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HOME FUN




  HOME FUN
  BY
  CECIL H. BULLIVANT

  [Illustration: AM I RIGHT?]

  NEW YORK
  DODGE PUBLISHING COMPANY
  214-220 EAST 23RD ST.


  COPYRIGHT, 1910, BY
  DODGE PUBLISHING COMPANY




PREFATORY NOTE


NOT to produce workers of wonders or exponents of marvelous mysteries;
not to launch on an already over-crowded market a host of professional
or semi-professional entertainers--but rather to give to those who can
find real pleasure in amusing others, such knowledge as shall enable
them to transform the lagging winter hours into periods of sheer
delight, has this book been written.

While in no sense does it claim to be an exhaustive guide to home
amusements, it represents a serious effort to bring within the scope of
one volume almost every form of popular home diversion.

The subjects have been dealt with from a simple but perfectly practical
point of view. In addition to the different accomplishments being so
explained as to be easily comprehended and acquired, the successful
presentment of them is made possible at a minimum of expense. The
greatest difficulty which formerly faced the amateur entertainer was the
heavy cost of production, but even the most expensive form of amusement
explained in the following chapters comes well within the modest
“pocket-money bounds” of the average boy.

It is hoped that in “Home Fun” will be found much that is entirely new
concerning subjects about which little or nothing has hitherto been
written. Whereas the paths so well trodden by authorities on
entertaining are here more or less passed over, excursions are made into
equally fascinating by-ways, an acquaintance with the delights of which
cannot fail to win success and widespread approval for the promoter of
entertainments at home.

That those who follow the many chapters on subjects so amusing and
diverse may obtain from them as great pleasure as he who has compiled
them is the sincere wish of the author.

  CECIL HENRY BULLIVANT.




CONTENTS


  CHAPTER                                                           PAGE
       I. AMATEUR THEATRICALS                                         11
      II. MYSTERIES OF MAKE-UP                                        26
     III. THE QUICK-CHANGE ARTIST                                     34
      IV. CHARACTER IMPERSONATIONS                                    41
       V. THE UNIVERSAL HAT                                           50
      VI. NIGGER MINSTRELSY                                           56
     VII. SOME SUGGESTIONS IN BLACK                                   62
    VIII. TABLEAUX VIVANTS                                            68
      IX. CHARADES                                                    76
       X. THE POSSIBILITIES OF THE MUSICAL SKETCH                     86
      XI. VAMPING SIMPLIFIED                                          92
     XII. AN EVENING AT THE PHONOGRAPH                                97
    XIII. MUSICAL GLASSES                                            101
     XIV. HAND-BELL RINGING                                          105
      XV. THE ART OF DRAWING-ROOM SINGING                            111
     XVI. DRAWING-ROOM RECITALS                                      116
    XVII. THE ART OF WHISTLING                                       123
   XVIII. BUNKUM ENTERTAINMENTS                                      127
     XIX. VENTRILOQUISM IN A MONTH                                   140
      XX. CONJURING FOR ALL                                          158
     XXI. SOME KNOTTY POINTS                                         169
    XXII. BLACK STAGE MYSTERIES                                      174
   XXIII. CONCERNING GHOSTS                                          183
    XXIV. SOME STAGE ILLUSIONS                                       189
     XXV. THE ROOM OF MYSTERY                                        201
    XXVI. MECHANICAL SECOND-SIGHT                                    211
   XXVII. PAPERGRAPHY                                                220
  XXVIII. JUGGLING                                                   225
    XXIX. PLATE-SPINNING AND WALTZING                                233
     XXX. THE TIGHT-ROPE                                             240
    XXXI. CLOG DANCING                                               244
   XXXII. SHADOW SHOWS                                               250
   XXXIII. LIGHTNING CARTOONS AND “FAKE” SKETCHING                   263
    XXXIV. FRICTIONAL FUN                                            272
     XXXV. SOME ELECTRICAL EFFECTS                                   285
    XXXVI. SAFE SCIENTIFIC EXPERIMENTS                               297
   XXXVII. SAFE CHEMICAL EXPERIMENTS                                 312
  XXXVIII. ODD EXPERIMENTS                                           320
    XXXIX. MORE EXPERIMENTS                                          329
       XL. PHOTO PASTIMES                                            341
      XLI. HOW TO MAKE AND WORK MARIONETTES                          354
     XLII. LIVING MARIONETTES                                        363
    XLIII. THE HOME CIRCUS                                           367
     XLIV. HOW TO MAKE AND WORK A PEEP-SHOW                          378
      XLV. THE “MECHANICAL” PEEP-SHOW                                383
     XLVI. HOW TO MAKE AND WORK A PUNCH AND JUDY SHOW                387
    XLVII. DISSOLVING VIEWS                                          396
   XLVIII. INDOOR FIREWORKS                                          400
     XLIX. HOW TO MAKE A TELEPHONE                                   405
        L. TELEGRAPHY AT HOME                                        410
       LI. ELEMENTARY HYPNOTISM                                      416
      LII. THE POWERS AND MYSTERIES OF CLAIRVOYANCE                  426
     LIII. TABLE-TURNING                                             434
      LIV. PALMISTRY                                                 437
       LV. PHRENOLOGY                                                445
      LVI. TELLING FORTUNES BY CARDS, DICE, DOMINOES, ETC.           452
     LVII. GRAPHOLOGY                                                465
    LVIII. A SUCCESSFUL CHILDREN’S PARTY                             472
      LIX. PARLOR GAMES                                              475
       LX. PARLOR TRICKS AND PUZZLES                                 490
      LXI. “HOW WOULD YOU----?” (PUZZLES)                            510
     LXII. SOME OPTICAL ILLUSIONS                                    519
    LXIII. CIPHERS AND CRYPTOGRAMS                                   527
     LXIV. SECRET SIGNS                                              533
      LXV. GAMES AND AMUSEMENTS FOR THE BLIND                        538
           INDEX                                                     545




HOME FUN




CHAPTER I

AMATEUR THEATRICALS


STAGE CONSTRUCTION AND HOME-MADE SCENERY

A GREAT many people are deterred from embarking on the sea of amateur
theatricals for the reason that the expense and trouble incurred in
providing an adequate stage, and in finding plays suitable for amateurs,
seem to outweigh other considerations.

The following hints and suggestions, then, are not intended for the
lordly Thespians who would aspire to flaunt their histrionic powers in
public assembly-room or civic town-hall. For them there are those who
make it their business to erect stages, provide “swell” scenery, and all
the paraphernalia required.

It is, of course, possible to act without a stage proper at all,
especially if you happen to live in a house that boasts a double
drawing-room with folding doors, in which case a curtain would also be a
superfluity, for the doors could be closed and thrown open when the
audience are in their places, though if a curtain should be deemed
necessary it would be an easy matter to fix a rod from door to door.

But before going on to the description of how to erect a stage of a more
pretentious character, it might be as well to offer a word or two of
warning. Remember that private theatricals are rather apt to turn a
house upside-down, so that before the performance is given it is of
importance to see that all breakables are stowed away, and that
superfluous furniture is disposed of.

If you are going to turn your drawing-room into a theater, take care
that your guests can enter without having to pick their way in and out
of needless chairs and tables. Details such as these may seem trivial.
They are, nevertheless, just the things that may make or mar an
entertainment.

Above all, let there be harmony. Once having chosen your stage-manager,
see to it that his word is law. Nothing is more galling or disastrous
than for every one to try and “boss the show.” And if expense has to be
considered, do not try to be too elaborate with your accessories.

It is, nevertheless, possible for any one to erect in any drawing-room
of average dimensions a stage that will be found perfectly adaptable to
plays made adequate for it, and that without calling in the aid of any
professional carpenter or stage furnisher.

The stage can be constructed in the following simple manner:--Hire a
number of ordinary benches or stout boxes of equal dimensions, and on
these superimpose lengths of scaffold-boarding or planks. These latter
should be of equal thickness throughout, in order that a perfectly level
staging may be obtained. The whole may be made quite secure by the
judicious use of nails, although care should be taken that no damage is
done to the benches, or this will have to be paid for when they are
returned. A floor covering of felt or linoleum will also prove
serviceable.


THE DROP CURTAIN

An essential piece of stage furniture for amateur theatricals is the
drop curtain. It can be made from two equal widths of some serviceable
material such as dark cretonne, supported by brass rings on a stout
bamboo rod, to either end of which are attached large steel eyes (A, A,
Fig. 1).

[Illustration: FIG. 1.--Back view of drop curtain.]

The bamboo rod should be cut to such a length that when the eyes have
been added, the whole can be fixed to steel hooks screwed into the
picture-molding on either side of the room. Should any difficulty be
experienced in procuring a rod of sufficient length, the difficulty may
be overcome by the use of two shorter pieces joined at the middle by
iron sockets.

In the case where it is intended to give the performance in either a
schoolroom or a small hall, a curtain of much greater size and of
stouter material would be required, and this latter can be supported on
a length of strong gas pipe held in position by brackets nailed to the
wall at each end.

The arrangement for raising or lowering the curtain is shown in the
diagram, in which A A is the rod. A number of small brass rings are then
sewn to the back of the curtain, as at A X and A E. Top rings, much
larger, are also attached to the curtain and passed along the rod. Cord
is next run from X and E respectively through the rings at A, and
allowed to hang loose as at D. The bottom of the curtain should be
weighted with shot.

Four screens, two on each side, can also be requisitioned for the wings,
and a small steady table placed in each recess (Fig. 1_a_) for moderator
lamps--preferably of the self-extinguishing pattern, in case they should
be upset by an untoward accident--to make up for the deficiency of
footlights, though these can be provided by the aid of a little
ingenuity, _e.g._ candle reading-lamps with shades and reflectors begged
or borrowed from accommodating neighbors. Tin cans cut in half, and
night-lights will serve the purpose equally well. Here, again, the
inventive genius of the promoters of the enterprise will have to be
called into play.

[Illustration: FIG. 1_a_.--Showing arrangement of screens for exits and
entrances.]

All risk of fire should be obviated as much as possible, and appliances
for the swift extinction of a blaze near at hand.

By the judicious arrangement of the screens it will be possible to
provide for exits and entrances on both sides of the stage.


HOME-MADE SCENERY

Scenery, as a rule, proves a great barrier to the would-be promoters of
amateur theatrical enterprises. The purchase of suitable surroundings
for the presentation of various scenes is a luxury only to be indulged
in by the well-to-do. In fact, to carry out an ordinary play on these
lines involves the expenditure of many dollars. It is hoped that the
practical instructions given here will not only avoid such unnecessary
and perhaps unwarrantable expense, but will also tend greatly to
increase the interest of those taking part in the work.

Where scenery is required, it is as well to confine oneself to a play
that takes place indoors, though, of course, it is possible even without
a back-drop to give a praiseworthy presentment of an open-air scene by
means of a plain background, against which are fastened boughs of trees,
while the judicious grouping of greenhouse plants can be used at the
sides, plus a plain green felt underfoot to add to the effect. However,
even these small items run away with money. Cut boughs fade and need
replacing, and this mode of constructing scenery will often be found by
the would-be economist to cost more than he can reasonably afford.

Of course, for those who care to do so, proper mounted scenery all ready
for use may be purchased, but undoubtedly the better plan is for the
stage-manager to endeavor to find from amongst the members of his
company one or two who are expert in the use of tools. Generally there
are many such available, and by the aid of the following diagrams and
explanatory notes a most useful interior box scene (comprising five
“flats” which fit together and form the whole) can be constructed at a
cost certainly not exceeding $5.00.

By repapering and making other obvious alterations, such scenery can be
transformed as necessity demands to suit any particular play--that is to
say, the addition of a few hangings and pictures, and the substitution
of other appropriate furniture will speedily change a poor man’s kitchen
or parlor into quite a presentable stage drawing-room.


HOW TO MAKE THE “FLATS”

To deal first with the “flats” or separate parts of the scenery. The
primary essentials for these are a number of lengths of 2¹⁄₂-inch
battening; other requisites being a plenitude of nails of all sizes,
glue, brown paper or canvas, powdered color, and size. The purpose of
this latter commodity is for painting the wood-work or any other desired
article, such as a sideboard, dresser, or fireplace.

Cut the battening to lengths appropriate to the dimensions of the stage,
or, in other words, with due regard to the height of the room and the
width and depth of the platform.

Fig. 2 shows the general arrangement of the five “flats,” placed in the
order shown, with the largest one, consisting of the double doors, in
the center.

Now, as the width of these “flats” depends entirely upon the space they
occupy when put into the position indicated by the diagram, the stage
carpenter must commence his plan of construction with this fact clearly
in mind. Should a particularly large stage be available, then it may be
desirable to extend the scenery, in which case one or more straight
“flats,” similar to that numbered 4 in Fig. 2, can be added at each end
or where desired.

[Illustration: FIG. 2.--Showing usual arrangement of flats.]

[Illustration: FIG. 3.--Construction of “flat” containing door.]

[Illustration: FIG. 4.--Flat for window opening.]

The frame-work for the respective “flats” appears in Figs. 3, 4, 5, and
6, the method of joining corners being indicated by the elevation and
sectional drawing depicted in the corner of Fig. 5. The vertical and
horizontal supports are merely fitted in flush and glued. For doors and
window openings a slightly stouter battening will be found necessary.

Fig. 3 gives a clear idea of the main lines of construction of a
practical door, which is to be fixed to the “flat” by means of hinges.
When hingeing doors, take particular care so to place the hinges that
the doors swing outwards--that is, from the point of view of the
audience. This precaution obviates the necessity of painting both sides
of the doors.

A reference to Fig. 4 shows a window opening which can be used either as
a lattice, working on the same principle as the door, or as an ordinary
window, which can be suggested by gluing a strip of wood horizontally
across the center.

[Illustration]

[Illustration: FIG. 5.--Flat for double doors.]

[Illustration: FIG. 6.--Plain flat.]

In Fig. 5 the central opening (the double doors of the plan) serves for
curtains fixed to rods by means of sliding rings, or merely as French
windows. Of all the “flats,” this is the most valuable, because it is
capable of utilization in a multitude of ways. For instance, should the
scene be an elaborate drawing-room, the opening will lend itself to
French windows, through which can be seen park-land or gardens in the
distance. Again, for the presentment of a humble apartment, it has only
to be covered with a dresser or any other commonplace article of
furniture. Should an opening be required to another room, curtains of
course can be hung.

Fig. 6 depicts a plain “flat.”

The next operation is the covering of the frames, accomplished by the
use of brown paper, or, should expenses permit, of canvas. The brown
paper is first cut to the size required, and then glued to the frames,
only the openings for windows and doors being left. If canvas is chosen
for the covering, nailing will be found necessary. To prevent sagging,
and to preserve the flat appearance of the material, coat thinly and
evenly with a solution of size and water.


PAPERING

The next item for consideration is papering. A visit to almost any
paperhanger’s will reveal the fact, that the shopman possesses
quantities of certain designs, perhaps not quite large enough to be of
practical service to him for papering a room. In this circumstance the
stage carpenter should be able, by the expenditure of a few cents, or a
quarter at the outside, to obtain quite enough for his purpose. Next, he
can procure from any builder’s yard a few lengths of architrave or
beaded edging for doorways and windows. This will have to be mitered and
fixed to the frames. A few slips of board, with beading along one edge,
should also be purchased at the same time for fixing to the bottom of
the frames to form the skirting. Now paste the wall-paper to the frames.

[Illustration: FIG. 7.--Complete door with section.]

[Illustration: FIG. 8.--Flat 1 or 5 converted into exterior cottage
door.]

Having satisfactorily constructed all the “flats,” fix them together in
the order shown in the plan--_i.e._ each to each--by means of pieces of
bent zinc and screws. Additional supports are often required, such as
iron brackets screwed to the bottom of the “flat” and the floor, as
indicated by the crosses in Figs. 3 and 5.

To give a finished effect, paste brown paper over the whole of the door
frames, and produce the appearance of panels by the addition of mitered
thin beading or slips of wood (Fig. 7). The door panels may then be
painted according to taste with a mixture of any powdered color and
dissolved size. The fixing of a knob or handle with a long screw renders
the thing complete.

Reference to the plan marked Fig. 2 reveals the fact, that the two end
“flats” (1 and 5 respectively) are alike. Now, while one of these
“flats” may be utilized for an interior door (Fig. 3), it may be found
extremely useful so to prepare its fellow that it represents an exterior
cottage door, and to use it as a wing at one side of the stage in
another scene. It should then appear as in Fig. 8. To obtain this
result, a section of scenery has to be covered with brown paper or
canvas, as already described for the interior door. Should canvas be
decided upon, first prepare it by adding a coating of mixed size and
whiting, to form a background for the painted design. In this case the
door itself is covered on the outside with paper, and lines are drawn
down to give an idea of planks nailed vertically together. A
latch-handle can either be purchased and fixed for a few cents, or an
imitation one painted in.

