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If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Hindu Magic - An Expose of the Tricks of the Yogis and Fakirs of India - -Author: Hereward Carrington - -Release Date: April 20, 2021 [eBook #65121] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Tim Lindell, Les Galloway and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The Internet - Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK HINDU MAGIC *** - - - - - - - HINDU MAGIC - - AN EXPOSE OF THE TRICKS OF THE - YOGIS AND FAKIRS OF INDIA - - BY - - HEREWARD CARRINGTON - - Author of “Handcuff Tricks,” “Side Show and Animal - Tricks,” “The Boys’ Book of Magic,” “The - Physical Phenomena of Spiritualism,” - Etc., Etc. - - - ILLUSTRATED - - - PUBLISHED BY THE SPHINX - Kansas City, Missouri - 1913 - - - - - - - TO - - SIDNEY LENZ - - (With Warmest Regards.) - - - - - -TABLE OF CONTENTS - - - - Page - - The Mango Tree Trick 5 - - The Basket Trick 19 - - The Dry Sands Trick 26 - - The Coloured Sands Trick 27 - - The Diving Duck 29 - - The Jumping Egg 30 - - The Beans and Scorpion Trick 32 - - The Basket and Birds Trick 33 - - The Ball of Cotton Trick 34 - - The Brass Bowl Trick 37 - - Snake Charming 38 - - Voluntary Interment 41 - - The Rope Trick 44 - - - - - -HINDU MAGIC - - -In this pamphlet I propose to consider the phenomena which are -presented by the fakirs and yogis of India, and to inquire into their -nature and the method of their production. - -The feats performed by Indian fakirs are numerous, but I shall describe -those most commonly witnessed: the mango-tree trick, the basket trick, -the bowl of water trick, the dry sands trick, the rope and dismembered -body test, levitation, snake charming, burial alive, etc. - -As so much is heard of Indian magic, and the powers of the Oriental -performer, it may be well to examine their performances somewhat -critically, and to see how far we are entitled to assume that there -is anything in them suggesting the supernormal, anything calling for -explanations that necessitate the operation of laws “other than those -known to Western science.” - - - - -THE MANGO-TREE TRICK. - - -I shall begin by describing the famous mango-tree trick—perhaps the -best known of all the feats performed by the Indian conjuror. I shall -first of all describe the performance as it would appear to the -uninitiated witness, afterwards explaining the secret. - -As the trick is usually exhibited, it is somewhat as follows: The -native comes forward, almost nude, being covered only with a small loin -cloth, of such small compass that the onlooker can see clearly that -there is nothing hidden in or about it or the performer. As the trick -(like almost all Indian tricks) is performed in any locality—on the -deck of a ship, in one’s own room, etc.—all idea of pre-arrangement, -trap-doors, etc., is precluded. The performer advances, carrying in -his hands a little earthen or tin pot containing water, and another -containing a quart or so of dry sand. He also has with him some seeds -of the mango-tree, and a large cloth, about four feet square. This is -shaken out and both sides are shown to the spectators, so that they may -see that nothing is concealed within it. - -[Illustration] - -All this having been gone through, the fakir proceeds to build up a -little mud pile of his earth and water, mixing the two together with -his fingers, and dexterously moulding them into a pyramid of muddy -earth. This may be done in some previously examined vessel, or on the -bare earth or floor. The mango-seed is now inserted in the soil, and -covered on all sides with earth. The fakir then covers the mound of -earth with the shawl or large handkerchief, and places his hands and -arms under the shawl, manipulating the seed and the earth for some -time; placing his hands over the seed; making passes above the seed, -etc. As his hands and arms are bare, and can be seen bare throughout -this process of manipulation, and as his hands never once approach his -body, no one has any objection to his handling the seed and the earth -in this manner, or to his placing his hands beneath the cloth. After -a few minutes of this manipulation, the conjuror withdraws his hands, -and proceeds to make passes over the cloth and above it, at the same -time muttering semi-articulate incantations, etc. Sometimes a tom-tom -is beaten, or other instrument is played upon, and, after a while, the -conjuror removes the cloth, and the seed is seen to have sprouted—a -couple of tiny leaves appearing above the surface of the earth. If -the onlooker is especially skeptical, the fakir sometimes removes the -seed, and shows the skeptic a couple of minute roots, sprouting from -the lower end of it. It (the seed) is then replaced in the earth, -the manipulations and incantations repeated, and, after a while, the -fakir removes the cloth a second time, and the mango is seen to have -sprouted still more—now being several inches in height. This process -is repeated five or six times, or even more, at the end of which time -the mango-tree is two feet or more in height. It is even asserted that, -in some cases, the tree has been known to bear fruit. - -So much for the effect of the trick. Now for the explanation. - -[Illustration] - -There are numerous ways of performing this mango-tree trick—for trick -it is. - -In the first place, it will be noticed that it is always a _mango-tree_ -that is made to grow, and no other shrub. Now, why is this? Surely it -is not because the mango is the only tree in India which is ready to -the hand of the fakir, for we know that there are numerous others that -might be made to grow. And yet it is always the mango! The conjuror, -S.S. Baldwin (from whose book, _Secrets of Mahatma Land Explained_, I -shall have occasion to quote later on), asked a native conjuror if he -would make a young palm, a tea plant or a banana tree, grow for him, -and received the response: “Nay, sahib, cannot do. Mango-tree the only -one can make.” I repeat, why is this? - -The reason is that it is the peculiar construction of the mango leaf -that renders the trick, as presented, possible at all. The leaf and -twigs of the mango-tree are exceedingly tough and pliable, almost -like leather, and can be folded or compressed into a very small space -without breaking the stems and the leaves, and, when this pressure is -released, the leaves will resume their former expanded condition very -rapidly, without showing any traces of the folding process. The leaves -can be turned upon themselves and rolled into a tight ball, in which -folded condition they occupy very little space, and yet will resume -their extended condition when this pressure is released. And this -brings me to the heart of my explanation. - -The mango seed that is placed in the mound of earth is especially -prepared before the performance, by the fakir, in the following manner: -He splits the seed open, scoops out its contents, dries it somewhat, -then places within it a shoot of a mango-tree folded and compressed so -as to fit into the mango seed. It must be remembered that the mango -seed is no small thing, but is about two inches long (sometimes more) -by an inch to an inch and a half broad. It resembles slightly the -mussel shell found on the seashore. It will be obvious that a seed of -this size might contain a good deal of material, and if the mango -leaves were folded into a small compass, would hold a good-sized twig. -The leaves are folded very carefully, and are prepared in a special -manner. The upper surface of the leaf must be folded on itself, and -that surface, skillfully treated and watered, will scarcely show a -crease on a superficial examination. The creasing which the under -surface would show is, of course, concealed from the spectator’s view. - -When the fakir places his hands beneath the cloth the first time, -then, he gets