SLEIGHTS AND PROPERTIES FOR GENERAL USE.
HOW TO PRODUCE ARTICLES FROM THE WAND--ARTICLES PRODUCED
FROM THE PERSONS OF THE COMPANY--VANISHING OBJECTS FROM THE
HANDS--EXCHANGING ARTICLES--MESMERISING A DOVE--MARKING A
CARD IN COURSE OF PERFORMING--PASSING HANDKERCHIEF OVER
FLAME OF CANDLE--THE CONJUROR'S SHUFFLE--THE DEVIL'S
HANDKERCHIEF--COIN HANDKERCHIEF--FLYING RING--MAGICIAN'S
EGGS--PRODUCTIVE EGGS--COIN-VANISHING TUMBLER--MAGIC
PLATEAU.
_Sleights._--Often, in the description of a trick, the learner is told
that a handkerchief, coin, egg, orange, or other article has to be
made to disappear or appear by sleight of hand. In the descriptions
here given, my own methods naturally appear in preponderance over
those of others; but it is a mistake for conjurors to confine
themselves arbitrarily to any such, whose soever they be, or whatever
their nature. The peculiar means for magically vanishing or producing
an article which has seemed to me to be most convenient under the
conditions governing the particular trick under notice, I have always
laid the most stress upon; but it is very likely that, were half a
dozen experts to write upon the same tricks, they would each vary more
or less in the precise means by which the same results were arrived
at. This is only as it should be, the success of a conjuror, like that
of an actor, depending, in a very great measure, upon his originality
or individuality. The reader will notice that I frequently describe
a trick, and then give one or more alternative ways of doing it, the
last-named being usually methods I have seen adopted with success by
other conjurors. In order to save endless repetition, I give here a
few sleights which the learner should be incessantly practising, just
as he would the pass or the palm. Some of the feats actually form
small tricks in themselves, but are only introduced by the performer
as suddenly inspired interpolations in the course of a trick, of
which they may, as a fact, really form part. For the disappearance
of a coin or coins, the various palms provide; the method described
in connection with the cups and balls (page 55) suffices for the
evanishment of marbles, nuts, and articles of that size; whilst the
palming of cards has been specially treated. The other sleights which
I have found most necessary are as follows:
_To Produce an Egg, Orange, &c., from the Wand._--This daring feat
is certainly one of the most wonder-inspiring description. The
performer says, "I now require, for my trick, an egg. I presume none
of the company happen to have such an article about them; and, as
I have forgotten to provide it myself, I must make an appeal to my
wand, which rarely fails me in such cases." Standing sideways to
the audience, the performer holds his wand in the fingers, at arm's
length, and then, suddenly running his hand along it, upwards, as
though squeezing it, he produces, from the very top, the egg. As his
sleeves are turned well up, and nothing has been visible in either
hand, the mysterious appearance of the required article is quite
inexplicable. It is thus managed. The egg may be either upon the
shelf at the back of the table, or under the vest band. I prefer the
latter place of concealment, because the performer is better able to
carelessly show his hands quite empty just previous to the production
of the article; whilst a longer time must elapse between the secretion
of the article in the hand and the moment of its appearance on the
top of the wand, if it be placed upon the shelf. Apart from this,
going behind the table should always be avoided where possible. It is
the easiest thing in the world to get down the article from the vest
in the act of turning round. It should find its way at once to the
very centre of the hand, the root of the thumb gripping it, and the
fingers should either seize the coat flap, or the wand should be put
into it. The _modus operandi_ may be simply described as follows: The
wand is lying upon the table and the performer comes forward, showing,
by rubbing them together in the act of speaking, that his hands are
empty. When he has uttered the words "in such cases," he wheels round
_to the left_, for the purpose of fetching the wand from the table,
and when his back is fairly towards the audience, he gets down the egg
in the right hand, which then seizes the coat flap. A very important
matter must here be observed. The article vested must always be
placed on that side of the body which is opposite to the hand that
is to bring it down. If, in the present instance, the egg were upon
the right side of the performer's body, taking his vest buttons as a
central line, the act of getting it into the right hand could not be
achieved without sticking out the elbow, which would at once reveal to
the company that the performer was carrying out some manoeuvre with
that hand, and, when he turned round, they would immediately fix their
eyes upon it, and keep them there, to the serious detraction of the
proceedings following. The golden rule must be followed of glueing,
as it were, the upper arm and elbow to the side. Then the forearm
and hand may do as they please, with impunity. The getting down of
an article from the vest need occupy only a half-second of time, so
the performer turns briskly to the table, his every visible action
and look being, of course, concentrated upon the matter in hand--the
fetching the wand from the table. With the right hand, containing
the egg, holding the coat flap lightly and naturally, the wand is
picked off the table with the left, the performer's right side being
towards the company. Holding the wand for a few moments in the left
hand, and looking at it amusingly, as though wondering quite as much
as the company how it is going to accomplish its task, the right hand
is brought boldly to the front, and the wand placed in the fingers.
