CHAPTER XV.Hat Tricks.
Thepresent Chapter will be devoted to those tricks in which a hat plays a special or prominent part. Borrowed hats have been used in the course of many of the tricks already described, but the part played by the hat has been of an incidental and subordinate character. In the tricks next following the hat is the principal article employed.
The majority of hat tricks are different modifications of the same broad idea, viz., the production from a borrowed and apparently empty hat of various articles, in size and number much exceeding what any hat could in the natural way contain. One of the best is that of
The Cannon-balls in the Hat.—The earliest and simplest form of this trick is limited to the production of a solid wooden globe, blacked to resemble a cannon-ball. The introduction of the ball into the hat is effected as follows:—The ball, which has a hole of about two inches in depth by one in diameter bored in it towards its centre, is placed on theservanteof the performer’s table in such manner that the hole above-mentioned shall slant upwards and outwards, at an angle of about 45°. To keep the ball steady, and to prevent its rolling off, some performers have a slight circular hollow scooped in the surface of theservanteitself. A more convenient plan, however, is to use an india-rubber ring (such as is given to infants teething). This may be placed on any part of theservante, and makes a capital rest or bed for the ball. A bit of half-inch rope, with the ends joined so as to form a ring, will answer the same purpose.
Fig. 134.
Fig. 134.
Fig. 135.
Fig. 135.
When the performer desires to introduce the ball into the hat, which we will suppose to have been borrowed for the purpose of some previous trick just completed, he takes the hat with his thumb outside and his fingers inside the brim, and holds it up with its mouth towards the spectators, so as to show indirectly that it is empty (seeFig. 134). Carelessly lowering his hand, he brings the hat mouth downwards on the table, and, drawing it towards him, slips the second finger into the hole in the ball (seeFig. 135), when the mere action of crooking the finger brings the ball into the hat. He then, still holding the ball supported by the finger, walks away from the table towards the owner of the hat, with the apparent intention of returning it. Just before reaching him, however, he pretends to notice that it is somewhat heavy, and looking into it, says, “Dear me, sir, there is something rather peculiar about this hat. Are you aware that there is something in it?†The owner naturally professes ignorance of the fact; and the performer, after keeping the audience in suspense for a moment or two, turns the hat over, and lets the ball fall out upon the stage.
Fig. 136.
Fig. 136.
The performer may in some degree heighten the effect of the trick by making it appear that the ball is wedged very tightly in the hat, as the difficulty of introducing it becomes thereby presumably the greater. This is managed by holding the hat with both hands, as shown inFig. 136, when the extended finger-tips will prevent the ball from falling as long as may be desired, however much the hat may be shaken.
Figs. 137, 138.
Figs. 137, 138.
The trick, as above described, is of very short duration. In order to lengthen, and at the same time to diversify it, a second ball is sometimes employed, of similar appearance, but of different construction. This second ball (seeFigs. 137, 138, the latter representing a section of the ball) is a strongly made hollow sphere of tin or zinc, with a circular opening of about three and a half inches across, closed by a sort of sliding door,a, also circular, working on two curved arms,b b, which move on two pivots,c c, at opposite sides of the ball on the inside. In this door is a hole an inch in diameter, answering the same purpose as the hole bored in the solid ball.
The ball is filled beforehand with bonbons, small toys, or any other articles suitable for production. Thus “loaded,†it is placed upon theservante, and introduced into the hat as above described. The performer goes through the ceremony of pretending to discover something in the hat, but doesnot, as in the last case, at once produce the ball. Slipping back the sliding door, he brings out, one by one, the articles contained in the ball, not hurriedly, but with deliberation, as he thereby produces the effect of greater quantity. Having emptied the ball, he again closes the circular slide, remarking that the hat is now quite empty. As a proof that it is so, he turns the hat mouth downwards as above directed, preventing the ball from falling with the tips of his fingers. Again he moves towards the owner, as if to return the hat, and again pretends to find something in it. This time, however, he does not allow the ball to fall on the ground, as, being hollow, it will not bear rough usage, but lifts it out with his left hand, taking care that the “door†side shall be downwards, next his palm. Observing that he will have the ball packed up for the owner of the hat to take home with him, he returns to his table, and places it thereon. As the ball was in his left hand, the right is still holding the hat, and this gives him the opportunity to introduce the second (i.e., the solid) cannon-ball, which should be placed in readiness at the opposite corner of theservante. This also is produced in due course, and, being manifestly solid, naturally leads the audience to infer that the other was so also.
