The Practical Magician and Ventriloquist's Guide. Anonymous

POLYPHONIC IMITATIONS.

       A MOUNTAIN ECHO.

       POINTS TO BE REMEMBERED.

       CONCLUDING REMARKS.

       THE MAGIC WHISTLE.

CHAPTER I

       INTRODUCTORY.

       Table of Contents

      My object in writing these hints on Conjuring is for the benefit of amateurs to promote lively and entertaining amusement for the home circle and social gatherings.

      My large experience enables me to explain and simplify many of the best tricks and illusions of the art. I present the key to many of the mystical mysteries which have puzzled and bewildered our childhood days as well as confounded us in our maturer years.

      The young student can in a very short time, if he be in the least of an ingenious turn, amuse and astonish his friends, neighbors and acquaintances.

      Preference has been given to those tricks which suggest others, the more complete and difficult performances and illusions have been passed by as being out of place; I shall not, therefore, in these elementary papers advert to those experiments which require ample resources, or a prepared stage, for exhibiting them—or which can only be displayed to advantage by consummate skill and the most adroit manipulation—but confine my remarks at present to those branches of the art to the performance of which a young amateur may aspire with prospect of success.

      A few hours’ practice will enable the learner to execute the simple tricks that I shall first treat of; and they will only require for their display such articles as are readily available in every household. Most of them will be supplied by any company of a few friends, and if not in the parlor, can be brought from no greater distance than the kitchen or housekeeper’s room; such as handkerchiefs, coins, oranges, or eggs, a glass bowl, etc., etc. There may only remain a few inexpensive articles to be supplied from repositories for the sale of conjuring apparatus, or they may be had direct from the publishers of this work.

      It may be well explicitly to avow that the time is quite gone by when people will really believe that conjuring is to be done by supernatural agencies. No faith is now reposed in the “black art of sorcery,” or even in the art to which the less repulsive name was given of “white magic.” Many years have elapsed since conjurors have seriously assumed to themselves any credit as possessing supernatural powers, or as enabled by spiritual agency to reveal that which is unknown to science and philosophy, or mysteriously to work astonishing marvels.

      A well-marked contrast exists between the old school of conjurors and those of modern times. The former, who used boldly to profess that they employed mysterious rites and preternatural agency, designedly put the spectator upon false interpretations, while they studiously avoided giving any elucidation of the phenomena, nor would ever admit that the wonders displayed were to be accounted for by the principles of science and natural philosophy.

      Modern conjurors advance no such pretensions. They use as scientifically as possible the natural properties of matter to aid in their exhibition of wonderful results. They are content to let the exhibition of their art appear marvelous. They sometimes mystify the matter, and so increase the puzzle, in order to heighten the interest and amusement of the spectators; but they throw aside any solemn asseveration of possessing hidden powers, or of ability to fathom mysterious secrets.

      It may be admitted that proficients and exhibitors still adopt language that has become current with conjurors, and in common parlance it may be asserted that the wonderful Mr. So-and-So undertakes to pass some solid object through a wall or a table; to change black into white, and white into black; to place rings in closely-fastened boxes, or draw money out of people’s ears; and conjurors may with ridiculous humor distract the attention of spectators, so that accurate observation is not fixed upon the object that is to undergo before their eyes some singular transformation; but no outrageous bombast or positive falsehoods are commonly advanced. And the practical meaning of any exaggerated pretension is clearly understood to mean no more than that Mr. So-and-So undertakes to present before you what, TO ALL APPEARANCE, is the conversion of black into white, or vice versa; and the audience are clearly aware that no more is assumed to be presented to them than a very striking illusion, undistinguishable from a reality; and how this is effected will be in many cases wholly untraceable, and therefore the trick is inimitable.

      We may be permitted to feel some pleasure in the conviction that the exhibition of our art in its more striking exploits is really marvelous, and very attractive; for we certainly have the power of placing some astonishing phenomena before our audience; and we may surely prize the estimation with which the uninitiated are disposed to honor us, but we erect no vain-glorious assumptions upon these data, as we are quite contented with fair praise intelligently accorded to us. And so far from closely concealing the principles and arcana of our science, we are ready plainly to avow that it all depends upon faculties that all may attain by patient culture, and exhibit by careful practice. Undoubtedly there are less and greater degrees of excellence to be obtained by proportionate intelligence and dexterity. There are attainments in the art, at which, by natural qualification and peculiar adaptation, special study, practice, and experience enable some few only to arrive. These qualifications cannot be easily communicated to every one who might wish to possess them; and therefore the highest adepts will ever have an incommunicable distinction. But this is no more than is the case in the medical, the legal, and any learned profession, in all which the most eminent proficients reserve to themselves, or unavoidably retain, an unquestioned superiority. At the same time there is much in our art that may be communicated, and the present papers will show to our friends that we are willing to impart to others such portions of our art as they are capable of acquiring; and we trust that what we shall communicate to them will furnish them much rational recreation among themselves, and enable them to supply innocent and interesting amusement to their friends and companions.

CHAPTER II.

       OF PALMISTRY AND PASSES.

       Table of Contents

      The true nature and limit of the art of Conjuring has now been defined—what it is that we assume to do, and wherein we have discontinued the exaggerated pretensions of the conjurors of the old school; and I have hinted in what respects, and within what bounds, a young amateur may gim at exhibiting some amusing experiments in our art. But it remains for me to explain the grand pre-requisite for a novice to cultivate before he should attempt to exhibit before others even the simplest tricks of prestidigitation or legerdemain, to which we at present confine our attention.

      I have first to speak of Palmistry, not in the sense that the fortune-teller uses the word, but as expressing the art of the conjuror in secreting articles in the PALM of one hand while he appears to transfer those articles to his other hand. It is absolutely necessary that the young amateur should acquire the habit of doing this so adroitly as to escape the observation of others while doing it openly before their eyes.

      The two principal passes are the following:

      FIRST PASS; or, method of apparently carrying an object from the right hand to the left, while actually retaining it in the right hand.

      The reader will please to observe that the illustrative sketches depict the hands of the performer as seen by himself.

      FIRST POSITION OF PASS 1.

      The right hand, having the knuckles and back of the fingers turned toward the spectators, and holding openly a cent, or some similar object, between the thumb and forefinger, must be moved