The back of the hand is, of course, towards the company. The fact of
its containing a bulky article will naturally cause it to be somewhat
curved, so it is necessary to cause it to look as flat as possible.
This is best managed by straightening the fingers and bending the
wrist outwards, the whole length of the fingers being thus presented
to the view of the company. It will be found that the wand, pressing
against the article in the hand, assists towards keeping it in its
place there. In the case of an egg, care must be taken not to put on
too much pressure. The wand must be held by its middle portion, and
should not remain in the right hand for more than a couple of seconds,
at the outside. It is then re-taken by the left hand, but by the lower
end, the right hand simultaneously making the upward "squeeze;" the
article being produced at the tips of the fingers, when they reach the
top of the wand, it being allowed to drop from the palm into the bent
fingers just previously. The illusion is complete when the sleight is
performed with neatness and dash, the article appearing to actually
come out of the wand, although everyone knows how impossible it is
for it ever to have been there. An article so mysteriously produced
should, by all means, be given for examination. It is surprising
what very large-sized oranges can be produced by this means, when
the performer has once acquired sufficient boldness. Audacity is the
chief ingredient in the sleight, and the learner will acquire it by
beginning with small-sized articles. Brilliantly-coloured articles,
such as oranges, or perfectly white ones, as eggs, make the best
appearance.
_To Produce Articles from the Persons of the Company._--Here audacity
plays a very important part indeed, as the performer goes in amongst
the spectators and finds such oranges, eggs, lemons, &c., as he may
want, in their hair and apparel. In the _Gant de Paris_ (page 228),
I have seen a performer use an orange, a lemon, an egg, and a walnut,
all of which he has found upon the company within a very few seconds
of time. A description of how this is done will suffice as a guide to
the learner how to proceed in all similar cases. The walnut should be
palmed, and the lemon held in the same hand, the other hand holding
the orange, both hands of course seizing the coat. The egg is vested.
Coming on to the stage from behind, the performer proceeds rapidly
into the very midst of the company, and says, "Can any one lend me
a kid glove for a few minutes?" then, turning suddenly towards a
male spectator--with long hair, if such a one be handy--"I beg your
pardon, sir, but I see a something in your hair; what is it?" Whilst
this is being said, a rapid dash is made at the addressee's hair, the
orange being slid to the ends of the fingers, and produced with all
slowness. It is given a second spectator to examine, who is discovered
to have a lemon in his hair, or inside his coat. Whilst the lemon is
being produced, and all eyes are intent upon it, the empty hand gets
down the egg. This is found in the hair of a third person, whilst
the walnut is discovered on the tip of the nose of a fourth. When
the performer afterwards collects all four articles into his hands,
it will never occur to the company that so much bulk could have been
deliberately palmed by him in their very midst. As a matter of fact,
it is easier to do these sort of things in the midst of a numerous
and rather closely-packed company, than in the presence of a meagre
and widespread one, and the performer should always go where the
spectators are thickest.
_How to Cause Large-sized Objects to Appear to Vanish from the
Hands._--By large objects are meant eggs, oranges, ladies'
handkerchiefs, gloves, small birds, &c. The sleight-of-hand conjuror
should embrace every opportunity for a display of his skill,
handkerchiefs being swallowed and reproduced elsewhere, and other
articles thrown away or made to pass imperceptibly from out of the
hand into thin air, nothing being left of them when the hand is
opened. In order to bring about these things, all that the conjuror
has to do is to adapt, to the altered circumstance of having larger
articles to deal with, what he has been taught in connection with the
palming and passing of coins. Take, first, the apparent placing of
an article in the mouth, and swallowing it. The method adopted will
vary, according to the size of the article. If it be a comparatively
small one, such as a walnut, then the action depicted at Fig. 7 must
be followed, the article being palmed in the right hand, the back
of which must necessarily be turned towards the audience more than
is shown in the sketch, by reason of the more bulky nature of its
contents, and the fingers of the left hand rounded in a way suggestive
of containing the article supposed to be put into them. The right
hand then takes the wand, which, in these cases, must _always_ be
carried under the right armpit. Should the article not be swallowed,
the wand strikes the closed fingers of the left hand, which are
simultaneously opened and shown to be empty. The success attending
this method will depend solely and entirely upon the neatness with
which the palm is executed, and the article apparently placed in the
left hand. It must not be ostensibly thrown there, as is the case with
a coin, but deliberately put in, the fingers of the right hand, after
the execution of the palm, forming as though they actually held the
article, those of the left hand closing around them, as if taking it
firmly in charge. It is always as well to actually place the article
in the left hand at least once, thereby silently impressing the
company with what is to be done with it. The palming of a walnut is
quite as easy as that of a coin, and the pass must be regarded as a
very simple one to learn.
