My reason for directing the performer to borrow a penny for this trick is that it has, similarly with the circle of glass, no milled edge, and is of the size most convenient for the occasion. In extreme cases an eyeglass may be used, when, if it has a milled edge, as most of them have, it would be as well to borrow a florin; but in such instances there must be no dallying in showing the glass round after the trick, or the ribbed edge will infallibly be seen. I remember finding myself, on one occasion, without my piece of glass, and borrowed an eyeglass of one of the audience, under the pretext that the silken cord by which it was suspended was the very thing I required for a trick. I did some trivial thing with the cord, but forgot to return the glass for an hour or so, having in the interim forced it out of its frame (it was mounted in tortoiseshell), performed the trick, and replaced it. I knew that I should have to perform this particular trick, or have my reputation tarnished, so made a bold stroke for victory. Now I am never without the glass, and advise my readers to observe the same precaution. A port wine glass is the best to use, the piece of glass being liable to stick in the comparatively narrow sherry glass. Always give the wineglass to a lady to hold: ladies are less liable to attempt to conduct experiments after their own manner, or to make premature disclosures, either of which proceedings is embarrassing to the performer. The conjuring repositories supply a champagne tumbler, with a glass exactly the size of the interior of the bottom. This is an undoubted improvement, as the water may be poured out, if an examination be demanded, when the glass will still adhere to bottom of the tumbler, although the latter be turned upside down. This trick, when "worked" in conjunction with the nest of boxes, previously mentioned, makes an excellent combination. The nest can be used for any sized coin by the simple expedient of removing the very smallest boxes.
(m) Take a penny, in good condition, and make, or have made, by a competent person, a groove, quite 3/16in. deep, all round the outer edge. This is very easily and most efficiently managed by means of a lathe; but, wanting that useful machine, a piercing-saw and flat needle-file will answer. When the groove is completed, with the piercing saw cut the penny into three pieces of equal width. Now take a very fine indiarubber band, obtainable at all shops where rubber goods are sold, and stretch it round the groove. The illustration shows the penny in three pieces, and also the band—actual size before being stretched. In putting on the band, commence with the centre piece, and then fit in the side pieces, the greatest care being necessary not to allow the band to get twisted. The result of these operations, when concluded, is that the penny can be folded up and made to occupy a space in width one-third of its usual diameter. When held at a little distance from the spectator, the incisions are not observable, especially before the penny is used for a trick, the issue of which, being unknown, does not lead the suspicions of the audience into any particular groove. As the act of folding causes a sharp strain to be put upon the band at the junctions, the groove at those points must be carefully filed, so as to completely do away with anything resembling a cutting edge, or a disaster may very easily occur. Invariably, before using, the band should be minutely examined, and, if the slightest signs of wear manifest themselves, it should be changed.
The prepared coin (which need not necessarily be a penny) is generally used in conjunction with a bottle, into which it is made to pass, viâ the mouth. In order to make the trick at all satisfactory, a marked penny should be borrowed, and exchanged, by any of the previously described methods, for the prepared one.
A soda-water bottle has been previously handed round for examination, and this is taken in the left hand. With the right hand show that the penny is at least as broad again as the mouth of the bottle, and then, folding it up quickly whilst making a covering movement, and hidden by the body of the hand, let it fall through. Show the bottle round to the spectators, continually shaking it, as if to convince them that the coin is solid and real, but really to prevent the possibility of the slits being seen. The trick can now be finished in two ways, viz., the bottle may be broken, or the coin can be shaken out again. I fancy the breaking of the bottle is the more effective, as the shaking out method impresses too forcibly upon the mind of an intelligent company the fact that some mysterious, if ingeniously concealed, preparation exists in connection with the coin. But the performer in this instance, as in very many other cases, must be guided in his actions by the mental calibre of the spectators. To shake the coin from the bottle, the latter should be taken horizontally in the right hand, the fingers of the left hand closing round the mouth, leaving a hollow in the palm for the coin to fall into. A not too violent sweeping shake is then given, bringing the mouth of the bottle downwards, when the coin should pass into the left hand. Some little practice will be required to insure this operation being brought off at the first attempt. Having to shake the bottle three or four times looks unskilful, although it does not absolutely spoil the trick. I have directed the use of a soda-water bottle because it has sloping sides, which facilitate the operation of getting the penny out very considerably, and also because it is made of white glass. If a coloured bottle were used (which it must not be, if possibly avoidable), the spectators would suspect that a coin had somehow been concealed in the interior before the trick began. However the coin may be regained, whether by breaking the bottle or by shaking out, it must be immediately re-exchanged for the borrowed penny, which will then be returned. It is quite possible to have that coin palmed during the whole operation; but if the performer lacks the necessary skill for this, it should be carried in the ticket pocket of the coat. The conjuror should have every coat he wears (excepting his dress one) furnished with this ticket pocket, and it will be greatly to his advantage to have one on each side. It should not be too deep, so that coins and other articles may be speedily reached with certainty, and it should not have a covering flap.
