MODERN MAGIC.
C
Consideringthe great antiquity and the unfading popularity of the magic art, it seems at first sight a matter of wonder that its literature should be so extremely scanty. In England, in particular, is this the case. Until within the last few years it would have been difficult to name a single book worth reading upon this subject, the whole literature of the art consisting of single chapters in books written for the amusement of youth (which were chiefly remarkable for the unanimity with which each copied, without acknowledgment, from its predecessors), and handbooks sold at the entertainments of various public performers, who took care not to reveal therein any trick which they deemed worthy of performance by themselves. Upon a little consideration, however, the scarcity of treatises on “White Magic” is easily accounted for. The more important secrets of the art have been known but to few, and those few have jealously guarded them, knowing that the more closely they concealed the clue to their mysteries, the more would those mysteries be valued. Indeed, the more noted conjurors of fifty years ago strove to keep the secret of their best tricks not only from the outside world, but from theirconfrères. At the present day the secrets of the art are not so wellkept; and there is hardly a trick performed upon the stage which the amateur may not, at a sufficient expenditure of shillings or guineas, procure at the conjuring depôts. There being, therefore, no longer the same strict secresy, the literature of magic has improved a little, though it still leaves much to be desired. The general ambition of compilers seems to be to produce books containing nominally some fabulous number of tricks. In order to do this, they occupy two-thirds of their space with chemical and arithmetical recreations, and, as a necessary result, the portion devoted to conjuring tricks, properly so called, is treated so briefly and scantily as to be practically useless.
There is a vast difference between telling how a trick is done and teaching how to do it. The existing treatises, with few exceptions, do the former only. The intention of the present work is to do the latter also; to teach sleight-of-hand generally, as well as particular tricks; and to conduct the neophyte from the very A B C of the magic art gradually up to those marvels which are exhibited on the public stage. The student may rest assured that, if he will diligently follow the instructions here given, he will be able in due time, not merely to astonish his friendsextemporewith a borrowed coin or pack of cards, but to roll two rabbits into one, compel chosen cards to rise spontaneously from the pack, produce lighted lanterns from empty hats, and bowls of gold-fish from empty pocket-handkerchiefs; in a word, to execute all those wonders which he has hitherto deemed the exclusive property of the public performer. There are, of course, different degrees of natural aptitude. “Non cuivis hominum contingit adire Corinthum.” It is not every one that can be a Robert-Houdin or a Buatier, but, given the usual number of fingers and thumbs, fair intelligence, and a sufficiency of perseverance, any one who will may become at least a tolerable conjuror. Be it remembered, that we especially stipulate forperseverance. A wizard is not to be made in a day, and he who would attain excellence must be content to proceed as he would with music, drawing, or any other accomplishment—viz., begin at the beginning, and practise diligently until he attains the coveted dexterity. The student need not, however, wait the termination of the somewhat formidable course of study we have indicated, before he begins to astonish his friends; on the contrary,there are numerous tricks requiring very little manual dexterity, which are yet, if neatly performed, brilliant in effect. These simpler tricks, for which we shall give full instructions, will supply the beginner, even at the outset, with a fair programme, which he may from time to time enlarge as he feels able to undertake more elaborate illusions.
The first rule to be borne in mind by the aspirant is this: “Never tell your audience beforehand what you are going to do.” If you do so, you at once give their vigilance the direction which it is most necessary to avoid, and increase tenfold the chances of detection. We will give an illustration. There is a very good trick (which will be described at length hereafter) in which the performer, after borrowing a handkerchief, gives it to some one to hold. When it is returned, it proves to be torn into small pieces. It is again handed to the holder, who is instructed, in order to restore it, to rub it in a particular manner; but when again unfolded, it is found in a long strip. These effects are produced by successive adroit substitutions, and the whole magic of the trick consists in the concealment of the particular moment at which each substitution is effected. Now, if you were to announce to the audience beforehand that you were about to cause the handkerchief to appear in several pieces, or in a long strip, they would at once conjecture that the trick depended on an exchange, and their whole vigilance being directed to discover the moment of that exchange, you would find it all but impossible to perform the trick without detection. If, on the other hand, you merely roll up the handkerchief, and ask some one to hold it, the audience, not knowing what you are about to do, have no reason to suspect that you have handed him a substitute; and when the transformation is exhibited, the opportunity of detection will have already passed away.