Eggs, oranges, lemons, and solid articles of that size, must be
treated according to the action shown at Figs. 8 and 9, facility
in executing which will render the accomplishment of what is now
described very easy. As the article is not a coin, it must not be
held between finger and thumb, but made to rest upon the very tips
of the fingers of the left hand, which is held perpendicularly for
the purpose. It is thus very conspicuously in sight of everyone. It
is allowed to rest there for a few seconds, when the right hand is
brought suddenly in front of it, and the action gone through of taking
it. At this instant, the orange (say) falls into the hollow of the
left hand, which is immediately dropped to grasp the coat flap, whilst
the right hand apparently puts the orange into the mouth, a muffled
noise being made indicative of the mouth being full. Before the hand
is removed, the mouth is closed, when it is as well to bulge one of
the cheeks out with the tongue, and then make three or four desperate
attempts (ultimately successful) at swallowing, accompanied by choking
sounds. A smile should then illumine the face of the performer, who
appears to have enjoyed the operation, and the orange, if it is wanted
again, may be produced at the right elbow, or brought round from the
back of the neck, rolled along by the tips of the fingers. A very
effective sleight with which to quickly follow the foregoing is as
follows: Place the wand under the left armpit, and hold the orange
in the fingers of the left hand, as above described. Open the legs
slightly, and then apparently take the orange in the right hand and
smash it into the right leg, just above the knee. The orange must be
apparently vigorously snatched out of the left hand, which at once
mechanically finds its way to the wand, that article being grasped
by the thumb only, the fingers and palm concealing the orange. The
performer allows a second to elapse, and then, briskly taking the
wand in the right hand, rolls the orange from behind his left thigh
to the front. It does not in the least signify what the company fancy
actually happened with the orange, so long as they are not allowed
to suspect that it never left the left hand. Obliged to account for
the phenomenon, the theories formed will be various, the majority
polling for a tubular communication between sleeve and sleeve, viâ
the performer's back. As the orange is apparently smashed into the
leg, the performer will find it necessary to stoop slightly. This
sleight should follow the preceding one before the spectators have
begun to recover from their wonderment at seeing the orange apparently
swallowed and then reproduced. A cigar, or article of the like shape,
can be similarly treated if it be held in the left hand between the
tips of the middle finger and thumb, the broad end being against the
thumb. As the right hand covers it, in the act of apparently taking
it, the broad end is allowed to fall against the root of the thumb,
and the hand turned slightly over and then allowed to hang down at
the side. A very little pressure on the part of the middle finger
will suffice to keep the cigar in position. The right hand must
conform itself as closely as possible to the shape it would assume
if it actually contained a cigar. This sleight will come in handy in
conjuring at table.
A more complete method of vanishing is as follows: Take the article in
the right hand, and hold the waistband of the vest by the left. Toss
the orange, &c., twice or thrice in the air, and then whip it swiftly
beneath the vest, which will be partly raised by the left hand. The
two hands thus brought together should be closed one over the other,
as if they contained something, which something you will then proceed
to gradually rub away. As you have nothing whatever in the hands,
you will be able to execute this portion of the deception with great
confidence and ease. When you slip any article beneath the vest, the
body should be partially turned from the audience. Quickly done, the
movement will never be noticed, and it is one of the most perfect
deceptions practised. The vest is never thought of by an audience
as being a place for the concealment of articles, and so it escapes
notice, and everyone wonders where the vanished article can have gone
to. The vest is also an excellent place in which to carry such things
as eggs, lemons, &c., which may be required during any trick.
_To Change an Article._--This is executed very much after the manner
of the preceding, with this exception: the left hand contains the
article concealed, which is to be exchanged for whatever is held in
the right. Say, for example, that the right hand holds an orange,
which the audience, of course, examines. The left hand conceals, say,
an apple. The orange is vested in the orthodox manner, and the hands
brought together as directed, but this time they contain the apple.
Rub them a little, and exhibit the apple, which can be brought back to
its original shape--an orange--if the performer pleases. On no account
must the conjuror inform the audience what he is about to do, or he
may find the ideas of the spectators anticipate his actions, which is,
to say the least, awkward. These actions of vanishing or exchanging
can be done when one is actually surrounded by people; but the hands
must be quick and must appear natural: for instance, when supposed to
contain an orange they must not be compressed so as to barely leave
space within them for a walnut. Nothing but careful practice will
ensure a satisfactory result, for the least bungling will lead to
detection. I need hardly say that it enhances one's reputation greatly
if one can be said to have "changed a real orange into a real apple
under our very eyes" without the aid of any gaudy boxes or canisters.
By all means allow the orange to be squeezed and the apple to be eaten.