The lintel and doorposts are constructed by gluing or nailing battening
of a sufficiently stout nature, that it projects to the degree indicated
by the section in Fig. 8. The purpose of this latter projection is to
allow for the addition of a latticed porch, which will give that
picturesqueness so essential to stage scenery.


MAKING A PORTABLE PORCH

A glance at Fig. 9 will put the amateur stage carpenter in full
possession of all details relating to the construction of this latticed
porch. Of course, it will be found necessary to make two pieces of the
part numbered 1--_i.e._ the batten frame and cross-pieces--as one will
be fixed on either side of the door to support the roof. The
lattice-work may be purchased in a length, or made from laths, and
nailed to the frame. Fix the sides of the porch close up to the
doorposts by means of zinc brackets and pins, as indicated by the two
crosses. Next pin on the roof, as at 4, Fig. 9. Paint the finished porch
bright green and the roof red.

A second reference to Fig. 8 shows that it suggests a design of bricks,
covered with creeper or a tree. If necessary, treat the other side of
the window “flat,” by painting it in similar fashion, and fix it
alongside the door to form an additional wing.


A PORTABLE FIREPLACE

A very useful adjunct to the plain “flat” (Fig. 6) is a portable
fireplace, which is depicted in detail in Fig. 10. To make this, buy a
length or so of ³⁄₄-inch planking, one length of which should be cut for
the mantelpiece, according to the size required. Next cut two supports
of equal dimensions to form the sides (A, A, in elevation). These are
nailed to the “flat,” and the mantelpiece is kept in position by two
solid wooden brackets (D, D). Two slips are also added to the base of
the supports at E, E. The piece C is let in flush with A, A.

[Illustration: FIG. 9.--Construction of portable porch.]

[Illustration: FIG. 10.--Portable fireplace and grate.]

Below this, to the back of the rectangular opening, attach a piece of
very stout blackened cardboard, of the shape shown, leaving an opening
for a real or a painted grate (F). Should the former be preferred, it
may be produced from pieces of thin battening, as shown in the elevation
and section.

To obtain a realistic effect, fill the grate with non-inflammable metal
tinsel (C, C), and further to enhance the realism, support a small
galley-pot on a blackened bracket or block of wood (A), the galley-pot
being filled with cotton-wool soaked in methylated spirit. The
application of a match produces a flame at B (see section of grate, Fig.
10).


A MOVABLE COUNTER OR SIDEBOARD

Fig. 11 gives the front and back view of this very useful piece of stage
furniture, which may be utilized either as a counter, sideboard, or
bottom of a dresser; or, appropriately draped and surmounted by a
looking-glass, it may serve as a dressing-table.

[Illustration: FIG. 11.--Portable counter or sideboard.]

[Illustration: FIG. 12.--Detached parts of counter or sideboard.]

The sections are illustrated in Fig. 12, the pieces marked 1 forming the
sides, 2 the top, and 3 the front. Steel eyes are numbered 4, and their
purpose is to hold the sides, front, and top together by strong cord,
attached as in the back view of Fig. 11. 5 in Fig. 12 is a projecting
panel, also seen in the front view of Fig. 11. 6 (Fig. 12) indicates the
back supports to which the front joined boards are nailed. The beading
which is fixed along three sides of the top is seen at 7 (Fig. 13).

Having thoroughly grasped the details outlined above, commence to make
the sideboard from ³⁄₄-inch boarding.

To each of the side-pieces add a bottom support of stouter material,
marked with a cross in Fig. 12. The front is next placed across the
supports in such a position that the top fits down on them and holds all
three pieces in place. (See dotted line at 7, Fig. 13; this diagram also
depicts the separate pieces in elevation.)

It is not worth while “spoiling the ship for a ha’p’orth o’ tar,” or, in
this instance, the sideboard for a coat of paint. Before applying this
latter, paste the structure over with brown paper, and then give it a
coating of yellow ochre and size. A grained appearance may be produced
by utilizing an old coarse comb, the fine grain being attained with the
thin teeth and the coarse grain with the stout. To obtain the graining,
proceed as follows: on the dry coating of yellow ochre put a second
coating of dark brown ochre, mixed with size as before, and whilst wet
comb in zigzag lines.

[Illustration: FIG. 13.--The separate pieces in elevation.]

The great advantage attaching to all the scenery and artificial
furniture described is that it can be easily fitted together, taken to
pieces, and packed flat, thus occupying a minimum of space. For
practical purposes it will be found quite equal both in appearance and
for durability to that for which many dollars are charged at a
theatrical supply dealer’s.


A BACK-CLOTH

The construction of home-made theatrical effects may be closed with
brief hints regarding the much-needed and ever-useful back-cloth, which
plays a part in most exterior scenes, such as park lands, gardens, &c.
It consists of several lengths of calico joined together to form a
square of the size required. This is then fixed on a large wooden roller
with a similar roller at the bottom to weight it, and prepared with a
coating of size and whiting.

A friend of unquestionable artistic ability should be asked to paint in
a view or other scenery.

In scene-painting bear in mind that only the brightest and most vivid
colors are to be used. The colors are made from powder mixed with size,
and must be applied with broad touches for distant effects. The
back-cloth can be fixed according to the means available.

For the proscenium, three pieces of wood to suit breadth and size of
stage must be requisitioned, the portion destined for the top being
gently sloped from an arch or apex in direct line with the center of
the curtain, and covered with some tastefully-colored paper which gives
the appearance of heavy satin panels.

A sewing bee should be formed among the ladies interested in the
company, and she who has sufficient prowess with her scissors should be
chosen to cut the garments and superintend the needlework of her
friends. This will prove a profitable way of spending the long winter
afternoons.

Imitation hair wigs, beards, &c., may be procured at various prices.

The best plan to adopt in finding a play suited to the limitations of
material of an embryo company is to spend a small sum on some “Guide to
Selecting Plays.” In these pages will be found abundant suggestions and
explanations of specimens, dealing from the simplest one-act, thirty
minutes’ production to the five-act, three hours’ drama. The outline of
each plot is given, and a summary of the _dramatis personæ_ required.

Miss Keating’s “Plot of Potzentausend,” for example, is an excellent
one-act play, in which only male characters are required. Interest in
the fair sex is, however, cleverly maintained, for the four swains have
each a lass to occupy their affections.

The costumes, a description of which is given on the front page, are of
the time of Louis XIV., and the scene is a small frontier village in
Germany. This is an admirable, amusing, and not too ambitious
performance for boys home for the holidays.

_Grindstone_ is a miller of a sour and unfriendly disposition. He is
secretly involved in small political intrigues, and, in order to meet
the Chevalier d’Espion without the knowledge of the villagers, refuses
to allow the lads and lasses their usual yearly privilege of dancing in
his barn, to which they naturally take exception. Grindstone’s
personality and physical appearance are as gray, grim, and cold as the
substance after which he is named. He is tight of lip, thin of figure,
and possessed of a countenance which expresses a miserly cunning,
dislike of frivolities, and hypocritical semblance of virtue. Although
vastly respected, he is not overwhelmed with the affections of his
fellow-men, and is termed, even by his servant Sacks, to be something of
a rogue.

_Sacks_, his man, is a thick-set hunchback, with a round, jolly face and
optimistic temperament, which presents a strong contrast to his master’s
saturnine character.

_Max_, a young sergeant, of smart demeanor, is weighted by a sense of
his own importance, insipid of face, and overbearingly superior in
manners.

_Louis_, a lawyer’s clerk, pale and meek, rat-faced and rather wily,
grasping in disposition, and something of a flirt.

_Fritz_, a young peasant, whose sentences generally terminate with “as a
body may say,” shows a priggish and cautious attitude to preserve his
own skin at any cost. His expression is a delightful mixture of rustic
placidity and guileless cunning.

The _Chevalier d’Espion_, a smart, condescending person of uncertain age
and carefully preserved complexion; his gold lace and feathers lend him
as irreproachable an aloofness and pride as the peacock demonstrates
towards the jackdaw.

[Illustration: _Plan of Room in Grindstone’s House_]

The table should be covered with a cloth sufficiently long to touch the
ground on all sides. The rear of the high-backed chair and
window-curtain are to be used as hiding-places, and must be practicable
for the purpose. Small chairs and an old stool are also required. Except
for a small lighted lamp which Sacks, the first to enter, places on the
table, the stage is in darkness.

This play takes thirty-five minutes. The plot is built on the
misunderstanding that arises between the four swains--who have
unconsciously chosen the same place and hour to meet their ladies--and
the Chevalier d’Espion, who, expecting to find a quartette of
fellow-conspirators, mistakes them for such in disguise. Soldiers appear
to arrest the Chevalier, who manages to escape. Sacks proves the
identity of the rest, and so all ends happily.

The dialogue must be brisk and the action kept interesting. Acted in the
right spirit, it cannot fail to produce roars of merriment. It has a
further advantage of not being too great a strain on the memorizing
powers of those who have never previously essayed to learn prose by
heart.

A reliable prompter, concealed from the audience, should be close at
hand. His business is to follow the dialogue intently, giving aid when
necessary in a clear, low voice. Words should never be whispered, nor
too loudly spoken. A happy medium is acquired by experience.

The make-up required by the characters is as follows:--

_Sacks_ (florid flesh tint), grease paint (red) No. 2¹⁄₂; a slight
cobweb of good-natured wrinkles and crowsfeet, such as would be caused
by laughter. Red, black, or gray wig, according to taste.

_Grindstone_ (sallow flesh tint), chrome grease paint; peevish and
discontented lines about the mouth, furrowed forehead, peruke slightly
gray, nose paste to enlarge nose, sparse ruffled eyebrows.

_Louis_ (sallow flesh tint), chrome grease paint; peruke any color
fancied, premature wrinkles, small white. A few front teeth in upper gum
stopped out with small noir.

_Max_ sunburnt. _Fritz_ ruddy. The _Chevalier d’Espion_ bronzed. Officer
and guard, 2¹⁄₂ medium flesh.

Another fascinating play for boys is “The Poor Relation,” also written
by Miss Keating, and included with “The Plot of Potzentausend” in “A
Series of Original Comedies.”

Grease paints should be composed of pure chemical fat and colors free
from lead, otherwise they will make havoc with sensitive skins.

Artificial complexions should never be scrubbed from the face by means
of soap and water.

Cocoa butter gently applied on the corner of a soft dry towel will
rapidly erase every mark, and is an excellent tonic for the skin.

Grease paints, rouge powder, cocoa butter, spirit gum, sponge-towel,
puff, crêpe hair, hare’s foot, patches, tongs, hairpins, joining paste,
brush and comb, lip salve, liquid blanc de perle, scissors, mirror,
mustache, vanquisher, needles, cotton, soap, sponge, &c., can be
purchased in compact make-up cases at prices from $15.00 down to $2.50.

Amateurs are sometimes prone to stiffness and artificiality of gesture
and exaggeration of expression, also to too much or too little movement.
A perfectly natural manner can only be gained by throwing oneself
whole-heartedly into the play, and uniting oneself with the other
dramatis personæ. Acting editions of both playlets mentioned above may
be obtained of Messrs. Samuel French, of 28 West 38th St., New York.

Each actor has, as it were, his little orbit of movement, but this
should not be circumscribed in a conventional, studied manner. Ease and
self-control should cover all mastered technique in voice, attitude, and
gesture. Words should be clearly delivered, and pronounced without any
pedantic phrasing or forced utterance; and this will only be achieved by
constant and careful rehearsing. The personality of each character must
be distinct and individual.

When an amateur company is formed, each member should pay a fee in
proportion to the strength of the casts and the drama they hope to
produce. The stage-manager’s choice of characters should stand
inviolable, providing, of course, he presents sufficient discretion and
insight to distinguish between the different trends of talent possessed
by his players.

In almost every company there are a few players who are inclined to
fancy that they can do justice to a rôle given to some one else, rather
than to the one they are studying. This is a form of very human
discontent which Quince, the stage-manager of the players in “A
Midsummer Night’s Dream,” had to battle against.

Flute bemoaned his fate, and excused himself from playing the woman’s
part, on the plea, “I have a beard coming.”

Bottom was torn between a desire to undertake Thisby and the lion. “I
will roar that I will make the duke say, ‘Let him roar again, let him
roar again.’ ... I will roar you as gently as any sucking dove.”

As adamantine as the sagacious Quince against these eloquent appeals
must be the modern stage-manager when the would-be tragedian importunes
him to play the heavy rôle, or the individual who believes himself
endowed with hidden genius, to portray the part of light comedian.

Thus only is success achieved.




CHAPTER II

MYSTERIES OF MAKE-UP


THE FOUNDATION

IT is necessary that the amateur who wishes to make his efforts at
private theatricals a success should have a fair knowledge of the art of
“make-up.”

While no great amount of money need be expended, at the same time the
best results can be obtained only from the use of good cosmetics. Grease
paints, obtainable from any purveyors of theatrical appliances, are
excellent and not very expensive.

There is no doubt that many people consider it quite sufficient to dab a
little paint on the face, smear it over carelessly with the addition of
some powder, and imagine, quite erroneously, that they are well made-up.

The outward signs of character are to be represented by “make-up,” and
it is quite essential that this effect should be produced; therefore,
with a slight knowledge of what is to be avoided, and what effected, the
home-actor should attain to some degree of success.

“Wig-paste,” No. 2¹⁄₂, is usually considered the best foundation for
pink complexions, and according to shade required, deeper colors can be
used, such as 3, 4, &c. Thus, if being made up for the part of a pretty
young girl, the first number is best; if for a middle-aged woman, No. 3;
while for elderly men of choleric temperament No. 4 would be more
suitable.

It must be borne in mind that the foundation of wig-paste should be
carefully put on, and well smoothed before the structure or blending of
colors to produce a natural appearance is commenced. Whether this is
done well or badly will make all the difference to the final results.


LINING

Lining is an important part of “make-up,” by its aid the lines of the
face being diminished or deepened, shadows created for sunken effects,
and “high lights” produced--_i.e._ touching up the cheek-bones to give
them prominence. By careful use of this latter branch of “make-up” the
whole character of the face can be changed. High lights are produced by
a lighter shade of grease paint than that used for the rest of the
complexion, being placed upon the feature to be emphasized; for
instance, if the actor wishes his nose to appear thinner, he will draw a
straight white line from the top to the tip, enhancing the effect with a
careful application of the gray paint (Fig. 1_a_). The cheek-bone, nose,
chin, and brow are parts of the face which are made up for high lights,
though if wrinkles are to be accentuated this is usually done by the
addition of a “high light” effect on each side of the existing dark line
(Figs. 1_b_ and 1_c_).

[Illustration: FIG. 1_a_.--High lights.]

[Illustration: FIG. 1_b_.--High lights.]

[Illustration: FIG. 1_c_.--High lights.]

To make cheeks appear hollow, gray-lining paint is used, the effect of
emaciation being produced by the careful blending of the last-named
paint with the grease paint previously put on.

[Illustration: FIG. 2.--Low lights.]

Shadows, or low lights, give the effect of hollowed cheeks and sunken
eyes, and instead of making features more pronounced, as is the case
with a careful “high light” make-up, decrease the prominence which
certain parts usually possess (Fig. 2). When making-up for a beldame, or
some other character which should appear more than usually haggard, a
striking effect is obtained by adding a spot of either dark-gray or
brown, and blending it outwards.

[Illustration: FIG. 3.--Before lining.]

[Illustration: FIG. 4.--After lining.]

The lining of the eyes requires special attention, more particularly as
their appearance depends so much upon the change of the eyelids (Figs. 3
and 4); eyelashes too, when properly treated, make a vast difference to
the usual expression.

When it is necessary that the eyelashes should be more pronounced, black
grease paint is put on to the end of an artist’s stump, melted very
slowly by being held over a candle or other flame, and so applied. Care
should be taken, however, that no grease paint goes into the eye, so
when melting it must not be allowed to become too soft. Black-lining
grease paint is the best for eyelashes, and the amount applied depends
entirely upon their natural thickness and darkness.

For darkening or lightening the eyebrows, grease paint “liners” are
indispensable, and much preferable to India ink. Sometimes it is
necessary to obliterate part of the eyebrow before the rest is
“drawn-in,” in which case it is first of all coated with soap and then
covered with the same grease paint as used for the groundwork of
“make-up.” This done carefully, and toned to the same shade as the rest
of face, leaves the actor free to “draw-in” any shaped eyebrow he
desires. For a very thin eyebrow a toothpick can be utilized to
advantage, a little melted grease paint being rubbed upon it, and the
line drawn with it (Figs. 5 and 6).

For Oriental effects the obliteration of the eyebrows is essential, and
fresh ones with an upward tendency can be drawn-in at will, when once
the natural ones have been made to disappear.

More often than not it is necessary to increase the eyebrows, making
them look thick and heavy, and if Nature has endowed the player with
massive ones, it is an easy matter to comb them up the wrong way and
apply a small quantity of grease-paint; but if they are naturally thin
the aid of false ones must be sought. Crêpe hair, which is an
indispensable accessory to the “make-up” art, can here be brought into
use, the ever-helpful “adhesia” being required as well.

