Ellis Stanyon

“ How can we judge whether a man may be trusted to handle money for us? ¶ How can a woman analyze a man who would marry her? ¶ Partly by words, partly by voice, partly by reputation, but more than all by looks—the shape of the head, the set of the jaw, the line of the mouth, the glance of the eye. ”

“ It is impossible for the performer or his assistant to always keep in mind the multifarious articles that go with each magical feat. When you retire behind the scenes after each group of tricks, you consult the "prompt-programme" to see that you have everything in readiness for the next series of illusions—for example an egg secreted under your vest, or a coin in your pocket. On one occasion, I saw the celebrated Herrmann completely bewildered and nonplussed because he did not have such a little thing as a pin stuck in the lapel of his coat, intended for use in the cornucopia and flower trick. ”

“ Having once become accustomed to a programme, it should never be changed, in its entirety, for a new one. If it be desired to vary the mode of procedure, this is best done by the introduction of a new trick and the removal of an old one. By such means the performer saves himself a lot of trouble and anxiety, and is just as likely to give satisfaction from the point of view of an audience. This is the custom of professional performers, who very rarely alter their programmes; it also accounts in a large measure for their skill. ”

“ It is an axiom in conjuring that the best trick loses half its effect on repetition.
Should a hitch occur in the carrying-out of the programme by the accidental dropping of an article, or from any other cause, above all things do not get confused, but treat the matter as a good joke, and meet the difficulty with a smile, making use of some such expression as the following: "Well, you see I put it down there to show that it would go. It is perfectly solid and does not stick." By this means, instead of spoiling the entertainment, you add greatly to the amusement of the spectators. ”

“ You commence operations by requesting the loan of a lady's handkerchief. Take care to borrow one that is devoid of lace, or special ornamentation—in other words a plain, white one. You come down among the audience and extract a lemon from the hair or whiskers of some gentleman, or better still from a lady's muff. Casually exhibit the lemon, holding it beneath the nose of one of the spectators, remarking:—"It is a genuine lemon, as you perceive." Borrow the handkerchief, then wheeling about toss the lemon to your assistant on the platform. ”

“ The Spirit Handkerchief.—The effect of this trick, which is exceptionally good, is as follows:—Several knots having been tied in a large silk handkerchief borrowed from a member of the audience, it is thrown on the floor of the stage when it immediately begins to act as if it were a live snake, twisting and twirling about in every conceivable form. The performer passes his wand over, under, and all round the handkerchief, thus proving to the satisfaction of the most astute that there are no connections. ”

“ A dull, nervous, or morose performer, however clever he may be, is sure to make the spectators feel uncomfortable, and thus spoil their enjoyment; therefore always endeavor to cultivate a cheerful manner, even under difficulties, and you will find your audience similarly affected. Apart from taking every advantage for repartee, always avoid being personal, and every possible opportunity for increasing the effect of a trick, the performer should be totally oblivious of all his surroundings and think only of himself and what he is doing. ”

“ In introducing to my readers a series of simple, but effective, tricks in magic, I would state that it has been my life study to popularize the art of sleight of hand, simply because, at the outset, I was impressed with the idea that, while having no desire to emulate the skilled professional magician, certain very novel and entertaining tricks were within the reach of all persons possessed with the least desire to amuse their friends. ”

“ When appearing to transfer a coin, or any small object, from the right hand into the left, the left hand should rise in a natural manner to receive it. The right hand, in which is the palmed coin, should fall to the side; and the left hand should be closed as if it actually contained the coin, and should be followed by the eyes of the performer. This will have the effect of drawing all eyes in that direction, and in the meantime the right hand can drop the coin into the profonde, or otherwise dispose of it as may be necessary for the purpose of the trick. ”

“ The performer takes the ball in his right hand and commences to rub it into his left elbow. At this point he apparently meets with an accident, dropping the ball on the floor. The dropping of the ball, however, apart from being an accident, is absolutely essential to the success of the illusion. After having picked up the ball and while still in a stooping position with his back toward the spectators, the performer quickly throws it into his mouth, immediately facing round and drawing attention to the right hand the fingers of which must seem to close round the object. ”

“ A couple of wax tapers in silver or brass holders, placed on the centre table, gives a fine effect to the whole. The amateur must take care that there are no bright lights behind his tables, or worse still a mirror. Behind the scenes provide a table to hold the apparatus to be used in the various experiments. In arranging tricks for the programme very little information should be afforded the inquisitive spectator as to the real nature of the illusion to be performed; this caution being in accordance with the conjurer's axiom: Never tell your audience beforehand what you are about to do. ”

“ As soon as the bouquet is shown in the glass, let the hat rest on the table as before, and introduce the small bouquets, which are tied together with a weak thread and are provided with a tube like the large bouquet. When you appear to put the seed in the hat, break the thread and shake up the bouquets loosely, and they will nearly fill the hat. Of course you must keep your eyes fixed on the while loading the hat, and never allow yourself to glance toward the left hand which holds the hat, as that would give your audience a hint that something was going on in that quarter. ”

“ It is hardly necessary to remind the student that the fourth coin must be gotten rid of unbeknown to the audience, otherwise the effect of the experiment will be destroyed. In putting the hat in position two hands may be used. This will greatly facilitate the placing of the coin on the rim of the tumbler. You should lay stress on the fact that it is necessary to get the hat evenly on the glass. As simple as this trick seems in explanation, it is nevertheless wonderfully illusive, and can be recommended to the amateur as worthy of his repertoire, especially for the parlor, or club room. ”