_To Vanish Handkerchiefs._--Not being solid bodies, handkerchiefs will
require different treatment, and present the greatest difficulties,
which are fully compensated for by the superior effects produced. In
the first place, the performer must be careful to borrow a lady's
small handkerchief, if for the purpose of vanishing. In performing
_The Knots_ (page 218) a small handkerchief is generally included
amongst those borrowed. It is not used for the trick; but the
performer says he is very fond of such handkerchiefs, and forthwith
rolls it up in his hands, pops it into his mouth, and swallows it.
Whilst the company are wondering, he suddenly pulls the handkerchief
out of his leg. This is a most wonderful sleight, and one the conjuror
must endeavour to become perfect in. He should begin with a small
piece of muslin, which rolls up very tight and easily. This he takes
between the two hands, the left hand below, with its back turned
somewhat towards the company, and rolls it sharply round and round,
until he feels that it is well balled. Then, with the right hand, he
apparently takes it up, the left hand really retaining it by means of
the thumb, and grasping the coat-flap, as in other cases, or the wand
under left armpit. The right hand apparently conveys the handkerchief
to the mouth, where the choking and swallowing performance is gone
through. After a pause of a couple of seconds, the conjuror looks
curiously down at his leg, and, pouncing at a spot in the rear of the
thigh, just above the knee-joint, presses the handkerchief there,
to enable the fingers to obtain a hold of a very small portion of
it. It is then at once jerked forcibly away, when it will appear to
the spectators precisely as though it had been pulled out through
the cloth. The different movements must all follow one another with
regularity and swiftness, and yet the performer must not appear to be
hurrying himself in the least. If the handkerchief experimented upon
be large, some risk is run of a portion appearing from the left hand.
Even with small handkerchiefs this will, at times, occur; but if the
performer carries out the movements of the right hand properly, the
eyes of the company will be directed solely to that.
The same sleight is employed in feigning to throw back a handkerchief
to its owner, the action of throwing being employed instead of
affecting to place the article in the mouth. In this case, it is as
well to pivot round at once, vesting the handkerchief in so doing, and
then at once inquiring, with empty hands, if the handkerchief arrived
at its destination all right. It may be afterwards produced from the
interior of a spectator's coat, by being whipped quickly in and then
produced very slowly and at extended length. If this reproduction
is to follow quickly, then do not vest, which is only done for the
purpose of showing the hands empty. If the performer pleases, he may
plunge his hand into his breast, and produce the handkerchief; but it
will cause less wonderment, and no amusement at all.
Small birds present considerable difficulty, the object being to
conjure with the bird without injuring it. A bird cannot be palmed,
like a walnut, nor can it be rolled up, like a handkerchief. But,
strange to say, the very difficulty of the feat assists the performer.
In the first place, the company never suspect that the bird is about
to be made to disappear, unless the performer is weak enough to
forewarn them; and, secondly, never having experimented, they do
not suppose for an instant that the bird will be simply retained in
the hand all the time, as it really is. All the conjuror has to do
is to hold the bird in the right hand, outside the wings, and head
downwards, the tail pointing up the wrist, and then affect to put it
in the left hand, which is bulged so as to appear to hold it. The wand
must be under the right armpit, and the right hand seizes it at once,
the left hand being struck and opened, showing the bird to be flown.
The sooner the bird is reproduced the better. The most unlikely, and
therefore the best, place to produce it from is the bottom of the
trouser--a lively course of speculation as to how it got there being
thrown open to the company. If it be desired to get rid of the bird
altogether, the performer must pivot round and vest. There is not much
chance of the bird moving in that position, but, of course, it will be
better for the performer to make an early exit, and relieve himself of
the encumbrance.
Doves are made to disappear by means of the shelf at the back of
the table, or the pocket directed to be made at the bottom of the
coat-tail. The shelf vanish is more open to suspicion, but I have,
nevertheless, found it enormously successful, when properly managed.
The performer, in the first instance, must not announce, by word or
deed, that the disappearance is about to take place. Standing to the
left (_his_ left, facing the audience) of the table, and slightly to
the rear of it, he takes the dove in the right hand. Walking briskly
past the table, at the back, he casts his eyes upwards, and just as he
reaches the extreme corner of the table, makes a movement of tossing
the bird into the air. It is, instead, placed gently (not dropped, or
thrown) upon the end of the shelf, the brisk pace of the performer
carrying him at once a good yard beyond the table, from which spot
the dove is apparently cast into the air. The success of the sleight
depends very much upon the exactness with which the performer imitates
the actual throwing of a bird into the air, and the fearlessness with
which it is conducted. Any symptom of a glance at the shelf would be
fatal. The bearings must be taken whilst stationary, and the rest
carried out with the eyes fixed earnestly on the ceiling. Rabbits and
guinea pigs may be similarly treated; but large-sized rabbits are
unsuited, since it is not easy to place them upon the shelf. When
the pocket is used, supposing it to be in the right coat-tail, as it
probably would be, the performer should stand with that side away from
the audience, and ascertain, by means of the right hand, if the mouth
of the pocket be open. Lean slightly over to the right, and then,
taking the dove in the right hand, make a movement of casting it into
the air, straight upwards, whither the eyes are directed. It is, of
course, left in the pocket, head downwards. An attempt to place it
there tail first would be likely to lead to disaster. As this sleight
may be performed away from any table or chair, it is, of course, to
be preferred. It is, undoubtedly, more difficult of accomplishment
than the shelf vanish, requiring more neatness in depositing the bird;
for, if the downward sweep be too vigorous, it will have the effect
of disturbing the coat-tail, which will be momentarily seen, pushed
out behind the performer, by the company, and the place of concealment
thereby betrayed. It need hardly be pointed out that, in either case,
the hand must grasp the bird firmly by the body, clasping the wings
tightly down. If it be felt struggling in the pocket, the performer
should bow himself off at once.