The penny can also be prepared by omitting the groove, employing instead holes, made completely through, across the slits, through which elastic is passed, and fastened. As, for this purpose, flat elastic is immeasurably superior to any other form, some trouble is entailed in making suitable slits through; but, once accomplished, the article is far better than one prepared in any other way. The elastic should run quite freely through the centre piece, and be fastened with glue to the outside pieces only, first being slightly stretched, to insure the whole being brought closely together. The grooved penny can be purchased at a much less cost than would be incurred in making it, and, in addition, is more likely to be correctly constructed.
The following is a development of the use of the folding penny, which is even more startling than the foregoing, one or more pennies being made to pass into a bottle, which has been examined, and which has the mouth stopped by a large cork. In this case, the cork (Fig. 15) is a delusion and a snare. It is just 2in. long, and 1-1/16in. broad at the top, tapering to 15/16in. at the bottom. Viewed from the exterior, it is a cork; in reality, it is made of brass, with a thin veneer of cork glued on the outside. The measurements given include the cork skin. The bottom opens, flap-like, on a hinge, but is kept normally closed by means of a fine spiral spring, running the whole length of the inside, and soldered on the top and bottom. Protruding through a hole drilled in the top is a pin, which also runs the whole length of the interior (carried inside a small tube), and, when pressed, pushes open the bottom flap, thus allowing any contents there may be to fall out into the bottle. When the pressure upon the pin is removed, the power of the spring closes it again. This cork is charged with one or more folding pennies (three or four are generally used), and concealed in the hand, a genuine cork being handed for examination. The latter is changed for the "property" cork, which is then placed in the bottle, which must be white, and, of course, have a very wide mouth. The performer now produces some pennies, which he may "pass" into the bottle in any way he pleases. A good method is to use the two boxes described in "Grand Magic" as then the performer's hands are free. But the pass shown at Fig. 11 may be employed, the bottle being taken in the hand in which the coins are actually concealed. When the coins are being "passed," the bottle must, of course, be held in one hand or the other, and pressure given the pin by a finger at the proper moment. Where one coin only is used, it may be simply palmed, which method would also apply where the performer is skilful enough to palm several coins at once. In this case, the coins would merely be held in one hand, and the bottle in the other, and the coins thrown into the bottle.
(n) A very pretty trick, though rather difficult to learn, is performed, with the aid of the Reverse Palm (Fig. 6), as follows: Borrow from two separate persons two coins of the same denomination. Take particular pains to have the marks quite distinct on each, so that the two are distinguishable from one another. There is no objection to the performer superintending the marking, in order to insure its being properly done. One coin, for instance, might have a single stroke marked upon it, or a cross, whilst the other could have a small circle or an initial. The numbers 1 and 2 could also be efficiently employed; and, for facility of description, I will now suppose them used. Palmed (Fig. 2), you have another coin of your own, similar to those borrowed. You place two chairs or settees a little distance apart, between yourself and the spectators. Take coin No. 1, and, standing behind one of the chairs, facing the company, act as though you tossed it upon the cushion. What you really do, however, is to palm the coin by the reverse palm, following the instructions on page 8, for throwing a coin away into the air; the coin that has been concealed in the palm being released, in its stead. This action must be assiduously practised until it can be performed with complete certainty and smoothness. Practise first tossing a coin on a chair from a distance of a couple of feet, and then imitate that action as nearly as possible whilst making the change. The toss must be made with a steady, smooth swing, neither too hurriedly nor too slowly executed. When the manœuvre is finished, the palm of the hand must, of course, be towards the audience. A half, or whole, turn of the body must now be made, to enable the performer to get the coin from the back of the fingers to the palm proper. The way to ensure the safe execution of this is to put the thumb over the first finger, so that it grasps the coin, assisted by the middle finger. The first finger can then be drawn out of the way. With coin No. 1 in the palm, take coin No. 2, and repeat the changing operation, at the completion of which the state of affairs will be: On chair 1, duplicate coin (supposed by spectators to be coin No. 1); on chair 2, coin No. 1 (supposed by spectators to be coin No. 2); in performer's palm, coin No. 2. Any fanciful form of causing a magical change to take place may be gone into, and the performer then asks a spectator to examine the coin on chair 2, which is found to be coin No. 1. As only two coins are known to the spectators, it is taken for granted by them that the one on chair 1 is coin No. 2; but it will be as well for the performer to incidentally remark, "And, of course, there is coin No. 2," and then at once proceed to show the trick over again, "for the general satisfaction of those present." For this purpose, coin No. 1 is taken from the person who examined it, and ostensibly replaced upon chair 2. Instead, however, coin No. 2 is placed there. Under the plea of placing the chair a little closer, so that a better view may be obtained, the performer takes up duplicate coin from chair 1, and, in apparently replacing it, substitutes coin No. 1. The coins have thus been made to regain their old positions, and may now, of course, be freely examined, the performer not touching them again. If the performer feels any confidence in himself in this rather difficult trick, he may use three marked coins, when, by skilful manipulation, he may make all sorts of changes. By working changes with only two of the three at a time, he always has one lying dormant, which is not liable to inspection, and may, therefore, be the duplicate one. It is not advisable for him to prolong the trick, unless it be going very well. He must keep his wits about him, however, or he may find that he has forgotten the precise whereabouts of his own coin. A very bold, but remarkably effective, way of bringing about the final change is to pick the coin from the chair, and, instead of moving that closer, toss the coin into a lady's lap. The lady should be sitting upon the extreme verge of the other spectators, or else must be shielded by some article of furniture, or the coin palmed at the back of the hand is not unlikely to be seen. The very boldness of this action is, however, its chief safeguard, only there must be no sort of hesitation in its execution.