[Illustration: FIG. 5.--Eyebrow before lining.]

[Illustration: FIG. 6.--Eyebrow after lining.]

The best plan is to model on a comb the eyebrow according to the shape
desired; then, placing the latter in position, make it fast with the use
of the adhesia, taking care that the gum is only on the edges and not on
the hair of the real eyebrow.

To obtain a sinister expression, eliminate the outer edges of the
eyebrows and paste a piece of crêpe hair over the eyebrows near the
nose, the Mephistophelian effect being gained in the same way, except
that the outer corners should curl upwards (Figs. 7 and 8). By fixing on
pieces of crêpe hair so that they meet over the nose, a stern and even
fierce expression is produced.

[Illustration: FIG. 7.--Natural eyebrow.]

[Illustration: FIG. 8.--Mephistophelian effect produced with crêpe
hair.]


“JUVENILE” MAKE-UP

In making-up for the character of a juvenile, the strength of light on
the platform or stage is to be taken into consideration. If a fairly
strong light, the make-up must not be too deep, but the player will soon
become experienced in this matter by taking the trouble to consider the
effect of different lights.

Before commencing with the grease paints the face is well rubbed with
cold cream or cocoa butter, and wiped with a towel, so that none of the
former remains visible.

[Illustration: FIG. 9.--Preliminary lining.]

The flesh-colored paint may now be drawn across the face several times,
the method of procedure being: two lines across forehead, two on each
cheek, one down the nose, and several on the neck (Fig. 9). With the
palms of the hands this is smoothed over carefully, and finally rubbed
quite lightly with a dry towel. The foundation is thus formed, and is
really the most important part of the make-up, for if not carefully done
the rest will be unsatisfactory. One of the chief facts to be borne in
mind is that very little paint should be used, so little as to be
scarcely seen.

Rouge is next applied, red-lining paint or paste lip-rouge being used
upon the cheek-bones, and carefully smoothed until it tones with the
flesh on the cheeks. After an application of powder, when the face feels
perfectly smooth, comes the task of lining-in, which has already been
described.

[Illustration: FIG. 10.--Natural lips.]

[Illustration: FIG. 11.--Lips accentuated by rouge.]

The lip-rouge accentuates the lips (Figs. 10 and 11), and should it be
necessary to make them of a more symmetrical appearance, this may be
accomplished by extending the rouge a trifle beyond the natural
outlines, though women need this little extra touch more often than men.
When it is required to make the chin more prominent, a touch of dry
rouge beneath the lower lip will accomplish the effect, still more being
added to the cheeks if they are not quite colored enough (Fig. 12).

[Illustration: FIG. 12.--“Juvenile” make-up.]

For juvenile darky parts, burnt cork will do instead of the grease
paints.


“MIDDLE-AGE” MAKE-UP

This is perhaps the most difficult make-up, for it is much easier to go
to one extreme from another, than to make a fairly young person look
like a middle-aged one (Fig. 13).

In the case of a man it is advisable to depend on the addition of
whiskers and mustache, and even glasses or spectacles lend age.

A sallow paint is usually required for middle-age make-up, and it can be
blended with a lighter paint for pale effects; but to produce a hearty
bloom or florid complexion, the application of a little red or brown is
recommended.

[Illustration: FIG. 13.--“Middle-age” make-up.]

[Illustration: FIG. 14.--“Old-age” make-up.]

The mid-gray wig is also an immense aid, but failing this, a small
amount of powder sifted over the hair will give a similar effect.


“OLD-AGE” MAKE-UP

If the character desired to be represented is carefully studied, notice
being taken of where there is a high light and where the shadows of the
face lie, there should be little or no difficulty in producing a
lifelike representation.

Particular notice should be taken of wrinkles and lines, and these must
be carefully blended as in Fig. 14.

The next essential is the wig, either gray or white being the most
useful. For the old age complexion it is better to get the grease paint
for that purpose; but when the necessity for it is but seldom, an
application of the sallow paint, or in the case of great emaciation, the
addition of a little blue, well blended, will create quite a good
effect.

[Illustration: FIG. 15_a_.--Natural features.]

[Illustration: FIG. 15_b_.--Putty applications.

  A. Putty addition to forehead.

  B. „ „ nose.

  C. „ „ chin.
]

[Illustration: FIG. 15_c_.--Finished features.]

Sometimes it is required that the nose shall be made larger; then the
“nose putty” is called into play, carefully modeled on to the nose, and
with the aid of the same grease paint as is utilized for complexion,
made to correspond with the rest of the face (Figs. 15_a_, 15_b_, and
15_c_).

[Illustration: FIG. 16.--Hand made-up for “old age.”]

Dark shadows under the eyes can be produced by gray grease paint, but
for the formation of crow’s-feet, the brown will be found the best.

[Illustration: FIG. 17.--How to measure for a wig.]

The hands must receive careful attention when the face and neck are
finished, and “made-up” according to character. If juvenile, they
require coloring; if middle-age, a little of the sallow paint: the veins
accentuated, and the flesh made to look pale for old age parts (Fig.
16).

When measuring for a wig, take the various lengths and widths as
indicated by the numerals in Fig. 17.


BEARDS AND MUSTACHES

The most inexpensive of these necessary adjuncts to the home
entertainer’s make-up are undoubtedly those he models for himself from
crêpe hair, which can be bought in a plait and untwined as it is wanted,
a coarse-toothed comb being passed through it. With a few twirls it can
be made the desired shape and cut, and when wanted for a beard, opened
out until it has a hollow cone-shape appearance, and placed on the chin
after a thin coating of adhesia has been applied.

The same method applies to eyebrow and mustache making. When it is
desired to create an unshaven, unkempt effect, pieces of crêpe hair are
cut up exceedingly fine on to a newspaper, the chin covered with adhesia
and the finely-cut hair sifted evenly over the skin. These little pieces
are also useful for sprinkling where the false beard meets the face, in
order to take away the “abrupt” appearance that is often produced.


THE REMOVAL OF MAKE-UP

Having told how to put on make-up, a few instructions for its easy
removal may not be out of place. Whilst soap and water will take off the
grease paint, the simpler method is to remove it with one of the
following: Cold cream, cocoa butter, or olive oil. Vaseline is to be
avoided, as it will often cause a growth of hair; and for this reason
when purchasing cold cream it is advisable to procure the best, for in
the cheaper makes vaseline is largely employed. Pieces of cloth kept
specially for the removal of “make-up” are to be recommended, one for
taking the chief layer off and another of soft texture for final rubbing
before the much-needed wash is resorted to.

For dispelling traces of the prepared burnt cork used for minstrels and
negro burlesques, a pure vegetable soap is all that is required.




CHAPTER III

THE QUICK-CHANGE ARTIST


HOW IT’S DONE

THE machinations of the full-fledged quick-change artist afford the mind
of his amazed spectator much speculation and curiosity as to how his
marvels of dexterity and transformation are achieved. His velocity would
put summer lightning to the blush. His mind and body are as pliable and
elastic as his face; his very nature appears to undergo a swift
metamorphosis of changes in the adoption of the various manners,
idiosyncrasies, attitude, and gait of the character he portrays.
Although agile and unerring, he possesses something of the stoic calm of
the hedgehog, and is as natural in his art as when partaking of a
beefsteak in privacy.

He flashes before the vision on stage or drawing-room platform in dress
so immaculate that it would seem to the uninitiated that his toilet is
the result of hours of care and deliberation. In the costume of an
old-world dandy he struts about, swaying his long-laced sleeves with
exquisite grace over his snuff-box, the while he patters his part. A
moment after, like a shooting star, he has swung himself through a door,
reappearing almost instantaneously by means of another entrance,
transformed in wig and attire to a totally different individual in age
and character.

Thus he continues playing his many parts so nimbly that one can scarcely
believe he has not a bevy of actors hidden in the wings ready to fly
through doors and windows as quickly as a cork pops from a bottle.

That his agility is grounded on a studied method, and his versatile
acting the result of wheels within wheels, well-oiled, and precise as
the mechanism of a clock, is difficult to believe until his secrets of
manipulation are revealed.

“How is it done?” whispers the youth, palpitating with aspirations to do
likewise. Well, in only one way--that way simplicity itself, when once
practice has made it perfect.

I am dealing now with the man who produces a play in which each rôle is
played by himself, and will proceed to explain his proceedings from the
start, so that the ambitious amateur may, at the next Christmas party or
home gathering, try a humble imitation, and gradually achieve glory and
greatness in the eyes of his family.


AN INEXPENSIVE “STOCK IN TRADE”

Let us study the tools and qualities essential to the quick-change
artist. His stock and properties are all inexpensive, save the wigs. It
is not advisable to purchase cheap ones, as they soon show the signs of
wear; while hair in good condition, and carefully kept, lasts for years.

His wardrobe contains garments of the cheapest material, and here the
old clothes-bag of the house, in which articles doomed for a jumble sale
are placed, is invaluable. A clever needle and a little ingenious
manipulation result in splendid effects.

[Illustration: FIG. 1.--Front view of “one-piece” garment; dotted lines
denote springs.]

[Illustration: FIG. 1_a_.--Back view of “one-piece” garment.]

Every garment is made in one piece, and fastens at the back of the
performer by means of clock springs, which may be purchased from any
clockmaker (Figs. 1 and 1_a_). The springs are pliable bands of steel,
cut and rounded, according to the size required, and punched with small
holes, by means of which they are fixed with stitches to neck, waist,
legs and wrists. These springs should be carefully concealed in the
hem, with sufficient material over to hide the opening at the back.

There is no time for fastening of buttons, tying of strings, adjusting
of pins, or plastering of gum. Even the mustaches used are fixed by
means of small silver springs, which adhere to the interior of the
nostrils as firmly as the springs of eyeglasses pinch the top of the
nose (Fig. 2).

[Illustration: FIG. 2.--Back and front view of mustache fixed by
spring.]

The scenery required is also easily manufactured at home by the amateur
carpenter. Thick brown paper, light wooden frames, or, better still,
samples of wallpaper, fixed with small brass hinges, will serve
excellently as an interior.

Until the student is far advanced in dexterity, it is wisest to limit
his production to one environment.

The first thing, of course, is to choose a suitable piece. If you are
clever with your pen, you may compose a sketch to please yourself. This
is a good plan, for you will be governed in your production by what is
most suitable and easy to your limitations. If, however, no suitable
idea presents itself to you, go to any good dramatic firm, and spend a
morning in looking through plays until you alight on something answering
to your purpose.

In choosing a play, avoid an elaborate cast, complicated plot, or
speeches. Long monologues are wearisome and monotonous; while, on the
other hand, conversations of too rapid a character will be impossible to
manage satisfactorily, however skillful your manipulation.

The novice should begin with a curtain raiser, containing two or three
persons, and the movement should be brisk and interesting. Having fixed
on his play, he studies his scenery.

He must have sufficient entrances and exits. To use only one, so that
the audience always knows through which door he is about to appear,
spoils the effect of his cunning. It is far more dramatic to burst upon
them from a direction least expected, and, to do this successfully, as
many doors or windows are necessary, as in a production played by
several persons; but these should not be so placed as to be aggressively
prominent,--curtains, palms, screens, a sham cupboard or fireplace, by
means of which sudden comings and goings lend a thrilling reality to
every movement. Fig. 3 depicts a suggested plan.

The different costumes to be used should be numbered in the order
required, and this is where a cool-headed and reliable dresser is
absolutely essential.

[Illustration: FIG. 3.--Suggested plan of scenery arrangement for the
quick-change artist.]

To robe oneself by means of picking up garments and wigs from chair or
different pegs is slow work, and leaves the stage empty for too long a
time to keep the spectators interested in one’s movements. The swiftest
manipulation will be too slow to those awaiting the re-appearance, and,
unless the movement is kept jogging, there will be no semblance of
reality in the performance.


THE DRESSER

The dresser plays a part no less important than the artist. Upon leaving
the stage the latter immediately wrenches from his person the garment in
which he has just appeared. The dresser is close to the exit with
costume No. 2 held out widely. The performer walks straight into the
clothes, of which the clock springs are widely expanded. In a flash they
close round his person. Another dresser adjusts wig, beard, &c., as he
passes to his next entrance (Fig. 4), with the result that he appears
to answer the remark made by himself in the character No. 1 without any
break being perceptible to the audience. Whilst speaking the words in
the rôle of No. 2, the dresser is awaiting him at the next exit with No.
3 or No. 1 clothes, (if No. 1 and 2 are having a conversation), which he
has swiftly picked up from the floor when discarded.

It is obvious that in order to be of real service the dresser must be as
familiar with the words of the play as the performer. It is not enough
only to know the cues. He must, by his knowledge, calculate to a
hairbreadth how long No. 2 takes to reply, and be prepared upon the
instant of exit with the apparel of No. 1.

[Illustration: FIG. 4.--System of “changing” behind the scenes.]

A plan of modes of entrances and exits should be arranged beforehand
between actor and dresser, and never altered. Each sketch must be
founded on a different plan, and in each the movements should be so
carefully practiced that they become almost a habit. Any chance
alteration or mistake leads to bungling and loss of time, for, if No. 1
disappears through the exit fixed upon for No. 2, naturally the dresser
will not be there awaiting him, and this mischance will probably throw
all the succeeding movements into confusion.

The quick-change artist is employed in a race with time, and, time being
swift and fleet of foot, the human competitor cannot possibly afford to
loiter or blunder.

In a play or sketch in which several characters are to be impersonated
it does not make for speed to have installed as many dressers behind the
scenes. One, or at the most, two reliable and experienced assistants are
ample. A larger number will only hinder the artist’s and their own
movements.

That there is a certain amount of nervous strain about this mode of
performance cannot be denied, but, by constant practice and coolness,
the artist greatly facilitates the mental effort that accompanies his
portrayals.

A sketch should at most be of a half-hour’s duration. The actor needs
some knowledge of acting, and must be able to change his voice to the
different pitches required. It should range from the high-pitched
falsetto of the aggressive female type of uncertain years to the gruff
bass of the dogmatic father, while the cooing notes of the immaculate
heroine should be carefully cultivated.

[Illustration: FIG. 5.--Showing wig, eyebrow, nose, and mustache
combined.]

[Illustration: FIG. 6.--Another example, showing bonnet, wig, nose,
spectacles, and veil combined.]

The artist must of necessity be clean-shaven, so that he can adapt
beard, “mutton chops,” or mustache as required.

Figs. 5 and 6 show completed examples of one-piece transformations. Fig.
7 depicts coat and breeches combined.

Most important of all the quick-change artist must be self-reliant,
self-confident, and absolute master of emotions engendered by
nervousness, for these lead to loss of memory where words and modes of
entrance and exit are concerned. While on the stage his mind must be
concentrated on the part he is playing to the exclusion of everything
else, his attention as completely focused upon the impersonation as
though the other characters were being undertaken by different
individuals.

For many of these practical suggestions the writer is indebted to a
versatile quick-change artist, who willingly revealed some of the
secrets connected with his favorite form of entertainment. He emphasized
the fact that success is not achieved by means of numerous wigs and
costumes--a performer may possess the most elaborate wardrobe,
repertoire, and paraphernalia, and yet sadly fail to move the interest
and sympathy of his spectators.

As this artist remarked, the true art lies in facial expression,
gesture, attitude, and change of voice. These must be cultivated
assiduously before any one-man play is produced, for it is only when the
features are plastic as rubber, gesture and attitude the perfection of
mimicry, the voice containing every note in the range in which language
is expressed, that the steep ladder of success is scaled, and the timid
novice becomes transformed into the popular resourceful artist.

[Illustration: FIG. 7.--Breeches and boots, showing front and back
views; dotted lines indicate springs.]




CHAPTER IV

CHARACTER IMPERSONATIONS


TALENT _v._ MATERIAL AIDS

A VERY popular means of amusing a house-party is the impersonation of
various characters. It is an entertainment more suitable to the limits
of a drawing-room than tableaux or amateur theatricals, which of
necessity entail a certain amount of expense, scenery, lighting, and
much labor and anxiety in securing and drilling an efficient cast.

Although it is doubtless true that this art needs some natural talent,
skill, and mastery of detail, much can be done by practice and
self-reliance.

A clever man in the street amuses a long line of patient theater-goers,
his only paraphernalia being a soft, pliable disc of black felt.

The metamorphosis that article undergoes in his hands is a marvel.
Dexterously he wields it--a mere twist, and it is the three-cornered
biretta of a cardinal. Another, and it shades the villainous glare of a
brigand, who appears quite capable of cutting the throats of his
audience. A deft touch and a strut, and it tops the head of a swaggering
dandy. Next it shades the solemn, ascetic features of the priest. Tipped
to a different angle, and the cockney grins with happy-go-lucky
impertinence. Thus it is used to represent every grade of society from
the highest to the lowest of humanity.

But miraculous as that piece of felt seems, it is really the eyes and
gestures of the artist plying it that lend it personality, power, and
magic of transformation. In the hands of one ignorant of the tricks, it
is a futile and clumsy piece of mechanism.

