SHAM MESMERISM, CLAIRVOYANCE, ETC.
BLINDFOLD FEATS--IMITATION SECOND SIGHT--ON
SPIRITUALISM--THE MESMERISED POKER--THE PERAMBULATING
WALKING STICK--THE ASCENT--THE TALKING GLASS: TWO
METHODS--THE SPIRIT BOUQUET--THE SLATE TRICK--FIERY HANDS,
WRITINGS, &C.--THE ELECTRIC TOUCH--THE ANIMATED SKULL.
_Clairvoyance._--This is one of the most mysterious agencies with
which the scientific world has ever had to deal. Doubted by the
majority, because of its seeming improbability, and because of the
difficulty of comprehending it, the faculty of clairvoyance or second
sight has, nevertheless, been possessed, and is possessed, by not a
few. Some marvellous manifestations of seeing without the eyes have
been shown, and in a manner sufficient to convince even the most
sceptical of its reality. This faculty has often been imitated by
conjurors, some of whom have fairly admitted that they were only
imitators, whilst others have assumed possession of the actual power
itself. At that now defunct institution, the Polytechnic, and other
places of amusement, cleverly arranged telegraphic communication has
been the means adopted for bringing a person on the stage _en rapport_
with another amongst the audience. I would not recommend the amateur
to take any serious trouble in the matter, but to merely make himself
master of a few tricks relating to it. A very simple one is performed
with the aid of a pack of cards. An assistant is blindfolded on the
stage, and placed with his back to the audience. Before proceeding
any farther, the performer explains that, beyond a certain point, he
will neither speak nor make any sound or movement, lest it should be
said that he conveyed information to the assistant. He then proceeds
to "force" three or more cards in an order previously agreed upon,
and the holders thereupon ask of the assistant, as the performer has
previously instructed them to do, what the names of the cards are. The
performer must mentally reserve to himself the right of pointing with
his wand to the person who is to speak next, so as to ensure the cards
being asked for in the proper order.
Instead of using cards, the performer can distribute slips of paper
amongst the audience, for the purpose of having short sentences
written upon them. He has a piece of paper of his own previously
prepared, with a sentence upon it that is known to the blindfolded
assistant. The papers written upon by the audience are folded up and
placed upon a tray, or the crown of a hat, each some distance from
the other. Whilst doing this, the performer contrives to effect an
exchange between his own paper and any one of the others, it does not
signify which. He then asks one of the audience to select one of the
papers, and, manipulating the hat or tray adroitly, "forces" his own.
Before it is opened, the assistant is requested to say what is written
upon it.
This trick is farther elaborated as follows: The performer hands
round a fair quantity of paper slips, and asks the audience to write
what they please upon them very plainly. As it is advisable that
whatever is written should be brief, it is best to ask to have the
names of celebrated deceased persons only written. The performer has
a piece of his own, previously written upon and folded, concealed in
his hand. Supposing this to be in the left hand, the right takes a
folded slip from one of the audience, and, under pretence of putting
it into the left, for the purpose of handing it to another person, an
exchange is effected, and the performer's own piece given instead.
The learner will know the proper "pass" for effecting this by this
time. The performer then says that he will go upon the stage and from
a distance read what is upon the paper. He does so, and seizes the
opportunity for rapidly opening the paper of which he has just become
possessed, and of reading the name upon it. If much were written upon
the paper, it would be impossible to read its contents in the limited
space of time at the performer's disposal. When he turns round there
is of course no trace visible of what he has been about, and he then
proceeds to read the name on the paper held by one of the audience.
This he does not do readily, but first names the sex of the person,
and then the capital letter of the name, as if it were only developing
itself by degrees and through some very mysterious medium. The first
paper duly read, a second one is taken, exchanged as before, and borne
off to the stage, to be read in transit. This process can be repeated
any number of times, although four will be found quite sufficient, as
it is a harassing trick to perform. An excellent finish is to "force"
a previously prepared paper, and then have it burnt, after it has been
read aloud by one of the audience. The ashes are collected and rubbed
upon the conjuror's bare arm, upon which the name then appears in
black. This is contrived by having the name written upon the arm in
glycerine. This will be invisible, but if the ashes be rubbed lightly
upon it they will adhere, and so show the name. There are chemical
preparations used for the same purpose, but the method described here
is by far the most simple and practicable. With this trick "Dr." Lynn
created a great sensation for several months, some years ago.