Fig. 139.
Fig. 139.
What are known as “multiplying balls†are frequently used in conjunction with the cannon-balls. These are cloth-covered balls of about two and a half inches in diameter. In appearance they are solid, but in reality are mere outer coverings of cloth, kept distended by spiral skeletons of wire (seeFig. 139), and may be pressed quite flat, in which condition they occupy an exceedingly small space, though they immediately regain their shape on being released. A large number of these may be packed in the hollow cannon-ball, and when taken out, produce a pile extending far above the mouth of the hat, the cannon-ball lying hidden beneath them.
The hollow ball may also be filled with soft feathers, of whichwhat will seem an incredible quantity when spread out may be compressed into a very small space. Feathers are, however, objectionable in a drawing-room, from the difficulty of collecting them from the carpet.
The “Hundred Goblets†from a Hat.—The goblets used for this purpose are of polished tin, about four inches in depth, and made without ornament or projection of any kind. Being all of the same size, and slightly tapering, a large number of them may be fitted one within the other, and yet occupy little more space than a single one. The goblets thus packed are placed in a bag of black alpaca, just large enough to receive them, and concealed on theservante, or in one of theprofondesof the performer. When it is desired to introduce them into the hat, they are grasped in either hand, the back of the hand being turned towards the audience, and thus covering them. The hand is now carelessly placed in the hat, as though to take something out. Once introduced, the goblets are produced one by one, and placed mouth downward on the table, their number giving an appearance of bulk which seems to exclude the possibility of their having been all contained within so small a space. Two or three parcels of goblets may be introduced successively, and brought out one by one, with little difficulty.
We may here mention a little expedient which will be found of great assistance where the performer desires to introduce into a hat a bundle of goblets (or any similar article) from either of his secret pockets. We will suppose that the article in question is in the right-handprofonde. Taking the empty hat in the opposite hand (the left), he stoops a little, and holding it down near the floor, with its mouth toward the company, gently moves it round and round in circles, gazing at it intently, as though anticipating some important result. This draws all eyes to the hat, and enables him to drop his right hand to theprofonde, and bring out, under cover of the hand and wrist, the article to be introduced. Continuing the motion, he gradually brings the mouth of the hat upwards, so that the company can no longer see into it, and suddenly plunges his right hand into it, as though merely to take out the article or articles which he, in fact, thereby introduces. This may be repeated from theprofondeon the oppositeside; and thus two successive packets of articles may be produced without even going near the table.
Fig. 140.
Fig. 140.
A Dozen Babies from a Hat.—Among the various objects available for production, may be enumerated dolls, of which a dozen, each eight or nine inches in height, may be produced from a borrowed hat. The dolls for this purpose are of coloured muslin, stretched over a framework or skeleton of spiral wire, after the fashion of the multiplying balls (seeFig. 140), and may be compressed vertically to a thickness of about three-quarters of an inch. A dozen of them may be packed within the hollow cannon-ball, described above, resuming their shape as soon as they are released.
Fig. 141.
Fig. 141.
The Magic Reticules.—This is one of the most modern hat tricks. The reticules, which are of cardboard covered with leather, are, when expanded, as shown inFig. 141. They are, however, constructed so as to fold into a very small compass, in manner following. The ends,a a, are only attached to the reticule at their lower edges (which form a kind of leather hinge), and may be folded inwards flat upon the bottom of the reticule. (SeeFig. 142.) The ends of the ribbonb, which forms the sling or handle of the reticule, run freely through two holesc cin the upper side of the reticule, and are attached to the endsa aat the pointsd d. The ends being folded down, as inFig. 142, the reticule becomes a hollow oblong, open from end to end, as inFig. 143. The angles, being made of soft leather, are flexible, and by pressing the sides in the direction indicated by the dotted lines (seeFig. 143), thereticule is brought into the condition shown inFig. 144, and, on being again folded, into that shown inFig. 145, in which condition it is little larger than a pocket-book. Half-a-dozen reticules thus folded, and packed in a bag of black alpaca, or held together by an india-rubber ring, form a small and compact parcel, and are easily introduced into the hat. The performer having got them out of the bag, has only to unfold each, so as to bring it into the condition shown inFig. 144, when the mere act of lifting the reticule out of the bag by the ribbonbraises the sides and ends, and restores it to the shape shown inFig. 141.
Fig. 142.Fig. 143.
Fig. 142.Fig. 143.
Fig. 144.Fig. 145.
