The Old and the New Magic

by Henry Ridgely Evans

FIG. 2.—“LEVITATION”—HYPNOTISM OR MECHANISM?—WHICH?

“This seeming impossibility is performed by the aid of a cranked bar (Fig. 2 and A, Fig. 3) and a pulley to raise it, the bar being pushed through from the back at the moment when the performer is ‘hypnotizing’ the subject, and in the act of placing a light covering over him he guides a clamp (B, Fig. 3) and fixes it to the top of the ottoman upon which the subject rests, and which rises, unseen, with him, the edges being obscured by the covering. The bar being the same color as the back scene cannot be noticed, and resting upon a stand (C, Figs. 2 and 3) behind the scenes the same height as the ottoman it is kept firm by the aid of strong supports. Being also double the width (D, Fig. 3) at this part greater leverage is obtained to hold the board upon which the subject rests secure from tilting either way. By means of a pulley arrangement (E, Fig. 2) the assistant behind raises and lowers the body, looking through a small hole in the scene and timing the performer’s movements with exactness. Fig. 1 shows the illusion as it appears. Fig. 2—a side view—shows the {245} means of suspension and the pulley for raising the bar and telescopic stand. Fig. 3 almost explains itself. It shows the method of passing the ring over the body. By putting it on at (1) and passing it as far as the center of the bar (A) it can be brought around and off the body at (2), apparently having passed right over it, although not free from the crank; it is then passed behind the body as far as (3), when it can again be placed over the end (1) and drawn across once more, this time being, of course, quite free, having made an apparent circle right around and across the body. It seems evident to the audience that the subject is so raised and suspended by the performer’s magic power alone.

“The sleeping subject is now lowered, and in the act of being ‘dehypnotized’ the performer slips the crank off, which is immediately drawn in from behind, the subject and performer sharing the applause. It is almost needless to explain that the ‘hypnotism’ is mere sham to heighten the effect and admit of an excuse to stoop in order to fix the cranked bar.”

FIG. 3.—“LEVITATION” HOW THE HOOP IS PASSED OVER THE BODY.

So far, so good. The above method was undoubtedly the one used in Mr. Kellar’s original presentation of the illusion. But he has since made numerous improvements in it which have puzzled not only the public but the conjurers as well.

III.

Kellar has been an extensive Oriental traveler. He has hob-nobbed with Hindoo Rajahs, smoked nargilehs with the {246} turbaned Turk, and penetrated into darkest Africa. In India he witnessed many exhibitions of thaumaturgy. Concerning the high-caste magic, such as hypnotic feats and experiments in apparent death, he speaks with respect, but the magic of the strolling Fakirs he characterizes as inferior to that of our Western conjurers, with, perhaps, the exception of the Hindoo Basket Trick, which is a clever illusion. When we contemplate the fact that this startling trick is always performed in the open air, amid a circle of spectators, we must give due credit to the histrionic ability of the native conjurers and their powers of misdirection. Robert-Houdin and Col. Stodare introduced this experiment to European theatre-goers, but they were aided by all the accessories of the modern stage and the audience sat at a respectable distance. Let us hear Kellar’s explanation of the feat (A Magician’s Tour, Chicago, 1886).

“At Allahabad I saw a juggler who made a specialty of this trick. Having explained to the spectators what he proposed to do, he allowed them to select a spot on the turf in the open air where the trick should be performed. Here he stationed himself with a basket with a hinged lid at his feet, a little boy at his side, and a sharp sword in one hand. He wore nothing but a breech clout. The company surrounded the conjurer in a circle so close that there was no possibility for any person to pass it without detection. The juggler placed the child in the basket, closed the lid, and began muttering a seeming incantation. While still praying he wound a large white cloth about his arm, and suddenly threw it over the basket, binding one end. He then drew the cloth towards him, brought it up around his waist and tucked the end in his clout, leaving a portion to hang down in front in graceful folds. This much done, he plunged the sword through the basket. As the child’s agonizing cries were heard, the man drew back the sword all dripping with blood. Again and again was the sword thrust into the basket, the child’s heart-rending screams growing fainter and fainter until they ceased altogether. The Fakir asked that the basket be examined. It was opened and found to be empty. A gleeful shout was heard. The spectators looked in the direction from whence it came, and there sat the child on the limb of a small {247} tree, waving his arms and seeming as happy as a bird. I paid the thaumaturgist two rupees (one dollar) and the secret of the trick was explained to me. I marveled at first that the man was willing to reveal the mystery for so small a sum, but I soon discovered that only those who wore the Indian juggler’s costume, the breech clout, could perform it. The trick is done in this way: When the cloth is spread the boy slips out of the basket under the friendly cover of the linen, and crawls under the Fakir. Grasping a strap about the man’s waist, he draws himself up between the juggler’s legs. The cloth when brought about the Fakir’s waist hides the little fellow, who, from his unexpected retreat, utters the piercing shrieks of the dying child. With a sponge saturated with a red liquid the conjurer produces the blood stains. When the people rush forward to look into the basket, the boy slips from his place of concealment and makes his presence manifest wherever he has been directed to go.”