_Anti-Spiritualistic Tricks._--In the introduction to these papers I
had occasion, the reader may remember, to refer to the impositions
practised by the ancient priests and others on the minds of an
unenlightened people by means of what were merely conjuring tricks,
but which were made to appear before the ignorant in the guise of
supernatural manifestations. Few will require to be reminded of the
excitement that has of late years existed concerning spiritualism.
One would have thought that, in these days, people would have been
above believing that the spirits of the departed would be permitted
to return to the earth for the sole purpose of answering questions
and indulging in tomfoolery; but such is the simplicity of mankind,
that those who have had the boldness to declare themselves capable
of raising the dead, and to dress up themselves or others in muslin
or newspaper, have not lacked faithful followers. The malpractices
have been going on for years, and many shameless impositions have
come under my notice. The victims, it will not cause astonishment to
hear, were mostly weak-minded ladies, and the spirits have had the
remarkable discernment to visit only those who were well provided
with worldly comforts, backed by an amount of confiding simplicity
wonderful to contemplate. The exertions of several amateur, and some
professional, conjurors have succeeded in proving to all minds open to
the workings of common sense that all those professing spiritualism
as a means of gaining a livelihood are neither more nor less than
scoundrels. But of course there are still thousands who would be
as much imposed upon as ever by any white figure seen after dark,
and, in a private way, the spiritualists are still reaping a rich
harvest. Towards clearing away this darkness, conjurors, both amateur
and professional, can do a great deal, and there is a definite and
worthy task before them, which they can best perform by exhibiting
such phenomena as are produced by spiritualists at their exhibitions
by avowedly natural means. By this means ridicule, which nothing can
survive long, will be thrown upon the black art, which is merely
conjuring put to base uses. A performance consisting entirely of sham
spiritualistic manifestations I have found take exceedingly well,
especially with audiences who have seen something of conjuring, and
who are not averse to a change in the programme. I do not agree with
pretending to call spirits to one's aid, for it smacks of irreverence:
the performer should merely explain that what he is about to do or has
just done by simple dexterity is brought about by the spiritualists
with the asserted aid of familiar spirits. A simple trick which seems
well to commence with is--
_The Mesmerised Poker._--The performer seats himself with his legs
apart, and, taking a poker, stands it up on one end before him. On
removing the hand the poker falls, but, after two or three fruitless
attempts, it remains standing without the aid of any visible support.
This is very easily managed by having a fine piece of black cotton
attached to the calf of the trousers by means of a bent pin at each
end. It need not be so long as to drag on the floor, and the performer
can walk about with comfort and without fear of detection. The action
of opening the legs draws the thread out straight and tight, so that
the poker can rest against it when it is required to cause it to stand
upright.
_The Perambulating Walking-Stick._--This is a very amusing trick, in
which a walking-stick is made to walk across the stage by itself. The
invisible agency is again a fine black thread. On a stage provided
with "flies," it is managed from above, in which case the only
direction required is to affix one end of a thread round the head of
a walking-stick, and convey the other end above to an assistant. By
means of this thread the walking-stick is made to progress across
the stage by means of little jumps. But on the drawing-room stage
the matter is not quite so easy. Two threads will be required,
and they must lie across the floor when the curtain is drawn. If
possible, an assistant at each wing should hold the ends, but when
one assistant only can be obtained, he must do the best he can from
one side, the ends of the thread on the other being tied to the back
of a chair, about the height of a walking-stick from the ground. The
walking-stick should be provided with a substantial head, and the
performer must hand it round for minute examination. He then takes it
back to the stage, and flourishes it vigorously to show there are no
threads or wires anywhere about. The instant the flourishing portion
of the business is over, the assistants must raise the threads to
the proper level, and one of them, by crossing his hands, causes the
threads to cross each other at about the middle of the room. The
performer then places the stick, with apparent carelessness, upright
on the floor, but, as he takes care to place it between the threads
just where they are crossed, it does not fall on the one hand being
removed from it. The assistant who has crossed his hands now uncrosses
them, which action has the effect of holding the stick tolerably
firmly between the threads. On receiving commands from the performer
the stick is made to dance, fall down and jump up again, and walk
either to the right or to the left. If it is to go to the right, the
assistant on that side lowers his hands slightly, and the one on the
left administers a succession of jerks to the threads, which will
cause the stick to progress by means of a series of jumps. These
jumps can be made alternately long and short. As a final exhibition
of skill, it can be made to turn a complete somersault, by both the
assistants swinging their hands round in complete circles. For this
it will be necessary to have a good head to the stick. When the
performance is finished hand the stick round again for examination.
