The main secret of this surprising art simply consists in first making
a strong and deep inspiration, by which a considerable quantity of
air is introduced into the lungs, to be afterwards acted upon by the
flexible powers of the larynx, or cavity situated behind the tongue,
and the trachea, or windpipe: thus prepared, the expiration should be
slow and gradual. Any person, by practice, can, therefore, obtain more
or less expertness in this exercise; in which, though not apparently,
the voice is still modified by the mouth and tongue; and it is in the
concealment of this aid, that much of the perfection of ventriloquism
lies.
But the distinctive character of ventriloquism consists in its
imitations being performed by the voice _seeming_ to come from the
stomach: hence its name, from _venter_, the stomach, and _loquor_, to
speak. Although the voice does not actually come from that region,
in order to enable the ventriloquist to utter sounds from the larynx
without moving the muscles of his face, he strengthens them by a
powerful action of the abdominal muscles. Hence, he speaks by means
of his stomach; although the throat is the real source from whence
the sound proceeds. It should, however, be added, that this speaking
distinctly, without any movement of the lips at all, is the highest
perfection of ventriloquism, and has but rarely been attained. Thus,
MM. St. Gille and Louis Brabant, two celebrated French ventriloquists,
appeared to be absolutely mute while exercising their art, and no
change in their countenances could be discovered.
It has lately been shown, that some ventriloquists have acquired by
practice the power of exercising the veil of the palate in such a
manner, that, by raising or depressing it, they dilate or contract the
inner nostrils. If they are closely contracted, the sound produced is
weak, dull, and seems to be more or less distant; if, on the contrary,
these cavities are widely dilated, the sound will be strengthened, the
voice become loud, and apparently close to us.
Another of the secrets of ventriloquism, is the uncertainty with
respect to the direction of sounds. Thus, if we place a man and a child
in the same angle of uncertainty, and the man speaks with the accent
of a child, without any corresponding motion in his mouth or face, we
shall necessarily believe that the voice comes from the child. In this
case, the belief is so strengthened by the imagination; for if we were
directed to a statue, as the source from which we were to expect sounds
to issue, we should still be deceived, and refer the sounds to the
lifeless stone or marble. This illusion will be greatly assisted by the
voice being totally different in tone and character from that of the
man from whom it really comes. Thus, we see how easy is the deception
when the sounds are required to proceed from any given object, and are
such as they actually yield.
The ventriloquists of our time, as M. Alexander and M. Fitz-James,
have carried their art still further. They have not only spoken by the
muscles of the throat and the abdomen, without moving those of the
face, but have so far overcome the uncertainty of sound, as to become
acquainted with modifications of distance, obstruction, and other
causes, so to imitate them with the greatest accuracy. Thus, each of
these artists has succeeded in carrying on a dialogue; and each, in
his own single person and with his own single voice, has represented
a scene apparently with several actors. These ventriloquists have
likewise possessed such power over their faces and figures, that, aided
by rapid changes of dress, their personal identity has scarcely been
recognised among the range of personations.
Vocal imitations are much less striking and ingenious than the feats
of ventriloquism. Extraordinary varieties of voice may be produced, by
speaking with a more acute or grave pitch than usual, and by different
contractions of the mouth. Thus may be imitated the grinding of cutlery
on a wheel, the sawing of wood, the frying of a pancake, the uncorking
of a bottle, and the gurgling noise in emptying its contents.
[Illustration]
[Illustration: LIGHT & HEAT.]
[Illustration: LIGHT AND HEAT.]