or -words to that effect. <i>At the same time make a motion downwards with -your hand.</i> Hold some conversation with the voice and cause it -to say, “I am coming,” or, “Here I am,” each time <i>indicating the -descent with the hand</i> (<i>see examples</i>). When the voice is supposed to -approach nearer, the sound must alter, to denote the progress of -the movement. Therefore let the voice at every supposed step, -roll, as it were, by degrees, <i>from the pharynx more into the cavity of the -mouth</i>, and at each supposed step, <i>contracting the opening of the mouth</i>, -until the lips are drawn up as if you were whistling. By so doing -the cavity of the mouth will be very much enlarged. This will -cause the voice to be <i>obscured, and so appear</i> to come nearer by degrees. -At the same time, care must be taken not to articulate the -consonant sounds plainly, as that would cause the disarrangement -of the lips and cavity of the mouth; and in all <i>imitation voices</i> the -consonants must scarcely be articulated at all, <i>especially if the ventriloquist -faces the audience</i>. For example; suppose the imitative -voice is made to say, “Mind what you are doing, you bad boy,” -it must be spoken as if it were written “’ind ’ot you’re doing, -you ’ad whoy.”<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> This kind of articulation may be practised, -by forming the words in the pharynx, and then sending them -out of the mouth by sudden expulsions of the breath clean -from the lungs at every word. This is most useful in ventriloquism, -and to illustrate it we will take <i>the man on the roof</i> as an -illustration. This is an example almost invariably successful, -and is constantly used by skilled professors of the art. As we -have before repeatedly intimated, the eyes and attention of the -audience must be directed to the <i>supposed spot</i> from whence the -illusive voice is supposed to proceed.</p> - -<div class="footnote"> - -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> It is very rarely that a ventriloquist shows a full face to his audience: -it is only done when he is at a great distance from them, and is -pronouncing the labial sounds, in the manner given, for any movement -of the jaws would help to destroy the illusion.</p></div> - -<p><span class="smcap">Student</span>: Are you up there, Jem?</p> - -<p><span class="pagenum" id="Page_86">86</span></p> - -<p><span class="smcap">Voice</span>: Hallo! who’s that?</p> - -<p><span class="smcap">Student</span>: It’s I! Are you nearly finished?</p> - -<p><span class="smcap">Voice</span>: Only three more slates to put on, master.</p> - -<p><span class="smcap">Student</span>: I want you here, Jem.</p> - -<p><span class="smcap">Voice</span>: I am coming directly.</p> - -<p><span class="smcap">Student</span>: Which way, Jem?</p> - -<p><span class="smcap">Voice</span>: Over the roof and down the trap. (Voice is supposed -to be moving as the student turns and points with his finger.)</p> - -<p><span class="smcap">Student</span>: Which way?</p> - -<p><span class="smcap">Voice</span> (<i>nearer</i>): Through the trap and down the stairs.</p> - -<p><span class="smcap">Student</span>: How long shall you be?</p> - -<p><span class="smcap">Voice</span>: Only a few minutes. I am coming as fast as I can.</p> - -<p>The voice now approaches the door, and is taken up by the -same tone, but produced as in the first voice. As another illustration, -we will introduce the reader to</p> - -<p><span class="smcap">The Invisible Sweep.</span>—This is a striking example of the -second voice. Let the student pretend to look up the chimney, -and rehearse the following or some similar colloquy:—</p> - -<p><span class="smcap">Student</span>: Are you up there?</p> - -<p><span class="smcap">Voice</span>: Yes. Chimley want sweep?</p> - -<p><span class="smcap">Student</span>: Really, it is extraordinary. What are you -doing?</p> - -<p><span class="smcap">Voice</span>: Looking for birds’-nests.</p> - -<p><span class="smcap">Student</span>: Birds’-nests! There are none there.</p> - -<p><span class="smcap">Voice</span>: Dick says there be.</p> - -<p><span class="smcap">Student</span>: Come down!</p> - -<p><span class="smcap">Voice</span>: I shan’t.</p> - -<p><span class="smcap">Student</span>: (<i>stirring the fire</i>); I’ll make you show yourself.</p> - -<p><span class="smcap">Voice</span>: I say, don’t; it’s so hot.</p> - -<p><span class="smcap">Student</span>: Come down, then.</p> - -<p><span class="smcap">Voice</span>: Don’t be so stupid. Let I alone.</p> - -<p><span class="smcap">Student</span>: Will you come down?