“ Handkerchief and Candle.—"Ladies and Gentlemen, the following experiment was suggested to me at the age of twelve while studying chemistry. I then learned that all matter was indestructible. Proof of this, as you are well aware, is afforded with an ordinary candle. You may light the candle at one end and let it burn to the other, but you do not destroy the matter of which it is composed. What really takes place is the formation of new substances, as hydrogen, carbon, water, etc., which any of the text-books on chemistry will explain. ”

“ The student who desires to become a finished performer should palm the various objects, with equal facility, either in the right or in the left hand.
When you can hold a coin properly, as described, practise with a small lemon, a watch, or any other objects of similar size. In this case, however, owing to the greater extent of surface, it will not be found necessary to press the object into the palm, but simply to close the fingers round it, in the act of apparently placing it in the left hand. ”

“ New Fire Trick.—The writer is indebted to Mr. Martinka for this novel experiment. A thin glass tube, in the end of which is secured a small piece of metallic potassium, is pasted between two pieces of tissue paper. So prepared the paper is shown from both sides, being apparently a plain piece of white paper. This is rolled into a cylinder, not unlike an exaggerated cigarette. The performer opens his mouth to show that nothing is concealed there, and then proceeds to blow through the paper tube, when the far end bursts into a flame of more or less intensity. ”

“ Whenever required for the trick a piece is cut off with a knife. Care must be taken not to make the mistake of putting the wrong end of the tube in the mouth. When the paper bursts into flame it is crumpled into a ball and dropped on a plate. The thin glass tube is crushed into small bits by the above operation, and is not seen by the audience.
The Ring On The Wand.—A very pretty and graceful parlor trick is the ring on the wand. Suspend a plain gold ring to the centre of a handkerchief by means of a short piece of silk thread. ”

“ It is impossible for the hand to move quicker than the eye can follow, as can be proved by experiment. The deception really lies in the method of working the trick, and in the ability of the performer in misdirection, as will be seen from a perusal of the following pages.
A little well-arranged talk as an introductory to an entertainment will be found to put you on good terms with your audience. ”

“ Amateur work is, as a rule, very commendable, but scarcely so as regards conjuring, clumsy and ill-made apparatus being absolutely useless, and consequently dear at any price. Apart from this I have another, and what I believe to be a more important object in view, viz., that of giving instruction in the actual working of the trick. ”

“ The list includes "swallowing a knife; burning a card and reproducing it from the pocket of a spectator; passing a coin from one pocket to another; converting money into counters, or counters into money; conveying money into the hand of another person; making a coin pass through a table, or vanish from a handkerchief; tying a knot, and undoing it 'by the power of words'; taking beads from a string, the ends of which are held fast by another person; making corn to pass from one box to another; turning wheat into flour 'by the power of words'; burning a thread and making it whole again ”

“ If the performance is to be given in a parlor, a space must be curtained off at one end large enough to accommodate the magic tables, and allow sufficient room between them and the audience to enable the conjurer to execute the various exchanges, etc., necessary to the successful accomplishment of particular tricks. When called upon to give an entertainment in a house, where there are two adjoining parlors, separated by folding-doors, the magician can seat his audience in the front parlor, and use the back one for the stage, the folding-doors making an admirable substitute for a curtain. ”

“ The Handkerchief Burned and Restored.—A clever trick is the "Handkerchief burned and restored." It was a favorite with the late Alexander Herrmann, who performed it in the most artistic and graceful manner. It is a trick of pure sleight of hand, and requires no apparatus or elaborate preparation, for which reason it is to be highly commended to those who delight in digital experiments. Says Edwin Sachs, the eminent English authority on legerdemain:—"If I wanted to test a conjurer's ability, I should give him this trick to perform." ”

“ The performer shows a coin and forthwith proceeds to pass it into the hat by way of the crown. That there may be no doubt as to the actual passing of the coin it is left sticking half way through the hat; a final push and it is heard to fall inside. The coin used is a trick one constructed as follows: A groove is first turned round its extreme edge deep enough to conceal a small india-rubber band. It is next cut in half across its diameter. A hole is drilled in the centre of one half in which is inserted a needle point. In the other half a slot is cut to admit the needle. ”

“ Take this from him, and observe, with a melancholy air: "It is no use trying. I see that you will never make a magician. Kindly take your seat, sir, and study the points of the compass, before you again presume to enter the magic circle." ”

“ In addition to the prestige derived from the traditional properties of the wand, which has been the mystic emblem of the magician's power from time immemorial, it is absolutely necessary for the successful carrying-out of many experiments, as will be seen in the course of the present work. For instance, having palmed a coin, say in the right hand, you lower that hand and take up the wand, which effectually conceals, in a perfectly natural manner, the presence of the coin. ”

“ It will be at once obvious to the reader that the chief element in the magical production of articles from a borrowed hat, is the manner in which they are secretly introduced, as, should this be detected, the trick would fail ignominiously. The main secret lies in the combination of the looks and gestures of the performer to misdirect the audience. The articles for the most part are introduced under cover of natural movements, quickness being of little or no avail. ”