A performer with large and muscular fingers can use half-crowns for the trick, but for the beginner shillings and halfpence will be sufficient. Copper coins are not so effective as silver; but an accidental exposure of a portion of them is not so readily perceived as is the case with the brighter metal—not that there is the least excuse for such exposure.
Before returning the duplicate coin to the pocket, the performer may produce one or two other effects with the reverse palm. Let him borrow a hat, and a coin similar to the one concealed. Standing sideways to the company, let him have the duplicate palmed reversely in the hand that is farthest from the audience. Say it is the left hand. With the right hand place the hat into the left one, the thumb on the brim, the fingers inside. As the company have seen the palm of the left hand open, not the slightest suspicion will be entertained that it holds anything. The borrowed coin is now made to perform an ærial journey, being palmed. The performer's eye follows its imaginary flight, and then catches it in the hat, the coin in the left hand being of course released, when it will be heard to fall. After showing this coin, reverse palm the other, under cover of the hat, and repeat the operation. To do this, the performer must be able to palm equally well with either hand. If the trick be repeated, it should be varied each time by some such device as finding that the coin had taken refuge in a gentleman's hair, lady's handkerchief, &c., on its way to the hat.
By the time the learner has proceeded thus far with success, he will have acquired a proficiency that will enable him to amuse a circle of friends for an hour or two by means of coin tricks alone, without much fear of detection, especially if the rule of rehearsing in private before exhibiting in public be adhered to. The security afforded by a good palm can scarcely be over-estimated, as it enables the performer to attempt the most barefaced impromptu experiments with comparative impunity. These impromptu interludes are always conducive to success, for the audience can generally discover originality.
But, before taking a temporary leave of coins, I must put my readers up to a few wrinkles in connection with the use of the sleeve—a portion of the conjuror's attire which is but rarely employed, notwithstanding the popular exclamation of "Up his sleeve," which is usually made use of when the operator has vanished some trifle in the shape of a cauliflower or rabbit, for the reception of which articles the sleeve of a dress coat is so admirably adapted. No; the sleeve is only used when its coadjutorship is unsuspected; and, in the case of coins, only when the palm is suspected of containing the coin. So many people have a misty idea of palming, that one frequently hears whispered, "In his palm." Should the whisperer be wrong, of course you will at once prove him to be so by exhibiting your palms empty; but should he be right, you will then feign not to hear the whisper. Sometimes, though, the announcement is not made in a whisper, but in the form of a challenge to you, and this you must be prepared to meet. Suppose the coin is palmed and you are challenged; you are close to or among the audience, and the challenger is importunate. Nothing remains but to sleeve the coin. This manœuvre is executed by shooting the arm straight out, the palm open and downwards, with such force as will carry the coin up the sleeve. Of course, you must not stand in middle of the room shooting your arm out, or the audience will either divine what you are about or will think you are taking leave of your senses. The action must be covered by an advance towards the challenger, which must be done as boldly as if you had never even seen the coin, much less concealed it in your palm. As you advance, say something; for example, "What! in my palm, sir? I don't understand you. How can anything be in my palm? If you don't believe me, see for yourself." With this, make the shoot, and turn the hand over. Care must be taken that the arm is quite level, or the coin will slide gracefully on to the floor. You must not stop here, but say, "Perhaps you would like to see my other hand as well, sir" (show left hand, at same time allowing coin to fall back in the right, where palm it), "or maybe you think the coin is up my sleeve." Shake both arms vigorously, which, as the coin is again in