_Mesmerising a Dove._--The apparent mesmerising of a dove makes, of
itself, a capital effect, leading the audience to pay high respect to
the necromantic powers of the conjuror. Also, it makes an admirable
introduction to the vanish. The bird is taken in the right hand,
outside the wings, and laid upon its back on the front edge of the
table, so that the head just projects over. The beak is now taken
in the left hand and the head turned backwards, as far as it will
go. When held in that position for a few moments, the hands may be
removed, when the bird will lie perfectly still. It will not always
do this at the first, or even the second, attempt, but perseverance
will always be rewarded with success. The performer must be as gentle
as possible, and go slowly to work. We need not stay to discuss the
reason for the singular phenomenon, it being sufficient for our
purpose to know that the bird will lie still when placed in the
proper position. The performer waves his hands over the bird, as
though mesmerising it, and then he may take one of the feet in his
fingers and actually raise the bird, by one of its legs, completely
off the table. This will require the greatest delicacy and patience
to accomplish, operations being discontinued the instant the bird
shows any signs of fluttering. Anything approaching a jerk will rouse
the bird, so the lift must be made as gradual and as imperceptible
as possible. The reader will, doubtless, be able to appreciate the
sensation that will be caused when, the mesmerising accomplished, the
bird immediately afterwards vanishes from sight, no one knows whither.
_To Exchange Borrowed Rings for Dummies._--With a single ring, and
in a small way, this may be done by means of the finger palm (Fig. 3),
the dummy being already held in the left hand, between the roots of
the fingers, and a feint made of placing the borrowed one into it.
(See "Tricks with Coins," _b_, p. 11). This does very well for the
drawing-room, in which domain the following method may also be adopted
when two or more rings are borrowed. Have the dummies screwed up
in a piece of paper, which hold in the left hand, and cover with a
precisely similar piece of paper, open. Into this latter place the
borrowed rings, and screw up. All that is now necessary is to reverse
the positions of the two parcels, the left hand carrying away the
borrowed rings, the right taking the dummy ones, the paper containing
which is, of course, not opened again during the trick. The same
method should be adopted with large audiences when a borrowed watch
and chain have to be exchanged; but the following method is far away
the best to adopt on the stage with rings.
For the purpose of collecting rings borrowed from the audience, the
conjuror should provide himself with an ebony wand, rather thicker
than an ordinary penholder, and about eight inches in length. If he be
performing with an assistant, that person should do the collecting.
Upon the wand are already placed the dummies, covered by the hand
holding it by one of its ends. The wand is presented the persons
lending the rings, who slide them on. The performer remains well up
the stage, and, the assistant, turning towards him, changes the wand
from one hand to the other, securing the borrowed rings under the
latter, and spreading the dummies along the wand. This can be quickly
effected, and the assistant at once turns round facing the company,
presenting the wand, with dummy rings, to the performer, who takes it;
the borrowed rings remaining in the assistant's hand, dropped at once
to his side. The performer at once draws attention to himself, and the
assistant makes off with the rings for whatever purpose may have been
previously arranged. An assistant must be something of a conjuror to
possess the necessary _sang froid_ for effecting the exchange without
drawing attention to his movements, so the performer may have to
execute it himself, in which case he would place the dummy rings in
some conspicuous position, and pass behind the scenes momentarily on
the strength of some plea, which would suggest itself according to
the trick in course of performance.
_How to Show the Hands Empty whilst still containing Coins._--In
many tricks with money ("Hold them Tight!" for instance) it may be
advisable, or even compulsory, by reason of the doubt of a spectator,
to show that the coins are not in the hand, whilst they really are so.
With a single coin to manage, the reverse palm will suffice. When two
or more are in the hand the coins must be slid inside the doubled up
fingers which hold the wand, placed across the hand. The really empty
hand is opened, and the one containing the coins also, as far as the
performer dare. Now, if he held the fingers doubled up without the
wand in the hand, the spectators would know where the coins were; but,
seeing the wand, the partial closing of the hand seems natural enough.
