Place over a common walking-stick some of your prepared cotton threads, having twisted two or three of them together, and united them in a loop, which you draw through the ring, and then slip the ring through the end of the loop. The ring will then hang suspended about a foot below the stick. The stick itself may be steadily fixed, resting on the back of two chairs at an elevation, so as to be easily seen by the company.
When the ring has been thus suspended, set fire to the cotton about two inches above the ring; the flame will run upwards towards the stick; blow it out when about two inches from the stick, and the ring will remain pendulous in the air for some little time after the cotton has been burnt.
The suspension is said to be caused by a filament, or fine thread of glass—which has been formed by the ashes of the cotton uniting with the heated salt, with which the cotton had been prepared.
Now this trick would be too simple an experiment to be exhibited by itself; but coming as a finish to two other tricks, which have been performed with the same ring, the spectators
Will give it honor due.
I trust that I have satisfactorily established the assertion that a combination of congenial tricks will often tell more effectively than the same tricks would if exhibited without such combination.
[CHAPTER VII.]
FRIENDLY SUGGESTIONS.
As the amateur will aspire to come before his parlor audience some day or other, it may be some little service and help to him to give a few suggestions as to the best way of conducting such an exhibition, and to specify the kind of tricks to which he will do well to limit himself. It will be desirable to open with an off-hand expression of his wish to place before them a few amusing tricks to wile away an hour; and let him assume a lively air, for his own liveliness will sustain that of the spectators.
There are some conjurors who, though they can perform good tricks, exhibit them in such a heavy, uninteresting way that they create no enthusiasm. An over-anxious look, coupled with a creeping, fearful movement, and a dull, monotonous voice, will suggest distrust and dissatisfaction, even where the audience has come together prepossessed with the expectation of mirth and glee. Let none assume, then, to wave the conjuror’s wand till he has himself some confidence in his powers, knows what he purposes to do, and means to carry it out. I would say that a moderate degree of assumption, a gay vivacity, ready to break out into a smile, a cheerful spirit, and a joyous voice, will go a great way to bespeak favor, which the performer can quickly repay by dashing off his tricks with enthusiasm. The language used by the conjurer should be studiously guarded. Let there be no vain-glorious assertions, no self-praise, but respectful deference to the judgment of the spectators; rather inclining to give them the credit of understanding more than they do, than twitting them with understanding less. Be neither overbearing with conceited “chaff” upon any of the company; nor, on the other hand, venture upon extreme and disconcerting compliments to any person present. Rather, as a courteous master of the ceremonies, conduct the experiments with a simple effort to please and to amuse all. With the exhibition of an amateur, the performance of some lively airs upon the piano by any friend will form an agreeable accompaniment, especially if the spirited and humorous melodies are introduced, which the public taste recognizes as the tunes of the day. You will do well to have your table neatly and carefully arranged. Let it not lie too near to the spectators, nor within reach of too minute inspection. It should be of sufficient height to show the main objects placed on it; but the surface of it may be just high enough to be sheltered from the spectators clearly viewing every article upon it. The ornaments should be few, yet, at the same time, be serviceable to shade a few articles which it may be policy to conceal.