Home Fun

CHAPTER XXVIII
JUGGLING

How to Master the Principles of the Art

There is no reason why any boy possessed of an average amount of dexterity should not be able to perform many juggling tricks after a certain amount of careful and patient practice. By a close study of the following instructions, a clear idea of the principles of the art can be obtained; and when these principles have been mastered, the beginner should have no difficulty in elaborating the tricks to suit his own fancy.

As the system of juggling with knives, plates, or clubs is founded entirely upon the methods employed in manipulating balls, the simplest plan is to learn the tricks with these last before adapting them to larger objects.

Any kind of ball may be employed for juggling, but the specially-prepared balls, made of heavy metal, are the best, and can be purchased for a small sum in a set of four from any dealer in games.

1. The Vertical Fall

A ball should be thrown into the air in such a manner that it will descend to the exact point from which it was projected, as in Fig. 1. It is quite unnecessary to throw the ball higher than four feet. By an observation of the usual method of catching a ball, it will be noticed that the hand usually follows the course of the ball; but the great object of the juggler is to learn to catch without moving the hand from the position it occupied when throwing the ball into the air.

The great point of the vertical fall is to teach the beginner to move his hands as little as possible, and for this reason the exercise should be practiced with both right and left until such precision is acquired that the movement can be accomplished with the eyes closed.

2. Inside and Outside Falls

The inside fall is done by throwing the ball with the right hand, in such a way that it describes a curve and drops towards the left, as in Fig. 2. But instead of catching it with the left hand, catch it with the right by a rapid movement of the hand across the body. The ball being held in the right hand, it should be thrown back from left to right in a similar way, as in Fig. 3. The latter is called the outside fall.

This exercise is intended to teach the beginner to throw the ball several times in succession from side to side without its deviating from its course. The principle involved is very important for jugglery, and must be thoroughly acquired before proceeding with other tricks.

3. The Parallel Fall

This fall presents greater difficulties. The ball should be thrown with the right hand, as in the vertical fall, although the hand must be kept in a line with the shoulder. As soon as the ball has been caught, the hand must be rapidly brought into line with the left shoulder, the ball thrown from that position, and caught (Fig. 4).

Having learned the trick with the right hand, it is essential to become accustomed to perform it equally well with the left hand, moving it to the right shoulder.

4. Falls from Right to Left

Both hands are required for these falls, which are simply an adaptation of what has just been described. The ball should be thrown exactly as described in No. 2, but instead of moving the right hand across the body to catch the ball when it falls on the left side, the left hand should catch it, as in Fig. 5, and should immediately return it by means of the outside fall to the right hand. But little practice is required to learn this perfectly, and when smartly performed it makes a pretty display.

5. The Horizontal Pass

In this exercise the ball should be thrown from hand to hand in as straight a line as possible (Fig. 6), whilst the beginner must endeavor, by continually increasing the distance between his hands, to maintain a rapid volley.

6. The Double Vertical Fall

This is the first trick requiring two balls, and will need some attention. A ball should be taken in each hand, and the simple vertical fall performed with the right. Before this ball has descended, however, the ball in the left hand must be thrown in the air, as in Fig. 7, so that the two balls are continually in motion. It is at this point that the juggler will find the advantage of being proficient in the use of both hands for the single vertical fall.

A variation of this double fall can be acquired in the following manner:—

Both balls should be thrown up at the same time, as in Fig. 8, the hands being kept about two feet apart, care being taken that neither of the balls is thrown higher than the other.

The beginner must practice these thoroughly until perfectly accustomed to having the two balls in motion simultaneously.

7. The Double Inside Fall

This is a repetition of the outside and inside falls, but performed with two balls at once, and with both hands. The utmost care must be exercised to avoid a collision as they pass one another, and for this reason one ball must be thrown higher than the other, as in Fig. 9. Until proficiency is attained the balls should be thrown at various heights, and the hands well apart.

8. The Triple Pass

Having acquired the last trick perfectly, the beginner should now bring into use a third ball. A glance at Fig. 10 will show that the triple pass is nothing but the double inside fall performed with an additional ball.