</p> - -<p><span class="smcap">Voice</span>: Yes, I will.</p> - -<p><span class="smcap">Student</span>: What’s your name?</p> - -<p><span class="smcap">Voice</span> (<i>much nearer</i>): Sam Lillyvite. I say, what do you want -me for among company?</p> - -<p><span class="smcap">Student</span>: To show yourself,</p> - -<p><span class="smcap">Voice</span> (<i>nearer</i>): What for?</p> - -<p><span class="smcap">Student</span>: To let these ladies and gentlemen see that there are -many strange things between heaven and earth, but not Sam -Lillyvite, the sweep.</p> - -<p>Another good illustration is to hold a conversation with a -friend who lives on the first floor, and with whom you can converse -on any subject—as the <i>retired and mysterious student</i>—but the -moment the student can master the elementary sounds, he will -not need our assistance in providing him with dialogues, which, -however simple they may be to read, have <i>an extraordinary effect -when properly spoken</i>.</p> - - -<p><span class="pagenum" id="Page_87">87</span></p> - - -<h3><a id="POLYPHONIC_IMITATIONS"></a>POLYPHONIC IMITATIONS.</h3> - -<p><span class="smcap">The Tormenting Bee.</span>—It is related that Mr. Love, when -young, took great delight in imitating the buzzing of insects and -the cries of animals; indeed, it is difficult to decide whether he -or Mr. Thurton most excelled in this particular species of mimetic -illusion. In all imitations of insect noises, the bee should be -heard to hum gently at first, so as in a private party not likely to -attract attention till the right pitch is obtained, and be it remembered -that the sound, without being particularly loud, can be -made to penetrate every corner of a large room. The illusion is -greatly increased by pretending to catch the offending and intrusive -insect. The humble bee, the wasp, and the bluebottle fly are -best to imitate, and afford an agreeable relief to the other exercises -of ventriloquial power. To imitate the tormenting bee, the -student must use considerable pressure on his chest, as if he was -about to groan suddenly, but instead of which, the sound must be -confined and prolonged in the throat; the greater the pressure, -the higher will be the faint note produced, and which will perfectly -resemble the buzzing of the bee or wasp.</p> - -<p>Now, to imitate the buzzing of a bluebottle fly, it will be necessary -for the sound to be made with the lips instead of the throat; -this is done by closing the lips very tight, except at one corner, -where a small aperture is left, fill that cheek full of wind, but not -the other, then slowly blow or force the wind contained in the -cheek out of the aperture: if this is done properly, it will cause a -sound exactly like the buzzing of a bluebottle fly. These two instances -will show how necessary it is for the ventriloquist to -study minutely the different effects of sound upon his hearers in -all his exploits. And to make the above properly effective, he -should turn his face to a wall; with a handkerchief strike at the -pretended bee or fly, at the same time pretend to follow his victim -first this way and then that, and finally to “dab” his pocket-handkerchief -on the wall as though he had killed it; the sounds -should be at times suddenly louder and then softer, which will -make it appear as it is heard in different parts of the room.</p> - -<p><span class="smcap">The Spectre Carpenter.</span>—The noise caused by planing and -sawing wood can also be imitated without much difficulty, and it -causes a great deal of amusement. The student must, however, -bear in mind that every action must be <em>imitated</em> as well as the -noise, for the eye assists to delude the ear. We have even seen -ventriloquists carry this eye-deception so far as to have a few -shavings to scatter as they proceed, and a piece of wood to fall -when the sawing is ended. To imitate planing, the student must -stand at a table a little distance from the audience, and appear to -take hold of a plane and push it forward: the sound as of a<span class="pagenum" id="Page_88">88</span> -plane is made as though you were dwelling on the last part of the -word hu<i>sh</i>—dwell upon the <i>sh</i> a little, as <i>tsh</i>, and then clip it -short by causing the tongue to close with the palate, then over -again. Letters will not convoy the peculiar sound of sawing—it -must be studied from nature.</p> - - -<h3><a id="A_MOUNTAIN_ECHO"></a>A MOUNTAIN ECHO.</h3> - -<p>Some persons imagine ventriloquism to be an echo; but, as we -have said, an echo only repeats what has been said before—it -could not answer a question.