Fig. 144.Fig. 145.
The Drums from the Hat.—In this trick the performer generally begins by producing from the hat a number of the multiplying balls described at page307. He next produces a miniature drum, prettily ornamented, then another, then a third and a fourth, each being a shade larger than its predecessor, and the last of such a size as barely to be containable within the hat.
With the reader’s present knowledge, he will readily conjecture that the drums are so constructed as to fit one within the other, the multiplying balls being packed within the smallest of the four. One end of each drum is loose, and falls inwards upon the opposite end, upon which it lies flat, thus giving space for the introduction of another drum, a size smaller. Across the loose end, and parallel to it, is fixed a wire, forming a handle whereby the performer may liftthe drum out of the hat, the act of doing so raising the end into its proper position, and a wire rim round the inside of each drum preventing the loose end being drawn out altogether. Each drum is taken out with the loose end upwards; but the performer, in placing it on the table, turns it over, thus bringing the solid end up. In default of this precaution, the loose end would fall back again to its old position, and so betray the secret. The drums are usually made oval, rather than round, as they are thus better suited to the shape of a hat.
The Birdcages from the Hat.—Not content with cannon-balls, drums, and ladies’ reticules, the public of the present day requires that birdcages and living birds should be produced from an empty hat.
Fig. 146.Fig. 147.
Fig. 146.Fig. 147.
Fig. 148.
Fig. 148.
The birdcages used vary in their construction. Some are made to fit one within the other, after the fashion of the drums just described, save that the birdcages, unlike the drums, are lifted out by the solid and not the loose ends, which fall down of their own accord. Those in most general use, however, are of the shape shown inFig. 146, and are alike in size, measuring about six inches in height, by five in breadth and depth. The bottom is made to slide upwards on the upright wires which form the sides. When it is desired to prepare the cage for use, a canary is first placed therein,and the bottom is then pushed up as far as it will go (seeFig. 147), the sides, which work on hinges ata a a a, being folded one by one upon the bottom, the cage finally assuming the shape shown inFig. 148. It is in this condition that the cages, generally three in number, are introduced into the hat, either from theservanteor from inside the vest of the performer; and in the act of lifting out (which is done by the wire loop at top), the sides and bottom falling down, the cage again becomes as inFig. 146.
Fig. 149.
Fig. 149.
The Cake (or Pudding) in the Hat.—This is an old and favourite hat trick. The necessary apparatus consists of two parts—first, a round tin pana(seeFig. 149), four inches in depth, and tapering from five inches at its greatest to four and a half inches at its smallest diameter. It is open at each end, but is divided into two parts by a horizontal partition at about two-thirds of its depth. Second, a larger tinb, japanned to taste, five and a half inches in depth, and so shaped as to fit somewhat tightly over the smaller tin. In the larger end of the latter is placed a hot cake or pudding, and in this condition it is placed on theservanteof the table, projecting a little over the edge. The performer borrows a hat, and in passing behind his table, tips cake and tin together into it. The chances are that the tin will fall small end upwards (the opposite end being the heaviest); but if not, the performer turns the tin, so as to bring it into that position. Placing the hat mouth upwards upon the table, he announces his intention of making a cake in it; for which purpose he takes, one by one, and mixes in the tinb, a quantity of flour, raisins, eggs, sugar, and the other ingredients for a cake, adding water enoughto make the mixture into a thick batter. This he pours into the hat, holding the tin with both hands, at first high above it, but gradually bringing it lower and lower, till at last, as if draining the last drop of the mixture, he lowers the mouth of the tin right into the hat, and brings it well down over the smaller tin. On being again raised, it brings away within it the smaller tin and its liquid contents, the cake being left in the hat. He next proceeds to bake the cake, by moving the hat backwards and forwards at a short distance over the flame of a candle, and, after a sufficient interval, exhibits the result, which is cut up and handed round to the company for their approval.
As the batter round the sides ofbis apt to causeato stick pretty tightly into it, a folding ring is generally fixed insidea, in order to facilitate its removal after the close of the trick.