Two balls are held in the left hand, and one in the right, the former being numbered 1 and 3, and the latter 2. Ball No. 1 is thrown from the left hand, and as soon as it is in the air, No. 2 is sent off from the right, after which No. 3 is thrown from the left hand. It will be noticed from Fig. 10 that No. 1 is sent the highest and No. 3 the lowest, and by this means a collision can best be avoided. The greatest care must be taken to throw the balls regularly, otherwise confusion will ensue.

To keep up the volley, each ball must be sent off again as soon as it has been caught, so that after the first throw neither hand holds more than one ball at a time.

9. The Triple Over Pass

The only difference between this and the Triple Pass is that each ball, as thrown, passes over instead of under the ball that precedes. This is shown in Fig. 11, where No. 2 passes over No. 1, whilst No. 3 is thrown the highest of all. This trick is usually combined with the ordinary Triple Pass, and from the spectator’s point of view presents no difference.

10. The Shower

This is one of the prettiest of all the tricks of Juggling, and should be learned with two balls. Take a ball in each hand and throw the right one in the air towards the left, whilst as soon as it is in the air pass the left hand ball to the right hand, as in Fig. 12. The moment this latter ball has been caught it must be thrown up in the wake of the first ball, and the whole trick continued as quickly as possible, so that one ball is always in the air.

This should be practiced continually until perfection is attained, as it forms an introduction to—

11. The Triple Shower

Two balls must be taken in the right hand, and one in the left. The first two should be thrown in rapid succession from the right to the left, the ball in the latter hand being passed to the right, as in the Simple Shower. As each ball reaches the left hand pass it rapidly across, as in Fig. 13, and start it off in the air once more.

The trick has the effect of making the spectators imagine that you have a large number of balls in your hands, and the more quickly the trick is done the greater the deception. By starting with three balls in the right hand and one in the left a still prettier display can be provided with little extra trouble. In this case, however, the balls will have to be thrown rather higher to give the left hand more time to catch the balls and pass them successfully.

As a final exercise the beginner should learn—

12. The Double Over Fountain

Four balls are required for this, a couple being taken in each hand, Nos. 1 and 3 being in the left and Nos. 2 and 4 in the right hand.

Nos. 1 and 2 are thrown up simultaneously in the simple Vertical Fall, as in A, Fig. 14. The hands are then rapidly moved apart and balls Nos. 3 and 4 are thrown over the first two balls in such a manner that they cross each other and are caught in the opposite hands (Fig. 14). The volley with those two balls is immediately returned and the hands are brought nearer together to catch and throw Nos. 1 and 2 again. Thus the fountain is kept up indefinitely. It will be observed that the two hands constantly approach and separate, as the two sets of balls are caught in turn, and such action must be very smartly performed.

The substitution of clubs or knives for balls can be easily effected, although the performance is none the better for the change. In using knives, the juggler should see that the handles are well weighted to insure that part of the object falling into his hand. The substitution of knives is not sufficiently interesting to compensate for the additional risk, and the amateur may very well dispense with them.

Plates and clubs are equally unwieldy, and the juggler can scarcely do better than content himself with the plain balls, the manipulation of which is certain to provide a pretty and interesting entertainment at all times.

CHAPTER XXIX
PLATE-SPINNING AND WALTZING

An Exciting Entertainment

Few things are productive of such literally breathless interest as plate-spinning. In what a state of agonized anxiety your audience will be as they watch you imperturbably spinning a soup-plate on the end of a rod. How they will catch their breaths as they expect it to fall, and how surprised they will be when it keeps its position! Yet if you inform them that it is not so difficult as it looks, you will be stating a fact, although the art is acquired only after considerable practice and at the cost of several plates.

To minimize the breakage of crockery it will be as well to begin your experiments with a mattress laid upon the floor, or failing this, with a good substantial down comforter. The first attempts will not then be accompanied by such mortality amongst the plates.