your palm, you can do with impunity, and ask someone to feel your sleeves. An extra effect is given by your asserting that the cause of the gentleman's anxiety was that he himself had basely pilfered the coin, and wished to pass the odium on to you. With this remark, produce the coin from some part of his person. Barring the disturbance to the equilibrium of one's feelings of security whilst the performance is going on, this little interlude, promptly carried out, is as good as any set trick. Of course there must be no bungling. Should the sleeves be turned back, as they often will be, they must first be unrolled, with great deliberation. In such an instance you would, of course, show that your sleeves are guiltless of any deception, before exonerating the palm. Practice will enable you at once to perceive the nature of the objection about to be raised, so that ordinarily you can anticipate, and turn down one sleeve at least. It is not often that the exigency occurs, but it will infallibly do so at some time or other, so one must be prepared to meet it, or be looked upon as an impostor. A second method for sending a coin up the sleeve is to place it almost on the ends of the fingers (Fig. 16) palm upwards, and, turning the hand rapidly over, close it (Fig. 17). This will throw the coin up the sleeve, whereas the appearance is that it is enclosed in the hand. A third method is to hold the coin between the thumb and middle finger (Fig. 18) and "flip" it up the sleeve. A fourth method is to place the coin on the edge of the table and cover it with the ends of the fingers, which draw smartly back and shut, when the coin will be shot up the sleeve. This somewhat resembles the second method. A fifth method is to spin the coin high in the air, and as it descends make a "grab" at it as if catching, but in reality allow it to fall down the sleeve, keeping the hand shut as though holding it. This is one of the most thorough deceptions I know of. It is so perfect that the operator himself cannot see the coin enter the sleeve. I am quite aware that it seems improbable, but a trial will be conclusive on the point. A pleasing variety of the first method is to place a coin (the heavier the better) on the palm of the hand. Turn the hand over briskly, at the same time thrusting it well forward, and the coin will slide up the sleeve. In performing any of these tricks be careful to have the shirt cuff pulled well up and out of the way, and do not wear large links or solitaires, against which the coin will infallibly clink, if only for the simple reason that it is not wanted to do so. No one but a bungler would use the sleeve in his regular performances, except when driven by necessity; but it is highly essential for a conjuror to be perfect in all the minutiæ of his art, and he must practise them as the pianoforte-player practises the scales which he never plays to the public.
In using marked coins, always take the greatest care that the marking is done in such a manner as to render it impossible for the coin not to be recognised on making its reappearance; and also let several people see the mark. It is very disheartening, when you have performed an elaborate trick, in which a Mr. Interference has given you no end of trouble, to hear the owner of the coin say that he cannot recognise his mark. I have seen people put some trivial mark on a coin in pencil, which would rub off immediately. It is also advisable to have a quantity of cheap coins by you. In such tricks as trick d, large, thin, and showy silver Turkish coins are the best. They possess every advantage; the milled edge gives a firm hold for the palm, whilst the substance of the coin allows of a large number being held in the hand. Besides this, thin coins give a good business-like clink; whilst a large coin is always more effective than a small one. Pennies plated over make very fair substitutes, and do not entail much loss of capital if kept aside ready for use, as they always should be, which can hardly be said to be the case with florins or half-crowns.
CHAPTER III.
TRICKS WITH COMMON OBJECTS.
ON RAPIDITY AND DECEPTION—MISDIRECTION—A JAPANESE SUGAR TRICK—"FLY AWAY, JACK; FLY AWAY, JOHN: COME AGAIN, JACK; COME AGAIN, JOHN"—A "RISING BLADE"—TO RESTORE A PIECE OF COTTON THAT HAS BEEN CUT UP IN SMALL PIECES—TO PASS A RING FROM A HANDKERCHIEF ON TO A WAND HELD AT EACH END—A SECOND METHOD—A THIRD METHOD.
