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The Old and the New Magic

Chapter 50: II.
By Henry Ridgely Evans
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About This Book

The author surveys the evolution of magical practice from ancient priestcraft to modern stage prestidigitation, combining historical overview with portraits of celebrated figures and charlatans. Essays examine mechanical marvels such as automata and lantern illusions, techniques for producing ghostly phenomena and alleged second-sight, and the transition from occult claims to theatrical demonstration. Interspersed are personal recollections, practical confessions of an amateur conjurer, and reflections on how scientific and cultural changes reshaped performance magic.

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II.

A curious exhibition of silent second sight was that of the Svengali trio. The effect as described by the New York Herald, August 11, 1904, is as follows:

“Two persons (lady and gentleman) are on the stage, both with their backs toward the audience. A third one goes into the auditorium, with his back towards the stage, to receive the wishes of the audience. If the name of any international celebrity is whispered to him, with lightning rapidity the thought is transmitted. The gentleman on the stage turns round immediately and appears in features, bearing and dress as the desired personage—with wonderfully startling resemblance.

“One can likewise whisper to the gentleman in the auditorium the name of an international opera, operetta or international song. The thought flies like lightning, and the lady sings what is wanted, instantly accompanying herself on the piano.

“The secret of this trick is as follows: When the curtain rises, the master of ceremonies walks to the front of the stage and in a pleasing voice begins: ‘Ladies and gentlemen—I have the pleasure of introducing to you, etc., etc. I will call your attention to the fact that the spectators must confine their whispered wishes to international celebrities, names of well-known personages, songs and operas of international fame,’ etc.

“This limitation of choice is the key to the performance. They have lists of these ‘international celebrities,’ rulers, statesmen, diplomats, great writers and musical composers; songs of world-wide reputation, popular selections from the operas, etc. And the secret of the evening is that all of these carefully selected names, titles, etc., are numbered, as in the following examples:

  • STATESMEN AND RULERS.
    • 1. Bismarck.
    • 2. King Humbert of Italy.
    • 3. Napoleon Bonaparte.
    • 4. King Edward VII.
    • 5. Paul Kruger.
    • 120. Lincoln.
  • POPULAR SONGS.
    • 1. “Home, Sweet Home.”
    • 2. “Last Rose of Summer.”
    • 3. “Marseillaise.”
    • 4. “The Jewel Song in Faust.”
    • 5. “Walter’s Prize Song.”
    • 101. “Comin’ Thro’ the Rye.” {195}
  • OPERAS.
    • 1. “Faust.”
    • 2. “Lohengrin.”
    • 3. “Bohemian Girl.”
    • 4. “Lucia di Lammermoor.”
    • 5. “Carmen.”
    • 120. “Trovatore.”
  • GREAT WRITERS.
    • 1. Thackeray.
    • 2. Victor Hugo.
    • 3. Dickens.
    • 4. George Eliot.
    • 5. Shakespeare.
    • 101. Dante.