Procure a rod or wand upon which the plates are to be spun. A round stick, about 2 feet long, is the most suitable for the purpose. Care should be taken to see that it is straight, and it must be well sand-papered in order to remove any roughness (Fig. 1).

Now reduce one end of the stick to a dull point, which must further be prepared by a rather strange process. Place this pointed end in your mouth and moisten it until it is quite soft and all the hardness of the wood has been removed. When properly softened the fiber of the wood will remain whilst all the “starch”—if one may so call it—has disappeared. This preparation gives the stick a certain grip on the plate which is indispensable for successful spinning.

Next take a soup-plate, as in Fig. 2, and make it revolve rapidly upon the dull end of the rod. To do this the following instructions and hints should be noted.

The rod should have a rapid circular motion imparted to it by the wrist, so that it cuts a circle of about the same circumference as the soup-plate. The arm should be motionless, the whole movement being confined to the wrist. The beginner must not expect immediate success, but after considerable practice the knack of describing the circle with the end of the rod will be acquired.

Now, by making these circles with the plate upon the end of the wand you will find that the plate itself begins to spin rapidly, and at length, when it has attained a certain velocity, it finds its center upon the point of the rod and revolves so steadily as to appear motionless (Fig. 3).

Practice spinning with the left hand as well as with the right, for in many cases it is necessary to transfer the wand from one hand to the other. Probably you will find greater difficulty with the left hand, but perseverance is all that is required—perseverance and the mattress!

It is a great mistake to choose a light plate for spinning. The heavier it is the easier it will be to spin, and you will find that dishes (not necessarily round) will be the best spinners of all. Do not forget that very heavy dishes soon tire the wrist and make it too unsteady for successfully exhibiting other tricks.

So far the modus operandi with unprepared and ordinary plates has been described. It is quite as well that the learner should begin with these, as the greater difficulty in balancing and spinning will have taught a lesson that will render him more at ease with the prepared plates.

Procure another wand, which need not be “softened.” Sharpen one end into a point, not so dull as in the former case, but with a clearly defined apex.

Prepared Plates

As to the prepared plates. Take for example a thick soup-plate. From the center of the bottom of this plate a small, shallow piece must be drilled away, as in Fig. 4, which represents a section of the article. Any china riveter will do this for you, and will, at your request, polish the cavity after it has been drilled. Explain the purpose for which you want it done, as that will insure his making the hole in the dead center.

You will now find that this plate not only spins much more easily, but will continue revolving upon the rod for a great while, even after you have ceased working the latter with your wrist. This is an important consideration in view of the balancing feats to be accomplished.

The next thing to practice is catching the plates in mid-air upon the tip of your wand. This is not so difficult as it sounds, and should be easily learned. Toss the plate upwards, as you do so giving it a smart turn or twist to the right, so that it revolves rapidly upon its own center while ascending.

Now bring the point of the rod under it, and as the plate reaches its highest point in the air it will turn over and you will have an opportunity to get the stick into the hole in the center. The plate will then spin upon the point of the rod, and a few turns with the wrist will increase its speed and keep it going steadily for a time.

Having mastered the principle of catching the plates in the manner described, practice holding the rod and tossing the plate with the same hand.

Hold the stick near to the point and between the fingers and the thumb (Fig. 5), whilst the outspread fingers are in the bowl of the plate, as in Fig. 6. These are shown separately to give a clearer idea of the meaning. Now, toss the plate into the air, as has been explained, again giving the wrist a smart turn to the right. Bring the rod sharply into position and catch the plate in the usual fashion.

Further Feats

Take a couple of rods, one in each hand, and send a plate spinning on the point of the right-hand rod. By giving a sharp upward jerk you will send the plate high into the air, and upon its descent you can catch it upon the end of the other rod. If the plate has been tossed very high, and is therefore likely to descend with some force, care must be taken when catching it not to shatter it into pieces. As soon as the plate touches the point of the wand, lower the latter some distance with the plate, and thus break the force of the impact—instead of breaking the plate.

This performance will prepare you for successfully achieving the following very effective show. Two persons are required for it, however, and both must be good spinners.