In my opinion the trick shows best in a room, where the audience know
there is no means of concealing anyone above.
_The Ascent_ can be performed by means of the same threads. Books,
pieces of music, &c., are laid upon the floor, and rise slowly or
quickly, and remain suspended in the air, where they can be made to
rock about. Of course, they are simply laid upon the threads, the ends
of which are then raised evenly and simultaneously. The best ascent is
a sudden one, as being the most startling.
_The Talking Glass._--Provide yourself with a tall, thin, and
well-sounding glass vase. At a pinch a thin soda water tumbler will
do. Across the room and above the table have a piece of thread or
fine wire. Show the tumbler or vase round, and then place it upon the
table, or on the top of an inverted tumbler, which will serve for the
purpose of showing that there is no deception beneath, and will also
act as a sounding medium. An assistant at the side draws the thread
close against the side of the glass, and it is stretched as tight as
is consistent with safety. The glass is now made to talk by means of
sharply emitted sounds in answer to questions, a small code of signals
being established. One sound means "yes," two "no," and so on. These
sounds are caused by the assistant catching at the thread sharply with
the nail, which will cause a distinct ring to come from the glass. The
principle is very simple, but I have never known anyone but myself
adopt it. The performer must endeavour to make his questions amusing,
and, as the powers of speech possessed by the glass are but limited,
they must not be too severely taxed.
If a tumbler be suspended from the wand by means of a thread tied
loosely round the wand and tightly round the glass, a sound will be
emitted on twisting the wand ever so slightly. With practice this
movement can be made almost imperceptible. If the onlookers begin to
look at the hand and wand too much the display must cease at once.
_The Spirit Bouquet._--One of the most usual, and at the same time
most shallow, of deceptions practised by the "spiritualist," is that
of the production of flowers. The gas is (of course) lowered, a few
irreverencies gone through, and, on the room being re-illuminated, lo
and behold, the table and floor have flowers lying upon them! As, of
course, the manifestors of these wonders could not by any possible
means have the flowers in their pockets on entering the room--even
if they thought of practising-such a deception!--the spectators are
struck with wonder. However, I shall teach the reader how to perform
an even greater marvel, by causing a bouquet to glide through the air
into his hand without the assistance of total or partial darkness. The
bouquet can be either real or artificial--a real one, certainly, for
choice. Take a piece of the finest iron wire procurable (jewellers'
"binding" wire is the proper article), about 6in. in length, and tie
it firmly round the stalks of the flowers, just below the buds. The
other end tie round the centre flower, which is always a little higher
than the others, and you will thus have a loop about 4in. in length.
If the centre flower be not higher than the rest, then re-arrange
the bouquet, and make it so. It is essential to have one end of the
wire tied on considerably higher than the other, in order that the
bouquet may hang properly. If both ends were tied round the main
body of the stalks, the bouquet would hang upside down, whereas it
should, when suspended by the loop, be almost upright, or, at least,
only slightly on one side. From the most convenient position behind
the scenes, which will depend entirely upon circumstances connected
with the arrangement of the stage, have another piece of fine wire
hanging, with a loop made in it at one end long enough to reach the
centre of the stage. The spot usually the best for attaching this
wire is at the side, as near the audience as possible. On a regular
stage the "flies" are most suitable, but in the drawing-room, where
there are usually folding doors and curtains (without them this trick
cannot well be managed), the side must be chosen. When the trick is
about to be performed, the bouquet must be put on the wire by means
of the loop, and an assistant in concealment mounts a pair of steps
with it and holds it in readiness. The end of the wire is so disposed
that the performer can without difficulty insert his little finger in
the loop thereon, under pretence, say, of shifting a chair. He then
retires towards the centre of the room until he feels that the wire
is drawn perfectly tight, and then proceeds to speak of the wonderful
productions by humbugs, done in the dark, and finally finishes up
by saying that he has only to extend his hand in the air to find
something in it. With the hand that is _not_ holding the wire he
makes a grasp in the air, and at the same moment opens the other
hand, taking care to pull the wire quite tight. The attention of the
audience is naturally momentarily attracted towards the hand making
the greatest movement, and at this very instant the assistant starts
the bouquet down the wire. The performer, when the bouquet has reached
his hand, which it will do with remarkable swiftness, exclaims, "Ah!
no; here it is, see, in this hand;" and, ridding his finger of the
wire, brings the bouquet forward, of course keeping the loop upon
it from view. When the performer's actions have been well contrived
and carried out, the bouquet is not seen until it is almost in the
performer's hands; but, under less fortuitous circumstances, which
are all I bargain for myself, the trick is wonderfully successful.