I commence this, the second portion of drawing-room conjuring, with the decided hope that, before my readers attempt to follow me, they will have attained some proficiency in the art of palming and other little matters alluded to in my remarks concerning the treatment of coins. If such skill has been acquired, although in a small degree only, it will be of use in rendering the manipulation of other objects much easier. The prevailing idea with the public is that a conjuror moves things about from place to place before one's very eyes, but with such extreme rapidity as to avoid detection. This, I say, is the prevailing idea, and long may it continue to be so, since it is the very thing an audience is supposed to imagine. The learner, however, must, from the outset, dismiss such an impression from his mind as untenable, even for an instant. If he has a lurking opinion that a hand can be moved without the motion being detected, let him practise at moving, say, a cork or a piece of sugar, a distance of only one short inch. Let him practise for a twelvemonth to begin with, and I will guarantee that at the end of that period he is no nearer the consummation of the feat than he was at the commencement. If time hangs heavily on his hands, let him go on practising, say, for five or ten years: the result will be precisely similar. No; conjuring is based upon more deceptive principles than mere rapidity of movement, although that, of course, enters largely into its composition. Articles are, indeed, transmitted from one place to another before the eyes of the audience, but it is always, as it were, sub rosa. This is the reason why conjurors say so much about the hand being quicker than the eye, &c. The audience is continually trying to detect movements which are never even attempted, the result being that other movements are conducted with impunity. The conjuror must start with the one principle firmly fixed in his mind that he is to deceive his audience in every way possible. At no time is he actually to do that which he says he is doing. Every look and gesture, besides every word, should tend to lead the mind into the wrong groove. Misdirection is the grand basis of the conjuror's actions; and the more natural the performer's movements in this particular, the more complete will be his success. With each trick that requires it, I shall give hints for misdirecting the spectator's attention, although I am of opinion that every conjuror can best suit himself if he is only firmly impressed with the necessity for misdirection. The drawing-room conjuror must hold himself prepared to perform offhand with any article that may happen to present itself to view; although it is, of course, perfectly allowable for him to send for anything he may require. An article which one is tolerably certain to find in most houses is
Sugar.—Take four well-shaped pieces, of a medium size, and place them before you on a table, at which you will sit at your ease, in the form of a square, and about a foot from each other. Hatch up a long rigmarole about one piece being the Emperor of Japan, another his wife, another his daughter, and another his prime minister, or any other rubbish you please, so long as you bring it about that it is necessary that all four should assemble together in one place. In the country of which you are speaking, you will explain, it is the custom of Royalty to travel by telegraph, and invisible to the gaze of the "common herd." To illustrate how it is done, you will cover two of the four pieces, each with a separate hand, and, at the word "pass," make a slight movement as if throwing a piece from one hand to the other. On raising the hands, two pieces will be found under one, and none under the other. Repeat this operation (the minority always going over to the majority) until all four pieces are collected under one hand. The explanation of this really pretty, and, to the uninitiated, inexplicable trick, is, that you have a fifth piece of sugar palmed. If this piece be released, and that under the other hand palmed, the effect is the same as if an invisible journey had really been made. Supposing the five pieces of sugar to be represented by numerals, the various changes may be thus tabulated:
| Left Hand. | Right Hand. | |
|---|---|---|
| 1.—Raise 1 | and | Drop 5 with 2. |
| 2.—Drop 1 with 5 and 2 | and | Raise 3. |
| 3.—Raise 4 | and | Drop 3 with 1, 5, and 2. |
| 4.—Raise both hands and pocket 4. | ||
The rough and adhesive nature of sugar renders it very easy to palm. In palming, avoid all contraction of the muscles of the back of the hand, which is visible to the audience, or a clue to the solution of the trick will be given. If going out to a place where you are likely to be asked to exhibit your skill, be provided with a piece of sugar, and then ask for the requisite four pieces. If you are unprovided, then you must secure possession of the sugar basin, and secrete the extra piece as best you can. The extreme simplicity of this trick is only equalled by the astonishment of the audience, who are straining their eyes to catch a glimpse of the piece of sugar as it passes. I need hardly remark that they never succeed.
Knives, I think I may say, are also tolerably common articles, and some good tricks are performed with them. Take a cheese knife and four tiny squares of paper. Stand facing your audience, however small it may be, and, wetting the papers separately, stick two on each side of the blade, taking care that the positions on both sides correspond as nearly as possible. Hold the knife before you in the fingers of the right hand (Fig. 19), and in such a position that only one side of the blade is visible. With the thumb and finger of the left hand remove the piece of paper nearest the handle, and, putting your hand behind your back, make a feint of throwing it away, without actually doing so. Now, with a rapid movement, cause the knife to describe a half circle in the air still with the same side uppermost; but the position of the hand will be slightly altered (Fig. 20), which will lead the audience to think that the knife has been actually turned over. Barely before the movement is completed a finger of the left hand must be upon the spot recently occupied by the piece of paper, as if taking off a second piece from the opposite side. The first piece, which has all the time been in the left hand, is thus made to do duty twice. The second time, it is dropped on the floor in full view of the audience, accompanied by the remark, "that makes the second piece." Now remove the other piece of paper, and repeat the manœuvre executed with the first piece, taking the greatest care that only one side of the blade is visible, and that the finger of the left hand, with the concealed paper, is down upon the vacant spot before the spectators' eyes can rest there. Having ostensibly removed the fourth and last piece of paper, the knife is supposed to be empty, which you boldly declare to be the case, making a rapid backward and forward movement with the blank side to prove it. You then say you will cause the papers to re-appear upon the knife instantaneously. All you have to do is to put your hand behind your back and reverse the position of the knife so that the side of the blade with the two pieces of paper still remaining upon it is uppermost. Bringing the knife again to the front, make another quick backward and forward movement, saying, "Here are the papers back again on both sides as before," and then, without any further preliminaries, draw the blade through the fingers and cause the two papers to fall upon the floor. If this final movement is not executed, the audience will, when they have recovered their senses, point to the two papers which you dropped on the floor during the performance of the trick, and want to know why they are there and not on the knife. Continued rapidity of motion is what is required for the success of this trick. There must be no halting in the middle or hesitation of any kind, to avoid which practice in private will be essential, as, indeed, it will be with every trick worth doing at all.