Let each performer take a plate and a rod. Then both should spin their plates, and throw them to each other, catching the plates upon their respective wands. The volley may then be returned in the same manner, increasing the speed each time until the plates fly from one to the other like tennis balls.

The first attempts will probably result in a shower of broken crockery, but practice will obviate such a palpable disadvantage, and after a time you will be able to complicate the exhibition by taking a rod and plate in each hand, thus having four plates flashing to and fro at the same time.

Balancing

Having graduated as a master of spinning and catching plates, the opportunity has arrived for attempting to balance the spinning dishes. This is largely a matter of knack, although a sure eye and a steady hand are indispensable.

Start a plate spinning on a rod, and pass it to the left hand. Do the same with a second plate, holding the rod likewise in the left hand, taking great care, of course, that the plates do not collide.

Now with the right hand start off a third plate, and balance the rod upon your forehead or chin, having done which pass one of the rods back from the left to the right hand. This makes quite a pleasing exhibition, as can be seen by Fig. 7, and is well worth learning.

Presuming you are now facing the spectators, with the three plates spinning as in Fig. 7, the question naturally arises, how to stop the plates in a graceful manner? There are several ways of doing this, but the following will be found the simplest.

Lower the rods in the two hands simultaneously until the plates can be grasped in the fingers. Then, with the plate and rod still balanced upon your face, lay the two plates upon a convenient table, and taking one of the rods transfer the rod upon your chin to its point, and thus balancing one upon the other bring the plate to rest.

Supposing you have a plate spinning upon a wand, balanced upon another as in Fig. 8, practice the following method of dispensing with one of these rods.

By a sharp upward movement jerk the plate into the air from the point of rod No. 1. This will, of course, by relieving the stick of its burden, make it fall. You then catch the falling rod smartly with the other hand. But you must not forget during this time the plate which you have sent, still spinning, towards the ceiling. Upon its descent catch it neatly upon the tip of wand No. 2, and the trick is completed.

Such are the rudiments of the arts of spinning and balancing. Having acquired a thorough knowledge of the various exercises and feats described, the amateur spinner will have no difficulty in inventing new things for himself, and will be able to emulate the feats of professional jugglers. Much patience and long-suffering are necessary, but with a quick eye and a sure hand there is no reason why any person should not be able to provide a good plate-spinning entertainment.

Plate Waltzing

There is a kindred branch of the art which may be described here, and that is plate waltzing. It is really nothing but an extension of the trick of spinning a coin upon the table, which every one has done at some time or other.

A perfectly level table is essential. To insure this it is a good plan to have a smooth, unpolished board that can be laid upon a table and made perfectly level by adjusting small pieces of cardboard at the corners. Around the edge a slight border should be made, rounded to the surface of the board, as shown in Fig. 9. This will prevent the plates from dancing off the table and on to the floor.

Plates of any description and size, from the delicate tea-plate to the burly wash-basin are eligible for the dance (Fig. 10).

The following is the easiest way to start twirling a plate. Take a dinner-plate and stand it upon its edge on the table with the bottom of its upper edge resting against the extended forefinger, as in Fig. 11. Describe a small circle with this finger rather quickly, and the plate will follow its motion. Continue passing the finger round and round, accelerating the motion with each revolution. The plate will then begin to revolve very quickly. Take your finger away when it has acquired sufficient impetus, and leave the plate to dance by itself.

Begin learning with one plate. You will find that as it loses its impetus it begins to go slower and slower, tending to settle bottom upwards upon the table. But this is where your skill must be proved in preventing the fall from lack of momentum.

Whilst the plate is revolving and before the first signs of falling are apparent, touch the bottom of the plate fairly near the center with the tip of your finger, moving this latter round in the direction followed by the plate. This will have the effect of preventing the fall, and will send the plate dancing on with renewed vigor.

Considerable experience will be required to perform this successfully, as the exact spot to be touched with the finger can only be ascertained after much practice.

Large and heavy plates make the best dancers, and it will be necessary sometimes to use two fingers when preventing the fall, for the pressure must in all cases be firm and steady. An ordinary plate is better than a soup-plate, for not only is it more elegant, but its even poise renders the revolutions steadier.