A man may put a tea-cosy on his head and look absurd; another does the
same, and behold!--a living Napoleon stands before us. The greater the
artist, the simpler the preparations used, for the skilled
representative trusts to eyes, gesture, and figure rather than to the
material used.

Elasticity of feature is essential. Without this it is impossible to
produce a living likeness. One may possess wigs, beards, eyebrows, sham
noses, and skulls of every imaginable shape and size, and yet fail
through inability to assume the expression peculiar to the study
undertaken.

In rehearsing impersonations a mirror is as good and true a friend as in
reciting. Observe how faithfully it reflects every change in the human
countenance.

Supposing the character studied to be that of King Lear. First read your
Shakespeare and memorize the lines which reach the very crisis of the
agony and woe of love of that unfortunate monarch, as when, turning to
his ungrateful, malignant daughters, Regan and Goneril, he cries--

                        “I will do such things,--
  What they are yet I know not,... but they shall be
  The terrors of the earth. You think I’ll weep;
  No, I’ll not weep:
  I have full cause for weeping, but this heart
  Shall break into a hundred thousand flaws
  Or ere I’ll weep. O fool! I shall go mad!”

Understand the breaking, raging, heart-throbbing beneath them. Repeat
them aloud before the glass, with wild, burning eyes and quivering lips,
with shaking hands upthrown and tensely up-drawn figure, and by-and-by,
if not at once, you will see King Lear peering at you distraught.

When you have thoroughly gripped that image you may crown it with snowy
hair, pent brows, and ragged beard--but not till then.

And now, supposing, for a change--for there is nothing like variety--you
undertake so utterly different a character as that of his faithful fool.
Here no jingling bells and jester’s folly are needed to aid you, for
these may be, and frequently are, but the danger signals to discerning
eyes of incompetent treatment; you want his shrewd, loyal heart in your
breast, his pulse beating in your brain, your finger-tips. His cunning
grin must be a wavering crack in a wizened face as you memorize such
caustic saws as--

“Thou hast pared thy wit o’ both sides, and left nothing i’ the middle;
here comes one o’ the parings.”

This method of memorizing and voicing some sentiment characteristic of
the figure presented, is only for private use during rehearsals.

Costume performances are dumb, and, this being the case, it is easy to
realize how eloquent and exact the physical contour must be for faithful
similitude.

Regard the _idea_ as an object being photographed. When you have gripped
it, and, as it were, posed it before the camera of your brain, focus,
produce, and develop it on your features, which may well be likened to a
film.


KNOWLEDGE FROM NATURE

In order to master the idiosyncrasies, mannerisms, eccentricities, and
habits of characters, study is essential, and for this reason it is
probably best to acquire knowledge, not from imaginary heroes of fiction
or drama, but from the fount of Nature.

Popular statesmen, musicians, admirals, soldiers, prelates, scientists,
novelists, and famous actors walk our streets to-day, and each possesses
some anomaly of expression, feature, speech, gesture, or mannerism which
is distinctly his own, and distinguishes him from his kind. Just as no
two leaves of a tree or petals of a flower are exact duplicates, so in
mankind--no matter how subtle the anomaly--it exists, and must be
fathomed and included in the portrait; delicately if it is delicate,
proportionately broadly and ostentatiously as it is broad and
ostentatious.

For example, there are some persons whose peculiarities are as evasive
and subtle as the bouquet of a wine, the bloom of a grape. We feel their
influence, we realize them to be the essence of their individuality, and
yet we fail to catch and master them; while there are other persons we
meet whose eccentricities flare out at us in a moment, and illuminate a
character more fully and faithfully than any words.

The pouting lip, the flickering eyelid, the shrug, the drumming on the
table with the fingers, the stroking of nose or chin, the revolving of
thumbs, the pushing or patting of the hair, are eloquent signs that he
who runs may read, and make his own. These may be called ostentatious
mannerisms.

The subtle peculiarities are far more difficult to catch and convey
faithfully. One man suddenly narrows his eyes and looks introspectively
at you, or the mouth clinches unexpectedly over the teeth without any
apparent reason. A pulse suddenly quivers into sight at the temples, and
is gone again. The expression falls into repose, but that very stillness
indicates a perplexing and evasive expression of temperament and
individuality that you cannot catch to your own satisfaction. You may
note coloring of hair, beard, mustache, &c. You may purchase their exact
match, and find the likeness only a shell, because the essence that
lends delicate fragrance and character has escaped you, and without it
your representation, however flawless in coloring and texture, is as
unsatisfactory and unreal as the marble statue to the human face and
form.

Fundamental to the successful rendition of character impersonation is
the cultivation of dexterity and quickness. The dumb representative
must have all his regalia of wigs, beards, eyebrows, hats, helmets,
cloaks, &c., well arranged, and within easy reach.

In a sense he is a conjuror--a magician. His movements must be swift as
lightning. Indecision creates a jar; a pause or bungling spells failure.
A small velvet-draped stand or table placed behind him, and within easy
reach, with each article ready in the order wished, is essential. In the
center of this should be a mirror, with a good electric light over it,
but shaded as much as possible from the audience (Fig. 1).

[Illustration: FIG. 1.--Character impersonator’s stage table.]

The stand must be draped in dark colors, so as to obtrude as little as
possible on the audience. While in preparation, all other lights near
you should be turned off, and only switched on for a moment or two the
instant you are ready. The attitude should be struck in the dark, and
this must be sure and swiftly taken, and absolutely in keeping with the
character assumed. Avoid grease paints as far as possible.

A pianoforte or small orchestra playing some melody suitable to the
impersonation will prove a most valuable adjunct to the imagination of
artist and audience.

Avoid such hackneyed characters as Napoleon, the late Sir Henry Irving,
the German Emperor, and similar portrayals that may be witnessed any
evening at almost any vaudeville hall. An audience is frequently more
amused by the imitation of _types_ than of individuals.

[Illustration: FIG. 2.--The costermonger.]

[Illustration: FIG. 3.--The lady-killing curate.]

The fat saloonkeeper, the costermonger (Fig. 2), the _blasé_ gentleman
of fashion, the racetrack bookmaker, the ruddy countryman, the
lady-killing curate (Fig. 3), and the typical Soap King (Fig. 4), the
country rustic (Fig. 5), and many other such types are excellent studies
for representation.

[Illustration: FIG. 4.--The soap king.]

[Illustration: FIG. 5.--The country bumpkin.]

Although the character portrayals of the costumed and wigged
impersonator depend on wordless demonstrations between the items and in
ordinary evening dress, the artist may announce the name of the
personality to be represented, or have it worked in almanac fashion and
shown to the audience as it appears.

The former method, however, is quite usual, and perhaps more suitable to
drawing-room entertainments.

It may be kept in mind that this style of performance should not be
unduly long, and should never exceed twelve or fifteen minutes.


SPEAKING IMPERSONATIONS

Speaking impersonations are more difficult to achieve successfully, for
in them, as a rule, the artist has no regalia to depend upon. His hair,
his face, his voice, his limbs, his fingers are his only aids, but these
are more than sufficient for the talented and skilled performer. His
voice is as elastic as his features in power of mimicry.

He should be clean-shaven, but with a plentiful crop of hair, which he
can arrange and manipulate as he wishes with a mere twirl or pat of the
hand, and these must be sympathetic and convincing expressions of his
every movement. “There is no more expression in the back of the hand
than in the back of the head,” yet of what subtle demonstrations is it
not capable?

A whole epitome of human emotions may be demonstrated by the gradual
unfolding of the flexible, sensitive fingers. The first finger raised,
and intelligence and meaning begin to develop. The palms upturned, the
shoulders uplifted, and the head slightly bent, and you see the suave
helplessness typical of the Frenchman.

The arms flung outward, with the palms parallel, and the fingers falling
naturally, indicate sentiments of affection, welcome, and cordial
invitation. Stretched farther away, with fingers distended, and you have
entreaty, desire, passionate pleading, and supplication. The wrists
upturned, the fingers crooked, and grasping, and we see the
personification of rage and avarice, while the raising of the open hand,
what horror it indicates!

Yet the hand is only a part of the mechanism. Its soul is in the eye,
which combines in partnership and signifies calm, candor, liberality,
love, gentleness, meditation, resentment, boldness, defiance, wrath, and
fear, in complete accord with its dumb component.

The nostrils inflate in scorn, the head is proudly raised in dignity or
joy, and meekly bowed in humility; bent forward in shame, squarely
upright, with firm compressed features, for determination and will
power.

The artist must never be tempted to sacrifice his cultured discretion in
a portrayal. For instance, to give the cockney the musician’s hand, or
the priest the bookmaker’s wink, the sly housebreaker anxious to escape
notice the loud, boisterous guffaw of the countryman, is to be guilty of
the most insensate blunders.

Action and gesture should be skilled and practiced handmaidens to the
brain that molds the idea, and their service must be winged to respond.

  “True ease in action comes from art, not chance,
   As they move easiest who have learnt to dance.”


TEMPERAMENT

The psychological treatment of characters depends and is influenced in
no slight degree by temperament. The character the student is about to
study has its peculiar atmosphere of mind and body, which unconsciously
dictates and regulates its actions from head to foot. The most important
temperaments are:--

1. _The optimistic temperament_, embracing impulsive, warm-hearted,
sanguine, easily-pleased, tender, ambitious dispositions.

2. _The pessimistic temperament_, embracing nervous, timid, sensitive,
overwrought, peevish, unstable, irritable, depressed, neurotic,
restless, dissatisfied, cynical, morbid, self-conscious dispositions.

3. _The artistic temperament_, embracing extravagant, sympathetic,
imaginative, languid, reckless, turbulent, excitable, hot-tempered,
brooding dispositions.

4. _The commercial temperament_, which embraces the phlegmatic,
lymphatic, enigmatic dispositions.

Now, the first way of approaching a new study is to consider what
characteristics it possesses, and to what class of temperament it
belongs, and, when this is decided, the student asks himself, what
gesture will be the most symbolic and eloquent of that temperament?

This method, conscientiously adhered to, will provide a safe and firm
groundwork for the beginner.

With judgment and sense, he will soon be able to place his character in
its right niche, and to plan his actions in accordance, even if he has
never seriously studied gesture. The movements of an open-hearted,
liberal man are usually large, free, and liberal. He opens his arms
widely for an embrace. He gives you his hand in greeting warmly, and
with frank, cordial pressure. His eyes shine clear and steady below a
benevolent forehead. His walk, with its free, steady swing, is the index
of his generous and kindly disposition.

Now contrast him with the mean man, the usual type of which is pinched
in physical delineation, action, expression, and thought. His hair grows
sparsely on a skull, screwed as grimly to his face as the upper section
of a bicycle bell to the lower. His eye is squeezed in a narrow slit of
socket, roves backwards and forwards like a marble in a puzzle-box. His
mouth is withered in bitter antagonism for his fellow-men. To catch a
generous smile upon his colorless lips is to surprise a sunbeam at
midnight.

Of course, there are many shades in the scale between these extremes of
the very liberal man and the very mean one, and the artist who is
imitating the thrifty soul must remember the infinitesimal points of
difference which distinguish him alike from the benevolent and
avaricious.

And, in the wide margin of temperaments, an artist must be careful not
to label and pigeon-hole his characters as if they were bottles of
physic, for in the complex nature of one man there may be vast
contradictions, just as in many good medicines there is a minute
quantity of poison, so a disposition may be tinted with qualities not at
all worthy of admiration.

There are occasions when the most impulsive becomes cold and hesitating,
the most affectionate cruel, the most benevolent calculating, and the
most patient, hot-tempered and passionate.


CHARACTER AND CIRCUMSTANCE

The artist must never forget the important crucible of circumstances
which molds and forms each character, and sometimes is potent to change
the most optimistic temperament to one of pessimism and cynical
bitterness. Yet, while remembering this, one must probe beneath the
stamped envelope of environment to decipher the hieroglyphics of the
fettered soul inclosed.

One does not find the wild, untutored gestures of the stump orator in
the refined politician, nor the turbulent raving of the fanatic in the
sermon of the cultured ecclesiastic, while the expression natural to the
plebeian is such as the aristocrat never indulges.

There are many natures so complex as to defy all classification, and to
portray them successfully is an almost impossible matter unless one
masters the delicate mechanism of their nature. A grandfather’s clock to
outward appearance is a figured circle in a narrow wooden case, with
softly regularly-moving pendulum, but get behind that exterior to the
revolving wheels, and see what an amount of intricacies are involved. So
the man who presents a calm, self-possessed exterior to the world, may
in reality seethe with qualities not at all phlegmatic or level-headed.

In conquering the technicalities of character, one must, as far as
possible, grip the crisis the personality has reached in his lifetime,
and this is one reason why a historic character is easier to grasp than
one contemporaneous. For example, he who portrays Napoleon in the flush
of success and victory, does not represent him as he who images him at
the end of his career--broken-hearted, alone, and in despair, suffering
the calumny and scorn of those who exhibited most faith and admiration
of his sanguinary achievements.

Correct attitude and pose are extremely important, and should be
carefully studied. The old man has tottering bowed knees, but the youth
stands firmly.

The reverberation of the interior gestures rules and gives to the torso
or trunk the inspiring grace of truth and beauty. It is only when a
soldier or sailor on duty is being represented that the artist may stand
bolt upright and move automatically. At all other times the torso should
be held with flexible ease, ready to combine with eye, face and gesture,
in the emotion and force of the impersonation. To portray the child with
mature and abandoned gesture is to present a caricature of nature, and,
in like manner, to represent the adult with the careless gestures of the
child, is to convey the impression of one inane and undeveloped.

In attitude, remember the maxim of Cresollius: “Without the hand, no
eloquence.”

To imagine a boy stealing jam with the wild eye and hand-clawing
attitude of the miser snatching at gold is to exaggerate grossly and
confuse the human emotions, and to paint comedy as the burlesque of
tragedy. The hands are capable of such a vast amount of expression that
they have been considered “numerous and copious as words themselves.”

While imitating characters, never be bound by the representations of
other artists you have seen. See with your own eyes, study with your own
brain, avoid that conventionality of fashion and ideas that cripples
progress. Let your maxims be your own, and, when they are mastered, be
not ashamed to demonstrate them with grand and self-reliant
originality.




CHAPTER V

THE UNIVERSAL HAT


MARVELS OF CHAPEAUGRAPHY

EVERY entertainer must have felt at some time or other the need of a
short “gag” to fill up that awkward gap which so frequently occurs
between the conclusion of one long piece and the commencement of
another.

The mind of an audience is of a flighty nature and requires to be kept
continually amused, or it will wander into paths of boredom; and many a
good entertainment has failed for the simple reason that the ball has
not been kept rolling.

It is during one of these uncomfortable pauses that the Universal Hat
may be appropriately introduced, and, if worked well, it cannot fail to
gain approval.

You can either buy or make a Universal Hat, and as to do the former will
cost a dollar or more, whilst the latter can be done for less than half
that sum, it is well to be your own hat-maker.

Obtain a piece of fairly strong black felt, measuring 24 inches square,
and cut it into a ring, the diameter of the whole circle being 24
inches, with a hole in the center 7 inches across. That is all that is
required as far as the hat is concerned, and the success of your piece
will now rest entirely with yourself.

Arrange a screen behind which to retire, and have a good-sized mirror,
so placed that you will be able to see in a moment how your head-dress
suits. Keep a little rouge ready, as well as a burnt cork for blacking
eyebrows, making mustaches, &c. Remember that quickness is a necessity,
for the smarter you are in changing your hats the more the audience will
appreciate the effect.

Now to give a few examples of what can be done with the universal hat,
so arranged as to give scope for any amount of ingenuity in inventing
new ideas.

Before beginning your show step from behind the screen, raise the ring
of felt in your hand, and exhibit it to the audience. Then step back
under cover, put the hat on your head, giving it a tilt in front and a
rakish tip to one side, assume a stern expression, and, if you have a
dog-whip amongst the stage properties, grasp it firmly in your hand, and
make an appearance before the spectators in the character of Buffalo
Bill. Take care always to face the audience as in Fig. 1, otherwise the
top of your head will be seen through the hole in the hat.

[Illustration: FIG. 1.--Buffalo Bill.]

Remember that in this, as in all the other characters, a lot--indeed,
almost everything--depends upon your expression, which should be
entirely in keeping with the person you represent. Buffalo Bill must not
wear a grin, but must appear as grimly in earnest as though he were
hastening to the relief of the Deadwood stage.

Another point to bear in mind, is that you must not make a long
appearance. A minute for each character is ample, and, as you appear
before your audience, announce who you are in a tone suggestive of the
person you are representing. A few remarks in keeping with the character
will greatly add to the realism of your make-up, but let your words be
like your appearances--brief and effective.


