The SECOND topic which I propose at present to discuss is the employment of mechanism—such mechanical constructions as boxes with false sides, cabinets with secret drawers, or double compartments, etc.
It makes a great difference whether such arrangements are used as subordinate aids, or as constituting the essence and substance of the illusion. In the former respect it is quite legitimate to take advantage of any well-arranged mechanical aid subordinately. In fact, nearly all tricks must be performed with some modified aid of artistic contrivance, or with mechanical implements adroitly used. The conjuror, therefore, unavoidably requires, and may advantageously employ, mechanical arrangements to give greater effect to his illusions. I only wish to dissuade the learner from relying solely upon mere mechanical puzzles, or artistic contrivances, for furnishing an interesting exhibition of the conjuror’s art.
The fewer the contrivances which he employs of this sort, and the more entirely the performance rests upon sleight-of-hand the more lively will be the surprise of the spectators.
I myself prefer doing without the aid of any confederate, and without mechanical aids; but I must remember that I am writing for amateurs and novices in the art, and that, in proportion as they are unpractised in palmistry, and in what the French term prestidigitation, (preste digite, signifying “ready fingers,”) it will be desirable for them, at first, to have the assistance which mechanism will supply towards the exhibition of their tricks.
Let them, however, keep such aids as subordinate and as secret as possible. For instance, in the preparation for exhibiting the first trick described on page 12, the small tin tube (which is requisite for the performance of that trick) must not be seen by the audience, either BEFORE or AFTER the trick is exhibited, but must be kept secreted in the pocket. Again, in Trick No. 4, the preparation of the hair and beeswax must be made PRIVATELY beforehand; and these implements must vanish out of sight when the trick is over. And the reader must observe that in both the first and fourth tricks the mechanical aid employed is the minor and subordinate part of the tricks, and that a successful exhibition of either of them depends really on the dexterity of the passes, and of manipulations by the performer.
It may be admitted, then, that, with regard to the first topic of our present paper, the young conjuror need not be restrained from employing the subordinate aid of an assistant, so far as this may carry him over difficulties which he cannot otherwise surmount in the present stage of his imperfect skill.
And in regard to the second topic, the employment of mechanical contrivances, (though it may be well to begin with those departments of the art which are easier, because aided by mechanical apparatus,) it will be desirable for the amateur to strive to get free from dependence upon such aids. Mechanical arrangements cannot be wholly discarded at any time, and the conjuror will always require a few implements; but the more he advances in dexterity of hand, quickness of eye, control of his hand and eye, instantaneous adaptation of his words and movements to contingencies as they arise, the more able will he become to elude the observation of the most watchful spectators, and to mislead their imagination, so that they shall fancy that they see him DO things which he only APPEARS to do, and shall blindly fail to observe actions and movements carried out before their very eyes.
And here let me say, that I have, by long experience, come to the conviction, that the simpler and more common the objects are on which, and with which, a trick is performed, and the less anything beyond dexterity of hand is openly used, the greater will be the astonishment and the amusement of the spectators. There are, it is true, some very striking and complicated illusions which it is impossible to present without resorting to artistic contrivances of mechanical or scientific arrangement. On these illusions, as being beyond the power of a young amateur, I need not dwell. Nor need the preceding remarks be considered as any disparagement of the combinations and extrinsic aid which are indispensable for developing such startling illusions. The scope of my present remarks is simply to this effect, that to depend mainly upon the co-operation of a confederate, or upon mechanical contrivances, for what can be far better carried out by mere sleight-of-hand, will not pass for a satisfactory exhibition of conjuring now-a-days; and the amateur will find that, as he advances in skill and dexterity, he will swim more freely the less he trusts to such unsubstantial bladders to uphold him.
Having thus discussed my two topics I shall now add explanations of a few more tricks, which the learner may practise with the hope of making progress in the art of conjuring. The only way to make such progress and gain high attainments in the art, is to practise diligently over and over again the passes I have described in my former paper, and to learn to do a few tricks neatly, and without hesitation or stumbling. I subjoin, therefore, some simple but effective tricks, in which they will do well to perfect themselves.