Part 27

Obtain a piece of gold or brass wire, and bend it into the form of a wedding-ring, seeing first that both ends are sharpened. Borrow from one member of the audience a handkerchief and from another a wedding-ring, unless the performer has previously provided himself with a suitable ring for the trick. At any rate, palm the false ring, and allow the real ring to be inspected by handing it round to the company, and announce that it is to be made to pass through the handkerchief. The performer then takes the borrowed handkerchief, and places his hand underneath it, at the same time substituting the false ring, which had been previously concealed by being palmed, for the actual ring, which will in the meantime have been received back again. The false ring now has to be pressed against the centre of the handkerchief, and an independent person should be desired to hold the ring covered by the handkerchief by closing his finger and thumb through the hoop of the ring. Two other spectators may also here be asked, the one to hold the handkerchief by two of its corners, and the other by the other corners, keeping it as far as possible at full stretch, so that it may be clearly seen that the ring in the handkerchief has not been merely placed in one of its folds. When the audience have had time to satisfy themselves on this point, those holding the corners of the handkerchief may be relieved from their duties, the person holding the ring, however, still retaining his hold. Request now some other person to grasp the handkerchief as tightly as he pleases some two or three inches or more below the ring, the person holding the ring being then asked to let go. Let a hat or some other object be now held by some person other than the performer over that part of the handkerchief that is being grasped and that contains the false ring; the performer then passes his hand under the hat, opens the false ring by bending one of its sharpened points a little asunder, brings that point gently _through_ the fabric of the handkerchief, draws out the remainder, and carefully rubs the hole made thereby in the handkerchief, in order that the hole may be concealed. The actual ring should not be placed outside and over the handkerchief, and upon the hat being removed it will appear to the audience that the ring has been taken from the inside and placed over a portion of the handkerchief. The false ring will, of course before this point of the trick, have been palmed or otherwise got rid of.

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In this short account of card, coin, and other conjuring tricks we have purposely avoided describing such tricks as require either a long training or expensive apparatus; but in order to show more clearly what a very simple affair conjuring is, we will here give an account of two professional conjuring tricks that have attained a world-wide celebrity. The first given is a description of the celebrated Gold-fish Trick, as performed by Herr Frikell, which trick, by the way, dates long before Frikell's time, although the charm with which he conjured, by combining the genius of the actor with that of the conjurer, has given him such a pre-eminence in what he undertook as to make old tricks appear to be invested with a new charm. The second description is Robert Houdin's own account of the Cups and Balls Trick, modifications of which have often been published under the title of "The Travelled Balls."

THE GOLD-FISH TRICK; OR, HOW TO BRING BOWLS OF WATER IN WHICH GOLD-FISHES ARE SWIMMING OUT OF AN EMPTY CLOTH.

The performer advances on the stage, and stands quite apart from any surrounding objects; there is nothing in his dress in any way unusual, and in his hand he holds an ordinary cloth about four feet square, which the audience is permitted to examine. Upon the cloth being returned to him by the audience, he throws it over his left arm and hand, and after a few seconds produces from under it a glass bowl full of water, in which gold-fishes are seen swimming; the cloth is again thrown into the air, shaken, and examined, and the trick is repeated until four large bowls have been produced from apparently nowhere. The following describes how the trick is accomplished:--Fig. 2 represents an india-rubber cover, the diameter (_a b_) being about the same diameter as the top of the bowl; the whole cover turns over the edge flat about two or three inches, so that the opening (_c d_) is considerably smaller than the diameter (_a b_). After the bowl (Fig. 1) has been about three-parts filled with water, and two or three fishes placed in it, the cover (Fig. 2) is stretched over the bowl (Fig. 3); the part of the cover _a b_ (Fig. 2) is, of course, drawn over the rim of the bowl (_a´ b´_, Fig. 3); and the part _c d_ (Fig. 2) is in contact with the outside top part of the bowl (_c´ d´_, Fig. 3). The bowl, as now covered, can be turned upside down and carried sideways, without any fear whatever of the water being spilt. The next point is how to conceal it about one's person. Fig. 4 represents a small black bag capable of holding two bowls side by side (_i.e._, the glass bottom of one in contact with the india-rubber cover of the other), which is tied round the waist, the tail of a dress-coat being amply sufficient to hide it. The sleight-of-hand required in performing the trick is to manage the cloth so that it hides the movement of the right hand and arm in bringing the bowl out of the pocket into position. When the bowl is brought under the cloth, rest the bowl on the right hand, and bring away the left from under the cloth. In taking off the cloth, incline the bowl very slightly towards one end, peel off the india-rubber cover by means of the left-hand finger and thumb inside the cloth. The cover remains in the cloth, and must be conveyed away into any pocket during the public examination of the bowl. The direction of the conjurer's eyes must be with the bowl, as should the eyes rest on the cloth after the bowl has been taken out, people will at once suspect that there is something there, and possibly put awkward questions, or ask to examine the cloth too soon. To bring out the four bowls the conjurer must, after exposing the first two, have the pocket (Fig. 4) replenished by leaving the stage or retiring to one of the wings, and allowing two more to be placed therein, unperceived by the audience, by an assistant.

