Let no one be staggered by the simplicity of the processes recommended in these tricks. The result will in fact be all the more astonishing, the simpler the operations employed.
The great point is the address of the performer, and that will carry through successfully the means employed. However simple and insignificant those means may appear to the learner when they have been explained to him, if there is good address and accurate manipulation, the astonishment at the result will be infinitely greater than any one would imagine possible to be produced by such simple means.
There is one help that I can suggest towards the better management of the hands in concealing or removing objects; it is the use of a conjuror’s rod or short magic wand. This is, now-a-days, commonly a stick of about fifteen inches long, resembling a common rule, or a partially-ornamented one. You may often have observed this simple emblem of the conjuror’s power, and deemed it a mere idle or useless affectation. The conjuror waves it mystically or majestically as he may be disposed. Of course you are right in your judgment that it can do no good magically; but it does not follow that it is useless. The fact is, that it is really of considerable service to him. If he wants to hold a coin or any object concealed in his hand, without others observing the fact of his hand being closed, the wand in that hand is a blind for its concealment. He may require to pick up or lay down some object, and he can do so while openly fetching or laying down his wand. If he wants to gain time, for any illusion or process of change, he can obtain it while engaging the attention of the spectators by some fantastic movements of his wand. By the use of the wand, therefore, you will be able to prevent the observation of your audience too pointedly following the movements which you wish to carry on secretly. You may also, at the same time, dispel their attention by humorous remarks, preventing it from being concentrated on watching your movements.
As a general rule, you must not apprise your audience of what you are actually doing, but must often interpose some other thought or object to occupy their mind. For instance: Do you desire that a person should not examine too closely any object which you place in his hand, tell him to hold it well above his head. That takes it out of the range of his eyes. It would never do to tell him not to look at it. He would then immediately suspect that you are afraid of something being observed.
Have you perchance forgotten to bring on your table any article requisite for displaying any trick, a feint must be made that you must have more candles, or must remove some other object, thus gaining the opportunity to fetch what you require without naming it.
Do not even announce too fully or vauntingly beforehand what is to be the result or development of any trick; rather proceed with it, and let the audience come unexpectedly upon a result which they had not contemplated. Their surprise will be greater, and their amusement more lively, at such unexpected result.
It is for this reason that it will be well to avoid the repetition of the same trick in the same evening, though requested to perform it over again. The minds of the spectators have already traced once the whole performance of it—the beginning, the middle, the end. The zest of it, therefore, is gone off; their minds are languid and disinterested about its second repetition; and the conjuror’s art proportionately sinks in their estimation.
Having offered these general remarks, I will now invite the attention of my young friends to another batch of interesting tricks, which, with a little effort, they may succeed in exhibiting.
TRICK 11.—A sudden and unexpected supply of feathers from under a silk handkerchief or cloth.
PREPARATION.