Of course the hands are boldly thrust out, the performer saying the
while, "It is pretty plain that I haven't the coins, for here are my
two hands both wide open. Now sir, what have you done with them?" &c.
Unblushing audacity is again the order of the day. A capital effect
is made if, after showing the hands apparently empty, the coins are
abstracted from the hair or beard of a spectator. One never knows when
such a sleight may be wanted. When it is, it is as well to know what
to do, so as to prevent exposure.
_To Mark a Card, in the Course of Performing, so as to be able to
Recognise it again._--This is a very useful little dodge, as by
its means the machinations of the obnoxious person in this book
denominated Mr. Interference may be defeated. It is only requisite
when it becomes absolutely necessary to convince the company that you
do not know the position of the card in the pack. It is necessary to
get at least a portion of the card in the hand, when, from the upper
side, an indentation is made in the card with the thumb nail, one of
the fingers, on the under side, performing the office of pressure
pad. The card need not be removed from the hand of the chooser, the
performer merely touching it momentarily whilst explaining what
he wishes done. It is as well to make the mark near the centre of
the card, as then it is more easily found. After it has been made,
the pack may be given the company, the card placed in it, and the
whole well shuffled by anyone. The card will at once be recognised
by the slight projection that has been made on the under side.
Should a repetition of the ruse become necessary, the performer must
either leave the card originally marked out of the pack, or else
make two marks on the next; but it is better to leave the first one
out. As the whole of the pack is not used--at least, not under my
instructions--some spare cards are always lying unused upon the table.
This spare heap is always exceedingly useful, as cards such as the
one under notice may be placed in it, whilst others, which may be
presently wanted, can lie upon the top, ready at hand.
_To Pass a Handkerchief over the Flame of a Candle without Burning
it._--This is a remarkable effect, which only requires confidence
to ensure its successful execution. The performer has a lighted
candle standing upon the table, and when in possession of a borrowed
handkerchief for a trick, he introduces the sleight as an interlude.
Grasping the handkerchief by one corner, in such a way as to spread
it somewhat with the fingers, he holds it in front of the candle, and
then draws it upwards and backwards, right over the flame, almost
extinguishing the latter in so doing. The handkerchief should be an
ordinary white one, and the flame will be seen by the spectators to
be eating into it, apparently. There is not the least necessity to be
in any hurry, the action of drawing the handkerchief over the flame
being a steady and deliberate one. It may be repeated as often as the
performer chooses, but not made anything of by him, the impression
to be conveyed being that the power of placing a handkerchief in the
flame of a candle without injuring it is one necessarily possessed by
him, as a matter of course. This sleight will come in particularly
_à propos_ if it precedes a trick in which a handkerchief is burned.
It is not advisable to try the feat with a scented handkerchief, it
being just possible that the spirit contained in the perfume might
ignite.
_The Conjuror's "Shuffle."_--Nearly all good conjurors preface
their card tricks with an exhibition of shuffling, a process always
conducted in the showiest manner possible, although, by the time it is
completed, it is possible that the position of the cards has not been
interfered with in the least. As the term "shuffling" is only employed
for want of a better one, and it is merely a question of exhibiting
skill, this does not signify. When a conjuror wishes to shuffle the
cards, he adopts the specious method generally in use--if he can.
According to whether he be a genuine adept, or only a performer of
an inferior order, so will the phenomena exhibited to the spectator
in this connection vary. In the one case, the performer, holding the
cards in the two hands, suddenly opens them very wide apart, the cards
spreading, after the manner of a comet's tail, from one hand to the
other. For an instant they form an aerial arc, when, before they can
fall to the ground, the hands are brought smartly together, collecting
the cards by the action. This movement is repeated twice or thrice.
This is what the genuine man does. The impostor ostensibly does a
very great deal more, for he begins by parting and bringing the hands
together again, as one does in playing the concertina, several times,
the cards acting the part of the concertina perfectly. He then tosses
the cards about from hand to hand in the most _nonchalant_ manner, the
cards invariably following one another in an unbroken stream which
assumes serpentine and other shapes, at the will of the performer.
They are spread along the conjuror's arms, and over his chest, and are
invariably gathered in again without a single one being allowed to
fall. The feats performed appear to be nothing short of marvellous,
until one becomes possessed of the interesting fact that the cards are
all sewn together, so that the whole thing is merely child's play.