Borrow a light penknife, and take care that it is not too sharp, and has a good deep notch at the haft. You are previously prepared with about two feet of very fine black silk, one end of which is attached to a button of your vest, the other end being furnished with a loop large enough to pass over a finger. This can either be wound round the button, or can hang loosely, with the free end looped up. I prefer the latter method, and have never found it lead to any inconvenience, which at first sight it appears extremely likely to do. Also borrow a hock or champagne bottle; pint size preferred. First send round the knife to be examined, and, whilst the examination is going on, get the loop of the silk over the end of one of the fingers of the left hand. When the knife is returned to you, and not before, give the bottle to be examined, and distract the attention of the audience by allusions to the "departed spirits" of the bottle, and admonitions to be sure and see that the bottom does not take out. By the time the bottle comes back you have slipped the loop over the blade of the knife and allowed it to catch in the notch, where cause it to remain. If the knife is a sharp one, extra caution must be observed, or the silk will be severed. This actually happened to me on one occasion, so I speak from direful experience. By sending the bottle away to be cleaned, I gained sufficient time to tie another loop in the silk, and went on as usual; but the incident was not a particularly cheerful one taken altogether—there was too much "glorious uncertainty" about it. Take the knife upside down, i.e., with the sharp edge of the blade uppermost, between the finger and thumb, hold the silk sufficiently taut to keep the loop in position by means of the other fingers, and drop the whole into the bottle. This must not be done with the bottle in a perpendicular position (in which case the loop will probably either break or slip off the knife), but with it inclined at an angle of about 45 deg. (Fig. 21). This will allow the knife to slide down at a safe speed and yet reach the bottom with a good "thud." Having satisfied yourself that everything is in order, hold the bottle perpendicularly in the left hand between the audience and yourself, and about breast high. Make use of any cabalistic nonsense you please, and then cause the knife to rise from the bottle by the action of moving it from you and towards the audience. The action of raising the bottle must be but sparsely indulged in, if at all, as it is easily noticed; not so the horizontal motion. When brought to the mouth of the bottle the knife quietly topples over on to the floor, whence allow it to be picked up by a spectator, who will not require much admonition to examine it. Also send the bottle round again; and get rid of the silk as soon as you can after the trick is done. It will be noticed that I have directed the performer to use a hock or champagne bottle. The reason for this will be obvious after once trying the experiment with a bottle having an abrupt shoulder, such as an ale bottle. The knife catches in it, and a vigorous jerk, which is as likely to cause a breakage as anything else, has to be resorted to to free it. The sides of hock and champagne bottles presenting an even surface the whole way up, that class of bottle is therefore to be preferred. By means of the foregoing three tricks I have seen a room full of intelligent people utterly bewildered.
The following trick I have never known to be discovered if only properly performed. For it you will require another exceedingly common object, viz.:
Cotton.—Take a piece of any colour, 12in. to 15in. long, and see that one of the audience is provided with a very sharp penknife. Double the cotton once, and have the bend cut quite through. Double again and have it cut, and repeat the operation until it is nothing but pieces, each barely a third of an inch long. Rub the pieces together in the fingers, and, after a short time, quietly draw out the cotton again as it was in the first instance. That is what you must ostensibly do: now for how to do it. First of all, have concealed between your finger and thumb a piece of cotton about the length above mentioned. This you must roll up small, and deliberately hold between your finger and thumb, or, better still, if the fingers be sufficiently large, between the tips of any two fingers, as they are more naturally kept together. Nobody will notice it if the hand is engaged in negligently holding the lappel of your coat, the wand, &c. I need hardly mention that the concealed piece must be of the same colour as that operated upon, as the production of a white in place of a black piece would scarcely be satisfactory. To ensure the success of this preliminary, some considerable manœuvring has often to be gone through, and no small amount of tact exhibited. Where you are showing the trick for the first time, you can of course ask for any coloured cotton you please (always choose black when you have a choice), but it is such a fascinating trick that you will be called upon to perform it over and over again in the same house, or before the same people—which is quite as bad—and you will find that all kinds of ingenious devices will be brought to bear upon you. As a commencement, always carry in the corners of your waistcoat pockets two black and two white pieces, ready for emergencies. Each pocket will contain two