hold of the seed, and proceeds to manipulate it in such -a manner as to extract from the upper end of the seed about an inch or -so of the plant it contains. He may extract the seed altogether from -the earth for that purpose, and replace it in the earth again at the -conclusion of this manipulation, banking up the earth around the seed -again before removing his hands. The fakir then removes both hands, and -proceeds with the playing of his tom-tom, and whatever other mummeries -he may see fit to perform, in order to impress his onlooker. After a -while the cloth is removed, and the seed is found to have sprouted, and -an inch or so of the stem and the first green leaves are seen to be -sprouting from the earth. The illusion is perfect, and the onlookers -are more taken up with gazing in wonder at the miraculous growth and -discussing it one with another than with critically examining the seed -and the sprouting plant. If the conjuror wishes to show the roots -sprouting from the lower end of the seed, he merely has to place these -roots in the seed before the performance begins, and extract them in -the course of his manipulation of the seed, previously explained. The -preparation of the seed is concealed by the fact that a _duplicate_ -seed is first exhibited to the spectators, and that seed is frequently -examined by them. Before the seed is placed in the ground, however, -the conjuror finds occasion to change it for another, prepared in -the manner described. No one thinks of examining the seed after the -performance is concluded. - -To return, however, to the method of working the trick. After the -conjuror has shown the growth from the seed the first time, he covers -the seed with a shawl and again places his hands beneath the cloth and -works out a little more of the mango; then repeats his incantations and -his tom-tom playing; finally showing the shoot a second time, when it -is found to have grown a considerable amount in the interval. Amazement -is correspondingly great! This performance is gone through several -times, until the folded mango shoot is all worked out of the seed, the -growing tree being covered each time by the shawl. When the shoot is -all worked out of the seed, there is a fair-sized shrub standing before -you. - -But there are some cases in which the mango-tree is reported to have -grown to a height of several feet, and even to bear fruit; and the -explanations offered would not explain such cases, it may be said. -That is admitted; and I shall now endeavor to explain how these more -marvellous feats are performed. - -It must be remembered that Hindu fakirs seldom or never travel singly, -but always in troupes of threes and fours; and, during the performance -of one of the fakirs, the others assist him by passing him the articles -he uses in his performance—jars, water, earth, etc. Now, every time -the conjuror moves the shawl from the growing plant, he tosses the -shawl to his assistant, and shows his hands empty. When receiving the -shawl back from his assistant, he also shows his hands empty; then -shakes out the shawl and shows both sides of it—showing, in this way, -that nothing is concealed in the shawl, and that he introduces nothing -under cover of the said shawl. To all appearances, nothing could be -fairer. And, indeed, nothing is fairer at first; but the conjuror -shakes the shawl less and less vigorously every time he places it -over the mango-tree, until, towards the end (the seventh or eighth -time, let us say) he hardly shakes it at all. The spectators, having -seen it empty so many times, get into the habit of mind of thinking -it is empty as a matter of course, and pay no attention to this part -of the performance, after the first few times. Their thoughts and -attention are centered upon the mango-tree and its growth. So, when the -conjuror has worked out all the shoot from the seed, he must perforce -introduce a _fresh_ shoot of larger proportions; and he does this in -the following manner: He passes on word to his assistant, by means of -a secret sign, that he has reached the end of his present stock of -“occult vitalizing influence”—in other words, the mango shoot—and the -assistant, in passing him back the shawl or cloth this time passes him -back _another_ cloth, which he has secretly exchanged for the original -one—the one the conjuror began operations with. This second cloth is -double, and contains a very large mango shoot, more or less doubled -up in the manner of the first shoot that was placed within the mango -seed. A slit in the cloth enables the conjuror to extract the second -shoot, and place it in the mound of earth, working this shoot out to -its natural size with his fingers. When this large shoot is worked out -to its full limit it is a very large tree, and the conjuror has only -to remove the cloth to display it to his astonished onlookers. The -cloth just employed is exchanged for the original while the eyes of the -spectators are fascinated by the huge tree just exhibited to them, and -when the trick is concluded this cloth is handed for examination; and, -of course, no trickery is discovered in connection with it. The whole -performance is a very pretty chapter in the psychology of deception. - -As to the cases in which, it is asserted, fruit grows upon the tree -grown in this manner, I have no exact explanation of that fact, and -I frankly confess my disbelief in its occurrence. I have diligently -searched for any first-hand account of this fact, and have never found -one; nor have I been enabled to meet anyone who could assert that he -had seen it himself. It seems to rest on the same hazy foundation as -the famous rope exploit, to be discussed later on. - -I may say that my father was an old Anglo-Indian, having lived ten -years in Calcutta, but he never saw this _finale_ to the trick, -though he had many times seen the mango-tree trick performed, as -described above. Nor had he ever met anyone, in all that time, who -could state that he had witnessed the feat with his own eyes. It would -seem, therefore, to be one of those “grand finale” flourishes which -happened to be placed at the end of some magazine writer’s description -of the mango-tree trick, in order to make it appear as wonderful as -possible—and gained wide credence on that account! - -There is then, so far as I have been enabled to discover, no first-hand -account of fruit growing upon the mango-tree, that has been made to -grow in the manner described; and until such evidence be forthcoming, -I think we are entitled to say that it has never been done. However, -there are certain considerations which might make us admit that such -_was_ the case—and yet the fruit might be obtained and placed there -by fraudulent means! One such method would be for the fruit to be -introduced under the cloth, in the act of covering the mango-tree. The -introduction of the fruit would be comparatively easy if some of the -methods about to be explained were employed. At all events, this feat -is no more difficult—certainly no more “miraculous”—than that performed -by Kellar, in which roses are made to grow from empty flower pots—which -roses are cut and distributed to the audience immediately. In this -instance, two empty flower pots are shown (they may be examined, if -desired) and filled with earth. Seeds are then sprinkled over the -earth, and watered. A tube, open at both ends, is then shown empty, -and examined by the audience. It is made of card-board, and everyone -can see that it is quite unprepared. First one flower pot and then -the other is then covered with this tube, and upon removing the tube, -the seeds are found to have sprouted into full-grown bushes, fully -eighteen inches in height, and covered with roses—at least fifty, on -both plants. These roses are cut off immediately, and distributed among -the audience, who testify to their genuine character. In