Now, although I have seen conjurors with good reputations using these
prepared cards, I entirely disagree with their use myself. In order
to deceive the public, one must not be particular about the means
employed; but here it is a question of one conjuror setting up to be
vastly superior to others, the facts of the case being precisely the
other way. As a matter of fact, these prepared cards are only used
when the performer is so wanting in skill that he cannot execute the
genuine shuffle. Looking, as I do, upon the use of these cards as
being unworthy anyone but a music-hall performer, I never hesitate
to expose the fraud whenever it is perpetrated. I shall, of course,
describe nothing in connection with it, but pass on to the genuine
article, which may be at once recognised by the noise accompanying its
execution, the fraudulent method being quite noiseless. As the feat
is really difficult of accomplishment, its study must be conducted by
easy stages. The pack, which should be composed of small cards (the
large English ones being very unsuitable), thirty or so in number,
is held lengthwise in the right hand (left hand if the performer is
very decidedly left-handed) by the thumb at one end, and the first,
second, and third fingers at the other end, the body of the hand
making an arch over the cards. The left hand is held out, a little
lower than the elbow, in front of the body, with the fingers spread
out, and slightly curled upwards, the first finger a great deal more
than the rest. Now, if the cards be squeezed by the fingers and thumb
of the right hand, they will bend thus, [downward curve]; but if, just
as the pressure is put on, the fore finger of the left hand pushes
the centre of the pack from below, the opposite curve will be taken,
thus, [upward curve], which is the one wanted. With the cards thus
bent, they must be held over the left hand, and more pressure then
applied, when they will "squirt" into the left hand, their foremost
ends striking against the up curled forefinger, and so being prevented
from falling to the floor. In making the squeeze, it will be found
that the middle and third fingers use more influence than does the
first finger, which is merely an auxiliary at the commencement. The
greatest power of all must be exerted by the thumb, which is always
pushing the cards forwards with considerable force. The learner must
content himself with merely "squirting" the cards from the right hand
into the left, at a distance of two or three inches only. When he can
do this easily and smoothly, and without dropping any on the floor, he
may increase the distance to six or eight inches. This is about the
greatest distance he will be able to attain by simple "squirting."
In order to make a more effective show, he will have to give to the
right hand an upward movement at the moment the cards are pouring
from it. This will tend to increase the distance between each card,
but as, at the same time, it kills the forward _momentum_, the cards
would simply fall to the ground were they not prevented from so doing.
To accomplish this, the left hand must follow them up quickly. For
an instant of time they will poise in the air, and then commence to
fall; but, at that moment, the left hand comes upward with a rapid
sweep, bringing the cards together against the right hand. By not
attempting too great a distance at first, the learner will progress
more rapidly; and he should not be satisfied until he can compass a
distance of two feet. Great experts can accomplish very much more than
this. As proficiency is attained, the "shuffle" should be made more
across the body, the direction being from the left hip towards the
right shoulder, this being more showy. A very difficult, but highly
effective, method is to make the "shuffle" the reverse way, _i.e._,
downwards. The left hand is held nearly shoulder high and the cards
"squirted" into it, the right hand sweeping downwards in the direction
of the right hip. The performer must always direct his practice
towards making the cards remain as long in the air as possible. To
this end, the movement of the right hand must be exceedingly rapid,
so that all the cards are visible to the spectators at once; and
the longer the left hand dallies, the more rapid must be its motion
towards the right hand. It must be distinctly understood that the two
hands do not move simultaneously, there being two decided movements,
one following the other. Old cards are useless for this feat, as they
come off in batches, and have no spring. American cards are a trifle
too thin, and are only good when new, whilst the regulation English
whist card is too thick; therefore a medium thickness must be chosen.
The finest quality cards will be found the cheapest to use, as they
stand the strain better. Inferior cards soon become demoralised by
the rough treatment to which the "shuffle" subjects them. After using
a pack faces downwards for some time, turn it over, and use with
the faces upwards, changing back again when the spring of the cards
becomes weak.
PROPERTIES.--Besides the auxiliary articles mentioned in
connection with various tricks, there are some that are of general
application which the conjuror should always have in readiness. They
are here enumerated and described:
_The Devil's Handkerchief._--The peculiar use of this article is
that anything wrapped in it is made to disappear when the performer
desires, by simply shaking out the handkerchief. The secret lies in
the fact that there are two handkerchiefs, three of the four sides of
which are sewn together, the fourth being left open, so as to form a
bag. The article to be made to disappear is apparently placed under
the handkerchief, but really into the bag, and it is usual to give
this to be held by one of the spectators. Later on, the performer
takes the two upper corners of the handkerchief, and, asking the
spectator to loosen his hold, gives it a vigorous shake. The company
look in the air, or upon the floor, expecting to see the object there,
but of course it is at the bottom of the bag. Cards are successfully
vanished in this manner, as also watches, eggs, and articles not more
bulky than they. The handkerchiefs should be of a sombre colour, and
have a decided pattern. This will tend to conceal the contour of the
article inside the handkerchief after it has been made to disappear,
although the performer invariably retires with it to the stage, out
of harm's way. Some performers use handkerchiefs sewn up on all four
sides, and having merely a slit, from four to six inches long, made in
one handkerchief.