</p> - -<p>An echo is reflected sound, and the reflecting body must be at -such a distance that the interval between the perception of the -original and reflected sounds may be sufficient to prevent them -from being blended together. No reflecting surface will produce -a distant echo, unless its distance from the spot where the sound -proceeds is at least 56½ feet, because the shortest interval sufficient -to render sounds distinctly appreciable by the ear is about one-tenth -of a second; therefore, if sounds follow at a shorter interval, -they will form a resonance instead of an echo; and the time -a sound would take to go and return from a reflecting surface, 56½ feet -distance, would be one-tenth of a second.</p> - -<p>It would, therefore, be impossible for a ventriloquist to produce -an echo in a room of ordinary size, as the walls, being so near, -would cause the sounds to be blended, and would only produce -one impression on the ear; and yet the skilled ventriloquist can -with ease imitate, in a room, a mountain echo. We will give the -instructions, as it is very amusing.</p> - -<p>Turn your back to the listeners; whistle loud several short, -quick notes, just as if you were whistling for a dog; then, as -quick as possible, after the last note, and as softly and subdued as -possible to be heard, whistle about a third the number of notes, -but it must be in <em>the same note or pitch</em>; this will cause the last -whistle to appear just like an echo at a great distance. This imitation, -if well done, never fails to take the listeners by surprise, -and causes astonishment. The same thing can be done by shouting. -Call aloud any sentence, such as—“Holloa, you there!” -Let your voice be formed close to the lips; then quickly, and -mind in the <em>same pitch or note</em>, speak the same words very subdued -and formed at the back of the mouth. This is not difficult, and -is very effective.</p> - - -<h3><a id="POINTS_TO_BE_REMEMBERED"></a>POINTS TO BE REMEMBERED.</h3> - -<p>In giving the succeeding instructions, it must be borne in mind<span class="pagenum" id="Page_89">89</span> -that the power and acuteness of hearing is possessed in a greater -or less degree by different individuals, and depends upon the sensibility -of the auric nerves. It will not be out of place nor uninteresting -to show the effect of sound and the manner in which it -is heard by the organs of the ear. It is said that the human ear is -capable of appreciating as many as twenty-four thousand vibrations -in a second, and that the whole range of human hearing, -from the lowest note of the organ to the highest known cry of insects, -as of the cricket, includes nine octaves.</p> - -<p>Sound first strikes the drum or tympanum, a thin membrane -which closes the aperture of the ear; when this drum vibrates by -the sonorous undulations of the external air; the vibrations are -communicated by minute bones, muscles, and fluid in the cavity -of the ear, and are then conveyed to the brain; and to show how -absolutely necessary it is that all the organs of the would-be ventriloquist -should be entire and without fault to succeed well, we -will show how the ventriloquist makes that nice distinction of the -gradation of sound, and by which he is enabled to judge whether -he is causing his voice <em>to appear</em> at the proper distance from his -audience or not.</p> - -<p>Let any one firmly close both ears by stopping them, then speak -a few words; now, as the cars are stopped, the sound cannot -enter immediately to the drum of the ear, but it takes cognizance -of the sound by a passage called the eustachian tube, which extends -from the back part of the mouth to the cavity immediately -behind the drum of the ear.</p> - -<p>The sound vibrations made in the mouth are transmitted along -this tube to the interior part of the organs of hearing. Now it is -by a nice judgment of sound by this tube that the professional -ventriloquist judges the majority of his voices, especially -those greatly obscured or muffled. Not only must the auric nerves -of the would-be ventriloquist be perfect, but he will become more -proficient as he is able to study and understand the human voice. -There is the language of emotion, or natural language. When -we say natural, we mean the language by which the feelings manifest -themselves without previous teaching, and which is recognized -and felt without teaching. Some of them are the scream of -terror, the shout of joy, the laugh of satisfaction, laugh of sarcasm, -ridicule, &c., which are made by man, and understood by fellow-men, -whatever may be the speech or country of the other.