The fact of a small portion of the aerial journey of the bouquet
being observed is not by any means undesirable, the only thing to be
kept from the view of the spectator being the commencement of it. The
communicating wire must be fixed some distance behind, so that the
bouquet is descending at full speed by the time it comes into possible
view. The reader will see that the principle is so simple, as to be
almost commonplace, but he must not deride it on this account. The
most natural actions possible must be brought into play, and plenty
of rehearsals will be required. The reason for having the loop of the
wire upon the little finger is that the safe arrival of the bouquet
is better ensured thereby. The little finger must be kept undermost,
the hand being at an angle of forty-five degrees, with the wire lying
across the palm. A great deal lies in the neatness with which the
bouquet reaches the hand. There must be no bungling. Therefore I say,
Rehearse.
_The Slate Trick._--Everyone will naturally wish to know how this
is done. "Dr." Slade, as Mr. Maskelyne correctly showed in open
court, produced his "spirit writings" on the slate by means of a
thimble-shaped instrument, to which were attached a piece of pencil
and a length of elastic. The elastic was fastened to the brace, or
elsewhere, and caused the disappearance of the thimble and pencil up
the performer's sleeve when they were no longer required. Under the
table was a little ledge which supported the slate whilst the hand,
which was supposed to be performing that action, was busily engaged
in scribbling upon the bottom of the slate, the thimble arrangement
enabling one of the fingers to execute certain letters in a very
poor and scarcely legible fashion. The bad writing was supposed to
look more mysterious; but Slade would have written more legibly had
circumstances permitted it. Anyone may try this method, but as a
conjuring trick it is poor. The trick as now sold is a slate with an
extra or false interior. The answer that is to be given is written
upon the genuine slate, and the false side then put on. The slate is
shown casually round without leaving the performer's hands, and a
question is then written upon one side of the slate, which is waved
about, and an opportunity seized for allowing the false side to drop
out behind the table, or at any other convenient place, and the answer
is then exhibited. If the inside of the false slate have blotting
paper pasted upon it, and a blotting pad be upon the table used whilst
the trick is being performed, it may be allowed to drop out upon the
table without any attempt at concealment.
_Fiery Hands, Writings, &c._--With the aid of phosphorus a very
innocent dark séance can be given. The principal thing is to have
the gas under control. This lowered, or turned completely out, for
preference, the rest is easy enough. Bunches of cotton wool, or tow
steeped in phosphorescent spirits, obtainable at any chemist's, placed
upon the ends of fishing rods, create a good effect when protruded
over the heads of the audience, and there waved about in circles.
A washleather glove, stuffed with cotton wool, tied to the end of
a rod, and wetted, is diverting, not to say alarming, when dabbed
suddenly in the face of one of the audience. Imagination will fancy
it the clammy hand of death. Care must be taken to withdraw it very
suddenly. The best way is to have it swinging from the end of the rod,
when it retires out of reach of a possible "grab" by virtue of its
own impetus. The glove must not be phosphorescent. Japanese fishing
rods, with the joints sliding one within the other, will be found very
useful. A good effect is produced by the performer allowing himself to
be tied to a chair, to which his arms are firmly bound, and the knots
sealed by the audience. His assistants, having first removed their
boots, can come on and manage everything, and, as a final effect,
one of them has some words or characters written upon his arms and
hands, or simply has them smeared with the phosphorescent preparation
in use. He then kneels behind the performer's chair, which he must
approach either backwards or with his coat on, and then extends his
arms from the performer's shoulders. The form of the hands and arms
will be seen, and it will appear as if the performer had loosened his
arms and was exhibiting them in a fiery condition. So soon as the
assistant is again out of sight the gas should be turned up, leaving
the audience in a state of bewilderment. The most childishly simple
things can be perpetrated in the dark, when the mind is by nature more
easily imposed upon than it is at any other time. The simple expedient
of someone coming on the stage in his stockings, after the room has
been darkened, and, by turning back the sleeve, exhibit some words
written upon the arm, is a very good illustration: it is impossible
for an ordinary mind to divine how the sudden appearance of the
writing in mid-air is managed. The arm must be extended horizontally
before the sleeve is drawn back, and it must be kept so extended
until the writing is again obscured. This is essential. The slightest
expenditure of ingenuity and thought will produce other effects, which
will vary according to circumstances and situations; whilst careful
preparation will meet with its usual and deserved reward.
