To Appear to Tie a Knob that will not Draw Tight.—This feat is also exceedingly diverting. The performer, apparently, goes through all the necessary formulæ for forming a knot; but, lo! when the ends are pulled out, no knot is seen. There are three ways of doing this. One is to pass one end behind the other, instead of through the loop, as usual, which must apparently be done. To do this neatly, one end must be held in each hand, the handkerchief twisted sharply up, and the hands then brought quickly together, which will cause a coil of about two turns to be formed. Pass the right end quickly round the back of the left, and then draw out both, as if tightening the knot. As you pull, the coil will bunch in the middle, as if a knot were really there, and increased tension will pull it out quite straight. The second method is thus performed: Lay one end of the handkerchief across the right hand, the major portion of it being on the outside, and the short end held down by the little finger only. With the left hand, take the hanging end, and, bringing it round on the inside, lay it over the other. Pass the left hand through the loop thus formed, take with it the uppermost end, and draw it through; but, just as you pull the two ends out straight, slip the thumb of the right hand under the inside bend of the lower end, and hold it between the finger and thumb. In the third method, commence by taking one end of the handkerchief in either hand. Pass the right hand over to the left side, in front of the left arm, which is kept perfectly still in front of the body, so that the handkerchief hangs on the left forearm in the shape of a loop. The second end must now be placed in the left hand, which thus detains both for the time being. Pass the right hand, now free, through the loop from the inside, and, reaching up with it, let it grasp its original end just placed in the left hand, and pull it through. This must be done with great deliberation, as the beauty of the sleight rests in the extreme slowness with which it can be executed, the secret lying, not in any quickness of fingers, but in the fact that the handkerchief ends are never looped one over the other, as would be the case if the right hand were passed through the loop from the outside, which the learner may at once discover by experiment. In pulling the end out, as though tying the knot, if it be retarded by the left thumb, a more natural appearance is given. This method is to be preferred to the foregoing, which, however, are useful as changes.
To Tie a Knot Instantaneously.—Take an end of the handkerchief in either hand between the thumb and forefinger, the end in the left hand pointing inwards, and that in the right hand outwards, the hands being held so that their backs are towards the company, the thumbs on top and the little fingers below. Open the fingers of each hand at the first and middle fingers, and then bring the hands together until they overlap a couple of inches, the right hand on the outside. This will bring the end of the handkerchief in either hand between the opened fingers of the opposite one. The fingers close on the ends, and the hands are at once separated, when the knot will be found to be tied. This may be first practised with a piece of stout string, and the learner must not be satisfied until he can tie the knot by merely bringing the fingers together for an instant, the knot being tied apparently by means of the mere collision of the two hands. It is astonishing what perfection can be attained by means of practice, the knot at last seeming to appear on the handkerchief, instead of being tied.
To Tie a Knot on the Wrist whilst Holding an End of the Handkerchief in either Hand.—Jerk the right hand towards the left one, so as to throw a loop in the handkerchief, through which dart the left hand, still holding its end, and the feat will be accomplished. It should be done in a nonchalant manner, and without any ostentation. Practise first with a piece of string.
The performance of the foregoing feats will be facilitated by the use of a silk handkerchief that is not too new, and it should always be first twisted, rope-fashion.
[CHAPTER VI.]
CHINESE TRICKS.
A NEW MARBLE TRICK—FIRE-EATING—FINAL EFFECT—THE BUTTERFLY TRICK—THE FAN—HOW TO MAKE THE BUTTERFLIES—HOW TO KEEP THEM IN THE AIR.