</p> - -<p>There are also distinct qualities of voice, peculiar to each person, -both in tone and quality, and the best practice is to try and -imitate three or four people’s voices, and let them be of a different -tone and pitch.</p> - -<p>The ordinary compass of the voice is about twelve notes, and a -very good practice to the attainment of the art is to call aloud in -a certain note, <em>and then in the octave to that note</em>; do this several times<span class="pagenum" id="Page_90">90</span> -a day, changing the note, also speak a sentence all in the same -note or pitch, properly called intonation, loud at first, and then by -degrees lower; this kind of practice will enable the ear to judge -of the modulation required to make a voice appear to recede or -come near by degrees.</p> - - -<h3><a id="CONCLUDING_REMARKS"></a>CONCLUDING REMARKS.</h3> - -<p>When the student is acquainted with the voices before described, -he may imitate many others by <em>contraction and expansion of the -glottis, and by modification of the cavity of the pharynx and mouth</em>. The -best way to practice is in a room by himself, to talk loud, and, -while so doing, to make all sorts of <em>contortions with the muscles of the -mouth and jaws—first fixing the jaws</em> in the manner already described, -<em>then drawing the lips inward, next putting them forward, at the same time -putting the tongue in different shapes and positions in the mouth</em>; also by -speaking in the natural voice, and answering in the <em>falsetto pitch</em>, -which is the imitating voice for women and children.</p> - -<p>We are confident that enough has been said to enable any one -with a good range of voice to attain proficiency in the art; the -student always remembering (and it cannot be too often repeated) -that <em>to render a voice perspective, the most essential thing is to attend to -the study of sound as it falls upon the ear; then imitate that sound by -the different contractions and expansions of the muscles of the throat, -mouth, face and jaws</em>. During these various contractions and expansions, -draw in a long breath and talk, first rapidly, then slowly, -but always with a <em>slow expiration of breath</em>. Do this a dozen -times consecutively for several days, at the same time taking particular -care to <em>elevate and depress the roof of the mouth</em>, especially the -back part, as this movement will cause the voice to appear near, -or at a distance. Ample directions have been given how all this is -done, but let it be understood that it is most essential. The student -may then practice before a friend, and he will be astonished -to find that he can deceive any listener, as to the point from which -the sound comes; and will be gratified that he has become the -source of great amusement to himself as well as in the circle in -which he moves.</p> - -<p>Thus we have acquired a working power in the art which, we -trust, we have now explained to the satisfaction of the reader. -The progress of the student will, of course, be facilitated by an -inherent propensity of mimicry, which often approaches some of -the minor attainments of ventriloquism. In every company some -person may be found who, without any professional instruction, -can give admirable imitations, of the voice, gait, and peculiarities -of a friend or acquaintance; thus proving that Nature, to some -extent, supplies the basis upon which, if we may use the phrase,<span class="pagenum" id="Page_91">91</span> -the complete superstructure of vocal illusion may be raised. The -possession of this quality would amount, comparatively, to little, -without instruction and perseverance. Here, as in other respects, -practice makes perfect; and, more than that, a diligent application -of our rules will invest the originally defective amateur with -an attainment which the ignorant will attribute to the possession -of a supernatural gift.</p> - -<p>All we need say in conclusion is, that the rules propounded will -not only clear away imaginary difficulties from the path of the -student, but entitle him, like ourselves, to an acquirement more -or less near perfection, according to a natural gift of mimicry, and -to the zeal with which he may study and practice the art.</p> - - -<h3><a id="THE_MAGIC_WHISTLE"></a>THE MAGIC WHISTLE.</h3> - -<p>It will be pleasant when the wind is howling without, among -the snow-laden limbs of the trees, to be reminded of the gay summer -by the counterfeit notes of the woodland songsters; or, wandering -among the woods and fields in spring or summer time, -how glorious to challenge the feathered musicians to a contest of -skill with you in their own sweet language. We propose to instruct -the reader in the manufacture of a little instrument by -which the notes of birds, voices of animals, and various peculiar -sounds may be imitated.