_The Electric Touch._--The performer may, if he pleases, either
commence or conclude those portions of his entertainments which have
to do with mesmerism with a bogus explanation of the forces latent
within him, the result of a natural gift. He must purposely make his
elucidation a little far-fetched, in order to raise a smile, or even
a remark, of incredulity. This gives him the desired opportunity for
offering to practically prove the truth of what he states. Advancing
to the company, he asks one of the spectators to extend his hands
in front of him, palms downward. Standing immediately opposite this
gentleman, the performer rubs the back of one of his own hands
with the fingers of the other, and reverses the operation. This he
continues for a quarter of a minute or so, and then suddenly extends
his hands over the backs of those held out before him, an inch or two
removed. The spectator feels no shock, so the performer continues his
rubbing, and, at the third or fourth trial, the spectator jerks one of
his hands away, a slight electric shock having been communicated to
him. The experiment may be repeated as often as the performer pleases.
A little pin is the cause of this marvellous manifestation. This the
performer has about him (stuck under the vest is the best place), and
often, in gesticulating, indirectly showing the hands to be empty,
it is got down, with the head between the first joints of the first
and second fingers, where it can be held firmly, of course pointing
downwards. The nibbing of the fingers of each hand alternately upon
the back of the other indirectly points to the absence of anything
of the protruding nature of a pin being held in them, so the assumed
excitation of electricity by friction is not the only reason for the
action.
It adds to the effect when the production of the shock on the
first experimenter comes only at the third or fourth attempt. With
others, it may safely come at the first or second, if the performer
be careful to explain that, the electric power once worked up,
very little is necessary to keep it going. The rubbing is kept up
throughout. The shock is, of course, produced by bringing the hand
holding the pin nearer and nearer to the one beneath it, until the
pin's point touches it. The touch must be as delicate as possible,
as then an after feeling is experienced which necessitates rubbing.
If the point enters the skin, the presence of the pin is at once
detected. It being so absolutely necessary to the success of the trick
that the touch should be very delicate, the use of fine entomological
pins is recommended, but they must not be too long. The performer
will do well to fail to produce shocks on some of those experimented
upon at first, a return to them being necessary when the electric
power has accumulated. Any particularly healthy and rubicund person
may as well prove quite impervious, the performer explaining that the
strength of mind present is too great. The company will judge by the
person's healthy exterior, forgetting that, notwithstanding, the mind
within may be nothing very great. As the performer is standing and the
company sitting, he must slant his hands downwards, or the pin will
be seen. The hands experimented upon must, for the same reason, be
kept low. Should anyone suggest a pin, that article must be at once
dropped, the performer being, of course, provided with reserve ones.
This part of the trick is very seriously carried out, the performer
congratulating himself and the company upon a state of atmosphere
which enables him to exhibit such satisfactory results.
_The Animated Skull._--The performer places two ordinary chairs, which
may be examined, back to back, and a yard or so apart. Across the
backs he lays a piece of plate glass, previously examined, a perfectly
transparent table being thus formed, and one, as the performer will
explain, impervious to electricity. Upon this table the performer
places either a real human skull or else a pasteboard imitation of
one. The imitation is recommended, the performer explaining that the
reason for its use is that the feelings of some might be shocked,
which really might be the case. The skull is examined previous to
being placed upon the table, the company being safely depended upon
for not noticing anything suspicious in the fact that the underside is
very much rounded. The skull now answers questions, giving one nod for
"Yes" and two nods for "No." What questions are asked must depend upon
the wit of the performer, and the nature of the company assembled.
Arithmetical problems should be solved, as the skull can give any
number by means of nods. As a finale, the skull is asked if it would
like to continue the performance, to which a couple of slow shakes are
given.
Our old friend, the black silk thread, is at work again here. A piece
is stretched across the stage, tied up out of harm's way when not
in use. As soon as the skull is placed upon the glass the thread is
brought down to the level of the mouth, and made to enter there. The
imitation article has a deep indentation at this place. In other
cases the thread is brought under the projecting nasal bone. A slight
movement of the hand causes the skull to nod, so long as the thread
is in position, and the performer may pick it off the glass at any
moment, to show that no connection exists. The slow shake is done
by manipulating the thread sideways. It cannot be prolonged, as it
tends to work the skull off the glass. The rounded underside is to
render the rocking movement easy. In some cases a tiny bead of wax is
fastened upon the thread, and this affixed to the skull, at the back.