pieces of the same colour, but differing in thickness, one in each corner. It is useless to carry other colours on the mere chance, as you are sure to be unprovided with the exact one required at the moment. When coloured cotton is produced, you must, by some means or other, get at the reel from which the cotton is taken. If driven right into a corner, you must go so far as to ask someone (always let it be the master or mistress of the house) to secretly obtain a piece for you; but this you will have to resort to on rare occasions only. Make all sorts of excuses so as to cause a delay, even going so far as to postpone the performance of the trick, but not before you have seen what colour you are likely to be favoured with. Your wits must do the rest. The reader must remember that I have taken extreme cases, and such as but rarely occur; but still they do occur, and if I did not warn the beginner of pitfalls ahead, he would not think much of my teaching. In the ordinary way, he will be able to ask for any colour he pleases, which will of course be similar to that with which he is provided. We will suppose that everything has progressed favourably. Take the cotton to be cut between the thumb and forefinger of each hand, by the extreme ends, and, doubling it, let one hand hold the loop to be cut, the fingers of the other hand holding the ends. As soon as the knife has passed through the cotton, give it a "twitch," and bring the ends, of which there will now be four, quickly together, as if you had performed some very intricate manœuvre. Of course, you have really done nothing at all, the movement being only a deceptive one to lead the spectators to believe that the secret of the trick consists in the way in which you twist or double the cotton. Have this in mind all through the trick, and keep up the deception. Continue to double the cotton, taking the greatest care that the ends all come neatly together, and that all the loops are cut through. Do everything with the greatest deliberation (except the delusive "twitch"), for there is no occasion for any hurry. When the cotton is cut so small that it will not double any more, commence to knead in the fingers, and gradually work the fragments behind the concealed piece, which must be brought to the front. This you will do without once removing the hands from the full view of the audience—in fact, under their very eyes. When you feel quite sure that everything is snug and secure, commence to unravel the whole piece, which will pass for the resuscitated original.
People who have seen the trick performed before will sometimes suggest that the piece of cotton should be measured before being cut up. Allow this to be done with all the grace in the world (when you find that you cannot do otherwise), but, before operating upon it, roll it up in the fingers, either absently, whilst engaging the audience in conversation, or for the purpose of seeing if it is of the proper dimensions, and exchange it, unperceived, for the concealed piece, which will be cut up instead. Although it is not advisable to have the cotton measured first, yet, when it is done, it invariably adds lustre to the feat. The pieces must never be carelessly thrown away, but secreted in a pocket on the first opportunity that presents itself, and afterwards burnt.
Rings can be made use of in many tricks, both in the drawing-room and on the stage. The following will be found very neat and effective: Procure a metal imitation of a wedding-ring, and have it cut neatly through. Pass this ring under a single thread of your handkerchief near one of the corners. Borrow a lady's ring, which palm, under pretence of putting it in the handkerchief. (The best method for palming a ring is to hold it between two fingers at the roots.) This you will appear to have done if you give the false ring (under cover of the handkerchief) to be held by someone who is not the owner of the borrowed article. It is immaterial whether the genuine ring has a fancy head or not, as the back of it will usually be about the width of a wedding-ring. Take the wand in the hand, and, unperceived, slip the ring in your palm over it until it reaches the middle, still covered by the hand. Now ask two persons to hold the wand, one at either end, and lay the handkerchief containing the false ring (still held from the outside by the original holder) over it. If you now remove your hand, you will leave the ring on the wand still concealed by the handkerchief (Fig. 22). Take hold of the end of the handkerchief which hangs down below the wand, and instruct the person holding the false ring to leave go when you count "three." As soon as you are obeyed, draw the handkerchief smartly across the wand. This will cause the ring to spin round, and assist materially in inducing the audience to believe that it was actually conjured from the handkerchief on to the wand whilst the latter article was being held at either end by two people. A slight jerk will detach the false ring from the handkerchief, which you can send round to be examined. A hint I can give the learner is, never to ask a lady to lend you her wedding-ring or keeper. Many ladies are exceedingly superstitious, and feel embarrassed when asked, from not liking to refuse, and yet being unwilling to take their rings from their fingers. Always borrow a ring the back of which nearly, if not quite, matches your false article in substance.