</p> - -<p>First, look at the annexed diagram, and then procure a leek and -cut off from the green leaf thereof a piece about the size of the -diagram; then lay it on a smooth table, and with the thumb-nail -delicately scrape away a small semi-circular patch of the green -pulpy substance of the leaf [as represented in the diagram], being -careful to leave the fine membrane of outer skin of the leaf uninjured—and -there is the instrument complete. It may require -several experiments to make the first one, but once having discovered -the right way, they are very easily manufactured. The -reader may not be aware of the fact that the leaf of the leek has a -fine transparent outer skin, which is quite tough, but by breaking -and carefully examining one or two leaves, he will soon find out -what we allude to.</p> - -<p>The way of using this instrument is to place it in the roof of the -mouth with the side on which is the membrane downwards; then -place it gently in its place with the tongue, and blow between the -tongue and the upper teeth. After the first two or three attempts, -you will be able to produce a slight sound like a mild grunt; then -as you practice it you will find you can prolong and vary the -sound somewhat, so that in the course of a couple of days you can -imitate the barking of a dog and the neighing of a horse. With -two or three weeks’ practice, you will be able to imitate some of -the song birds; but to produce exact counterfeits of the best singing -birds will probably require months of study; the result, however, -will reward you for all your pains, for certainly to be able -to carry a mocking bird, canary, thrush, cat-bird and sucking-pig -in your vest pocket, is no small accomplishment.</p> - -<div class="figcenter" > -<img src="images/i_092.jpg" alt="Leaf of Leek" /> -</div> - - -<p>When not using the instrument, it should be kept in a glass of -water to prevent its drying.</p> - -<hr class="chap" /> -<div class="chapter"></div> - -<p class="center p2">THE<br /> - -<big><b>Hunters’ and Trappers’</b></big><br /> - -COMPLETE GUIDE.<br /> - -<small>A MANUAL OF INSTRUCTION IN THE ART OF</small><br /> - -HUNTING, TRAPPING AND FISHING.</p> -<hr /> - -<div class="small"> -<p>This book will be found very valuable to those who have not had experience -in these healthy, manly and profitable pursuits. The book is thorough in -detail in every respect. The young sportsman can learn how to use the Gun -or Rifle with ease and precision, and become an unerring shot. The mystery -of making, setting and baiting Traps successfully, is shown.</p></div> - - -<p class="center">The Best Methods of Catching all kinds of Fish,</p> - -<div class="small"><p>Either in the Sea, Lake or River, is told practically and understandingly. The -whole</p></div> - - -<p class="center">Art of Managing and Training Dogs for Sporting Purposes,</p> - -<div class="small"><p>and all about the care of Skins and Furs, so that they will fetch the highest -market price, is given, with a vast amount of other valuable information -relating to the Hunters Craft.</p></div> - - -<p class="center">CONTENTS.</p> - -<div class="small"> -<ul><li><span class="smcap">About Guns.</span></li> -<li><span class="smcap">How to Select a Gun.</span></li> -<li><span class="smcap">Breech-Loaders.</span></li> -<li><span class="smcap">How to Load a Gun.</span></li> -<li><span class="smcap">The Art of Gunning.</span></li> -<li><span class="smcap">The Rifle, and How to Use it.</span></li> -<li><span class="smcap">About Dogs.</span></li> -<li><span class="smcap">Management of Dogs.</span></li> -<li><span class="smcap">Training of Dogs.</span></li> -<li><span class="smcap">Best Dogs for Shooters.</span></li> -<li><span class="smcap">Hunting, Gunning and Shooting.</span></li> -<li><span class="smcap">Rabbit Shooting.</span></li> -<li><span class="smcap">Snipe Shooting.</span></li> -<li><span class="smcap">Partridge Shooting.</span></li> -<li><span class="smcap">Woodcock Shooting.</span></li> -<li><span class="smcap">Wild Fowl Shooting.</span></li> -<li><span class="smcap">Deer Hunting.</span></li> -<li><span class="smcap">Buffalo Hunting.</span></li> -<li><span class="smcap">Trapping.</span></li> -<li><span class="smcap">How to Make Traps.</span></li> -<li><span class="smcap">Setting and Baiting Traps.</span></li> -<li><span class="smcap">Proper Season for Trapping.</span></li> -<li><span class="smcap">Hints to Trappers.