[Illustration: Fig. 1.--Bowl with Gold-fish.]

[Illustration: Fig. 2.--India-rubber Cover.]

[Illustration: Fig. 3.--The Bowl Covered Over.]

[Illustration: Fig. 4.--The Small Bag for Carrying the Bowls.]

HOUDIN'S CUPS AND BALLS CONJURING TRICKS.

The trick of the cups and balls, though one of the oldest known to conjurers, still remains one of the most interesting, by reason of the very slight preparation needed for its exhibition and the simplicity of its mode of performance.

The apparatus required are (1) three cups, (2) a magic wand, (3) six small balls, (4) six large balls, and (5) either a bag or shelf placed secretly on the performer's side of the conjuring table. The cups should be of polished tin; in form they are truncated cones; the top is concave, so as to afford a resting place for at least three of the small balls. The magic wand has been previously referred to, and one is just as good as another. The small balls, or _muscades_, as Houdin calls them, are made of cork, and should be a trifle more than half an inch in diameter. The large balls are made of horsehair, and covered with leather or woollen cloth. This covering is made of various colours, according to the particular "passes" which the performer intends to exhibit. Some balls are also made parti-coloured, two of the segments being of one colour and two of another. The bag, or _gibecière_, is made of some tolerably thick material, and is tied round the waist by strings. It has a wide-mouthed opening, allowing the hand to take freely therefrom the various articles needed for the performance of the trick, but it may be dispensed with in the event of a secret shelf being fitted in the performer's side of the table. Conjuring tables of special make have, as a rule, all the essential requirements; but it is not difficult for an ingenious lad to arrange the necessary table for himself out of a common discarded washstand. The sleight-of-hand required for the manipulation of the cups and balls is: (1) To conjure away a small ball, (2) to produce the ball when required at the tips of the fingers, (3) to secretly introduce a small ball under a cup or between two cups, (4) to cause a small ball placed between two cups to disappear, (5) to introduce a large ball under a cup, (6) to execute sundry "feints," hereafter described.

(1) _To conjure away a small ball._--To do this proceed as follows:--Hold the ball to be conjured away between the thumb and first finger, as though to show it, close the hand quickly, leaving the thumb still outstretched. The ball is so made to roll to the second joint of the forefinger. Nothing will then be easier than to continue to roll the ball with the thumb as far as the junction of the two fingers before mentioned, which are to be slightly opened to facilitate the introduction of the ball. These two movements are in reality but one, and must be executed with extreme rapidity.

(2) _To produce a small ball._--The reverse movement to that last described must be employed: that is to say, roll back the ball with the thumb to the tips of the fingers. Rapidity in effecting the double movement is here also most essential.

(3) _To secretly introduce a small ball under a cup._--The ball being hidden in the hand between the middle and fourth fingers, take hold of the cup between the two projecting mouldings, and lift it ostensibly to show that there is nothing beneath it; in replacing it on the table let go the ball, which by reason of its position naturally falls underneath the cup, by which it is instantly covered. If the performer finds any difficulty in releasing the ball, he may facilitate the doing so by a quick contraction of the fourth finger.

(4) _To pass a small ball between two cups._--In the act of releasing, as just described, give the ball an upward jerk towards the upper part of the inside of the cup held in the hand, and quickly slip this cup over that on which it is desired that the ball should be found.

(5) _To cause the disappearance of a small ball placed between two cups._--When a ball has been placed as above described, it may in the following manner be made to disappear:--Take the two cups in the left hand, putting the fingers of that hand inside the lower cup, and giving a slight upward jerk, as though to send the ball towards the top of the upper cup, quickly withdraw the lower cup, at the same time lowering the upper cup, and so covering and concealing the ball.