POPULAR CHARACTERS

Napoleon makes a good character to represent, and his hat is very easily
made. Draw two sides of the felt through the hole in the center, and
pull the hat firmly down about your ears, as in Fig. 2. Assume a stern
expression, suggestive of Waterloo, thrust your left hand into your
breast, hump your shoulders, and look fiercely at the audience as though
you could see Wellington at the farther end of the room.

Later on in the performance you can represent Bonaparte’s great
antagonist by making the hat in the same way, but wearing it with the
peak forward as in Fig. 3.

[Illustration: FIG. 2.--A hat suggesting Napoleon.]

[Illustration: FIG. 3.--The Iron Duke.]

General Wolfe is another easy character to assume. His hat is made in
this way. Lay the felt ring flat on the table, lift up one side, draw it
towards you and then pass it downwards through the hole. Pull back the
piece that you have passed through the hole, in the direction from which
you took it in the first place, and you will find it has made a hat of
the shape shown in Fig. 4. When you fit it on your head pull it firmly
down towards your ears, but not too tightly, and the effect will be
complete. A little practice will serve to perfect you in making the
twists necessary for this and other hats, and patience will soon reward
you. To heighten the resemblance to General Wolfe, whiten your cheeks
with a little chalk and draw them slightly in, to give the appearance of
being haggard and wan. If you can get a sword, point to the ceiling with
it enthusiastically, as one can imagine the General did when he
encouraged his men to climb the Heights of Abraham.

As a contrast to these more exalted personages, you can now appear as
the coal driver; although if you wish to increase the realism by
smearing your face into a state of suitable dirtiness with burnt cork,
it would be advisable to leave this character to the last. To make the
hat, lay your felt flat as before and draw up a piece from the rim as
was done in the case of General Wolfe. Now, instead of passing it
completely through the hole, push it only halfway through, giving it
what may be called a half twist. It will then appear as in Fig. 5, ready
for wear. Draw it tightly over your head, and slouch upon the scene,
putting your hand to your mouth and shrieking “Coal O!” in a cracked
voice.

[Illustration: FIG. 4.--General Wolfe.]

[Illustration: FIG. 5.--The Coal Driver.]

[Illustration: FIG. 6.--A Priest’s Biretta.]

[Illustration: FIG. 6_a_.--A Priest.]

You may now appear as a priest in a biretta. Place the felt upon the
table and then draw a side from below, up through the hole, exactly the
reverse way from that in which Wolfe’s hat was made. When you have drawn
it right through, bend it down and pass it up through the hole once
more, thus making two twists. It then resembles Fig. 6, and if you draw
it upon your head with the broad brim flush against the forehead, the
impersonation will be striking. Tuck a little lapel of white into the
collar, raise your right hand with two fingers extended, and face the
company with as pious an expression as you can assume.

[Illustration: FIG. 7.--The Pied Piper.]

As a last example, an effective appearance may be made as the famous
Pied Piper of Hamelin. Having laid the felt flat, make a twist from
below upwards, as you did in the former hat--the priest’s biretta. But
for this hat only one twist is required, so when you have done this, the
hat will appear as in Fig. 7. You must now put your hands in the opening
and stretch it as wide as possible, thus making the rolls very taut and
firm. Turn the felt over and fit it on the head as shown in the picture.
Draw your collar up, take a tin whistle in your hand, and pipe a few
notes before making your appearance. Then slink into view with a cunning
smile upon your lips, reciting these lines from the poem:--

  “Please your honors, I am able
   By means of a secret charm to draw
   All creatures living beneath the sun,
   That creep or swim, or fly or run,
   After me so as you never saw!
   And I chiefly use my charm
   On creatures that do people harm,
   The mole, the toad and newt and viper;
   And people call me the Pied Piper.”

Of course these are but hints. An ingenious person will soon discover
endless other ways of adapting the Universal Hat in such a manner as to
keep the audience amused for some considerable time. Always remember,
however, these two axioms--

  Let your make-up be done quickly.
  Let your appearances be short.




CHAPTER VI

NIGGER MINSTRELSY


THE COMICAL END-MEN

SOME people imagine that a black face, a pair of large check trousers
and a rather dilapidated hat, are all that’s necessary to make a nigger
minstrel. This is, however, a great mistake, and whosoever feels the
stirring of an ambition to amuse his friends with a nigger
entertainment, must not be discouraged if he finds the road harder than
he expected. Its difficulties, however, are far from insurmountable.

[Illustration: FIG. 1.--Seating arrangements of nigger minstrel troupe.]

For a really successful nigger entertainment seven persons are
necessary; the interlocutor--usually known as Mr. Johnson--one bass and
one tenor singer and four “end-men.” The troupe should be arranged as
shown in Fig. 1. Now, before describing what to do, a few words as to
how you should arrange yourselves will not be out of place. The stage
should be raised, if possible, to enable any member of the audience to
see the performers. Unless you are performing a farce or drama, such as
will be described later, a curtain is not absolutely necessary, provided
the troupe can get to the stage without having to pass right through the
assembled company.


MINSTRELS’ “MAKE-UP”

As far as “make-up” is concerned, this should present no difficulty
whatever. Many barbers, and some music shops, can supply “nigger black,”
which must be rubbed into the face and hands, after the skin has been
well washed and dried. When the performance is over the black can easily
be removed by means of soap and hot water. To redden the lips and
enlarge the mouth, use carmine or rouge; cover the lips and paint them
to appear as though stretching almost from ear to ear (Fig. 2). Cheap
wigs can be obtained for but a small sum from any hairdresser. Those of
Mr. Johnson and the sentimentalists should be as shown in Fig. 3, while
each of the “end-men” should provide himself with one similar to that
depicted in Fig. 4. The “interlocutor” and sentimentalists usually wear
ordinary evening dress, the “end-men,” however, wearing frilled collars,
cuffs and fronts, as shown in Fig. 5. A complete outfit comprising
stockinette face, head, eyes, teeth, and hat can be purchased for about
$2.50.

[Illustration: FIG. 2.--Showing how the lips are painted.]

[Illustration: FIG. 3.--Interlocutor and sentimentalist’s wig.]

[Illustration: FIG. 4.--End-man’s wig, showing workable tuft.]

Music is a necessity with a troupe, and you will accordingly require
another person to play the piano as an accompaniment to the songs and
choruses, as well as for the overture and instrumental pieces. It is
also presumed that the members of the troupe have fairly good voices and
are able to sing, not only in tune but in time with one another.

In serious or sentimental songs, such as “Swanee River” and other
favorites, the “end-men” must forego their love of mirth and take part
in all solemnity, reserving their facetious behavior for a more timely
moment. After these remarks the principal characters in the troupe may
be discussed.

[Illustration: FIG. 5.--Frilled collar, shirt front, and cuffs used by
end-man.]

The interlocutor is one of the most important persons upon the stage. It
is his duty to introduce each number of the programme to the audience;
to be the butt of the “end-men’s” jokes; and to assume upon every
occasion an air of the utmost ignorance and simplicity, that shall prove
an admirable foil to the exuberant humor of his companions. He must
appear absolutely innocent of any idea of the answers to the riddles and
conundrums asked, and must reply to the occasionally personal remarks of
his friends with the utmost suavity and good humor. In short, what with
helping the others to sing and keeping the ball rolling generally, Mr.
Johnson is responsible, to a large extent, for the success or failure of
the entertainment.


FROM FAILURE TO SUCCESS

The “end-men,” with whom lies the task of producing most of the fun of
the nigger entertainment, must be possessed of a ready wit--able to tide
over awkward pauses, prepared with some “gag” when the fun is beginning
to flag, and capable of turning disaster into a mighty success. From Mr.
Johnson’s placid obtuseness they will be able to draw much sport, and
bandying jokes at each other’s and the interlocutor’s expense, should
keep the audience shaking with laughter.

Whilst on the subject of jokes a note of warning may be struck. The
moment humor changes to vulgarity, it produces disgust in any
respectable audience. It is therefore well worth while to think over the
regular jokes you intend introducing into the performance, and if there
be any that are in the remotest way likely to offend the feelings of any
person in the company, cut them out.

There is another point worth remembering in the matter of jokes. It may
seem a truism to remark that a joke should be funny, yet the very
funniest of jokes will fall flat if it is not led up to suitably. Don’t
ask Mr. Johnson a conundrum in a meek tone as though you were requesting
him to tell you the time. His immovably suave ignorance will extract the
answer from you, it is true, but the chances are ten to one that the
audience have either missed the question or will fail to see the point
of the answer.

Jokes should be introduced by a certain amount of patter which serves to
engage the attention of the hearers in such a way that when the
inevitable fun really comes they are perfectly prepared to appreciate
it. Books can be bought containing numbers of these jokes with the
suitable patter, and these will prove very useful to the amateur, who
must nevertheless remember that success really depends upon the way in
which he springs the joke upon the audience.


COON SONGS

And now a word about the singing. It goes without saying that the larger
the troupe and the better trained the voices, so much the more enjoyable
will be the choruses. The number of songs from which to select is
legion; the best plan is to write to some leading musical publisher,
telling him what you want. He will be only too pleased to send his
catalogue with some advice as to what will prove suitable. Avoid any
comic songs with a double or doubtful meaning, and keep to strictly
characteristic songs as far as possible. Old favorites never fail to win
applause, and are always safe to fall back upon; but do not be too
conservative--try _some_ novelties.


SONGS AND “GAGS”

Nigger entertainments are usually divided into two parts, the first
consisting of songs and “gags,” as the short dialogues and impromptu
jokes are called, whilst the second is devoted to stump speeches and
one-act dramas or farces. So far as stump speeches are concerned,
excellent collections are published by the leading publishers of that
class of entertainment. Your bookseller will obtain a catalogue for you,
and a choice can then be made. The speeches should be very carefully
learnt by heart, together with the appropriate gestures (for which full
instructions are always given), and unceasingly practiced until you are
able to make your stump oratory bring down the house with delight.
Stump speeches are the province of the “end-men,” and properly
delivered, can be relied upon to prove one of the successes of the
evening.


ONE-ACT DRAMAS

With regard to one-act dramas and farces, a very exhaustive catalogue
can be furnished by publishers, with full instructions as to how they
should be performed. A word of advice, however, to the intending actors.
Too much care cannot be expended upon preparation and rehearsals.
Nothing will go of itself in this world, and least of all plays and
sketches; it is a fatal mistake to imagine that the smallest drama or
even “gag” will succeed by its own merits and with only a little help
from yourself. Endless trouble and care must be taken in preparing the
simplest joke, and boisterous as the fun may prove upon the stage, it
cannot be spontaneous, but must be diligently rehearsed again and again
before it can be presented to your audience.

Your great object is, not to enjoy the fun yourself but to make the
others enjoy it, and if this is borne in mind, you will not only amuse
them but have a delightful time yourself. Again, never forget that in a
play one actor relies upon another to repeat the actual words of the
“book,” as cues and stage directions depend upon verbal accuracy. Do
not, therefore, introduce any novelties of your own--learn the words and
keep to them, for any original introductions on your part may throw the
whole play into disorder, exasperate the other actors and disgust the
audience.

To keep to the “book” is easy enough, and if you act in earnest--and
this is essential for the most comic pieces--you will find no difficulty
in sustaining your part correctly and intelligently. Do not laugh at
your own jokes, unless you are instructed to do so, but keep a grave
face and appear as though to find yourself in the most farcical
situations were a matter of everyday life.

To give an idea of a reasonably simple programme which shall include a
farce, the following is suggested:--


  PART I

  _Overture on the piano._ A march.

  _Chorus._ Some song in which all voices can join.

  _Solo._ Preferably a sentimental song.

  _Jokes._ Properly led up to by an end-man.

  _Comic Song._ Also by an end-man.

  _Solo._ Another sentimental song. And so on for ten or eleven turns,
  after which comes the

  _Interval._ During this the pianist can entertain the audience with
  some operatic piece.


  PART II

  _Chorus._ As above.

  _Piano Solo._ Whilst this is being played the stage should be prepared
  for the

  _Stump Speech._

  _Curtain and Piano Solo._ During which the stage is arranged for the

  _Farce._

  _Solo._ Sentimental song.

  _Finale._

This programme must, of course, be adapted to any exigencies of time,
space or other circumstances, but will serve as an example of what _can_
be done.

To conclude with a few hints as to the actual entertainment. If
possible, have a sufficient number of programmes printed, or carefully
and legibly written by hand, as the most tolerant audience grows restive
if it does not know “what comes next.” Distribute these, and let one of
your party make it his business to see that the company are properly and
comfortably seated. Begin punctually; if your audience have to wait they
become impatient, and as there are few people more incapable of seeing a
joke than impatient folk, it will be to your own advantage to begin at
the proper time. Be as silent as possible behind the scenes; it is very
tantalizing for the spectators to hear a wild rushing hither and
thither, hoarse whispering, and the various signs of excitement in which
they are not allowed to participate.

Of course a certain amount of bustle is unavoidable, but reduce it to a
silent minimum. Do not be shy; remember in the first place that the
black hides all your blushes, and in the second place that nobody is
there to see _you_, but to see a “nigger” who is going to make them
laugh. Half of your audience have probably done the same in their time,
whilst the other half would have done so if they could; so take heart,
and show them all how really well it can be done. However well-disposed
your company may be, do not let that be any excuse for slovenliness on
your part, but let it rather incite you to work all the harder, so that
when everything is finished and the black is off your faces, the
universal opinion will be--“We would never have imagined that it could
be carried out so well!”




CHAPTER VII

SOME SUGGESTIONS IN BLACK


FOR “NIGGER MINSTRELS”

IN the previous chapter hints have been given to enable a party of five
or more performers to give a Nigger Minstrel Entertainment. The object
of the following is to show how one or two people can contrive to amuse
their friends with a few negro performances.

The pieces are suitable either as items in a variety entertainment, or
as convenient “gags” to be introduced between longer entertainments when
the interest of the audience is to be sustained by some timely
diversion.

It might be remarked, by the way, that it is surprising how much the
effect of a joke depends upon the humor of the audience. If they are
feeling in a happy and pleasant frame of mind, the mere sight of a comic
man is sufficient to bring forth roars and shrieks of laughter. But if a
gloom or lack of interest has settled over the company, even the comic
genius of the late Dan Leno would most probably have failed to raise a
smile.

There are two things almost invariably associated with nigger songs--a
banjo and bones. Proficiency with both these is necessary before
attempting to give an entertainment.

Practice and a quick ear are indispensable for playing or even strumming
a banjo. A very little practice will enable you to strike chords with
ease, whilst a quick ear will show when they should be played.

To make a successful “hit” with the “bones” is a question, more or less,
of knack.

A set of four bones costs about $1.00. When buying take care they are
sound, _i.e._ with no crack or flaw, and that they contain no core of
pith, as this is liable to dull the sound, rendering it quite impossible
to obtain the sharp clean click so necessary for successful rendition.

Having obtained your bones--a pair for each hand--you must know how they
should be held. Notice they are slightly curved, as in Fig. 1. With a
pair in each hand place the ends between the first and second and second
and third fingers, the convex sides towards each other (Fig. 2). Hold
No. 1 (the bone between the first and second fingers) fairly firmly,
although not so stiffly as to rob it of a distinct spring. No. 2 (the
bone between the second and third fingers) must be rapped up against its
companion by the action of the third and fourth fingers.

[Illustration: FIG. 1.--Curved bone used in nigger minstrelsy.]

A sharp shake of the hand will make the bones clap together, while if
you keep the hand quivering and also work bone No. 2 vigorously a
continuous rattle is produced.

[Illustration: FIG. 2.--How to hold the bones.]

[Illustration: FIG. 3.--Correct position for playing the bones.]

A good plan, when once you are accustomed to having the bones between
the fingers, is to hold the hand with the knuckles upwards, the bones
pointing to the ground, as in Fig. 3. By this means the fingers are
allowed freer play. At the same time a better appearance is given to the
exhibition.

At first you will find your rattles jerky and spasmodic, but do not be
content until you have the bones so entirely under command that you can
make a long rattle as easily as a solitary tap, remembering that the
less exertion you betray the better will be the effect.

Your own ear will show you how to introduce them into the music. Do not
drown the air--the bones are only intended to give a point, to
accentuate certain parts and not to render them inaudible. A smart
rattle may be given at the commencement of the music and at the
conclusion of the song.


INTRODUCING JOKES

All jokes should be introduced by a certain amount of conversational
patter between the Interlocutor and “Bones.”

Mr. Johnson, the interlocutor, is always a very simple-minded person,
unable to see any joke until it has been fairly thrown at him, and
perfectly innocent in the presence of the most obnoxious puns. He has a
certain patronizing air with his companion which only serves to make his
innate simplicity more delightful. Mr. Johnson maintains an impassive
face in the most ludicrous and trying situations by his very
matter-of-fact behavior, extracting all kinds of smart things from the
funny man.

“Bones” is the very reverse of Mr. Johnson. He is up to all the latest
catches, full of quips and puns, is possessed of a never-failing store
of quaint experiences and remarkable stories, the most improbable of
which are gravely swallowed by Johnson. Yet the big red lips on his
broad black face must be immovable and never show the least symptom of a
smile as he recounts with stolid solemnity his marvelous doings to his
credulous friend.