</span></li> -<li><span class="smcap">Specific Directions for Trapping and Snareing all kinds of Birds and Animals.</span></li> -<li><span class="smcap">Fishing.</span></li> -<li><span class="smcap">Baits, Hooks, Lines, Rods</span>, &c.</li> -<li><span class="smcap">How to Catch Various Kinds of Fish.</span></li> -<li><span class="smcap">The Art or Stretching and Curing Skins.</span></li> -<li><span class="smcap">Dressing and Tanning Skins and Furs.</span></li> -<li><span class="smcap">Coloring and Dyeing Skins and Furs.</span></li></ul> - -<p>The Book is indispensable to all who delight to Fish, Hunt or Trap, either -for sport or profit. The instructions will enable anyone to become thoroughly -expert in the Sports and Pastimes of the River, Field or Forest. Illustrations -are given, where needed, to elucidate matters, as in the construction of traps, -&c.</p> - -<p>This book will place many in a position to turn their spare time to a very -profitable account. Furs and Skins are always in demand, and if properly -caught and managed, sell for large prices.—<b>Price 25 Cents.</b></p></div> - - -<p><i>Address all orders to</i></p> - -<p class="center large">HURST & Co., 75 Nassau Street, N. Y.</p> - -<hr /> - -<p class="center">CHEAPEST AND BEST IN THE WORLD.<br /> - -<span class="xl">THE N. Y. HOME MAGNET</span><br /> -<i>Is a Beautifully Illustrated, Large, 32 Column Paper</i>. -</p> - -<div class="small"> -<p>Published regularly every month, at the low rate of FIFTY CENTS A YEAR. The price is the only -“cheap” thing about it. Handsomely illustrated. It is first class in every way, shape and manner.</p> - -<p><big>BOYS</big> will read it, for it has the best Hunting, Indian and Sea Stories; tells how to make traps, -toys, bows and arrows, etc., etc.</p> - -<p><big>GIRLS</big> will like to have it, for it is brimful of superior Tales of the Affections and of Home -Life; with any quantity of articles on Love-making, Household Management, Fashions, -has Toilet Mysteries, Preserving, Cutting Dresses, Working Crochet, Lace, Braid, etc., etc.</p> - -<p><big>MEN</big> will like it for the vast amount of valuable information on every subject that can improve the -mind, the morals and the habits. Giving all new phases of thought, all new inventions, and -particularly those by which money can be easily made.</p> - -<p><big>LADIES</big> will like <span class="smcap">The Magnet</span>, for in its columns will be found everything detailed that can -go to embellish Home, and render it more attractive; teachings in every kind of -culinary economy, and modes of making a little money go a good way in household management.</p> - -<p><big>EVERYBODY</big> will like <span class="smcap">The Magnet</span> for in its columns will be found something to suit -every taste, whether grave or gay; whether in search of amusement, instruction -or profit, you will become for its perusal wiser, better and richer. 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With the art of -<i>Wood Turning</i> fully illustrated.</p> - -<p>The art of <i>Glass Blowing</i>, instructing any one to -make a thousand and one novel and interesting -subjects from a piece of glass.</p></blockquote> - -<p><i>Bear in mind</i>, that these processes, which we engage to teach in <span class="smcap">The Magnet</span>, are plain, practical -things, so that the learner can turn his knowledge to use, and make money by the exercise of the -skills that he acquires.</p> - -<p class="center"> -<b>50 CENTS A YEAR. Remember that this is all you have to pay to get this -Paper for a Whole Year.</b></p> - -<p>Many and many an article will appear in <span class="smcap">The Magnet</span> that may put thousands of dollars in your -pockets; for it will be full of new, valuable receipts and suggestions.</p> - -<p><b>Do not Forget.</b>—Every subscriber gets a Valuable Premium. <i>One can be selected from a List of -Twelve</i>, comprising beautiful Chromos, Good Books and Useful Novelties. No delay in filling orders.</p> - -<p>Send stamp for our Agents’ Terms, List of Premiums and Specimen Copy of <span class="smcap">The Home Magnet</span>.</p> - -<p>Remember, that we give more actual value to our subscribers than any other paper has ever offered. -DO NOT FAIL to send <span class="smcap">Fifty Cents</span> and get the most Lively, Spirited and Unique Paper ever issued, -for a WHOLE YEAR, with a VALUABLE PREMIUM, worth much more than the price asked for the -Paper alone. Address</p></div> - -<p class="center"> -<big>HURST & COMPANY, <span class="smcap">Publishers</span></big>,<br /> -<i>75 and 77 Nassau Street, N. Y.</i> -</p> - -<hr /> -<p class="center"><span class="smcap"><big>The Book of Knowledge</big></span><br /> - -<small>AND</small><br /> - -Sure Guide to Rapid Wealth.