“Any person acquainted with the voices before described, may imitate
many others by _contraction and expansion of the glottis, and by
modifications of the cavity of the pharynx and mouth_. The best way
to practise is in a room alone, to talk aloud, 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 placing
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.”
The ordinary compass of a 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 or pitch, loud at first, and by degrees decrease
the sounds; this kind of practice will assist any one in learning to
modulate the voice to appear to recede or come near by degrees.
We think enough has been said to enable _any boy_, sufficiently
persevering, to become a good ventriloquist. “Always remember, that to
_render a voice perspective, the most essential thing is to attend to
the study of sound as it falls upon an 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 _elevate and
depress the roof of the mouth_, especially the back part, as this
movement causes the voice to appear near or at a distance.”
We have now given our young friends the best practical directions we
could obtain from the rules given by a skilful ventriloquist. All boys
who have faithfully followed our directions, should try their powers
before some friend. We think they will be astonished at their success,
and will be pleased to become a source of great amusement to their
friends as well as themselves. But beware, boys, of _misusing_ your
power; always remember the “golden rule,” and never frighten any person
seriously.
Ventriloquism was well known, even before Christ; but it was used
only as a means to foster superstition, and often took the form of
divination. The statue of Memnon will instantly suggest itself as a
familiar example. The gigantic head was heard to speak the moment the
sun’s rays glanced on its features. Undoubtedly the magic words were
pronounced by the attendant priest, who must have been a ventriloquist.
We could give innumerable instances of its use among the ancients;
but we will close with an amusing anecdote we once heard of a famous
ventriloquist. He was passing through a street with a friend, at the
same time a load of hay was passing along. The ventriloquist called the
attention of his friend and others passing along 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 suffocated
man now became fainter, and he appeared to be dying. The crowd,
instantly proceeded to unload the hay into the street, the smothered
voice urging them to make haste. The feelings of the people may be
imagined, when the cart was found empty. The ventriloquist and his
friend walked off, laughing at the unexpected result of their trick.
=NATURAL MAGIC.=
The Æolian Harp consists of an oblong box of thin deal board, about
five or six inches deep, with a circle drawn in the middle of the
upper side, an inch and a half in diameter, around which are to be
drilled small holes. Along the upper side of the box seven, ten, or
more small strings, of very fine gut, are stretched over bridges near
each end, like the bridges of a violin, and tightened or relaxed with
screw pins. The strings must be tuned to one and the same note, and
the instrument placed in some current of air where the wind can pass
over its strings with freedom. A window, the width of which is exactly
equal to the length of the harp, with the sash just raised to give
the air admission, is a good situation. When the wind blows upon the
strings, with various degrees of force, different musical tones will be
sounded; sometimes the blast brings out all the tones in full concert,
and sometimes it sinks them to the softest murmur. In many old castles
these harps were fastened in the windows, and their wild music caused
the ignorant to think they were haunted.
A colossal imitation of the instrument just described was invented
at Milan, in 1786, by Abbate Gattoni. He stretched seven strong iron
wires, tuned to the notes of the gamut, from the top of a tower sixty
feet high, to the house of a Signor Muscate, who was interested in the
success of the experiment and this apparatus, called the giant’s harp,
in blowing weather, yielded lengthened peals of harmonious music. In a
storm this music was sometimes heard at the distance of several miles.
Simply tying waxed saddler’s silk to little sticks, and pushing them
into the crevices of windows, so as to receive a draught of wind (the
silk being strained tight), will produce very sweet sounds.