The following dialogue is arranged for these two characters. Mr. Johnson
asks Bones all kinds of simple and apparently harmless questions; but
Mr. Bones replies with a constant succession of puns and jokes:--

_Johnson._ So you’ve been enjoying yourself, William, lately, I
understand. Dining out a good deal?

_Bones._ Oh yes, that’s right. I’d dine with anybody.

_Johnson._ Yes, but I’m told you dined with the Mayor last week. Is that
right?

_Bones._ Oh yes, that’s right.

_Johnson._ Then I suppose you had an excellent dinner--plenty to eat and
drink. What was the menu?

_Bones._ Well, to tell you the truth, there was a lot of ’em there, but
I don’t recollect him.

_Johnson._ Ah, you don’t understand me. I mean what was the bill of
fare?

_Bones._ Oh, well, it was a pretty fair bill. I believe it cost him
about $300.

_Johnson._ No, you don’t understand me. I mean what dishes did you have
to eat?

_Bones._ Well, we didn’t eat any dishes.

_Johnson._ No, no, of course not; but what did you have to eat and
drink?

_Bones._ Well, I believe the first thing we had to eat was something to
drink.

_Johnson._ And what did you have to drink, then?

_Bones._ Well, it was a new soup.

_Johnson._ A new soup! Well, I should like to know what that was. What
was it called?

_Bones._ Oh, I don’t remember exactly what it was, but you might mention
the names of a few to help me.

_Johnson._ Well, was it Mullagatawny?

_Bones._ No, it wasn’t Multigatony.

_Johnson._ Was it Mock Turtle?

_Bones._ No, it wasn’t him.

_Johnson._ Was it gravy?

_Bones._ No.

_Johnson._ Was it spring?

_Bones._ No, it wasn’t spring, it was summer.

_Johnson._ Well, I must give it up, William. What was it?

_Bones._ Oh, I know, it was what they call--er--er--shadow soup.

_Johnson._ Oh, then, it must be a new soup. I’ve never heard of shadow
soup.

_Bones._ Never heard of shadow soup?

_Johnson._ No, I haven’t. I should like to taste that. How is it made?

_Bones._ I’ll tell you. You go down to the market, buy a nice chicken,
take it home, stretch a line across the yard, hang the chicken in the
middle of the line, put a nice clean pail of water under the chicken,
and when the sun comes out it casts its beautiful rays on the chicken,
reflects the shadow in the pail of water, and that’s what they call
shadow soup.

_Johnson._ Oh, you go down to the market, buy a nice chicken, take it
home, stretch a line across the yard, hang the chicken in the middle of
the line, put a nice clean pail of water under the chicken, and when the
sun comes out it casts its beautiful rays on the chicken and reflects
the shadow in the water, and that’s what they call shadow soup.

_Bones._ Yes.

_Johnson._ But, my dear sir, you’ve forgotten one of the principal
things.

_Bones._ Oh, have I? What’s that?

_Johnson._ What’s that? Why, supposing you have no sun?

_Bones._ Well, then--you have no soup.


STUMP SPEECHES

A little extra effort in the matter of make-up might be attempted for
stump speeches, for the orator should be as “seedy” as possible in the
way of costume. A tattered coat and battered hat are usually considered
essential to the character, whilst an old dilapidated umbrella, of bulky
form and shapeless proportions, is useful for brandishing at the
emotional parts or thumping as the impressive points in the speech are
reached.

The stump orator should deliver his speech mounted upon a rickety chair
or table, for his exaggerated endeavors to maintain his balance will be
certain to cause fun amongst the audience.

Having taken his position with much danger, and with a familiar look at
the spectators, the speaker may embark upon the lecture. He should speak
distinctly and slowly, pausing every now and again to illustrate his
remarks with some quip or to steady himself upon the very rocky pulpit.

As an example he may take the following, which will serve for the
opening sentences of a stump speech on “Sound”:--

Ladies and Gentlemen, and others. I have much, I have much (puts hand in
pocket as if to feel how much money he has), I say I have much--much
feeling of proudness in assembling here in large numbers before
you--me--you here dis even. The subject of my investigation has been for
many long years, that is to say early years, short years, new years, old
years, pig’s and donkey’s ears, and the rest of the human race. I say
the subject of my intellectual and not at all less pig’s-head-a-frying
lecture on the various means of communicating our thoughts, words,
title-deeds, and other chattels, such as sauce-pans, frying-pans,
umbrellas, knobbed sticks, brick-bats and bricks without bats, I say the
subject of this important question, whether it be the pop-shopular
question or whether it be unwise to mention, or otherwise in dimension,
let it be understood that previous to preparing myself to begin--to
commence, I must ask a few questions about the temperaments, detriments
out-o-debtriments, cape-abilities, cloak-abilities, hats, caps, boots,
shoes, underlinen, socks, and other kind of earthenware. I say before I,
as I said before I said “I say before”--this subject can be
clothes-properly dissolved, we will, although I say it myself, ladies
and gentlemen, I say we shall, ladies, we shall all be dead men. (Takes
pinch of snuff, wipes nose with wet part of handkerchief, wiping off
some black. Resumes dialogue.)


MUSIC FOR MINSTRELSY

Taking it for granted that the would-be minstrels have reasonably good
voices, the only difficulty will be “selection.” Of course a great deal
of tact is required to know what class of music is best suited to the
audience.

Have as much variety as possible. Do not confine yourself exclusively to
comic songs or to sentimental ditties alone. At all costs keep your
audience cheerful and amused. Too much humor is apt to nauseate, but too
much melancholy will certainly spell failure. Try to gauge the temper of
your company, and if they seem to prefer the serious to the comic parts
on your programme, or _vice versâ_, make as quick and effective an
alteration as you can. They must be made to appreciate you--not simply
to tolerate you.

To have a piano accompaniment is a distinct acquisition if the voices be
of doubtful merit. For accomplished singers a banjo is quite sufficient,
but the amateur will certainly find that a friend at the piano is very
handy and reliable. This is, of course, entirely a matter of individual
taste and circumstances.

A very good selection of nigger dialogues, speeches, &c., can be
obtained from any theatrical publisher. The entertainer will be
furnished with useful ideas for a programme, including some of the most
successful minstrels’ songs and drolleries.

As the Stump Orator would say, “We must now draw a delusion to our not
over long lecture,” feeling confident that the amateur nigger will find
his entertainment as great a source of pleasure to himself as of
amusement to the audience.




CHAPTER VIII

TABLEAUX VIVANTS


TRUE-TO-LIFE REPRESENTATIONS

TABLEAUX may be divided into two important classes--the portrayal of
abstract qualities, which usually includes motionless figures posed in
sustained attitudes, and historic and romantic groups, in which the
actor is allowed some occupation.

[Illustration: The Hero.]

[Illustration: The Martyr.]

The first class is most difficult of successful achievement. In it, the
whole gamut of emotions common to mankind may be symbolized, and in
these attitude and gesture are governed by the mind, which should be
revealed in every muscle, curve, and limb of the human frame.

[Illustration: The Ascetic.]

[Illustration: The Fanatic.]

Strength, courage, fidelity, chivalry, purity, and honesty should be
posed in such a manner that the simple grandeur and dignity of these
attributes cannot be mistaken. The hero, the martyr, the ascetic, the
fanatic have each a commonly recognized type and pose.

The shrinking form of the coward--he who fears all things greater than
himself--must bear the stamp of the puny soul unveiled. The eye of the
hypocrite, the cunning, the evil and degraded, is as different from the
gaze of the pure of heart as the muddy, stagnant pool is different from
the wide, blue expanse of salt sea--the air of a foul room from the
breath inhaled beneath the open sky.

And in the same way that grand music is expressive of all human
emotions, and as welcome to the ear as the song of birds, so form and
color, attitude and character, in living pictures are potent emblems of
the strength and weakness of complex humanity.

The figure that is to symbolize Hope must possess that wondrous
attribute in herself, otherwise no trickery of dress or limelight can
make her anything but a caricature of the spirit of optimism.

So that, in order to portray virtues and vices as they are, the stage
manager’s craft reaches beyond superficial knowledge. Psychology and
intuition are even more important to him than experience regarding
blending of colors, arrangement of lights and grouping of forms, for the
human mind is the keynote in which his music is revealed, the touchstone
of his secret, the mystic spirit dominating the symmetry of gesture.

In the choice of individuals, personal character is weighty--pink and
white flesh tints, however perfectly blended in a face, do not stand for
Patience, Charity, or Sympathy unless the heart behind is pulsed on the
pivot-springs of these virtues, for the experienced eye of the spectator
probes beyond paint and attitude, and knows perfectly well whether these
virtues are rightly embodied or merely distorted mimicry.

Therefore the stage manager of tableaux vivants, before all else, needs
penetration in recognizing and choosing exponents suitable to interpret
the abstract conditions he is anxious to depict, and it is only when his
choice is made that the training, grouping, and scenic effects need be
considered.

Tableaux vivants are in character not unlike a symphony. The theme in
both is important. In the latter, the interweaving of other parts
enhances the beauty of the dominating strain, as in the former, where
harmonizing colors and stage effects, important as they are, remain ever
subordinate to the principal conception aspired.

Of course, in the training of subjects, it is very necessary that one
attitude should be maintained by each figure and remain unbroken from
the lift to the fall of the curtain, and this without rigidity of body,
unless the characteristic is typified in rigid lines; but even more
important is the necessity that the mind should not waver nor the
features change to an expression not in harmony with the attribute
typified.

Hope does not frown or smile, and all nervous twitching is absent from
the tranquil face and figure of Serenity. Courage shows a lofty brow and
steady eye--the shoulders are squared resolutely, but not aggressively.

Mercy, Pity, Love, Gentleness, Sweetness, and Charity are most
perfectly imaged by women, who naturally possess these virtues; Dignity,
Determination, Steadfastness, and Chivalry by men. But the stage manager
need not limit himself by any conventions in this particular, for it
sometimes happens that a woman’s face and form breathe characteristics
usually found in certain types of manhood, while a man’s countenance may
be eloquent of the gentle virtues typical of womanhood.

The thoughts of each character must be concentrated on the part
undertaken, and the onlookers absolutely forgotten. As far as possible
the actors should forget that there is a certain amount of strain in the
immovable pose, otherwise limbs will twitch and the balance and pose be
in peril. With sufficient practice it will not be difficult to remain in
the attitude fixed upon for the few minutes after the curtain is lifted.
It is only at first that the limbs, either through inexperience or
nervousness, prove rebellious. The impersonators should not be afraid to
breathe regularly, for this prevents artificial rigidity.

Figures should not be crowded together. A small stage, such as would be
used in a drawing-room, requires a picture in proportion. The dresses
and lights should blend harmoniously with the background and frame.


STAGING

Fig. 1 depicts the lighting arrangement at back of frame. The
guard-wires, running from side to side, are to prevent the possibility
of dresses catching fire. The footlights usually consist of ordinary
night-lights with illumination glass covers. Behind these are tin shades
for reflectors. Electric light, if available, can be substituted for oil
lamps as shown. In the same sketch a curtain-raising apparatus also
appears. Two persons should be chosen for its manipulation, and be
always stationed in such a position that they can draw and divide the
curtain at the given signal.

Every separate production is timed by the stage manager or some other
reliable person, and the duration of each should be exact. Three, or at
the most four, minutes are ample time for the audience to take in the
details of the picture, and the instant the curtain is drawn another
group is arranged, the actors being perfectly familiar with the position
and pose they are to take, going to their places without confusion or
disorder.

In a succession of group-pictures different groups of actors are
necessary, for it is impossible for the same persons to change their
costumes in the minute or so that intervenes before the succeeding
spectacle.

Where the number of players amounts to fifteen, twenty, or twenty-five,
the number of tableaux arranged upon can be divided between them, and
the productions, consisting of from two to five figures, arranged in
such a way that during group A’s tableaux group B is ready in the wings
and takes the stage the instant group A disappears through a different
exit to the dressing-room. Next, group C takes group B’s place in the
wings, and so on with all the groups. In this way each has a few minutes
in which to change.

[Illustration: FIG. 1.--Lighting arrangement for back of frame.]

Confusion and fussing will be prevented by each group knowing exactly
their manner and mode of entrance. Some plan, which renders it
impossible for group A leaving the stage to collide with group B in the
wings, must be fixed upon. Because the tableaux take place in a strange
drawing-room, where there is not much accommodation possible behind the
platform, and few entrances and exits, is no adequate excuse for any
bungling or confusion.

However limited the space, the stage manager and his company should hit
upon some plan that makes for order and precision. To do this, the
performers should come early to rehearse entrances and exits, and then
memorize them, for any mistake behind the scene, even if of so slight a
character that it does not retard the productions, is apt to disturb the
nerves of the players, and rob them of their necessary calm.

There should be no laughing or talking, for sounds easily penetrate
through a drawing-room, and not only disturb the audience, but draw from
their task the attention of the group occupying the stage.

The stage manager, who feels unable to represent abstract qualities
perfectly, would do well to avoid them altogether.

It may happen that his actors include a few who are absolutely raw
material where tableaux are concerned, and upon such occasions he should
always have a few studies in his repertoire in which motionless poses
are not necessary.


PENELOPE AND ULYSSES

For example, a pretty novice, sitting at a spinning-wheel, weaving
imaginary threads from a spindle of flax, will do very well as Penelope,
spinning her endless garment during the absence of Ulysses. In a simple
white or colored gown, with her hair falling over her shoulders, and her
head bent slightly over the wheel, she makes a pleasing picture.

Cinderella, seated on the floor, gazing into the cinders, with her hands
clasped round her knees, is another quite easily adopted attitude.

Another pretty scene, acted over the spinning-wheel, is the Lady of
Shalott, weaving “a magic web with colors gay,” and peering from time to
time at the mirror above her, which reflects “the highway near, winding
down to Camelot.”

In this tableau the facial expression is wholly different from that
which dominates Penelope’s features. Penelope’s labor is inspired by
stratagem, to keep her unwelcome suitors at bay. Her soul is steeped in
a patience so melancholy that it verges on despair, whereas the Lady of
Shalott “weaves by night and day,” because she believes she is chained
to her task by an awful power. If she pauses a moment, a curse will fall
upon her. Her eyes, therefore, are wild with fear, her face contorted,
her fingers pluck the threads feverishly, and there is none of
Penelope’s listlessness in her wild agonized concentration.

History and fiction teem with incidents that can be easily translated
into groups, wherein an absolutely motionless attitude is not required.

The three witches in “Macbeth,” in their cone-shaped hats, tattered
rags, and disheveled hair, their wild, evil prophecy, seared in the deep
lines of their withered faces, haunched on the ground conspiring
together.

Guinevere, prone on the convent floor of “the holy house at Almesbury”;
King Arthur, fully armed, and stained with battle, bending over her in
agonized tenderness, pity, and shame; and many other examples, which
will easily be found by the stage manager, ambitious to exhibit pictures
more unique than those usually adopted.


STAGE “PROPS”

The materials used for characters need not be expensive or difficult to
procure. Cheap sateens, muslins, velveteens, gold paper pasted over
cardboard and large buttons, glass diamonds and emeralds, tinsel and
silver braid, bright-colored ribbons from the remnant basket, discarded
shoes and stockings, transformed by cheap dyes, vari-colored beads,
imitation ermines, tin swords and armor--all these are useful and
effective beneath the lime-light.

Backgrounds may be arranged by means of curtains draped over the walls
in colors that blend or contrast harmoniously as desired with the
tableau produced. Properties, such as old wine flagons, lamps, &c., may
be fashioned by means of cardboard, cut in the necessary shape, gummed
together, and covered with gold or silver paper.

[Illustration: FIG. 2.--Tiers for back-stage grouping.]

Fancy dress magazines and illustrated histories will reveal many secrets
to the stage manager. Better still, a visit to a museum, when he is in
doubt about the shape and period of some article he requires, and
observation of the properties utilized in historic or Shakespearean
plays will well repay time and trouble spent. Duplicates in lead, wood,
or tin of almost any old article can be fashioned well enough to answer
his purpose.

When a large group of figures is to be arranged, light wooden ladders,
placed in a semicircle, and covered with some appropriate color, make
easy and adaptable tiers, on each step of which a figure is posed, or an
arrangement of tiers for back-stage grouping can be made as shown in
Fig. 2.

The most expensive aids in the stage manager’s paraphernalia--and these,
alas, there is no overcoming--are the supply of the lime-light and the
loan of the wigs. But in this direction he should not be too ambitious,
contenting himself at the start with a moderate outfit in accordance
with his means and inexperience.




CHAPTER IX

CHARADES


AN OLD FAVORITE FOR INDOOR PARTIES

ONE of the most popular indoor entertainments for winter evenings, or
indoor parties, both with children and “grown-ups,” is charades. Not
only do they afford amusement to the audience, but the players
themselves obtain a good deal of fun from their efforts to baffle those
who are listening to them.