It follows, as a practical consequence of this first rule, thatyou should never perform the same trick twice on the same evening. The best trick loses half its effect on repetition, but besides this, the audience know precisely what is coming, and have all their faculties directed to find out at what point you cheated their eyes on the first occasion. It is sometimes hard to resist anencore, but a little tact will get you out of the difficulty, especially if you have studied, as every conjuror shoulddo, the variation and combination of tricks. There are a score of different ways of vanishing a given article, and as many of reproducing it; and either one of the first may be used in conjunction with either of the second. Thus, by varying either the beginning or the end, you make the trick to some extent a new one. The power of doing this readily is very useful, and among other advantages will enable you to meet anencoreby performing some other trick having some element of similarity to that which you have just completed, but terminating in a different and therefore unexpected manner.
The student must cultivate from the outset the art of “talking,” and especially the power of using his eyes and his tongue independently of the movement of his hands. To do this, it will be necessary to prepare beforehand not only what he intends todo, but what he intends tosay, and to rehearse frequently and carefully even the simplest trick before attempting it in public. It is surprising how many little difficulties are discovered on first attempting to carry into effect even the clearest written directions; and nothing but practice will overcome these difficulties. The novice may be encouraged by assuming, as he safely may, that the most finished of popular performers was once as awkward as himself, and were he to attempt any unfamiliar feat, would probably be as awkward still.
Before proceeding to the practice of the magic art, it will be well to give a short description of two or three appliances, which are of such constant use that they may be said to form the primary stock-in-trade of every conjuror. These are—a short wand, a specially adapted table, and certain secret pockets in the magician’s dress. There are numerous other appliances of very general use, which will be explained in due course, but those we have named are so indispensable that we could hardly complete the description of half-a-dozen tricks of any pretension without a reference to one or other of them. First in order comes
This is a light rod of twelve to fifteen inches in length, and about three-quarters of an inch in diameter. It may be of any material, and decorated in any manner which the fancy of the owner may dictate.To the uninitiated its use may appear a mere affectation, but such is by no means the case. Apart from the prestige derived from the traditional properties of the wand, and its use by the wizards of all ages, it affords a plausible pretext for many necessary movements, which would otherwise appear awkward and unnatural, and would thereby arouse the vigilance of the audience at possibly the most critical period of the trick. Thus, if the performer desires to hold anything concealed in his hand, by holding the wand in the same hand he is able to keep it closed without exciting suspicion. If it is necessary, as frequently happens, to turn his back upon the audience for an instant, the momentary turn to the table, in order to take up or lay down the wand, affords the required opportunity. We most strongly advise the would-be magician to cultivate from the outset the habitual use of the wand. Even where its employment is not absolutely necessary for the purpose of the trick, its use is in strict accordance with the character he professes to fill, and the dainty touch of the wand, for the supposed purpose of operating a magical transformation, assists materially in leading the audience to believe that such transformation did actually take place at that particular moment, instead of having been (as is really the case) secretly effected at an earlier period.
