Latest Magic, Being original conjuring tricks

by Professor Hoffmann

But when you ask to be deceived. Good gracious!

You can’t expect me then to be veracious.

In that case only do I make exception,

And most deceive when vowing “no deception.”

This function of patter, the leading away the minds of the audience from the true explanation of the puzzle offered them, may be materially assisted by the introduction, among the “properties” used, of some object professedly essential to the trick, but as a matter of fact having no real concern with the effect produced. The audience take for granted that it must have something to do with the effect, or it would not be used, and are thereby led away the more effectually from the actual explanation. Numerous illustrations of the use of this device will be found in the foregoing pages.

If, in the case of a given trick, the performer is absolutely at a loss to produce a satisfactory fable to introduce it, he may evade the difficulty by stating that he is about to produce an effect for which he cannot himself account, and inviting the assistance of his audience in doing so.

The second function of patter is the calling of the attention of the audience to matters which you desire them to take note of, and to give opportunity to do so. There is small credit to be gained by changing the ace of clubs into the ace of hearts, or making a given article pass invisibly from one spot to another, unless the spectators have been first made to realise the original state of things, and they must be allowed sufficient time to do so. I have more than once seen an otherwise brilliant show spoilt by being rushed through at railroad speed. The mind of the spectator had not been allowed time to receive clear impressions. The company in such a case disperses with a consciousness of having had a rapid succession of surprises, but with only a cloudy recollection as to what they were.

In devising, as is sometimes desirable, new patter for an old trick, an endeavour should be made to look at the effect from an entirely fresh point of view, so as to make the trick practically a new one. A remarkable instance of such a transformation is furnished by an incident in the life of Robert-Houdin. At one period of his career he was entrusted by the French Government with a very important mission. He was sent to Algeria, specially charged to “astonish the natives,” and by his greater wonders to destroy their belief in the pretended miracles of the Aissoua.

Among other surprises, he decided to make use of his “Light and Heavy Chest,” a chest which, as the reader is doubtless aware, became at command, by means of an electro-magnet in the pedestal on which it rested, so “heavy” that the strongest man could not lift it from its base. This trick, produced at a time when the phenomena of electricity were but little understood, has produced an immense sensation at his Paris performances. But the Master instinctively felt that the trick in that shape would produce little or no effect on the more primitive mind of the Arab. He would simply have taken for granted some mechanical means of holding down the chest, beyond his own comprehension, no doubt, but by no means to be regarded as miraculous. Robert-Houdin decided to change the mode of presentation altogether, and to make the illusion no longer objective, but subjective. He announced that by means of his magic power he could take away the strength of the strongest man, and render him weak as a little child. The “chest” was in this case merely brought forward in a casual way, as a convenient object wherewith the assertion of the magician could be tested. The strongest man in the company was invited to come forward, and try whether he could lift that little box. Of course he could, and did; a child could have done the same. “You lifted it because I permitted you to do so,” said the magician. “But I take away your strength. Try to lift it now!”

Again the athlete tries his strength, but now he fails. With teeth set, and every muscle tense, he strains, and strains, but in vain, and he has to confess that the infidel wonder-worker has, for the time, taken away all his strength. Here was a wizard indeed!