(6) _To cause the appearance of a large ball on a table._--This effect, which generally produces special astonishment, is produced by the simplest possible means. Lift one of the cups with the right hand, and point to the spot from which it was removed. While the eyes of the audience are directed to that spot bring the cup adroitly to the edge of the table, introduce into it, with the left hand, one of the large balls, and immediately bring the cup and the ball to the middle of the table, keeping the ball in position with the little finger of the right hand. In some cases, in putting the ball into the cup, it may be squeezed in order to make it stick in the bottom; the elasticity of the ball will readily admit of this. When it is desired again to produce the ball it will only be necessary to bring down the cup with a smartish rap on the table.

The "passes" of the cups and balls may be varied indefinitely. Every conjurer arranges a series to suit his own taste, and the examples we have here selected will be sufficient for the guidance of amateurs. It must, however, be admitted that there is but little substantial difference between the passes. The effect is always one or more balls made to appear in one place when the spectators believe them to be in another. It follows that these passes, however varied in point of form, should be exhibited with moderation, so as not to weary the audience, or to put sharp-sighted and curious spectators in the way of discovering how the tricks are performed.

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CLAIRVOYANCE OR SECOND SIGHT.

Second Sight is properly classified with Parlour Magic, inasmuch as there is more in it than is intended to meet the eyes or ears of the audience, and "Clairvoyance" now almost invariably forms some part of the entertainment given by the majority of professed conjurers. It is much beyond our province to go into the description of the elaborate training that Robert Houdin and his sons went through before they were able to give their renowned representations; but with them _sharp-sightedness_, combined with a wonderful power of taking into the mind, at a glance, numerous objects, was of more importance than _Second Sight_, whatever scientists may decide that faculty to be.

_Clairvoyance, or Second Sight_, when applied to conjurers' tricks and private entertainments, is the art of telling the name and description of articles by a person whose eyes are blindfolded. Much as _Clairvoyance_ has, from time to time, astonished people before whom it has been represented, but who have not been initiated into its mysteries, and much as it undoubtedly will still continue to mystify, yet, when its first principles are mastered, it will be seen by all that, although it may form the basis of capital entertainments, yet it, like the conjuring tricks we have already described, is not, after all, so wonderful as was imagined. The whole system of presumed _Second Sight_ rests with two persons (or more, if necessary); the one advances to the audience to receive such articles as it may be desired to ask questions about of the other, who is blindfolded, and who is supposed to possess the power or faculty of _Second Sight_. These questions and answers are arranged into a system which constitutes the art of _Clairvoyance_. Sometimes, too, confederates with articles already seen by the blindfolded performer take part in the deception as part of the audience; but, in an ordinary way, this is not at all necessary. In our system, which will require some pains and care to carry out, there should be a series of questions, each one of which will denote the answer to be given. The questions should be very simple, so as not themselves to appear strange or leading, and the questions, with the corresponding answers, must be carefully committed to memory by _both_ performers. In order that the manner of the deception may be thoroughly understood, we give just a few illustrations of the system of questions and answers, which will be useful as models to those desiring to draw up a set for themselves. We will suppose that some articles of jewellery have been handed in for the clairvoyant to name. The other performer will proceed, according to the articles handed in, with the following questions, first saying himself, "Now, I have had passed to me some articles of jewellery, which the clairvoyant will describe, and I will proceed to question him about them."

If the article first held up is a bracelet, the question may be--"_Let_ the company know what I hold in my hand."

If a watch--"_What_ is this that you are to describe?"

If a brooch--"_Now_ what do I hold up?"

If an ear-ring--"To what _use_ is this put?"

If a gentleman's watch-chain--"Say, in _brief_, what I have in my hand."

If a ladies' watch-chain--"Describe, at _length_, what I have in my hand."

If a gentleman's ring--"Say, what is in my _hand now_?"

If a lady's ring--"Say _now_, what is in my _hand_?"

If a breast-pin--"Say what I hold up now."

If a stud--"What is this for?"

The words italicised should be pronounced with emphasis, as they will give the clue needed; certain articles cannot be so well indicated in the questions, and greater care must therefore be taken in committing the corresponding questions and answers to memory.

Suppose, further, that a brooch has been held up, and that it has to be more fully described, proceed by telling the audience that the blindfolded clairvoyant will say of what metal the brooch is made.

If of gold--Question to put--"If of gold or silver?"

If of silver--"If of silver or gold?"

If neither gold nor silver, but a common imitation--"Of what metal is this brooch made?"

If set with stones--"Is it set with a stone or stones?"

If unset--"How is it set?"

If with a topaz--"_Tell_ the name of the stone."

If with an emerald--"_Endeavour_ to name the setting."

If with pearls--"_Please_ say how set."