a very similar -illusion, on a small scale, a glass tumbler is filled with earth, and -covered for a moment with a borrowed hat; upon removing which it is -found that the seeds have blossomed into a plant about six inches high. -If _flowers_ can be made to grow under such circumstances, therefore, -why not _fruit_ upon mango-trees, grown under similar conditions, and -before far less critical audiences, who have already had their critical -faculties blunted, moreover, by a succession of unexplained marvels? - -So far, I have described only one method of performing this mango-tree -trick, and there are several other methods, which I shall now briefly -enumerate—since the method above described is the one in general use, -without a doubt. Another very good method, however, is the following, -which was first made public, if I remember rightly, by Mr. Charles -Bertram, the conjuror, to whom I am indebted for the secret, in this -instance. - -In this case the conjuror makes his mound of earth as in the last -instance, and has a prepared seed, which he exchanges for an examined -seed at a convenient moment. The seed in this case is, however, -prepared in a slightly different manner. It is split in two, and -emptied of its contents. Then one end of it is wedged open by means of -a small wedge of wood, and several small pieces of string are inserted -into the other end, which, when hanging down from the seed, after being -placed in the mud, exactly resemble roots. The seed is then fastened -together, so that the two sides or halves will not fall apart. This -seed the conjuror exchanges for the examined seed at some convenient -moment, and this is the one placed in the ground. - -The juggler then hands round for inspection four bamboo sticks, and a -piece of thin cloth. After the sticks are handed back to him, he places -them in the ground, slanting towards a common centre, and ties the tops -of the sticks together with a bit of string. Around these sticks is -now stretched the cloth, thus making a sort of tent, about three feet -in height and open at the back. The thinness of the cloth allows the -interior to be dimly seen through it. The mound of earth, containing -the seed, is within this tent, it having been built round it, in fact. -The juggler suddenly appears to notice that the cloth is too thin, -allowing the interior to be seen through it, and proceeds to cover the -tent with a thicker piece of cloth. The conjuror in this case has a -rag doll, which he uses very much as our Western magicians use their -wands; and with this he proceeds to make passes over the tent, about -the seed inside the tent, etc. He also waters the seed several times. -After a time, the cloth is lifted up, and the spectators see that the -tree is several inches in height. This performance is repeated several -times, the passes, waterings, etc., being gone through each time, and -generally a wait of several minutes is necessitated, during which waits -the conjuror performs some other trick, such as the diving duck, the -cups and balls, or the colored sands, all of which I shall explain -later on. At the conclusion of the performance the juggler removes -the cloth, and the mango is found to have grown to a very respectable -height. - -Now for the explanation: - -In the first place, the rag doll which the conjuror uses is hollow, and -contains, folded up within it, a shoot of the mango-tree. In the course -of making passes over the seed he extracts this shoot, and inserts it -in the wedged-open end of the seed, where it remains until removed. The -conjuror could now show this shoot, but it would lose in effectiveness -to show it so soon, and for that reason he performs the minor tricks in -the interval. When he returns to the tent and raises the cloth, this -shoot is seen sprouting from the ground. The conjuror then lets the -cloth fall to the ground again, and proceeds to make more passes over -the seed. During these passes he manages to extract the small shoot -from the seed, and replace it in the rag doll again. He then places a -much larger shoot of the tree in the slit end of the mango seed. This -larger branch was concealed in the second cloth which the conjuror -placed around his tent, after discovering, apparently by accident, that -the first cloth was so thin as to be semi-transparent. Within the folds -of this second cloth was contained the mango-tree shoot of larger size. -The tree is now grown to its full size and might be shown immediately, -but, for effect, the conjuror again waits for several minutes before -showing the growth to his onlookers. Sometimes the tree is made to -disappear altogether at the end of the performance, like the palace in -the Arabian Nights. When this is the case, the conjuror has extracted -the branch from the seed, and managed to conceal it under the carpet on -which he was sitting. This is gathered up and removed at the close of -the entertainment. - -There are, doubtless, other methods of performing this mango-tree -trick. Kellar describes a method in which the performer concealed -several shoots of the tree of various sizes within his sleeves, -and produced them in turn, under cover of the cloth. As, however, -Hindu fakirs seldom wear robes of the kind, I think we may say that -this is a method seldom used. Some conjurors cover the growing seed -with a basket; and when this is the case there is probably room for -concealment of shoots of the tree within secret compartments of the -covering basket. - - - - -THE BASKET TRICK. - - -I now come to the “basket trick.” For this trick the juggler brings -forward a large, oval basket, peculiarly constructed, being much larger -at the bottom than at the top. Probably nearly every one is familiar -with the shape of these baskets. The lid is perhaps 30 inches by 18 -inches, and is oval, while the basket itself spreads out to about 4 -feet 7 inches by 2 feet 6 inches at the bottom. - -Roughly, the basket may be said to resemble a huge egg, with an opening -in one side. This is shown to the audience empty, and a man or boy -is brought forward by the conjuror. This boy wears some conspicuous -article of clothing—a scarlet turban or jacket. He is placed in the -basket, into which he apparently just fits, occupying the whole of it. -The lid is placed upon his head, and a large blanket is thrown over -it, completely covering him and the basket. He is seen to sink down -gradually until he finally disappears into the basket altogether, and -the lid resumes its natural position over the opening. - -[Illustration] - -The performer now removes the cloth and proceeds to run the basket -through and through with a sword he has in his hand. Every part of the -basket is pierced in this manner, and it appears as though the boy -must be killed, even if he somehow managed to conceal himself within -it. The juggler now replaces the blanket over the basket, places his -hands under it, and removes the basket lid, throwing it to one side. -He then places his hand into the basket itself and removes the turban -and the jacket, which he throws to one side. The body has apparently -disappeared! To make matters more certain, however, the juggler -suddenly jumps right into the basket, stamps about with his bare feet, -and ends by sitting in it himself. - -As it was formerly seen that the basket was only large enough to -contain the boy, it seems impossible that he can now be concealed in -or about it. The conjuror then replaces the turban and the jacket in -the basket, replaces the lid, and removes the blanket. Suddenly he -darts forward, carrying with him the blanket, and snatches in the -air with the latter as if catching a body, and goes back with much -excitement and much jabbering to the basket, which he covers with the -blanket; when suddenly something is seen to be moving under the cloth! -Immediately the lid of the basket goes up. In another moment the