Practice the use of both hands, remembering, however, that the plates will revolve in different directions according to which hand you use. The right hand will send a plate twirling from left to right, whilst the left hand causes an opposite motion.

The plates will keep admirable time to regular waltz music, and produce a pleasing effect. Keep your eye upon all of them, being ready to render assistance to any of your dancers that show signs of subsiding upon the table.

CHAPTER XXX
THE TIGHT-ROPE

Trick Balancing

There are probably few actions more graceful than those of a skillful equilibrist. The necessity of maintaining a symmetrical posture and disposing the body in a well-balanced manner can produce nothing but a pleasing effect. To a lithe and healthy boy there are endless opportunities for creating new figures, whilst many will find an attraction in performing feats rarely attempted by any but professionals.

The whole strain of tight-rope walking is centered in the back. The rigidity of the legs is also an important factor in maintaining the balance. For this reason no child under ten years of age should ever be allowed to attempt anything of this sort, for his bones and muscles will not be sufficiently developed until then.

All the arrangements for a tight-rope exhibition can be made in an ordinary drawing-room. Very few fixtures are required, and the following instructions will give an idea of what must be done.

The rope should be about four feet from the ground, although if the room is lofty the rope may be even higher. A length of good strong sash-cord should be used, and thoroughly tested before every performance.

Assuming that the rope is to be stretched at a height of 4 feet, the supports should be made in the following manner:—

Two stout bars of wood, not less than 1 inch in diameter and 6 feet long, should be fastened together in the form of an irregular St. Andrew’s Cross, as in Fig. 1. They must be fastened by running a bolt through them at a distance of 1 foot from the top. The lower ends should then be beveled off at such an angle that the bars will rest evenly upon the floor. To these beveled ends a metal plate should be fastened, projecting outwards, with a hole through which a thumb-screw can be passed, as shown in Fig. 2. These plates, together with the metal screw-plate, which should be fastened over the holes in the floor, can be bought for a few cents from any hardware store. The cross-pieces can then be erected and screwed into position, as shown in Fig. 1.

Strong hooks should now be driven into the floor just below the wainscoting and in a line with the screw plates. Lengths of very strong wire are to connect these hooks with the cross at H (Fig. 1). When it is remembered that these pieces of wire bear the whole strain of the rope, it will be evident that too much care cannot be exercised in making them secure and trustworthy.

A similar cross with its attachment must then be erected at the other side of the room where the tight-rope is to terminate. At the spot H of this latter cross a piece of bright-colored cloth should be fastened, for a purpose which will appear later.

The rope can now be stretched between the crosses, every care being taken to see that it is securely fastened and is not in the least slack.

To simplify explanation, the two ends of the rope, with their respective supports, will be called A and B, the latter having the piece of colored rag. In Fig. 3 will be seen the arrangements so far completed.

For the purpose of mounting the rope and resting between the turns, a pair of steps should be placed between A and the wall, and so adjusted that the top step is on a level with the rope, or even slightly higher, say at 4¹⁄₂ feet.

The Balancing Pole

There is much difference of opinion amongst acrobats regarding the balancing pole. Some prefer it long and heavy, whilst others dispense with it altogether. Amateurs can scarcely hope to do the latter, however, and 4 ft. 6 in. may be considered a suitable length. The pole should be smooth, round, and even, rather heavier than an ordinary broom-handle. It will probably prove useful to mark its exact center by a notch.

A mattress must be laid beneath the rope to break any falls. Thin-soled dancing pumps should be worn, the soles being well chalked before use.

Such is the apparatus connected with the public performance of tight-rope walking. The first attempts should be, however, on a rope suspended much lower, not more than 1 foot from the ground, as it is useless to try a high rope until the knack of balancing has been acquired.

The assistance of two friends will be necessary for the first few trials. Each must hold a strap fastened around the performer’s waist to support him until he has learned to find the center of gravity. As he grows accustomed to the work their help will become less necessary, and he will soon be able to dispense with their services.