_The Coin Handkerchief._--This is an ordinary coloured handkerchief,
into one corner of which, by means of a small extra piece of
stuff, is sewn a piece of metal (to avoid unnecessary sinking of
capital) resembling a coin. The performer should have on hand three
handkerchiefs prepared with pieces of metal to represent sixpences,
shillings, and half-crowns. For the latter, a penny will do admirably,
and it will also act for florins and pennies, the public not being
able to appreciate the slight difference in size when felt or seen
through the folds of a handkerchief. The shilling handkerchief will
answer admirably for halfpennies. A borrowed coin is apparently folded
in the handkerchief, which the performer has drawn carelessly from his
pocket, and not had lying in state upon a table, but palmed instead,
the dummy being presented in its place, and given to be held. The
palmed coin is then secreted in the place to which it is presently to
be magically transported. To cause the coin, supposed to be wrapped
in the handkerchief, to disappear, the performer shakes it by one or
two corners, as in the case of the _Devil's Handkerchief_. Each of
the three prepared handkerchiefs should be of the same pattern, so
that, if more than one are used on the same evening, no remark will be
excited as to the appearance of a new property upon the scene.
_The Flying Ring._--This is a dummy ring, attached to a piece of
elastic passing up the sleeve, with the other end fastened to the
brace, or elsewhere. On a ring being borrowed, it is apparently placed
in a handkerchief, the _Flying Ring_ being substituted, and held by a
spectator, of course through the handkerchief. At a given signal the
ring is released and at once disappears up the performer's sleeve.
_Magician's Eggs._--These are merely blown eggs, which should always
be used when the employment of solid ones is not imperatively
necessary. Their lightness enables the performer to palm them with
considerable ease, and the same peculiarity renders them less liable
to break; and, when they do, by chance, crack, no disconcerting
emission of glutinous contents ensues. Besides this, a stock can
always be kept on hand ready for any performance, which cannot be done
with real eggs. Imitation eggs are made in indiarubber. These are
of everlasting wear, bodily, but the exterior paint wants renewing
occasionally, in order to maintain the resemblance to the real
article, at no time any too exact.
_Productive Eggs._--These are blown eggs containing lengthy slips of
coloured paper, rolled up tightly. The introduction of the paper is
thus managed. The egg blown and dried, a slit is made along one side
with a piercing saw or fine file. A wire is then passed longitudinally
through both thick and thin ends, one end of the paper inserted
through the slit, and rolled up by means of the wire, twisted from
the outside, until the egg is full. A piece of cotton is attached to
the loose end of the paper, and the slit and holes in the ends of
the egg closed up with plaster of Paris. At the conclusion of any
trick in which real eggs have been used, one can be exchanged for a
prepared egg, which is then broken, and the paper extracted, the piece
of cotton at once showing where the loose end is to be found. Into
a good-sized egg some fifty or sixty feet of paper may be secreted.
The paper may be purchased at conjuring shops in large rolls; and the
conjuror will find it better to prepare a quantity of eggs at a time.
_The Coin-vanishing Tumbler._--This is an ordinary tumbler, with a
horizontal slit at the side, on a level with the interior bottom,
large enough to allow of the passage of a half-crown. If the tumbler
be held in such a manner that a finger closes the slit, liquid may
be poured into it. This should be done casually, and not professedly
for the purpose of showing that there is nothing peculiar about the
tumbler, such a suggestion being unnecessary and dangerous. The
company would naturally say, "If there be really nothing wrong with
it, why does he not place it in our hands for examination?" A coin
placed in the tumbler may be got into the hand at any moment _viâ_ the
slit, the top being covered with cards, &c., to prevent the exit of
the coin that way: as if coins were in the habit of leaping out of
tumblers into which they have been placed, and deceiving audiences!
Nevertheless, an audience is invariably satisfied when inanimate
articles are covered up, and so supererogatorily prevented from
performing acts which are not possible to them.
_The Magic Plateau._--This is a glass plateau, in form like a school
slate, there being a broad fancy wood border, glass taking the place
of the slate. The plateau is held like a tray in the hands of the
performer, and coins are placed upon it, which disappear when it is
waved in the air. The secret lies in the fact that the wooden border
is undermined, and, when a sideways movement is given to the plateau,
the coins disappear underneath. The plateau is then carried with that
side in which the coins are concealed, downwards. It makes a trick of
itself, but is more useful as an adjunct to other tricks. As it is
advisable to have a very narrow frame, shillings should be used: in
no case coins larger than a florin. The plateau is also of great use
when the performer is desirous of changing several borrowed and marked
coins for some of his own. Taking the plateau, with the marked coins
upon it, in the right hand, he pretends to pour them off into the left
hand, where the conjuror has his own coins concealed. The marked coins
disappear under the frame, and the concealed ones are exhibited. When
the reappearance of the coins on the plateau is desired, they may be
shaken out of the frame as easily as they were sent there; but I do
not advise this addition, as it is very likely to give a clue to the
mystery. The article is not difficult of construction, and the fact of
the greater part of the material being transparent glass, lends it a
desirably innocent appearance.