boy, -clad in his jacket and turban, emerges from the basket, none the worse -for his recent trying experience. - -I shall now explain this apparent marvel. - -[Illustration] - -The instant the boy is covered with the blanket he proceeds to divest -himself of his jacket and turban, which he deposits in the bottom -of the basket. He now gradually sinks into the basket until he is -completely inside it and the lid is even with the top of the basket. -Now comes the chief portion of the trick—the method of concealment of -the boy within the basket—for he does not escape from within it, in the -version of the trick now described, but remains within it throughout -the performance. It will be remembered that the lower portion of the -basket is much larger than the top portion. The boy within the basket -manages, then, so to curl his body round the basket, eel-wise, that he -is occupying the entire outer _rim_ of the basket, so to speak, thus -leaving the centre of the basket (the part of the basket directly under -the opening) empty. When the juggler runs his sword through the basket -he takes special pains to run it through this unoccupied space, almost -exclusively; and, by the concealed boy wriggling from place to place -within the basket, the juggler is enabled to run his sword through -almost every portion of it in turn, and so give the appearance of its -complete emptiness. It will now be seen that the juggler can place his -hand inside the basket and remove the discarded jacket and turban at -any time; also the lid, and to stamp and sit in the basket, since the -space he occupies is that left _un_occupied by the boy in the basket. -So long as the blanket is over the opening in the basket, the boy can -never be seen. The magician then replaces the jacket and the turban in -the basket, and replaces the lid—all this before removing the blanket. -As soon as the lid is again placed upon the basket the boy inside slips -on his jacket and turban, and is ready to emerge from the basket as -soon as the lid is withdrawn. The snatching in the air with the blanket -is to distract the attention of the sitters away from the basket while -the boy is donning his clothes—since some slight movement of the basket -might be noticed and the spectators thus suspect that the boy is -already inside. - -Sometimes the boy is seen to be outside the basket at the conclusion -of the performance, and in some distant tree, etc. How is this to be -explained? (1) There may be _two_ boys, exactly alike, the first of -which remains in the basket, while the second, dressed like him, hails -the onlookers from the tree-top and comes down among them. During -the instant that everyone’s attention is directed to the boy in the -tree and his approach, the original boy makes good his escape, aided -by a confederate, who stands close by the basket, and in whose hands -is a large blanket, partially covering the basket. The boy escapes -behind this confederate’s body. (2) There is also a method of causing -the boy to disappear and appear in a tree-top, without employing any -duplicate boy or confederate. In this case, the basket is placed -within a few feet of some convenient wall or hiding place, and the -trick is performed on that spot. Matters proceed very much as before -until the time comes for causing the boy to vanish and re-appear in -the tree. When this time comes the juggler brings forward four poles, -four or five feet in height, and these are stuck in the ground around -the basket, and the conjuror has two or three assistants stationed on -each side of the basket, assisting him, and standing a few feet from -the basket. In this case the boy wraps up his turban and jacket in a -cloth, while in the basket, and this the conjuror manages to get hold -of and pass out to one of his assistants earlier in the trick, while -the basket is being constantly covered and uncovered. - -Presently the conjurors begin to quarrel among themselves, and at the -same time others begin to play upon tom-toms, etc., making an awful -noise and distracting the attention of the spectators away from the -basket containing the boy. Meanwhile the conjuror has procured a large -piece of cloth, and has attached one end of this strip to one of the -poles—one of those nearest the onlookers. He then proceeds to attach -it to each of the other four in turn, thus enclosing the basket in -a roofless tent, the front side—the side nearest the audience—being -enclosed last. At least, so it appears. What has really happened, -however is this. At the moment when the noise was created, and the -conjuror’s assistants began quarreling among themselves, and the -spectators’ attention was accordingly distracted as much as possible, -the conjuror crosses in front of the basket for a moment, as though to -ascertain the cause of the disturbance, and for an instant conceals the -basket from view. In that instant the boy leaps from the basket, darts -between the legs of one of the assistant conjurors, and is lost behind -them before the cloth is withdrawn that had concealed his escape. It -has taken only a second or two, and the interval is so short no one -remarks upon it—especially as they were distracted by the noise, etc., -at that instant. The careful enclosure of the basket subsequently also -tends to convey the impression that the boy is still within it. But he -has now escaped; he has turned the corner, and is hidden from the view -of the spectators. He carries with him the cloth containing his jacket -and turban, which he proceeds to don. Then, climbing a near-by tree, he -is ready to cry out to the spectators whenever he receives the signal -from the conjuror to do so. - -Another method of escape is the following: The conjuror wears a thick -strap under his loin cloth. The boy, under cover of the enveloping -blanket, reaches up and grasps this strap, and by its aid he draws -himself from the basket, and round, behind the juggler. He is hidden -for the moment by the conjuror’s body and the blanket, which the -juggler has removed from the basket. The boy slips away into the -crowd, through confederates, as in the manner last described. - - - - -THE DRY-SANDS TRICK. - - -Perhaps one of the best known tricks performed by the Hindu fakirs, -after the two just enumerated, is the “dry-sands trick.” In this case, -the juggler brings forward a little pail, some eight or nine inches -high, and perhaps six inches across the top. This the conjuror proceeds -to fill with water. There is no trick about the pail, and the water is -ordinary water, which may be supplied from any source. The conjuror -then extracts a handful of dry sand from a bag and blows it hither and -thither, showing it to be exceedingly dry. A handful of this sand is -then carefully deposited in the bottom of the pail, in the water, and -everyone can see it, resting peacefully at the bottom of the pail. -The conjuror then carefully washes and wipes his hands, and shows -them perfectly clean and empty. Then, placing one hand in the water, -he extracts from the pail a handful of the sand, and shows it to be -just as dry as when it was placed in the pail. Blowing sharply into -his hand, the sand flies in every direction, showing it to be still -perfectly dry. - -This is a very ingenious trick, and could never be discovered unless -its secret were explained. There is no trick about the pail or water, -as stated: it all consists in the preparation of the sand. In order -to prepare this sand for the experiment, the juggler procures some -fine, clean, sharp sand, gathered from the seashore preferably. This is -washed carefully a number of times in hot water, so as to free it from -adhering clay or soil of any sort. It is then carefully dried in the -sun for several days. - -About two quarts of this sand is then placed in a clean frying pan, -and a lump of fresh lard the size of a walnut is placed into the -pan with it. It