With the pole balanced in his hands, his eyes fixed steadily upon the colored rag at B, known as the “point of sight,” and, supported by his two friends, the first essay is made upon the rope. The feet should be turned out as much as possible, and at each step the heel first and then the great toe placed upon the rope.

The “Forward Walk”

According to the recognized canons of the art, the first thing to be learnt is the “Forward Walk.” The gaze must never leave the “point of sight.” Each step must be made with the utmost care, and perfect confidence gained before any attempt is made at more difficult tasks. As soon as the feet begin to feel sore or tired, practice should be abandoned for that day.

The next thing to be learned is walking backwards. This is really no harder than the “Forward Walk” and can be as easily acquired. The eye should be steadfastly fixed on the rag as in the former case. With the amateur there is always a tendency to run. This must be checked, and a stately gait acquired from the beginning.

After the “Forward” and the “Backward” walks comes the “Forward Spring.” Both this and the “Backward Spring” are difficult, and can only be learned by constant practice and patience. There will doubtless be a price to pay in the way of harmless falls and stumblings, but everything can be learned in time. Indeed, few instructions can be given that would prove of any real assistance to the beginner. When once a person has learned to ride a bicycle, the matter of balancing comes naturally; so with rope walking. As soon as the tyro has gained confidence and experience on the rope, the difficulties of the “jumps” will gradually disappear.

Having learned the walks and leaps on the tight-rope, it only remains for the performer to adapt them according to his own ideas. The aim and object of every professional is to produce some novelty in his branch of the art, and the amateur must imitate him in thinking out some effective show to be produced “up aloft.” The great Blondin used to wheel out a barrow and cook his pancakes upon a rope suspended at an incredible height, and it is in ideas such as these that the art of successful tight-rope walking consists.

CHAPTER XXXI
CLOG DANCING

A Novel Entertainment

When the old Morris Dances decayed in the country districts of England, many of the local customs and manners died with them, and are now entirely lost; but what is considered a survival can yet be found, and is familiar to many of us under the name of Clog Dancing.

The old Morris Dancers had attached to their ankles bands of bells, which sounded with the jerking and kicking of the dancers’ feet as they kept time with the measure and music of the accompaniment.

The use of these bells has now, however, almost entirely ceased, and the heavy wooden clog alone remains. In place of the ringing and jingling, with which the Morris man accompanied his dance, the clog makes only a tapping against the floor, sharper in its precision, if less musical than the old bells.

The clogs suitable for drawing-room dancing have wooden soles and leather “uppers.” These can be obtained in endless variety, from the plain black or red morocco, to the stylish patent leather shoes.

But whatever the style or make of the clogs, one thing is essential—they must fit perfectly. The appearance matters little, so long as the clogs are an exact fit. Nobody present cares to see your feet, but everybody desires to see a skillful dance, and that cannot be performed with a loose shoe.

Having obtained the shoes, the next thing to arrange is the floor. A smooth wood floor, or a slate slab, provide excellent surfaces for practicing and learning upon, while for the actual drawing-room performance, a thick, smooth piece of wood, about two and a half feet square, and neatly polished, is very suitable. This can be moved at pleasure, and taken away after the performance is concluded, without any awkward rolling back of carpets or moving of furniture.

It is necessary now to devote a little attention to the more important steps to be learned. In the diagrams illustrating this subject the letter R denotes the right, and L the left foot, and this must be constantly borne in mind to make the illustrations intelligible.

The first and most important thing to remember, is to keep the toes well turned outwards wherever the nature of the figure does not render this impossible. A glance at Fig. 1 will illustrate this. In all the steps practice with the left foot is needed more than with the right, as the latter can generally be trusted to take care of itself.

The First Step

The first step to learn is the shuffle, which should be attempted with one foot first, preferably the left.

Stand firmly upon the right foot, and strike the left toe forward (as in Fig. 2) towards A, at the same time making a tap upon the floor. Draw it back from A towards B, making another tap. This should be done repeatedly until it is possible to make the taps in quick succession and in even time.