Suppose, for instance, that a “party” is composed of some twenty people.
About five or six of them are selected to go outside, choose a word,
which can easily be split into syllables, each making a word in itself.

The players must not waste too much time in planning how best to act the
words, or the audience will show signs of impatience. This can also be
averted by the hostess arranging for a musical, or other little
“stop-gap” to fill up the time which must necessarily elapse between the
moment when the players retire and their subsequent appearance.

Having thought of a little sketch which will take in all the several
parts of the word chosen, the players arrange impromptu scenery and
start the first act, taking care to bring in the first syllable, and yet
not giving it undue prominence. This care must be observed all the way
through the charade, as the fun is much greater when the listeners
cannot guess the word too easily.

If the word chosen is “Indignation,” it is split into three
syllables--IN, DIG, NATION.

These words having been acted, in the last scene the complete word is
brought in, and as it is through this act the audience will listen most
carefully for a clew, the players, if they wish to baffle them, should
do their best to bring in a variety of words in order to mislead the
listeners.

In many cases a little scenery adds considerably to the successful
presentation of charades. A “window” frequently proves of service. But
it may happen that the end of the room where the actual window is
situated does not lend itself conveniently to the performance of the
charade, and in this circumstance the best plan is to improvise an
“artificial window,” which, being portable, can be used in any required
position.


AN “ARTIFICIAL WINDOW”

A start can be made in construction by procuring a sheet of strong white
paper of the requisite size. With India ink or chalk the thick black
lines, as shown in Fig. 1, are painted in. The dotted lines represent
the sheet of paper, the four holes the positions at which the nails
fasten it to the wall, and the finished effect of an interior window is
obtained by the draping of art muslin or curtains, as suggested by the
diagram.

Oftentimes a little exterior scene is wanted. A simple way of
improvising a cottage is that of using two screens placed as shown (A,
A, Fig. 2). A plank or the shelf of a cupboard is placed across the top
(D, Fig. 2), and kept in position either by nails or gimlets screwed
into the top of the screens.

A tablecloth of any bright color, preferably red, is stretched from
points (B, B, Fig. 3), slanting downwards and slightly over the edge of
the screens.

[Illustration: FIG. 1.--Interior artificial window for charades.]

Two “artificial windows” (C, C, Fig. 3) should be then pinned to the
screens, and the exterior of cottage is complete, an additional artistic
effect being produced by fixing flower-stands with ferns in positions as
shown (E, E, Fig. 2).

[Illustration: FIG. 2.--Plan for improvised cottage.]

[Illustration: FIG. 3.--Exterior view of improvised cottage.]


“A SEASIDE SCENE”

At first sight it might seem out of the question to produce a really
passable scene representing “the rolling deep.” This may be easily
carried out, however, by a careful study of Fig. 4, and the
requisitioning of such commonplace articles as a large white sheet,
which is stretched and nailed to the wall, a few rolls of stout
white-backed wall-paper, hassocks, boxes, and old brown or gray cloths.

[Illustration: FIG. 4.--A sea scene.]

The wall-paper is cut into three lengths corresponding with the width of
the sheet, one about 18 inches in depth (A, Fig. 4), the next 28 inches
(B, Fig. 4), and the third 34 inches (C, Fig. 4).

At each end a piece of wood is fastened (D, Fig. 4), behind which is
glued a block of wood or small weighted box (E, Fig. 4).

The lengths of paper, marked A and B, are cut in zig-zag fashion at the
top in order to produce the appearance of waves, the effect being
enhanced by an application of blue paint used as shown in the diagram.
The strip of paper marked C forms the horizon, therefore the top of this
should be left straight and painted blue to a depth of about 10 inches.

To complete the effect, boxes, hassocks, and stools of different heights
are grouped round and covered with the gray cloths to represent rocks
(F, F, Fig. 4).

An empty barrel and a few coils of rope flung carelessly about help to
make a more realistic scene, and well guarded lamps placed between the
slips representing waves throw them up into necessary prominence.


A PORTABLE TENT

[Illustration: FIG. 5.--A portable tent.]

A portable tent is made from a few sheets of brown paper glued together
to form a huge square (A, A, A, A, Fig. 5), the paper cut out to the
shape described (B, B, B, B, Fig. 5), and folded at the dotted lines, C,
C, C, C.

The whole is then arranged over three poles, crossed and tied together
at the top, an opening or entrance being formed by the segment cut away.


OUTFIT FOR HIGHWAYMAN

A highwayman’s mask will prove easy of construction, and a thing of
delight to the average boy. Moreover, it will often find a place in
charades.

[Illustration: FIG. 6.--A highwayman’s mask.]

[Illustration: FIG. 7.--Highwayman’s leggings.]

On a width of black sateen or any other suitable material a design is
drawn as shown in Fig. 6, marked with chalk and cut away to fit the
face. A piece of thin black tape is fixed to either side, so that the
mask may be tied round the head just above the ears.

Amongst the highwayman’s outfit there must certainly be a pair of high
boots, but as these are not found in every household, it may be as well
to give a few simple directions for the making of them.

From several sheets of stout brown paper four pieces of the shape
indicated at (A, Fig. 7), are cut. So that the tops of the boot shall
not crack when the leg is bent, small pieces of paper are gummed at
either side, as shown (B, Fig. 7).

Only the fixing of a piece of tape, or double fold of the paper for the
instep, remains to be done (C, Fig. 7), and an excellent pair of
highwayman’s boots is to hand.

[Illustration: FIG. 8.--Highwayman’s hat.]

An ordinary pliable felt or straw hat can be easily and quickly
transformed into a three-cornered highwayman’s hat. A study of Fig. 8
will explain where the stitches are to be taken from the brim to the
crown.


A POLICEMAN’S HELMET

Two hard felt derby hats properly treated make an excellent
representation of a policeman’s helmet, which will very often be found
useful for charade acting.

It is first of all necessary to cut off the brim of one of the hats at
the point where the band comes. The crown of the second one is also cut
off, but some three inches above the band.

[Illustration: FIG. 9.--Front and back view of a policeman’s helmet.]

The first crown is next carefully fitted over the brim portion of the
other one, and tacked round firmly so that the two pieces do not slip.

The headgear now presents the appearance of an abnormally high derby
hat.

The curved part of the brim is cut away, and the front shaped to a
point, as shown in Fig. 9, and the brim at the back is nicely rounded.

The usual ornamentation may be suggested by the application of chalk,
the addition of a large-sized wooden button mold glued to the top of the
crown, a chin-strap of shiny black leather completing the article.

[Illustration: FIG. 10.--Skull cap, pigtail, and hat for Chinaman.]


A CHINAMAN’S HEAD COVERING

A Chinaman is a character quite easily portrayed, and one which can be
simply represented by pressing into service articles of everyday use.

From a piece of pale pink sateen the head covering (A, Fig. 10) is
fashioned, a string run through at C to be drawn out or in at will; and
a piece of rope or twist of darning cotton, B, sewn on at the back for a
pigtail.

Then if the would-be Chinaman wishes to cover his head still further,
the lid of the linen basket provides him with a hat, when a piece of
braid or black paper has been fixed to the rim, and a string sewn on for
the chin-strap.

A highly-colored dressing jacket and a pair of rather loose white
trousers complete the Chinaman’s outfit.


ADVERTISEMENT CHARADES

Whilst some people consider the ordinary charades the best fun, there
are others equally ready to admit that they prefer the “dumb”
representation of words chosen, one of the most popular of these being
the “advertisement” charade, wherein some well-known poster is chosen
and acted in silence.

A well-known soap advertisement which has been so popular for years
serves as an excellent illustration. There are few, if any, who could
not recall the picture.

A man, dirty of face and hands, with torn clothing, sits at a table
writing a letter.

A faithful representation of this can be easily produced by the aid of
soot smeared carefully over the face and hands, and a wig of tousled
hair.

Perhaps a dozen advertisements can be “played,” a few moments elapsing
between each for the audience to write down their “guesses” on slips of
paper, which are afterwards collected, and a prize awarded to the
competitor who has the largest number of answers correct.

The two following examples of charades are given so that the players may
fit in their own words. If the charades need to be written in dialogue
form and committed to memory days before they are played, much more
trouble is given, and the game becomes a somewhat irksome one.


BARONETCY

[BARON-ATE(ET)-CY(SEA).]

_First Syllable._

BARON.

Enter two boys dressed as highwaymen. For this purpose art muslin
scarves tied round the waist, hats and masks as already described, and
toy pistols are enough, with a scenery of trees painted on some stout
paper.

First boy addresses his comrade in tones of mystery, glancing to right
and left as though he is expecting somebody. At length he holds up a
warning finger: “Hist! The Baron comes this way!”

They secrete themselves and wait until the Baron approaches. He looks
round, whereupon the two highwaymen jump out, secure him, and make off.

The Baron’s servants arrive on the scene too late, but vow they will
track the robbers, and start off in hot pursuit.

_End of First Act._


_Second Syllable._

ATE-(ET).

Baron asleep in one corner of a tent (made as previously described).

The robbers are eating their dinner, and talking in low tones of the
ransom they expect to get for their prisoner. Whilst they are talking
the Baron awakes. They are so intent upon their conversation that they
do not observe him arise, creep up, and steal their food. He eats it,
and returns to his corner again.

The ruffians discover their food is gone and are furious, but do not
suspect their prisoner, who they suppose is still slumbering.

The Baron is so amused at their efforts to find the thief that he begins
to laugh, rocking himself to and fro, and at last shouts, “I ate it, I
ate it.”

Just as they are about to flog him a noise of tramping feet is heard,
and they hasten to see who is coming.

_End of Second Act._


_Third Syllable._

SEA-(CY).

Baron and his faithful retainers are sitting by the seashore, and he is
telling them how he made his escape from the robbers.

As they are talking an old beggar comes along. The Baron at once
recognizes him as one of the robbers, and gives orders that he is to be
seized and bound. Presently the other one arrives, and he is treated in
the same way.

Finally the Baron promises to forgive them if they will give up highway
robbery and go to sea.

_End of Third Act._


BARONETCY

Enter several boys in ragged clothes as newsboys. They are shouting
papers for sale, and the chief thing that can be heard is
“Extry--Capture of a Baron at Sea.”

The boys discuss the news, and at last one of them bursts into a fit of
laughter after having opened the paper. The others crowd round to see
what is causing the merriment.

Laughingly he explains that it is not an account of an exciting
piratical affair, but merely the report of the capture of a Baronetcy in
England by a fair cousin from the United States.


BEANSTALK


_First Syllable._

BEAN.

  _Scene._--Widow Frankey’s kitchen. Representation of this made by use
  of window described above, kitchen table and chairs, plates, pastry
  board, &c.

  Widow Frankey, in apron and cap, is busy making pastry, and talking to
  herself about her son Jack, and wondering when he will return from the
  errand on which she has sent him.

  Jack appears. Tells his mother where he has been, and she scolds him
  for being so slow.

  He goes out in a temper, and Widow Frankey leaves her work, sits down
  and cries, finally falling asleep.

  Jack returns, finds his mother asleep, and determines to make up for
  his ill-temper by finishing the pudding she has already begun.

(An amusing scene can be shown here by the funny mistakes he makes,
putting into the pudding all kinds of odd ingredients, amongst them a
bean.)

  His mother awakes, to find dinner set, and ready.

  There is great fun over the pudding when the widow finds the bean.

_End of First Act._


_Second Syllable._

STALK.

  _Scene._--Corner of market-place, where a flower-seller has her stall.
  For this purpose a table, draped with art muslin, with a few pots of
  ferns on it, and some flowers made from tissue paper, will be all that
  is required.

  Girl sits on a stool doing up bunches of flowers.

  Jack comes along running, and in his hurry knocks the table over.

  Flower-seller pretends to be very angry, and insists upon Jack’s
  paying for the damage.

  He does so, and the girl laughingly gives him the stalk of a flower
  for fun. He puts it in his button-hole and walks off, leaving the girl
  laughing.

_End of Second Act._


BEANSTALK

_Scene._--Widow Frankey’s kitchen.

  Jack returns to his home, and tells his mother of his escapade,
  showing her the stalk which the flower-girl had given him.

Just then the door opens, and the flower-girl enters, throws Jack’s
money on the table, telling him she took it only for a joke. He returns
the stalk to the girl, who laughingly tells him that it is a beanstalk.

Widow Frankey retires, and Jack tells the pretty flower-girl that he
loves her.

_End of Last Act._




CHAPTER X

THE POSSIBILITIES OF THE MUSICAL SKETCH


THE musical sketch occupies a high and prominent position in the scale
of entertainments given by the individual. With many it is more popular
than ventriloquism, impersonations, reciting, or conjuring, and needs as
much skill and study as any of these other accomplishments. For its
successful rendition the artist must be equipped with

  1. Subtle humor and pathos.
  2. Impromptu patter.
  3. A good memory.
  4. A clear pronunciation.
  5. Mimicry.
  6. Self-accompaniment from memory.
  7. Individuality and mastery of the audience.

He must also be well versed in the popular topics of the day, and be
able to dish them up in an attractive manner to suit the humor of his
various hearers; and, of course, a certain amount of natural talent is
indispensable.

In this mode of entertainment there should be no pause. The whole time
the artist should either be engaged in patter or playing, and he must go
from anecdote to anecdote smoothly and without jerkiness, always
relating his stories as if they were his own experiences.

He should begin an after-dinner story in some such way as--

“The other night, when dining with my friend, Mr. A., I had the
misfortune to be stuck down beside his elderly maiden aunt, Miss
Dimbledock, who my host had previously informed me was a stanch adherent
to the Blue Ribbon Army. Now, as Mr. A. is her only living relative, he
naturally expected to inherit her wealth, and consequently had given
instructions to Coggledab, the butler (who on ordinary occasions served
as coachman), that especial attention and care were to be lavished upon
her severe and abstemious person; but, alas, he had forgotten to instill
him with her principles, and the result was that the poor old lady was
mortally offended, for, ere we had reached the second course, Coggledab
leaned over her chair in a fatherly and solicitous manner that well
became his white hairs and portly person, and whispered in a voice that
penetrated every corner of the room:

“‘Gin, whisky, or brandy, Mum? You can’t be enjyin’ of yourself! _You’re
not drinkin’!_’

“And it is to this apparently trivial incident that a year ago a
flourishing dogs’ home was opened in New York, and that my poor friend
Mr. A. can be seen any day selling matches at his post in Times Square!
And talking of the importance of trivialities, reminds me of an
adventure that befell me the other day. I had hired a taxi-cab, and was
just stepping into it----,” &c., &c., thus introducing quite a different
anecdote.

Now, the outlines of the incident of Mr. A.’s dinner-party are taken
from a comic paper, but twisted and colored to suit the requirements of
the artist; and there are many stories that may be dished up in similar
manner, while frequently personal experiences are extremely humorous
when rightly treated.


THE “ALL IN ALL”

The artist should study and cultivate the correct and various methods of
telling a story, remembering Pope’s adage--

  “For style is all in all, whate’er is writ,
   The substitute for genius, sense, and wit.”

If the style of writing is important, how much more is the manner of
verbal narration. The wittiest story may fall to pieces in the hand of
the inartistic, while the most trivial incident humorously handled may
be greeted with shrieks of merriment.

The raconteur must give his audience the impression of frank geniality
and friendliness without familiarity, his attitude cunningly eloquent of
the man who is about to open his heart to a confidante.

Orchestra chairs and gallery are his bosom friends. He twinkles and
patters at them right merrily. If he paints their peculiarities or
laughs at their social ways he must flavor his babbling with the tender
fun of that greatest of humorists, Charles Lamb, who never aped or
scoffed at physical deformity, and was never cynical at another’s
expense.

The caricatures depicted by mimicry must be cleansed of that sour
Voltaire bitterness and cruelty, the artist always remembering that he
is performing in order to beguile, and he must cultivate that delicate
tact which prevents him from imitating the withered idiosyncrasies
supposed to be typical of the old maid in the drawing-room, when he
knows that some spinster relative or friend is present.

The public possesses a vast fund of humor, and there is nothing it loves
so much as a hearty laugh, but its risibilities should be handled as
delicately as a trout is tickled, and if they are only provoked at the
dear expense of some unfortunate individual, they are coarse and vulgar,
and the artist himself is culpable. The broad double meanings of
apparently innocent witticisms one might have heard at some vaudeville
halls should be rigorously avoided. There are gentlemen, fine-souled and
clean of mind, in your gallery as in your orchestra chairs. Treat them
as such. Appeal to the best, to the refined sense of the ludicrous that
lurks in every mind, and you will be as welcome in the most select
drawing-room as in the theater.

Humor and fun are as bracing and purifying a tonic as a breath of sea
air. They should be steeped in the salt ozone of wit, but never in the
withering blight of vulgarity.


AN ARTIST--AND A GENTLEMAN

The artist should be large-souled and natural in attitude and gesture--a
gentleman from head to heel in the best sense of the word--and the
result will brace up and encourage him, for he will observe the faded
city merchant laughing with the heart-whole abandon of the child.