is now thoroughly cooked over a hot fire until all -the lard is burned away—the result being that every little grain of -sand is thoroughly covered with a slight coating of grease, which is -invisible to the sight and touch, and at the same time this renders the -sand impervious to water. When the little handful of sand is placed -in the bottom of the bucket, to be shortly afterwards brought out, it -is squeezed tightly together into a little lump, the grease making -it adhere. Thus, when it is brought out it is nearly or quite as dry -as when placed within the pail. Brick dust is sometimes treated in a -similar manner. - - - - -THE COLOURED-SANDS TRICK. - - -This is another trick very popular with Indian jugglers, known as -the “coloured sands trick.” The conjuror eats a small quantity of -sand or sugar, apparently swallowing it. He then eats sugar coloured -variously—black, red, yellow, green and blue, as well as the usual -white sugar. These are chewed and swallowed by the conjuror each in -turn. The conjuror then asks his audience to select whichever colour -they prefer of those swallowed, and, upon the choice being made, the -conjuror immediately blows from his mouth the coloured sugar requested. -This is repeated until all the colours have been called for in turn. -Sometimes the juggler dissolves all the coloured sugars in water and -drinks the compound. Sometimes, again, chalks are used instead of -sugar; but these are merely variations of the same trick, and are -worked on the same principle exactly. - -For this trick, the conjuror has secretly prepared beforehand six small -packages or capsules, each one containing one of the coloured sands. -These are enclosed in thin, parchment-like skin, and are secreted in -the conjuror’s mouth, three in each cheek, in a pre-arranged order. The -conjuror can easily reach any one of these packets with his tongue, -bring it to the front of the mouth, break the skin by pressing it -against his teeth, and blow the sand, sugar or chalk out in a perfectly -dry condition. This is repeated until all six have been exhausted, -when the trick is said to be concluded. If some skeptical investigator -wishes to examine the juggler’s mouth, he merely swallows the skins. -The sugars or chalks were also swallowed in the first place. Hindu -jugglers will frequently swallow far more disagreeable things than -skins for the sake of a few rupees. - - - - -THE DIVING DUCK. - - -There is a very simple, and yet a very puzzling, little trick known as -the “diving duck.” The juggler places a shallow bowl upon the ground, -which he proceeds to fill with water. When this is done the conjuror -places a miniature artificial duck in the water, then retires from the -bowl about two feet, and begins to play upon his tom-tom, etc. Soon the -duck is seen to move, and very soon it dives in a very natural manner. -Whenever the hand of one of the onlookers approaches the duck it dives -out of sight, reappearing as soon as the hand recedes. Finally, the -duck is taken out of the water, and immediately handed for examination, -when it is found to be perfectly free from trickery or preparation of -any sort. The bowl is also emptied of its water and again shown to the -onlookers. - -[Illustration] - -The secret in this case is, again, simplicity itself. In the bottom of -the shallow pail or pot there is a miniature hole bored, and through -this is passed a thread or hair. To the inner end of this hair is -attached a small dab of wax. The other end extends along the ground, -and the trick is always performed on soil the colour of which will make -the hair invisible. The duck is fastened to the inner end of the hair -by means of the bit of wax; and it can readily be seen that, when the -pail is filled with water, the duck will dive beautifully every time -the hair is pulled by the conjuror, and will rise to the surface when -this pressure is released. This is the complete secret of the diving -duck. In order to conceal the fact that the pot leaks, the conjuror -first sprinkles some water on the ground; or fills the bowl so full -(apparently by accident) that it overflows. This conceals the fact that -water is gradually running away through the small hole in the bottom of -the pail. - - - - -THE JUMPING EGG. - - -In another trick sometimes exhibited the reverse method may be said to -be employed—since the egg or small rabbit employed jumps out of the -water, at the word of command, and lands on the ground, right outside -the pail. No thread or hair is used in this case, however, as might be -supposed, and onlookers sometimes come right up to the pail and stand -over it while the rabbit makes his marvellous leap. The juggler may be -any distance from the pail at the time, and even held by onlookers to -prevent any action on his part. - -[Illustration] - -The conjurer begins by filling the little pail with water. After he -has done this he pours into the water some coloured sand, and stirs it -up with a stick, when the sand rises to the top of the water, forming -a sort of curtain, and preventing anyone from seeing what is within -the pail. In the act of stirring the water, pouring in the sand, -etc., the juggler has secretly introduced into the pail a thin but -broad spring, bent over so as to form an almost complete circle. The -two ends of the spring are kept apart by means of a piece of sugar, -so that, when this sugar melts, the spring will be released and will -spring open with a sudden jerk. It is upon this spring that the egg or -little rabbit is placed. The juggler goes through various incantations, -playing the tom-tom, etc., until the sugar melts, when the spring will -fly uncoiled, and the little rabbit will be ejected from the water -precipitously. If the pail is emptied later on, the juggler simply -turns the pail upside down, thus allowing the water to escape, and -retaining the spring by means of his finger. - - - - -THE BEANS AND SCORPION TRICK. - - -The trick that is sometimes seen of changing three beans into a -scorpion or a snake is simplicity itself—is so simple, in fact, as to -be seldom exhibited. It is sometimes seen, however. The juggler has -a box, containing two compartments. In the upper one the beans are -kept, while the lower one contains the scorpion or the little snake. -These compartments are separate, and either can be opened at will. The -conjuror puts the three beans into the hand of one of the audience and -tells him to hold them. He then asks him to open his hand again to see -if they are still there. The conjuror takes them out of this person’s -hand, exhibits them to the audience, and puts them back in the box. He -asks the spectator to again hold his hand out; and, when he has done -so, the conjuror deftly opens the lower box and allows the snake or -scorpion to fall into his hand. Naturally this person jumps back, and, -in the excitement, the conjuror has ample opportunity to exchange the -box used for another, without preparation. - - - - -THE BASKET AND BIRDS TRICK. - - -[Illustration] - -Another trick sometimes seen is the following. The conjuror exhibits -a basket, some 18 inches in diameter and 14 inches high. A stone is -placed under the basket, which is then inverted over it. Soon the -basket is lifted, and a snake or scorpion is found beneath it, while -the stone has disappeared. The snake is thrown into a bag which the -conjuror carries with him, and the basket replaced on the ground. After -some manipulation the basket is again raised, and this time some ten -or fifteen little birds walk out from beneath it. Apparently nothing -could be more extraordinary! - -And yet the explanation is simplicity itself. In the act of inverting -the basket the first time the conjuror introduced the snake or scorpion -and removed the stone—very much in the same way as Western conjurors -extract and replace the cork balls in the cups-and-balls trick. The -little birds are all contained in a black cloth bag; and are introduced -into the basket when everyone’s attention is called to the snake or -scorpion, left on the ground, after the basket is raised the first -time. The conjuror introduces his hands beneath the basket and opens -the cloth bag; when the little birds are free to make their escape. The -bag can be disposed of at any convenient moment. - - - - -THE BALL OF COTTON TRICK. - - -Mr. Charles Bertram, writing in _Mahatma_ (a conjuror’s magazine) for -February, 1900, said: - -“The most startling trick I ever saw was done by a man who was -performing some of the little tricks while the mango-tree was growing. -He took a little ball of rough cotton, about the size of a walnut, and -threw the ball to a woman who formed one of the party of those who were -assisting him. The jerk unravelled about two yards, and she broke the -end off and kept the ball. The conjuror placed the end which he held -into his mouth, and by a deep breath the cotton flew into his mouth -and he appeared to chew it. Then he borrowed a penknife from me, and -with a big blade made as though he would stab himself in the throat, -the woman preventing him with some show of excitement; but presently, -turning her back, the man seized the opportunity to plunge the knife -into his stomach, and that he did very well. He then put his hand under -the loose linen shirt he was wearing and began to draw out the piece of -cotton. - -[Illustration] - -“When he had drawn out nearly as much as the length of the piece which -had been broken off, he lifted his shirt slightly and showed the end -of the cotton apparently embedded in the skin. He then took the knife -and moved it upward against the skin as if he were pressing out the -last bit of thread, which was tinged with red, as if with blood. - -“This was really an admirably executed little trick, although by no -means difficult. The sucking in of the cotton is skilful, but with a -very little practice I was able to do the same thing, and so can anyone -else, the only precaution to be taken being to prevent the end coming -into contact with the back of the throat, for if it did it would bring -on an attack of coughing. - -“Of course the chewing of the cotton is merely a method of secreting -it, and another piece of cotton of similar length is rolled up -previously and put in its place with the end coloured with some paint. -A little brown material is put over the skin with a scrap of cotton, -perhaps a quarter of an inch attached to it, so that it really looks -as though it were sticking up out of the skin, and the upward movement -of the knife scrapes this off, and it can easily be gotten away at a -convenient time. This is hardly a trick for an English drawing-room.” - -Frequently we see an Indian juggler remove his turban, double it, cut -it into two pieces, and finally join them together again. I think it -will be a sufficient explanation if I state that this feat is performed -precisely in the same manner as the familiar string trick—in which a -piece of string, cut in halves is restored to its original condition. -As every schoolboy knows this trick, I shall not dwell upon it here. - - - - -THE BRASS BOWL TRICK. - - -Mr. S. S. Baldwin describes a very ingenious trick he once saw -performed.[1] A juggler brought forward a brass bowl, which he showed -empty. He filled this with cold water, placing a little piece of ice -in the water, to show it was really cold. He then covered the bowl for -a few moments with a borrowed handkerchief, made passes over the bowl, -played on his tom-tom, etc. Soon he removed the handkerchief, and the -water was found to be scalding hot, as was verified by placing the -fingers in the water. - -[1] _Secrets of Mahatma Land Explained._ pp. 45-46. - -In this case the bowl was of a peculiar construction. The sides of -the bowl were double; and so also was the foot upon which it stood. -When brought forward the space between the two sides of the vessel was -filled with the boiling water, while the lower space was empty. While -covering the bowl with the handkerchief the juggler found occasion -to scratch off a wax pellet, covering an air-hole, this allowing the -cold water to run down into the empty space in the foot of the bowl. -By scratching off a second wax pellet on the side of the bowl the hot -water is made to run into the body of the bowl until it finds its own -level. It is difficult to explain this on paper, but the principle upon -which it rests is well known to Western conjurors, and is the basis of -several good illusions performed by them. - -There are several minor tricks that I should like to consider, but -cannot for lack of space. Thus, M. Jacolliot states that he saw a -small stick, placed upon the top of a vessel of water, move in all -directions, and finally sink to the bottom of the vessel at the command -of the fakir. He suggests that “the fakir, upon charging the small -piece of wood with fluid, might perhaps have increased its weight so -as to make it heavier than water.”[2] Personally I should be inclined -to think that the piece of wood was manipulated by means of a hair, -somewhat after the manner of the “diving duck,” described above. -Baldwin saw a somewhat similar trick in Zululand. In this case the -conjuror threw a branch of wood upon the surface of the river, which -promptly proceeded to swim upstream! He afterwards discovered that, in -this case, the trick was effected by means of long black threads, in -the hands of hidden assistants. - -[2] _Occult Science in India._ p. 236. - - - - -SNAKE-CHARMING. - - -I now pass on to consider, very briefly, the feats of snake-charming -that are so frequently exhibited. I do not doubt that much—perhaps the -majority—of that which is exhibited by snake charmers is genuine, with -one exception; the fangs of the serpent are invariably extracted. - -Hindus are exceedingly ingenious in extracting fangs, stings, etc., -and I have heard from many independent sources that snakes are never -exhibited in public unless their fangs are first extracted. It may -interest the reader to learn that my sister, when a little girl, took -a great liking to bees, and desired to play with them. My father -and mother were in Calcutta at the time, and bees were plentiful. -Accordingly, my father commissioned one of the servants to extract -the stings from a number of bees, which he did with great skill, and -apparently with no lasting injury to the bee. My sister then had a -whole room full of bees to play with, while quite free from danger -herself. I mention this to show how ingenious Hindus are in handling -reptiles and insects of the sort, thus proving that it would be quite -possible for them to extract the fangs from any serpent. The fangs -once extracted, and the snakes fed upon milk, and perhaps more or less -drugged and charmed by the music, we can very readily see that it would -be no very difficult feat for the snake charmer to handle them in any -manner desired. - -It is a well-known fact that snakes and many other animals may be -hypnotised and rendered more or less cataleptic by means of passes and -various manipulations. Sextus, in his _Hypnotism_, devotes many pages -to this subject. It is probable that, when a snake is stiffened out -to its fullest extent, and remains stiff, it cannot be distinguished -from a stick at a first casual glance. Perhaps this may bear some -resemblance to the priests who performed before Pharaoh, “changing -their rods to serpents” before his eyes. At all events, I quote the -following passage, which seems to bear a distinct resemblance to that -incident, and has the advantage of being “recorded at first hand,” and -is by no means so “remote” as the other tale! It runs as follows: - -“Sitting one morning on the verandah, an aged magician approached and -asked permission to perform some of his tricks. As I was in a humor -to be amused, I told him to go ahead. He asked me to loan him the -walking-stick which I carried. He waved this over his head two or three -times and exclaimed: ‘No good; too big; can’t do,’ and handed the stick -back to me, which, as I grasped it, changed into a loathsome, wriggling -snake in my hand. Of course, I immediately dropped it. The magician -smiled, picked up the snake by the middle, whirled it around in the -air, and handed it back to me. As I refused to take it, he said, ‘All -right, no bite,’ and behold it was my stick.”