</p> - -<p>Fortunes are made every day by the manufacturing and -selling of some of the articles here given. Directions are given -for making all kinds of Cosmetics, Lotions, Ointments, Patent -Medicines, Soaps, Cements, etc. The secrets used by Metal -workers, how to make Gold, Silver and the various precious -stones, with many practical directions for working and using -the commoner metals. The secrets of the Liquor trade are -fully detailed, and the choicest receipts and formulas are given -for the making of different kinds of liquors, including the new -method of making Cider without Apples, all without the use of -poisons or poisonous drugs. It is arranged and divided into -departments for the use of</p> - - -<ul><li><b>Liquor Dealers</b>,</li> -<li><b>Druggists</b>,</li> -<li><b>Manufacturers</b>,</li> -<li><b>Farmers</b>,</li> -<li><b>Medical Men</b>,</li> -<li><b>The Household</b>,</li> -<li><b>Confectioners</b>,</li> -<li><b>Hunters & Trappers</b>,</li> -<li><b>Perfumers</b>,</li> -<li><b>Artists</b>.</li></ul> - - -<p>No one, whatever be his position in life, can fail to find something -in this book that will repay a hundredfold its price. -Many of the receipts have been advertised and sold for sums -ranging from 25 cents to ten dollars. We send the whole book, -postage free, for 25 cents.</p> - - -<p class="center"><span class="smcap"><big>Singing Made Easy</big>.</span></p> - -<p>This book shows how any one with an ordinary voice can, by -proper management, as here indicated, become proficient in -singing. It explains the pure Italian method of producing and -cultivating the voice, the management of the breath and voice -organs, the best way of improving the ear, how to sing a ballad, -with much other valuable information equally useful to Professional -Singers and Amateurs. Price 20 cents.</p> - - -<p class="center"><big>RIDDLES, CONUNDRUMS AND PUZZLES.</big></p> - -<p>The choicest, newest and best collection of Riddles, Conundrums, -Charades, Enigmas, Anagrams, Rebusses, Transpositions, -Puzzles, Problems, Paradoxes and other entertaining matter, -ever published. Here is Fun for the Mirthful, Food for the -Curious, and Matter for the Thoughtful. Price 20 cents.</p> - - -<p> -<i>Address all orders to</i></p> -<p class="center">HURST & Co., 75 Nassau Street, N. Y. -</p> - -<hr /> -<p class="center"> -<big>Fortune Telling Made Easy;</big><br /> -or,<br /> -<big>THE DREAMERS’ SURE GUIDE</big>.<br /> - -<small>CONTAINING PLAIN, CORRECT AND CERTAIN RULES FOR FORETELLING WHAT -IS GOING TO HAPPEN.</small><br /> - -BY THE CELEBRATED GABRIEL,<br /> -<small>The Astrologer of the 19th Century.</small><br /> - -<b>A Complete Oracle of Destiny.</b> -</p> - -<p>In this Book you have all that was ever made known by the ancient Egyptians, -Assyrians, Persians, Greeks, Chinese and Hindoos relating to the occult -sciences. Much has been procured from overlooked sources, and transcribed -from the original hieroglyphics. The substance, also, of all that has been, -brought to light by the researches and investigations of modern Astrologers -and Professors is here laid before the reader in a plain and intelligible manner.</p> - -<p><b>This Book contains</b>:</p> - - -<p class="hang">The celebrated Grecian Oracle of Destiny.—The renowned Egyptian Fortune -Telling Tablets.—The Great Hindoo Trial of Destiny.—Palmistry, the art -of telling fortunes by the lines on the hand.—Fifty-two Grecian observations -on moles.—How to make the Dumb Cake.—The birth of children, and foretelling -other events by the moon’s age and the days of the week.—To know -if your love of a person will be mutual.—Charms, Spells and Incantations.—To -procure Dreams, Tokens, and other insights into futurity.—Fast of St. -Agnes—The Nine Keys.—Magic Rose.—Cupid’s Nosegay.—The Ring and -the Olive Branch.—Love’s Cordial.—The Witches Chain.—Love Letters.—Strange -Bed.—To see a future husband.—To know what fortune your future -husband will have.—The Lovers’ Charm.—Hymenial Charm.—For a girl to -ascertain if she will soon marry.—Physiognomy; the art of discovering a -person’s disposition by their features.—How to tell a person’s character by -means of Cabalistic calculations.—Fortune-telling by means of a tea or coffee -cup—How to read your fortune by the white of an egg.—To choose a -husband by the hair.—Lucky days.—Fortune telling by dice.—Fortune telling -by cards.—Dreams and their interpretation.—A complete dictionary of -dreams.</p> - -<p><b>This Book will acquaint you truthfully about</b></p> - - - -<ul><li>What your portion in life will be.