If with opals--"Kindly name the setting to the company."

If with diamonds--"_Describe_ the stone with which it is set?"

If with turquoise--"I must _trouble you_ to name the setting."

If with garnets--"_Guess_ the setting."

If with jet--"_Just_ say the nature of the setting."

If with cornelian--"_Come_, now! what is the setting?"

If with amethyst--"_Announce_ the name of the stone."

And so on, arranging questions for colours, for materials, for miscellaneous articles, such as personal wearing apparel, chimney ornaments, nicknacks, &c. &c.

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VENTRILOQUISM AND POLYPHONY.

These are two distinct branches of the same art or science of sounds, which may be cultivated by all, but with a success that will vary according to the special gifts or endowments of the student. Those possessed of ventriloquial powers have the opportunity of considerably annoying their fellow mortals if so inclined, but on the other hand they have also the means of affording them very considerable amusement and entertainment.

_Ventriloquism_ is a vocal mimicry of sounds, by which an illusion is produced on the hearer that the sound comes, not from the mimic, but from some external source. The various descriptions of vocal mimicry are usually treated under two heads, namely:--1st, The simple imitation of the voices of persons, animals, musical instruments, and other sounds and noises of every description, in which no illusion is intended, and which is generally known by the name of _Polyphony_; 2nd, the imitation of those voices, sounds, and noises not as originating in the mimic, but in some other and appropriate source at a given or varying distance, in any or even in several directions successively, and which goes by the more general designation of _Ventriloquism_.

The above may be taken as a scientific and fairly accurate definition of the terms in question; and if in the treatment of this subject the distinctions above laid down are not strictly adhered to, they will be departed from only so far as it will be necessary to make the subject interesting to the reader and easily understood by the student. For the encouragement of all, we would say that more or less success as a ventriloquist may be attained by any one. Indeed, Professor Lee states that he attained the art without a single lesson and as the result merely of observation and practice. He says further that the chief requisites for its acquirement are--"A throat and lungs of average strength, ability to retain sounds in the memory, and the faculty of mimicry as to tone, look, and even gait, for these in no small degree contribute to the effect which the artist desires to produce." It is not at all an unusual thing to meet persons able to describe and imitate minutely a conversation carried on between half a dozen persons. To a certain extent this is ventriloquism, and the gift is capable of very considerable development. In short, the young practitioner must have the power of enunciating well, and that as far as possible without any perceptible motion of the lips; of disguising his voice, so as to imitate other voices and sounds, and of adapting the degree to the apparent source of the sound.

The relative properties of sound and capacity of hearing are so little understood, that it is generally supposed a ventriloquist throws his voice somewhere or other, as it is loosely expressed; a ventriloquist is often asked, for example, to throw his voice up a chimney or outside the house. This, of course, is a feat impossible to perform; all the ventriloquist can do is to speak and utter sounds with precisely similar organs to those possessed by every one. A ventriloquist does, however, imitate sounds that strike the ear, as if caused by some object at a distance. For example, a ventriloquist in imitating the music which cats so much delight to indulge in on the roofs during a summer's night, does not trouble himself to make the fearful row the cats make, but only the sound of the row as it comes to the ear subdued by distance and by passing through the intermediate ceilings and walls. It is most important that this distinction between noises as they are and noises as they are heard, should be constantly borne in mind during the practice of ventriloquism, and it should be remembered, as an axiom by all learners of the art, that "near sounds are louder than distant ones, and _vice versâ_." The fact that _loudness_ as a property of sound is so little understood is one of the main causes of the success of so many ventriloquists. The performer by his speech or his acting leads the audience to expect to hear sounds as from a given quarter, and the sounds being heard as from an unknown quarter are believed to be from the quarter indicated. A strange sound being heard by a roomful of people will elicit cries all round of, "What was that?" hardly two of the company attributing the sound to the same cause, and possibly all to the wrong one. One of the commonest and easiest of ventriloquial deceptions is that of making a man's voice issue as it were from the chimney. As, however, no one present will be likely ever to have heard an actual voice proceeding from a chimney, it will, nine cases out of ten, be the speech or action of the practitioner accompanied by a strange or unknown sound that will give the real force to the deception. As a consequence, therefore, it follows that a ventriloquist, to amuse his audience, must have powers over and beyond those needed for mimicking sounds; he must be somewhat of an actor; and as in conjuring, so in this, he must indulge in abundance of what we then termed "patter." The ventriloquist's deceptions must be well practised and frequently rehearsed, but he must also well prepare and study the discourse of which his ventriloquial powers will be but the illustration.