[3] - -I think the similarity of narrative should at least prove suggestive -and interesting. - -[3] _Secrets of Mahatma Land Explained._ p. 49. - - - - -VOLUNTARY INTERMENT. - - -Let us now turn to a consideration of those feats of “voluntary -interment” so often referred to. - -Take, _e.g._, the famous case of the Fakir of Lahore, who, at the -instance of Runjeet Singh, and under the supervision of Sir Claude -Wade, was interred in a vault for a period of six weeks. Doubtless -the details are familiar to most of my readers. The fakir’s ears and -nostrils were filled with wax, and he was then placed in a bag, then -deposited in a wooden box which was securely locked, and the box was -deposited in a brick vault which was carefully plastered up with mortar -and sealed with the Rajah’s seal. A guard of British soldiers was then -detailed to watch the vault day and night. At the end of the prescribed -time the vault was opened in the presence of Sir Claude and Runjeet -Singh, and the fakir was restored to consciousness. - -Now, though I shall not say that a feat of this kind is impossible, far -better evidence will have to be forthcoming than an account such as the -above, in order to gain credence. How was the bag tied in which the -fakir was placed? Who made the box? What guarantee have we that there -was no outlet from the vault than by means of the door? In short, there -are so many methods of escape that such a badly recorded account as the -above should carry no weight with us whatever. What makes me skeptical -of such accounts is the fact that, in one instance of which I know the -details, it was discovered that a fakir, after being buried in a grave -several feet beneath the ground, managed to make good his escape by -means of a tunnel especially built, leading into a hollow tree, through -which the fakir escaped under cover of the darkness. In this case, the -grave was well sealed, and it was certain that the fakir did not escape -in that manner. He was however, discovered that night in the hut of a -relative of his, quietly sleeping. Investigation showed that the grave -had been dug in a certain spot, and that there was only a thin wall -of earth between the end of the coffin, which hinged inwards, and the -other tunnel, which communicated with a previously prepared tunnel, -leading to the hollow tree, and so to air and freedom. Every interment -was made in the same spot, and Europeans were being constantly taken -in by the same trick. In the face of this piece of evidence I may be -excused for being somewhat skeptical as to genuine feats of the kind. - -And when we turn for analogy to cases of induced hypnotic trance, -lasting over a number of days, we find that here, too, there is -much fraud—much more than the public supposes—though I must not be -understood as saying that trances of this character are not well -authenticated. But I _do_ assert that in the majority of public -tests, in which the “professor” keeps his subject asleep for seven -days, etc., much fraud enters into the case. I do not say that it is -all fraud from beginning to end, but there is an element of fraud in -the case, which it might be as well to make plain in this place. The -average method of procedure would be about as follows: - -A good somnambule is selected who is in good physical health, and he -is prepared by giving him a good dose of castor oil or rhubarb the day -before the test. But little must be given the subject to eat or drink -for a few hours before he is put to sleep. He is hypnotized several -times daily before the test and suggestions made that he will not wake, -that he cannot wake until permission is given him to do so, etc. He is -then put to sleep carefully, and forcible suggestions given—that he -cannot awaken, etc. The subject is then placed in his coffin, plenty of -fresh air being allowed to get to him, and he is covered with mosquito -netting if the test is in the summer-time, and flies, mosquitoes, etc., -are numerous. The subject is turned over from side to side frequently, -especially after the second day, and repeated suggestions are given -him to sleep, that he cannot wake, and so forth. The subject will not -be in an equally deep sleep all the time. Some of the time he will be -actually asleep, of course, but he will be very near to waking much of -the time, after the first two or three days, and must be kept asleep by -constant suggestion. When the night comes on and it gets cold and there -are fewer persons watching, the performer makes this the excuse for -covering the subject with a blanket. Under this blanket is concealed a -rubber bottle containing water, and a sandwich or two are dropped in -the coffin at the same time. These the subject invariably eats. I am -not asserting this here for any other purpose than to show that these -so-called “seven-day sleeps” bear no real resemblance to the cases in -which men have been interred for days and weeks at a time, and throw -the other cases into stronger relief in consequence. In view of the -facts above noted, and of the fraud that is known to exist in some of -these cases, I think we are entitled to ask for a considerable amount -of first-hand evidence before we need consider seriously these cases of -long-continued interment. - - - - -THE ROPE TRICK. - - -There remains for our consideration only one other well-known feat -performed by Hindu fakirs or yogis, and that is the famous “rope -exploit,” before referred to. I looked up the evidence for this -performance with great care when writing my _Physical Phenomena of -Spiritualism_, contrasting the evidence for hallucination in this -and kindred tests with certain of the _seances_ with D. D. Home, to -ascertain if there were any similarity between the two. I think that I -cannot do better than to quote the case as therein given. I accordingly -quote from pp. 389-93 of that book. After referring to Dr. Hodgson’s -article in _Proceedings_, S.P.R., Vol. IX., pp. 354-66, the account -goes on: - -“But the most interesting part of Dr. Hodgson’s paper is his -consideration of the alleged feats of levitation and the famous -rope-climbing exploit, both of which are probably too well known to -my readers to need describing here. The nature of the former of these -phenomena is explained by its title; the second is the famous feat -in which a rope is thrown into the air by the performer, where it -stays—suspended by some unknown power—and gradually stiffens, allowing -a small boy, the fakir’s assistant, to climb up it, and finally -disappear in the clouds. Soon, the legs and arms of the boy are seen -to fall to the ground, then the head, and finally the trunk falls to -earth, all before the astonished and horrified gaze of the onlookers! -These pieces gradually join themselves together, and re-form the boy’s -body, whole as it was at first, and the boy goes on his way rejoicing! - -“Of the levitation I shall not speak now, beyond stating that it is -recorded in several of the books mentioned, as previously stated. The -value of the testimony will be variously estimated by individuals, -partly according to their preconceived ideas of the limits of the -possible, and partly according to their familiarity with the evidence -that has been collected in various works on the subject. As I have -considered this question of levitation elsewhere I