Procure a metal ring, similar to the one used in the last trick, of very soft brass, and, when you have cut it through, sharpen up the two ends to points with a file, or any other way you please. Borrow a lady's ring, and exchange it, as in last trick, putting the false one in a handkerchief, which have tied with tape or string in such a manner that the ring is contained in a bag. If the borrowed ring is narrow all round, you may make use of your nest of boxes (described in trick g, Chapter II.), if it has not been previously utilised in some other trick; it being a golden rule among conjurors never to use the same apparatus twice during the same evening. An apple (a potato, small loaf, &c., will do as well) can be used instead with effect, if a goodly slit be made in it, and the ring pushed in while you are taking it from your bag or from behind the screen. Show the apple round, boldly saying that everyone can see that there is no preparation about it, at the same time taking care that no one has time to decide either one way or the other from the rapidity with which you pass it about. Place it in a prominent position, and then take the handkerchief containing the false ring by the bag, allowing the ends to fall over and conceal your hands. Quickly unbend the ring, and, working one of the pointed ends through the handkerchief, draw it out, and rub the place of exit between your fingers, so as to obliterate all traces of it. All this you must do very quickly, and, dropping the handkerchief on the floor, say, "Without untying the string, I have abstracted the ring, which I now pass into that apple." Here make a pass. Take a knife in the hand holding the false ring (unless you have been clever enough to get rid of that article), and, showing the audience that the other hand is quite empty, proceed to cut open the apple slowly. When the knife touches the ring, allow it to "clink" upon it as much as possible, and call attention to the fact, as it is a great feature in the trick. Do not cut the apple completely through, but, taking it forward (on a plate is the best way), allow the owner of the ring to take it out with her own hand. Of course, the audience must not be allowed to handle the apple, and so discover the old slit. This trick should not be performed with the preceding one, but on another evening. The principal effect of the trick is the apparent abstraction of the borrowed ring from its confinement in the handkerchief in an incomprehensible manner, and you must, therefore, allow the audience to see that the ring undoubtedly is tied up securely in the first instance.
Another trick with a ring is performed by aid of the wand only. Borrow a good stout ring, a signet for example, and, holding it near the roots of the fingers of the right hand, pretend to pass it over the wand, but, in reality, let it slide along on the outside of it, and still keep it in the hand. The deception is assisted if the ring be first carelessly placed upon the wand, and taken off again, two or three times. Say to one of the audience, "Will you be so kind as to hold one end of the wand with either hand?" and, in stretching the wand out towards him, allow the left hand momentarily to pass close under the right, and let the ring fall into it—of course, unperceived. If you look at your hands whilst doing this, you are a lost man. You must look the addressee boldly in the face, and thereby divert attention to him—not that there is the slightest excuse for exposing the ring during its passage from one hand to the other. When the wand is firmly held at both ends, say something about the futility of strength in certain cases, and eventually show the ring in the left hand, and remove the right from the wand to show that it is empty. If relinquished at this stage, the trick is very incomplete, as the audience usually divine, or affect to divine, that the ring never was put upon the wand at all. It is a peculiarity of this trick that this remark is almost invariably made, so the conjuror must be prepared with something still more "staggering." Return the ring to its owner, and call attention to the fact that you have not cut it in any way (not that anyone will ever think that you would do so, but you must assume that this idea is prevailing in the minds of the audience), and secretly take from your pocket, or wherever it may be concealed, a thick metal (or gold) ring, which keep in the left hand. Borrow the ring again, and slide it over the wand with precisely the same movement which you used in the first instance, when you did not put the ring on. This time you must appear to be very clumsy, and let the two hands come together so that everyone can see the action clearly, and snatch the left hand away sharply as if it contained the ring. You will doubtless see a number of heads lean towards each other, and hear a good deal of loud whispering, in which the words "left hand" will be conspicuous. Take no notice of this beyond looking as confused as possible, and the audience will think they have bowled you out at last. The strange part of it is that, in a trick of this kind, a spectator who fancies, rightly or wrongly, that he has discovered something, never attributes the fact to your want of skill, but to his own remarkable powers of perception. The effect of the ruse will be heightened if you allow a tiny portion of the false ring to catch the eye of one or more of the audience; or resort to any other artifice to induce them to believe that you really have the borrowed ring in the left hand, and have allowed the fact to transpire through carelessness. Now say that, the ring being securely on the wand, you mean to take it off as before, and give the two ends of the wand to be held. You will then appear to notice the incredulous looks and remarks of the audience for the first time, and stoutly deny that the ring is in the left hand, which, however, you decline to open. Allow the audience to argue the point with you, and, when one has said that he saw you take the ring in the left hand, and others have made a similar statement, pretend to give in, and say that you must admit that you are discovered; but, at the same time, you feel it incumbent on you to do something to retrieve your character. You will, therefore, pass the ring, now in the left hand, invisibly on to the wand. Make a pass with the left hand, and draw the right smartly away from the wand, causing the ring on it to spin round. The effect may be imagined. At the instant the right hand leaves the wand, the left should place the false ring (supposing one is used) in the pocket, as all manner of questions will be asked afterwards. The trick can be varied in many ways, by confusing the spectators. Peripatetic conjurors make a good deal of money by means of this trick, by betting that the ring is either on or off the wand. Manner has a great deal to do with the success of it.