The next appliance to which we must draw the student’s attention is
There are plenty of good minor tricks which may be performed anywhere, and with little or no previous preparation, but as soon as the student has outgrown these humbler feats, and aspires to amuse his friends or the public with a pre-arrangedséance, his first necessity will be a proper table. We do not now refer to the elaborate combination of traps, pistons, etc., which is used for stage performances. This will be duly described in its proper place. The table necessary for an average drawing-room exhibition differs from an ordinary table in two points only—its height, which should be six or eight inches greater than that of an ordinary table—and the addition of a hidden shelf or ledge at the back. Its form and dimensions are very mucha matter of fancy and convenience. For most purposes nothing is better than a plain oblong deal table. It should have turned legs of some harder wood, stained and polished, and these, if it is desired to make the table portable, should bescrewedinto the four corners, so as to be readily taken off and put on again as may be required. In length the table may be three to four feet, and in breadth eighteen inches to two feet. Three feet by twenty inches is a very convenient size. At the back should be placed, about six inches below the level of the top of the table, a projecting shelf, six to eight inches in width, and extending nearly from end to end. This shelf, which is technically known as theservante, should be covered with thick woollen cloth, in order to deaden the sound of any object falling on it.
Some performers have a rim about half an inch high running along the outer edge of this shelf; while others, in place of the shelf, use a wooden tray, fixed in the same position, and one to two inches in depth. The manner of fixing the shelf is optional. In some tables it is made to slide in and out like a drawer; in others to fold up on hinges against the back of the table, or itself to form the back. This latter is the most convenient mode, as the opening made by the flap when let down gives access to the interior of the table, which forms a convenient receptacle for necessary articles. In this case, the upper part of the table is made box fashion;i.e., is bottomed throughout with wood on a level with the hinges of theservante, giving an enclosed space under the whole extent of the table. Over the table should be thrown an ordinary cloth table-cover, of such a size as to hang down about ten or fifteen inches at the front and sides, but not more than an inch or so on the side away from the audience. To prevent its slipping, the cloth may be fastened on this side with a couple of drawing pins. Where traps are used, and the cloth has therefore to be cut, the hanging cloth is dispensed with, and the table is covered with cloth glued on the top, with a margin round it, after the fashion of a card-table, and this may be done, if preferred, even where the table is without mechanism. The adoption of this plan allows of the introduction of gold mouldings, or other ornamentation, on the front and sides. In our own opinion, unless there is some special reason to the contrary in the mechanical arrangements of the table, the plainhanging cover is preferable, as being least suggestive of apparatus or preparation. The precise height of the table is best determined by the stature of the performer. Theservante, or hidden shelf, should be just so high from the ground as to be level with the knuckles of the performer as his arm hangs by his side; and the top of the table should, as already stated, be about six inches higher than this. It will be found that this height will enable the performer secretly to take up or lay down any article thereon without stooping or bending the arm, either of which movements would suggest to the spectators that his hand was occupied in some manner behind the table. One of the first tasks of the novice should be to acquire the power of readily picking up or laying down any article on theservante, without making any corresponding movement of the body, and especially without looking down at his hands. If the performer is uncertain as to the precise whereabouts of a given article, he must ascertain it by a quick glance as he approaches his table, and not after he has placed himself behind it. From this moment he must not again look down, as if once the audience suspect that he has a secret receptacle behind his table, half the magic of his tricks is thenceforth destroyed.
An oblong box, twelve or fourteen inches in length by three in depth, well padded with wadding, and placed on theservante, will be found very useful in getting rid of small articles, such as coin, oranges, etc., as such articles may be dropped into the box without causing any sound, and therefore without attracting attention.
In default of a table regularly made for the purpose, the amateur may with little difficulty adapt an ordinary table for use as a makeshift. A common library or kitchen table having a drawer on one side, and raised on four bricks or blocks of wood to the requisite height will answer the purpose very fairly. The table must be covered with a cloth; and should have the drawer pulled out about six inches (the drawer side being, of course, away from the audience) to form theservante. A still better extempore conjuring table may be manufactured in a few minutes with the aid of a good-sized folding bagatelle board. Place the shut-up board on a card or writing table (which should be six or eight inches shorter than the board), in such manner that there may be left behind it (on the sidewhich is intended to be farthest from the audience), a strip of table six or seven inches in width. This will form theservante. Throw an ordinary cloth table-cover over the bagatelle board, letting it hang down a foot or eighteen inches in front, and tucking its opposite edge under the hinder edge of the board, whose weight will prevent it slipping. If the cloth is too large, it must be folded accordingly before placing it on the table. The table thus extemporized will be of a convenient height, and will answer very fairly for the purposes of an ordinary drawing-room performance.