</li> - -<li>What you will to successful in.</li> - -<li>What you are adapted for.</li> - -<li>What your absent wife is doing.</li> - -<li>What your absent husband is occupied with.</li> - -<li>What your future partner will be.</li> - -<li>What your destiny is.</li> - -<li>Whether your intended is true to you.</li> - -<li>Whether you will be childless.</li> - -<li>Whether you will die an old maid.</li> - -<li>Whether you will have money left you.</li> - -<li>Whether your marriage will be happy.</li> - -<li>Whether you will be successful in your love affairs.</li> - -<li>Whether you will be a widow.</li> - -<li>Whether you will get a divorce.</li> - -<li>Whether you will be disappointed in money matters.</li> -</ul> - -<p>The book is, in fact, a perfect Oracle of Fate, and may be consulted with -certainty upon all matters that relate to your present or future prospects.</p> - - -<p class="center"> -<b>Price 25 Cents.</b><br /> -☛ Sent by Mail to any address, on receipt of Price. -</p> - -<hr /> - -<p class="center">NEW AND INDISPENSABLE MANUALS.<br /> - -<big>“THE ‘MAGNET’ HAND-BOOKS.”</big></p> -<div class="small"> -<p>These books are the <i>very best</i> ever issued upon the various subjects of which they -treat. 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It tells how to make, operate and perform -with Coins, Cards, Fire works, Mechanical Devices and Magnetic Contrivances. -The book also contains a large collection of <span class="smcap">RIDDLES</span>, <span class="smcap">CONUNDRUMS</span>, <span class="smcap">CHARADES</span>, -<span class="smcap">ENIGMAS</span>, <span class="smcap">REBUSSES</span>, <span class="smcap">PUZZLES</span>, <span class="smcap">ACROSTICS</span>, <span class="smcap">TRANSPOSITIONS</span>, <span class="smcap">ANAGRAMS</span>, <span class="smcap">PARADOXES</span>, -<span class="smcap">AND PROBLEMS</span>. A study of this interesting work would make any one thoroughly -expert in amusing either a public or private audience. <b>Price 25 Cents.</b></p> - -<p><big>HOW TO WRITE A LETTER.</big><br /> -A complete letter writer for ladies and gentlemen. 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A perusal -of this work will enable every one to rub off the rough husks of ill-breeding and -neglected education, and substitute for them gentlemanly ease, and graceful, ladylike -deportment, (as the case may be), so that their presence will be sought for, -and they will not only learn that great art of being thoroughly at <i>home</i> in all societies, -but will have the rarer gift of making everybody around them feel easy, contented -and happy. This work is fully up to the requirements of the times; it -describes the etiquette of our very best society.</p> - -<p>Get at once this greatest <i>Hand-Book of Modern Etiquette</i>.—<b>Price 25 Cents.</b></p> - -<p><big>PERSONAL BEAUTY;</big><br /> -Or the whole art of attaining bodily vigor, physical developement, beauty of feature -and symmetry of form, with the science of <i>Dressing with Taste, Elegance and -Economy</i>. To those to whom Nature has been sparing in its gifts, suggestions -are here offered that will enable them to overcome these defects, and to become -beautiful, elegant and graceful, and to be admired and sought after by the opposite -sex.—<i>Illustrated.</i>—<b>Price 25 Cents.</b></p></div> - - -<p class="center"> -<i>Copies of the above books sent to any part of the world on receipt of price.</i><br /> - -<big>Address HURST & CO., Publishers, 75 Nassau St., New York.</big> -</p> - -<div class="transnote"> - -<h3>Transcriber's Notes</h3> - -<p>Obvious typographical errors have been silently corrected. Variations -in hyphenation have been standardised but all other spelling and -punctuation remains unchanged.</p> - -Trick 17, which has no specific title, has been added to the Table of Contents. - -<p>The following corrections have been made.</p> - -<p> <a href="#TRICK_8">Trick 8</a> Paragraph 4 – The cambric becomes calico in this paragraph. It - has been changed back to cambric</p> - -<p> Fig. 10 was originally labelled Fig 25.</p> - -<p> Fig. 23 was originally labelled Fig 22.</p> -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Practical Magician and -Ventriloquist's Guide, by Anonymous - -*** END OF THIS PROJECT GUTENBERG EBOOK THE PRACTICAL MAGICIAN *** - -***** This file should be named 53235-h.htm or 53235-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/3/2/3/53235/ - -Produced by Chris Curnow, Les Galloway and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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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