V.Is it not strange that people can take such performances seriously? The cigarette test—an old one—and familiar to every schoolboy who dabbles in legerdemain, was a mere trick, dependent upon clever substitution and palming. The absurd splatterdash which the Mage painted while blindfolded had nothing of Thibetan architecture about it, but resembled a ruined castle on the Rhine. That he was able to peep beneath his bandages at one stage of the proceedings seems to me evident. He perhaps arranged this while kissing and fondling the little child. Long practice, however, would enable him to paint roughly while his eyes were bandaged. The horse episode was of course a pre-arranged affair, yet I admit it was very well worked up and gave one a creepy feeling—thanks to themise en scéne. But the Comte de Sarak has other occult phenomena up his sleeve, which I have not yet witnessed—among them being the shattering of a pane of glass by pronouncing the words, “Forward, ever forward”; the instantaneous production of vegetation from the seed; and the immediate development of fish from spawn. He doubtless owes much of his notoriety to the newspapers, which herald his alleged feats of magic in sensational style.A few months after my séance at the adept’s house, the Washington papers announced the fact that the Count de Sarak, the famous magician, was projecting a personally conducted tour to the Orient for the members of his cult and all those who were{270}interested in occultism. The pilgrims were to visit the inaccessible shrines, pagodas, crypts, and lamaseries of the East, under the ciceronage of the Count, who doubtless was to break down for them by sheer force of will the fluidic barriers that surround Lhassa, Thibet, where dwell the Mahatmas, in order that the tourists might penetrate into the sacred city.I never heard of anybody leaving Washington to go on this expedition, except the Count—and he, I understand, got no farther than New York City, where the Frenchtable d’hôteabounds, and magic and mystery are chiefly to be studied in the recipes of Frenchchefs de cuisine.
Is it not strange that people can take such performances seriously? The cigarette test—an old one—and familiar to every schoolboy who dabbles in legerdemain, was a mere trick, dependent upon clever substitution and palming. The absurd splatterdash which the Mage painted while blindfolded had nothing of Thibetan architecture about it, but resembled a ruined castle on the Rhine. That he was able to peep beneath his bandages at one stage of the proceedings seems to me evident. He perhaps arranged this while kissing and fondling the little child. Long practice, however, would enable him to paint roughly while his eyes were bandaged. The horse episode was of course a pre-arranged affair, yet I admit it was very well worked up and gave one a creepy feeling—thanks to themise en scéne. But the Comte de Sarak has other occult phenomena up his sleeve, which I have not yet witnessed—among them being the shattering of a pane of glass by pronouncing the words, “Forward, ever forward”; the instantaneous production of vegetation from the seed; and the immediate development of fish from spawn. He doubtless owes much of his notoriety to the newspapers, which herald his alleged feats of magic in sensational style.
A few months after my séance at the adept’s house, the Washington papers announced the fact that the Count de Sarak, the famous magician, was projecting a personally conducted tour to the Orient for the members of his cult and all those who were{270}interested in occultism. The pilgrims were to visit the inaccessible shrines, pagodas, crypts, and lamaseries of the East, under the ciceronage of the Count, who doubtless was to break down for them by sheer force of will the fluidic barriers that surround Lhassa, Thibet, where dwell the Mahatmas, in order that the tourists might penetrate into the sacred city.
I never heard of anybody leaving Washington to go on this expedition, except the Count—and he, I understand, got no farther than New York City, where the Frenchtable d’hôteabounds, and magic and mystery are chiefly to be studied in the recipes of Frenchchefs de cuisine.