Chinese Marble Trick.—Some years ago, there came over to England a few Chinese conjurors, who were seen by the public but very little, but who favoured me on several occasions with private views. Their skill lay chiefly in the performance of such delectable feats as swallowing sword-blades, tiny china cups, glass balls, and large leaden plummets. Although appreciating such tricks, I respectfully declined attempting to astonish my audiences by their means. There was, however, one little trick performed with four small marbles, which struck me as being something quite novel and quaint. Of the four marbles (little ivory balls are what I invariably use), one is concealed in the fingers, as in the cup and ball trick, unknown, of course, to the audience, who are supposed to know of the existence of three only. These three the performer puts into his mouth—one at a time, slowly, is the best way—to show that there is "no deception." He now forms his left hand into a fist, and holds it steadily in front of him, thumb upwards, as though holding a sword at rest. With the right hand he pretends to take a marble from the mouth, the concealed one being exhibited. The action of taking a marble from the mouth must be imitated exactly; and this is best done by rolling it along the lips until it travels from the roots of the fingers to their tips. The sleight must be quickly done, for the eyes of the audience are full upon the hand. Place the marble on the top of the left hand, i.e., on the doubled-up first finger, which, after a few seconds, open slightly, so as to allow the marble to disappear in the hand. With the right hand actually take a marble from the mouth, which will now contain two. Pretend to place this marble on the left hand, as you did the first one, but in reality conceal it. When the left hand is momentarily covered with the right, as it feigns to place a marble upon it, open the first finger, and, with the least possible jerk, bring the first marble again to the top. The audience will think that marble No. 1 is in the hand and marble No. 2 atop. After another short pause, allow the marble to again sink in the hand, thereby causing the idea that two marbles are concealed in it, and, with the right hand, affect to take another marble from the mouth, the concealed one being, of course, shown. Ostensibly, place this one on the left hand (deception as before), and allow it to disappear like its two supposed predecessors. At this stage, the state of affairs will be thus:—The right hand, presumably empty, contains one marble; the left hand contains presumably three, but in reality only one marble; the mouth, presumably empty, contains two marbles. The performer then proceeds as follows: Allow the marble in the left hand to sink until it is in the position for concealing at the roots of the fingers. If with the tips of the second or third fingers it can be pressed firmly home, so much the better, for the command to vanish can at once be given, and the hand opened—palm downwards, of course. If the marble cannot be secured in this way, the thumb must be brought into use in the usual way; but the hand must be waved about a little so as to cover the movement. The three marbles are now supposed to be non est. The performer can proceed to find the first of them in whatever manner he pleases. He may pretend to pick it from the table cloth, break it from the end of his wand, or find it in the possession of one of the audience; how, is quite immaterial. As each hand conceals a marble, it is also immaterial which one is used. This first marble is placed on the table, and another one found. This second one, instead of placing on the table, the performer affects to pass into his ear, concealing it as before, and after a few seconds, it appears at his lips, the one thence protruding being, of course, one of the two concealed in the mouth. Allow it to fall from the mouth, and then proceed to find the third marble, which pass, say, through the top of the head. The remaining marble in the mouth is then exhibited, and the three wanderers are recovered. If the marbles or ivory balls are not small, their presence in the mouth, when they are not supposed to be there, will be discovered. I always conceal one on each side of the mouth, between the lower gums and the cheek. Ivory balls are in every way preferable, as they do not strike cold to the teeth, and do not rattle much, both of which disagreeable properties are possessed by marbles. Any ivory-turner will supply the little balls very cheaply. The performer must study to execute this trick with the greatest possible delicacy, or—especially before ladies—it will become repulsive. The method of finding the balls after vanishing them should be varied, each one being found in a different way. The portion of the trick requiring the most practice is that in which the left hand is opened. The knack of concealing the ball held in it unobserved requires some little address.
Fire-eating.—This was another trick performed remarkably well by my Chinese. It is, I should think, one of the best-known in England, for every country fair has its fire-eater; but it is not everyone who knows how it is performed. In the first place, prepare some thick, soft string, by either boiling or soaking it in a solution of nitre (saltpetre). Take a piece, from 1in. to 2in. in length, and, after lighting it, wrap it in a piece of tow as large as an ordinary walnut. Conceal this piece under a heap of loose tow, the whole of which is put on a plate, and so exhibited to the audience. The string will burn very slowly indeed, and the very little smoke issuing from it will be quite smothered by the tow. Show the mouth empty, and then put a little tow into it. Commence chewing this, and, after a little time, put in some more. Repeat this three or four times, taking the chewed portion secretly away each time you put any fresh tow into the mouth, and in one of the bunches include the piece containing the burning string. Do not chew this about at all, in reality, although you will make great gestures as if so doing. Take a fan, and fan the ears, and presently take in a good breath at the nostrils, blowing it out at the mouth. This will cause some smoke to be ejected, the volume of which will increase as the breathings are kept up. Always be careful to draw in at the nostrils, and eject at the mouth; otherwise you will be choked. Renew the fannings (merely for effect), and, by continued breathings, the tow in the mouth will be brought into a glow, and one or two sparks will issue from the mouth. When this has continued sufficiently long, take in more tow, and so smother the burning string again, extracting the piece containing it under cover of a loose bunch. There need be no fear of burning the mouth, as, directly it is closed, the light becomes a mere spark. The trick causes great effect, not to say alarm on many occasions.