shall dismiss -it for the time being, and turn to the feat that most particularly -interests us in relation to this question of hallucination and its -possibilities. - -“It need hardly be pointed out, I believe, that if this feat were ever -witnessed by Europeans at all (_i.e._, if the whole thing is not a -myth), and certain individuals imagined they actually witnessed it, -the effect was the result of an hallucination, and not the result of -seeing what actually took place. It need scarcely be said that the -nature of the trick, if trick it is (the suspension of the rope by some -unknown power, the ascent of the boy into the clouds, the tumbling down -to earth of the separate members, and, finally the joining together -of these into a live form again), would forbid any such performance -taking place in reality—except on the stage, _e.g._, when appropriate -apparatus can be arranged to perform this feat—an illusion of this sort -being mentioned in _Mahatma_, Vol. III., No. 5, November, 1899. If -such a performance were even witnessed, therefore, it must have been -the result of some sort of hallucination, possibly hypnotic, which the -onlooker was experiencing at the time. The question, therefore, narrows -itself down to this: was the onlooker hallucinated? - -“Several reported instances seemed to show conclusively that such -_was_ the case, it being stated that (particularly in one case which -the writer quoted from his own experience) the photographic plate of -a camera revealed that nothing of the sort had transpired. The person -witnessing the performance had actually seen it, as described, while -the photographic plate, which cannot be hypnotised and so share in the -hallucination supposedly induced, showed that the performance had not -taken place at all. Such was the story, at least, which reached a very -large portion of the reading public—so large, indeed, that this is the -explanation that is given of this illusion whenever it is mentioned, as -if it were a fact past all questioning! - -“Dr. Hodgson, in criticising these articles, pointed out that the -illustrations reproduced to back up the story (supposedly photographs) -were in reality, _woodcuts_, and consequently were not what they -purported to be at all, and served to throw a grave suspicion on the -story _in toto_. Later, it came to light that this story was concocted -by its author, and had no basis in fact whatever.[4] Dr. Hodgson -actually doubted if the phenomenon had ever been witnessed at all, or -even if any person _thought_ he had witnessed it, rather inclining to -the belief that these stories were invariably made up ‘out of whole -cloth,’ and had no real basis in fact, even that the sitters were -hallucinated, as it is stated they were. Several cases have lately come -to light, however, particularly a recent and well recorded one,[5] -which would seem to show that the stories have at least some basis -in truth. I shall accordingly consider the cases as if they actually -existed, merely pointing out that such performances are extremely rare, -even if they exist at all. Dr. Hodgson never witnessed the illusion, -nor could he find anyone who had a first-hand account to offer him. -‘Even Colonel Olcott,’ says Dr. Hodgson, ‘a faithful servant of Mme. -Blavatsky ... told me, after several years’ residence in India, he had -never witnessed the rope-climbing performance.’[6] At the same time -Dr. Hodgson was willing to admit that the story might have originated -because of some hypnotically induced hallucination, akin to those -induced by our Western hypnotists. The evidence, as it stands, is -certainly inconclusive, in any case, and though there is a certain -analogy between these performances and those of D. D. Home, _e.g._, -the inaccuracy in recording, the doubt surrounding these phenomena can -be said to offer no direct support to the theory of hallucination in -Home’s case, which must stand or fall on its own merits. It can derive -no real support from the performances of Oriental conjurors. - -[4] _Journal_ S. P. R., Vol. v., pp. 84-86; 195. - -[5] _Journal_ S. P. R., Vol. xii., pp. 30-31. - -[6] _Proceedings_ S. P. R., Vol. ix., p. 362. I do not at all agree -with Mr. J. N. Maskelyne’s “Explanation” of this feat, however (see his -pamphlet “The Fraud of Theosophy Exposed, and the Miraculous Rope Trick -of the Indian Jugglers Explained” pp. 23-24). - -“On the subject of Oriental magic generally I cannot do better than to -conclude this summary in the words of Dr. Hodgson, to be found in the -article so frequently referred to already. In summing up the evidence -for the supernormal in these performances, he says: - -“‘I conclude, therefore, that, in spite of the strong assertions of -a distinguished conjuror, we have before us no real evidence to the -manifestation by Indian jugglers or fakirs of any marvels beyond the -power of trickery to produce.... The conjuror’s mere assertion that -certain marvels are not explicable by trickery is worth _just as much_ -as the savant’s mere assertion that they _must be_ so explicable—just -as much, and no more.’” - -From all that has been said, I think we shall be justified in -concluding that the vast majority of feats performed by the Hindu -fakirs present no evidence whatever of the supernormal, but are, on the -contrary, clearly due and traceable to trickery. It is highly probable -that every one of their well-known tricks are such only, and involve no -occult powers, nor do they warrant our belief in the operation of any -forces “other than those known to physical science.” - -Are we to conclude, therefore, that nothing is to be gained by a study -of the East and its phenomena? I think we should scarcely be justified -in doing that, since there seem to be many phenomena witnessed there -that are well worthy of serious consideration. The snake charming -is one of these; the cases of prolonged trance probably present -many interesting phenomena, from any point of view; the rope exploit -has at least its psychological interest; and there are many cases -of levitation reported, which are worthy of serious consideration. -“Baron Seeman,” a conjuror, describes in his book, _Around the World -with a Magician and a Juggler_ (pp. 54-6), a case of levitation; and -various other conjurors have described the same thing. M. Jacolliot, -in his _Occult Science in India_, before referred to, has recorded -a number of most interesting experiences with a Hindu fakir. He -obtained raps, telekinetic phenomena, independent writing, levitations, -materialisations, playing upon an accordion, etc. Strange to say it -was through the instrumentality of the very _same_ fakir that Seeman -obtained his experiences in levitation (Covindasamy). - -And it will be noticed further that _all these phenomena_—so different -from the usual tricks of the Hindu fakir—_bear a close resemblance to -the mediumistic phenomena witnessed in our countries_. - -That is a most striking fact, and at once places them on a different -level from most of the tricks exhibited by Hindu fakirs, which are -certainly tricks and nothing more. There _may_ be genuine mediums among -the Hindus; but the phenomena witnessed in such cases are of a very -different type from those usually observed. This fact at once tends to -discredit the ordinary tricks exhibited, and strengthens the evidence -for the phenomena that so closely resemble the occurrences witnessed -in the presence of occidental mediums. It shows us, at all events, -that some, and perhaps much, good may come from a close study of these -wonder workers; and that, in investigating them, “we must not,” as Mr. -Frank Podmore expressed it, “for the second time throw away the baby -with the water from the bath.” - -*** END OF THE PROJECT GUTENBERG EBOOK HINDU MAGIC *** - -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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