The Magic Rose.—This little apparatus affords the means for a graceful termination of a ring trick. A ring having been made to disappear in any of the modes before described, the operator, retiring for a moment, returns with a rose-bud in his hand. Advancing to the owner of the ring, he requests her to breathe on the flower. As she does so, the bud is seen slowly to open, and in the centre of the new-blown flower is found the missing article.
The idea of the flower, warmed into bloom under a fair lady’s breath, is so poetical that it seems quite a pity to be obliged to confess that the rose is an artificial one, made chiefly of tin, and that its petals, normally held open by the action of a spring, are, when the flower is first brought on, kept closed by a sliding ring or collar upon the stalk, again re-opening as this collar is drawn back by the magician’s fingers.
CHAPTER XI.
Tricks with Handkerchiefs.
We have already discussed a good many tricks in which handkerchiefs are employed in one way or another. The present chapter will be devoted to those feats in which the handkerchief forms the sole or principal object of the illusion. Where practicable, the handkerchief used should always be a borrowed one (so as to exclude the idea of preparation); and in borrowing it will occasionally be necessary to use a little tact in order to make certain of getting the right article for your purpose, without admitting, by asking specially for any particular kind of handkerchief, the limited extent of your powers. Thus, whenever the trick depends upon the substitution of a handkerchief of your own, it is necessary that the borrowed handkerchief should be of a plain white, so as not to have too marked an individuality, and of a small size, so as to be easily palmed or otherwise concealed. These desiderata you may secure, without disclosing that they are desiderata, by asking if a lady will oblige you with a handkerchief, ladies’ handkerchiefs being invariably white, and of small size. If a lace handkerchief (which would be inconveniently distinguishable from your substitute) is offered, you may pretend to fear the risk of injuring the lace, and on that account to prefer a less valuable article. In “knot” tricks, on the contrary, you should, if possible, use a silk handkerchief, which, from its softer nature, will be found more tractable than cambric.
We will begin by describing a couple of little “flourishes,” which may be incidentally introduced in the performance of more ambitious tricks, and which will sometimes be found useful in occupying the attention of the audience for a moment or two while some necessary arrangement is being made behind the scenes for the purpose of the principal illusion. The first we will call—
Fig. 107.
The Handkerchief that cannot be Tied in a Knot.—The performer, having borrowed a handkerchief, pulls it this way and that, as if to ascertain its fitness for the purpose of the trick. Finally twisting the handkerchief into a sort of loose rope, he throws the two ends one over the other, as in the ordinary mode of tying, and pulls smartly; but instead of a knot appearing, as would naturally be expected, in the middle of the handkerchief, it is pulled out quite straight. “This is a very curious handkerchief,” he remarks; “I can’t make a knot in it.” The process is again and again repeated, but always with the same result.