The conjuror, however, may be called upon to give a sample of his art when neither regular nor extemporized table is available; and even where he is sufficiently provided in this respect, he will frequently have occasion to produce or get rid of a given article without retiring behind his table to do so. The wizards of a century ago met this necessity by wearing openly in front of them a sort of bag or apron, called in the parlance of the French conjurors, agibecière, from its supposed resemblance to a game-bag. This was used not only to carry the cups and balls, and other minor paraphernalia of the art, but for the purpose of procuring, exchanging, or getting rid of any small article at the pleasure of the performer. In fact, this bag supplied the place of theservante, which was not then known. It is hardly necessary to observe that thegibecièrehas been long since disused, and a performer who should now appear in a pocketed apron would run much risk of being taken for a hairdresser. Although, however, thegibecièreis not now, as of old, worn openly, the conjuror of the present day is provided with certain secret substitutes, to explain which it is necessary to say a few words as to
It is not very many years since the orthodox dress of the conjuror was a long and flowing robe, embroidered more or less with hieroglyphic characters, and giving ample space for the concealment of any reasonable sized article—say from a warming-pan downwards. The very last specimen of such a garment, to the best of our belief, is, or was, worn by the magician attached to the Crystal Palace. We do not know whether he is compelled by the regulations of the establishmentto wear such a robe; but if so, it ought to be liberally considered in his salary. The costumede rigueurof the magician of the present day is ordinary “evening dress.” The effect of the feats performed is greatly heightened by the close fit and comparative scantiness of such a costume, which appears to allow no space for secret pockets or other place of concealment. In reality, however, the magician is provided with two special pockets, known asprofondes, placed in the tails of his dress-coat. Each is from four to six inches in depth and seven in width, and the opening, which is across the inside of the coat-tail, slanting slightly downwards from the centre to the side, is, like theservante, so placed as to be just level with the knuckles of the performer, as his hand hangs by his side. He can thus, by the mere action of dropping either hand to his side, let fall any article instantly into theprofondeon that side, or take anything from thence in like manner. The action is so natural, that it may be used under the very eyes of the audience, at very small risk of their observing it; and if the performer at the same moment slightly turns his other side to the spectators, he may be perfectly secure from detection. Some performers have also a couple ofpochettes(small pockets) made in the trousers, one behind each thigh. These are generally used for purposes of production only, theprofondesbeing still employed for getting rid of any article, which, indeed, is their primary purpose, for they were originally made too deep (‘profonde,’ whence their name) to get articles easily out of them. Many professors, in addition to the pockets above mentioned, have also a spacious pocket, opening perpendicularly, inside the breast of the coat, under each arm, for the purpose of what is called“loading,”i.e., bringing a rabbit, or other article, into a hat, etc. Other pockets may be added, as the fancy or invention of the performer may dictate; but the above are those generally used.
It will also be found a great convenience to have an elastic band, about an inch in width, stitched around the lower edge of the waistcoat on the inside. When the waistcoat is in wear, the band makes it press tightly round the waist, and any object of moderate size—a card, or pack of cards, a handkerchief, etc.—may be slipped under it without the least risk of falling. Used in conjunction with the pockets before described, this elastic waistband affords a means of instantaneously effecting “changes” of articles too large to be palmed withsafety; one hand dropping the genuine article into theprofondeon that side, while the other draws the prepared substitute from under the waistband, a very slight turn of the body, towards the table or otherwise, sufficing to cover the movement.
With these few preliminary observations, we proceed to the practice of the art, commencing with the ever-popular class of illusions performed by the aid of playing cards.