Supposing the stage to appear as if supplied with real scenery, which should only after all be phantasms, it is clear that the feats of harlequins would be infinitely more surprising than with interposed wood and canvas. Such a scene as jumping through the mouth of a large mask could in no other way be represented. Fire may be held to the person without danger, outvieing the red-painted poker so amusing to youth in all such wild gambolling scenes. The kicks and cuffs that might be bestowed on a spectre actor, actress, horse, or dog, without disturbing the gravity or person on whom bestowed, is of itself sufficiently ludicrous. In fairy and goblin scenes the rapid appearance and disappearance of such visitors form an essential part in their introduction, and when they are grotesque, their phantom-like character would encircle them with all the sparkling attributes of a lively jest.
30.—Ghost of China.
Among other parts of any suitable scene, large china jars, dishes, jugs, plates, or other earthenware and glass, may appear so placed that on the actor falling on the floor the audience shall hear the crash of china and glass, and see the whole fall upon him, yet shall he rise unhurt, as though nothing had happened.
This is obtained by means of communicating wires or cords between the two stages, so that the one cannot fail to act in concert with the other.
31.—Pilgrim and Saint.
The worthy saint is seen with outstretched sandalled foot, and a pilgrim with pointed iron-shod staff standing beside him. Wishing to show the holy man some relics he strikes his staff into the ground to release his hand in the act of opening out his treasure. But, behold! he has pinned the saint’s foot to the earth with his pilgrim’s staff.
32.—The Spectre’s Kiss.
Two young ladies enter a drawing-room from opposite ends, courtesy and dance; when their performance is over they approach and kiss each other, and then seem to be attempting to shake hands, but in vain, on which one falls down while the other slowly and almost imperceptibly vanishes.
In many other devices, as in this, the same means for effecting a near approach may be resorted to, nothing more being required than a piece of glass supported on a black pole, which, as ascertained beforehand, exactly distances the two heads, the lips approaching the glass on an opposite side, in opposite directions, far apart.
It must not be overlooked that these various scenes require different modes of action, a leading one being the peculiar property that this phantasmagoria affords of uniting as one body a phantom with a substance, whether alike or unlike in form and colour. This is a feature so important that it will not be out of place here to dwell upon it more at large, to impress so important a property on the attention of all who may desire an intimate acquaintance with the subject.