The Welsh Rabbit.—This is a trick of a comic character, and in the hands of a spirited performer is sure to be received with applause, particularly by the younger members of the audience. Its effect is as follows:—The performer brings in in one hand a saucepan, fancifully decorated, and in the other a plate, with bread, cheese, pepper, etc. With these ingredients he proposes to make a Welsh Rabbit, and to give the audience, without extra charge, a lesson in cookery. Chopping the bread and cheese together in a burlesque fashion, and seasoning with pepper and salt to a degree which no palate short of a salamander’s could possibly stand, he shovels all into the saucepan, and claps the lid on. For a moment he is at a loss for a fire, but this difficulty is quickly conquered. Borrowing a gentleman’s hat, and a lady’s pocket-handkerchief, he requests permission to use them for the purpose of the experiment. This is readily accorded, but the respective owners look on with consternation when the performer proceeds to set fire to the handkerchief, and, dropping it still blazing into the hat, to cook the Welsh Rabbit by moving the saucepan to and fro over the flames. Having done this for a minute or two, he extinguishes the flames by lowering the saucepan for a moment into the hat. Then again removing it, and taking off the lid, he brings it forward to the company, and exhibits, not the expected Welsh Rabbit, or “rare-bit,†but a genuine live rabbit, every vestige of the cheese and other ingredients having disappeared.
Fig. 150.
Fig. 150.
The secret of this ingenious trick lies mainly in the construction of the saucepan, which consists of four parts, designated in the diagram (Fig. 150) by the lettersa,b,c, andd;ais the lid, which has no speciality, save that the rim round it is rather deeper than usual;bis a shallow tray or lining, of the same depth as the lid, fitting easily within the top of the saucepan;a, on the contrary, fits tightly withinb;cis the body of the saucepan, and has no speciality;dis an outer sheet or covering, loosely fitting the lower part of the saucepan, and, like it, is japanned plain black, the upper part and lid being generally of an ornamental pattern. (For our own part, we much prefer either plain black or polished tin throughout, as savouring less of mechanism or preparation.) The presence or absence ofddoes not alter the general appearance of the saucepan, and cannot, therefore, be detected by the eye. It should be mentioned thatdis so made, that between its bottom and the bottom of the saucepan is a space of about half an inch in depth, and in this space, before the apparatus is brought forward, is placed a substitute handkerchief, sprinkled with a few drops of spirits of wine or eau de Cologne, to render it more inflammable; within the saucepan is placed a small live rabbit, after whichbis put in its place, and pressed down.
Fig. 151.
Fig. 151.
The performer is now ready to begin the trick. He brings forward the saucepan, holding it as inFig. 151, in which position the pressure of the first and second fingers ondprevents it falling off, as, being loose, it would otherwise do. Placing it on the table, he mixes the bread, cheese, etc., on the plate, and then pours all into the saucepan, where, of course, they fall intob. Asbis comparatively shallow, it is well to place the saucepan in some tolerablyelevated situation, so that the audience may not be able to see into it, or they may perceive that the bread, etc., do not fall to the bottom. The lid is next placed on the saucepan. The hat and handkerchief are borrowed, the latter, which is to serve as fuel, being dropped into the hat. The performer, as if bethinking himself of a possible difficulty, carelessly remarks, “We mustn’t have the stove too small for the saucepan;†and so saying, lifts the latter, as shown inFig. 151, and lowers it for a moment into the hat, as though testing their relative sizes. In that moment, however, he relaxes the pressure of his fingers ond, and so leaves it within the hat, placing the saucepan on the table beside it. When he again takes out the (supposed) handkerchief, and sets light to it, it is, of course, the substitute that is actually burnt, the genuine handkerchief meanwhile remaining hidden beneathdin the crown. The effect of the flames rising from the hat, in which the audience cannot suppose any preparation, is very startling, and yet, unless the substitute handkerchief is unusually large, or the spirit has been applied with a too liberal hand, there is no real danger of injuring the hat. The performer moves about the saucepan above the blaze at such a distance as not to inconvenience the animal within, and, after a moment or two, brings the saucepan sharply down into the hat, for the ostensible purpose of extinguishing the flames, but in again lifting it out he brings with itd, and places all together on the table. Nothing is now left in the hat but the borrowed handkerchief, which may be restored in any manner which the performer’s fancy may suggest. When the lid of the saucepan is removed, as it fits more tightly withinbthan the latter fits within the saucepan, itnaturally carriesbwith it, thus causing the disappearance of the bread, cheese, etc., and revealing in its place the live rabbit.
Some fun may be created by selecting beforehand an assistant from the juvenile portion of the audience, and dressing him up with a pocket-handkerchief round his head, and another by way of apron, to act as assistant cook.
A guinea-pig or small kitten may be substituted for the rabbit, the performer accounting for the wrong animal being produced by supposing that he must have made some mistake in mixing the ingredients.