It is not necessary, and it may become even monotonous, to pose forever
as the comedian who sees fun in every incident around him. A great and
versatile artist, now deceased, in the middle of his recital would sit
down at the zither when the room was still ringing with laughter,
provoked by his keen shafts of humor, and win tears by the exquisite
pathos of the refrain: “The mill will never grind with the water that is
past.”

Maudlin melodrama is not pathos any more than vulgar mockery is humor. A
thin veil lies between tears and laughter, and both are nearer the
surface than some artists realize. Both are noble and wholesome, and so
should never be made puny by too little giving or rendered grotesque by
too much.

A most effective means of self-accompaniment is the harp, and one
moreover which adapts itself exquisitely to the subtle charm and
changing qualities of the human voice, but only in the performer’s more
serious moments. To twang at this instrument and pose above it in the
attitude of the comedian, to pluck it banjo fashion, is to displease and
jar the sensibilities of the most uninitiated of the audience.

The dual art is a stumbling-block to many a versatile artist, and its
perfection needs a tremendous amount of persevering and diligent
practice. There are some gifted performers to whom the art of pattering
or reciting to music is inborn, and so extremely facile, but to the less
fortunate it presents discouraging obstacles, and the power of
improvising an accompaniment suitable to the anecdote or poem related is
not given to the majority.

However, the student should remember and be encouraged by the fact that
“steady effort attracts unknown powers to our aid,” and work on
determinedly until the difficulty is mastered.

In studying the dual art, the beginner is apt to hammer the words to the
accompaniment, or the accompaniment to the words, and it seems at first
impossible to arrive at that perfect blending of voice and music which
is essential to this kind of performance. Another extremely common fault
is to emphasize the wrong word or the wrong note, with the result that
the achievement becomes meaningless.

The ear should be trained to the rôle of an exacting critic, and when
this power is developed it will demonstrate faithfully wherein the
failure of co-operation lies.

Music should never be suffered to overburden the words of the poem or
anecdote related. It is usually but a ground-work upon which the artist
builds, “at most, an undercurrent of answering emotion.” The instant it
flows through the floodgates of restraint it obliterates the meaning and
the sense of the words as the waters of a burst dam obliterate the
natural features of dry land.

Another serious fault to be found in the rendition of the inexperienced
student is permitting the time of his accompaniment to swing into his
voice. Against this he must be severely on his guard, or he will develop
a wearisome habit of chanting in monotone.

While taking pains to blend his voice with his accompaniment, he must
take equal care to keep both distinct and apart. This sounds
paradoxical, but practice and self-criticism will prove that both are
true and possible.


MUSIC AND WORDS

The speaker should learn to harmonize his music so exquisitely with his
words that to the uninitiated the accompaniment seems rather extempore
improvising than the result of toil and diligence. As a matter of fact,
it is extremely rare that even the greatest artists dare trust to the
inspiration of the moment to provide them with adequate accompaniment.

An artist may have a theme or motif borrowed from some composer, and he
may be sufficiently gifted to plan it out and develop it for himself,
but always with careful thought and deliberation before he gives it
public expression.

The dual art is as full of vagaries and traps as the French language,
and at first the student who finds himself handicapped by inability to
conquer it, cannot do better than study some poems written to music, and
at these he must work steadily before he attempts to patter to
accompaniment.

A few musical poems mastered will go far to secure him an air of ease
and self-possession.

[Illustration: Correct attitude at piano.]

For instance, undertake some such study as Racine’s tragedy of
“Athalie,” which has been so exquisitely set to music by Mendelssohn. In
the opening bar of “Allegro Moderato,” a few notes are played to
introduce the passage, “Where do those women and their children go?”
Then there are a few more notes, followed by the words, “The Lord hath
laid the queen of cities low.”

The four succeeding bars are treated in the same way. The music ceases
while “Her priests are captives” is recited. Then a chord is struck, and
the voice goes on unaccompanied, “Her monarchs are rejected.” Another
chord, “Her godly rites forsaken, unprotected.” The sixth bar opens with
a chord, and is followed by the words, “Down, temple! Cedars, down!” and
terminates with four semi-quavers.

This is an intensely dramatic poem, written in rhymed Alexandrines, and
the student must take great care not to rend the words from the
accompaniment, or the accompaniment from the words. The short phrases
and detached chords must punctuate and emphasize the sentences, and lend
weight and finish to the whole. This is not a difficult task when
compared with such a study as “The Dream of Jubal,” in which the music
accompanies the words in strict time, the combination of voice and
pianoforte flowing smoothly, the components dependent and yet never
waiting for each other.

The only way to reach perfection is to study the poem and music
separately at first, until the student is fairly familiar with both.
Then continue them with the aid of a metronome until the technicalities
of the mechanism, which include correct emphasis, pauses, and rhythm,
and the proper flow of the phrases, are mastered.

When this has been frequently rehearsed, the student may try his powers
without the metronome, and gradually, but surely, he will master the
antagonistic forces arrayed against him.

The artist who possesses a natural gift of composition will find it
extremely useful, for there are many exquisite poems which, although
seeming to clamor for a musical accompaniment, have not yet been
touched; but this combination is fraught with perils, and those who
approach it must be for ever wary of the grotesque and unfit.

In burlesque, of course, the artist has great license in the matter of
accompaniment. He may exaggerate and slash his pianoforte (taking care
never to drown his voice), and achieve the absolutely absurd and
ludicrous, but, in the poems or patter that need delicacy, lightness of
touch, melancholy cadences or bubbling, merry notes, he cannot be too
careful in the theme he chooses to aid and color his portrayal. In such
pieces, the right attitude, the right gesture, the right expression must
be studied and gripped, so as to add their subtle beauty to the whole.
The accompanying sketch shows the correct attitude at the piano, or
rather, the attitude generally adopted by the professional
musical-sketch artist. The body is turned “three-quarters” to the
audience, the head full-faced, the left foot working the pedals, while
the right usually follows the direction in which the performer is
looking.




CHAPTER XI

VAMPING SIMPLIFIED


AN ACCOMPANIST IN AN HOUR

WHILST “vamping,” or the improvising of a musical accompaniment, is
considered by many anything but a classical accomplishment, yet those
who can accompany in this way are a decided help to a general or
children’s party.

In either case among the guests will be found some who possess the gift
of song, either comic or sentimental, but who lack the power or the
ability to play their own accompaniments.

[Illustration: FIG. 1.--First chord.]

Moreover, it may happen that the services of a skilled pianist are not
available, and in these circumstances any one who can vamp will be
deemed a useful acquisition.

The object of this chapter is not to give either intricate or
comprehensive instruction, but rather to suggest, even to those who have
had no musical training, a few rules whereby they will be enabled to
step into the breach occasioned by the absence of an accomplished
player.

An ordinary piano has fifty notes, comprising A, B, C, D, E, F, G, in
succeeding order.

The whole keyboard is divided into two portions--treble and bass, the
former starting from the fourth C up from the left; the notes below the
fourth or middle C comprise the bass. (See Fig. 1. Arrow denotes middle
C.)

Each black note above a white is its sharp, and each below its flat. For
example, taking the treble note G, the black note above it is G sharp,
the one below it G flat.

Before starting to vamp to a song, the singer must hum over a line or so
of the song in order that the “vampist” may keep both the time and tone
in his mind for transference to the piano.

His ear will tell him when he has struck a few chords whether they are
in the key in which the song is written. If he finds that when a few
bars of the song completing a distinct or rhythmical period have been
hummed the note finished on is C, then he will know that the key is C,
and find his chords as suggested by the diagrams given.


VAMPING CHORDS AND THEIR RELATIVE CHANGES

There are three principal chords in a key which are sufficient to cover
the range of melody. Starting in C, the first chord for the right hand
from the little finger to the thumb is made up of the notes middle C,
bass G, and bass E. The left hand strikes the octave C immediately below
the right hand thumb on E. (Fig. 1.)

The second chord starts from little finger of right hand on F, first
finger on C, and thumb on A in bass, the octave F, below the right hand
A, being struck in the bass. (Fig. 2.)

[Illustration: FIG. 2.--Second chord]

The third chord starts with little finger of right hand on G, third
finger on F, and thumb on B in bass, the left hand striking the octave G
below the B on which thumb of right hand is placed. (Fig. 3.)

[Illustration: FIG. 3.--Third chord.]

To complete the melody it is necessary to go back to the chord started
with, taking it up an octave or eight notes higher in both hands.

The relative changes are brought about by the use of the following
chords. Striking the F sharp with the little finger of right hand, the
first finger is placed on the D, and the thumb upon middle C, the left
hand taking the octave F sharp immediately below middle C. (Fig. 4.)

[Illustration: FIG. 4.--First chord of relative change.]

The second change starts with little finger of right hand on G, first
finger on D, and thumb on B below middle C, the octave G in left hand
completing the chord. (Fig. 5.)

[Illustration: FIG. 5.--Second relative change.]

Another change is produced by the use of the next two chords.

[Illustration: FIG. 6.--Another change.]

Striking G sharp with the little finger of the right hand, the first
finger strikes E, and the thumb D; the octave G sharp being struck in
the bass by the left hand. (Fig. 6.)

The twin chord to the one just described is made by placing the right
hand little finger on A, the first finger on E, and the thumb on middle
C; the octave A, immediately below middle C, being struck by the left
hand. (Fig. 7.)

[Illustration: FIG. 7.--Twin chord to that described in Fig. 6.]

The final change necessary is produced by the two following chords.

[Illustration: FIG. 8.--First chord of third change.]

The little finger of the right hand is placed on C sharp, first finger
on A, and the thumb on G, both the latter notes being bass--that is,
below middle C. The left hand strikes the octave C sharp in the bass.
(Fig. 8.)

[Illustration: FIG. 9.--Final chord.]

The last chord is made by striking D above middle C with the little
finger of the right hand, A below middle C with the first finger, and F
also below middle C with the right hand thumb; the left hand takes the
octave D in the bass. (Fig. 9.)

By a study of the chords set forth above it is seen that the octave
struck by the left hand in every case is a lower tone of the note played
by the little finger of the right hand--viz., if the little finger of
the right hand strikes G in the treble, the octave G is played by the
left hand in the bass.

An effective ending to a vamping accompaniment is brought about by the
use of a “run.” Starting from the C in the bass below the middle C
(indicated by arrow on diagram), and playing the E and G with first and
second fingers, the thumb is taken under, on to the middle C and the
action repeated twice, the run finishing on the fourth C in the treble.
(Fig. 10.)

[Illustration: FIG. 10.--Showing the “run” on piano embracing three
chords.]

It is useful and interesting to bear in mind that any chord can be made
by placing the little finger on a note desired, missing the next two
covered by the second and third fingers, striking the note covered by
first finger, missing the next, and striking the one covered by the
thumb.

Having committed the above chords and “run” to memory, the performer can
play them to suit the time in which the accompanied song is written.




CHAPTER XII

AN EVENING AT THE PHONOGRAPH


A CONCERT AT HOME

TO possess a gramophone or phonograph is to be already furnished with
the means of giving a very successful and pleasurable entertainment.
There are so many “entertainments” that do not entertain, and so many
“amusements” that do not amuse, that it is a distinct relief to know
where to turn when a mixed party of guests have honored you with their
presence.

With the number of gramophones, phonographs, talking-machines and
zonophones now on the market, it is not the object of this chapter to
specialize any particular make or type of article. As in most things,
quality means expense, and there is little use in hoping for fine
results from a cheap machine. Any respectable dealer will give useful
advice as to the type of gramophone worth buying, and it must be left
with you to make your own choice.

Presuming you have obtained your machine and accustomed yourself to the
manipulation of its various parts, the next point to be considered is
how a successful programme may be carried out for an entertainment.

In nothing, perhaps, is that old adage that “tastes differ” so true as
in music. One person may shiver with disgust at everything but Bach,
whilst her neighbor probably can appreciate nothing but old ballads; or
whereas paterfamilias beats time ecstatically to the familiar old pieces
of Verdi and Rossini which he remembers from his boyhood, his cultivated
son is impatient for something out of “Elektra.”

Now it is the business of the entertainer to satisfy and please all
these people--to send none away empty, but to make each person feel what
a pleasant evening he or she has had. Whilst fully recognizing the
difficulty of producing this result, it is hoped that the following
hints may serve to render the construction of a catholic programme a
little easier than would at first appear.

Records are of two kinds--instrumental and vocal. By blending these
successfully a very charming variety can be obtained which will
materially assist in keeping the programme from lapsing into sameness.

Commence with a stirring overture or a rousing march that will set the
feet of your audience itching to mark time. Avoid anything dreamy or
languorous; let their attention be attracted by a bold stroke, by the
rattle of drums and the blaring of cornets and trombones. Sousa’s
marches, the “Stars and Stripes” for instance, are admirable pieces to
start the evening with, arousing the attention and stirring the blood of
every healthy person in the room.

Having now excited the interest of your audience, give them some vocal
music. Choose a good quartette of well-known singers in a selection or
song from some up-to-date opera, or even from one of the old Italian
favorites. “The Barber of Seville,” “La Bohême,” or “La Tosca,” all
provide very fine quartettes.

The next piece might be a good instrumental solo, on violin, ’cello,
piccolo or clarionet. Let it be short and characteristic; preferably a
piece fairly well known to the majority of your audience.

At this point it may be remarked that people invariably like hearing
what they already know. The gramophone is more generally appreciated
when it reproduces a song or piece of music that the audience has heard
before; whilst the machine is scarcely suitable for the introduction of
wholly new music. Of course it is impossible to form an entire programme
on these lines, but when making the selection of records, if you bear
this fact in mind it will save you from obtaining a number of outlandish
pieces, if one may so style them, which the majority of your company has
never heard before and will be little likely to wish to hear again.

After the instrumental solo, it will be suitable to have a vocal
solo--say a soprano. Again, select a good artist and a good song, for it
is at this point that your fiercest critics will be upon the lookout. Do
your best to disappoint them of their prey by having none but the best
singers; and only then at their very best!


HUMOROUS SONGS

With a mixed company humorous songs are usually appreciated, and one may
be very well introduced at this point. The greatest care must be
exercised in avoiding anything that the most squeamish person might
think objectionable. The number of perfectly harmless and refined comic
songs is great, but unfortunately the number of vulgar songs is greater.
Accept nothing, therefore, that you have not heard yourself and know to
be perfectly suitable.

A good piano solo may now be very serviceable, or even a piano and
violin duet. A piece of Chopin or Schumann, a short piece of Godard, or
the like, is sure to be appreciated. The most carping of critics will
be unable to find fault with the execution of Paderewski, Hoffman, or
other great pianists, all of whose records are easily obtainable.

A popular item from one of the current operas or musical comedies will
then be acceptable. If the works of Sullivan are too antiquated, records
of the more recent pieces recently running at the theaters can easily be
had. “Our Miss Gibbs,” “The Dollar Princess,” or the “Arcadians”--all
will help to furnish you with some variety in the programme. Choose a
favorite that will bring up pleasant recollections to all who have seen
the original play.

A tenor and bass duet may follow the above admirably, something rather
pathetic--a love song or the like. The task of making a choice amongst
so many songs of this class would be invidious, and it is left to the
taste and opportunities of the entertainer to select what seems best for
the occasion.

It is now time for another piece of orchestral music, and a good waltz
is suggested--“The Merry Widow,” or something of that kind, played by a
good band, and of a rather catchy nature.

If you divide the entertainment into two parts, the familiar intermezzo
of the “Cavalleria Rusticana” makes a very suitable overture for the
second part. Obtain it on a good orchestra, and not as a piano or violin
solo. Failing this any of Puccini’s overtures are good for such an
occasion.

The second part of the programme should be constructed on very much the
same principles as the first. A few classical pieces can be
introduced--Wagner and Grieg, Schubert and Elgar, and similar contrasts.

Tenor, bass, soprano and contralto solos should be fitted in between the
heavier items, whilst instrumental solos are generally highly
appreciated amongst really musical audiences. Do not let the selections
be too long, however.

Before closing the entertainment with “The Star Spangled Banner,” have a
good orchestral waltz to put every one in good humor.


GENERAL ARRANGEMENTS

And now for a few hints as to the actual performance. Do not be too
ready to give encores. Many people really dislike to hear a thing twice,
and unless you see there is a very general desire amongst your audience
for a repetition, pass on to the next item immediately.

Have the seats comfortably arranged, and see that every one is seated
before beginning your programme. Copies of the programme should be
handed to each person present, and the name and number announced before
starting the machine. Be careful that no hitch occurs in the
arrangements.

Remember that the greatest of artists can be called to your
assistance--Caruso, Melba, Patti, Albani, Tamagno (who though dead yet
sings), Constantino, Tetrazzini, and numberless other great singers and
musicians are at your beck and call, ready to sing to your friends or to
exert their greatest talents on your behalf. Avail yourselves of them
unsparingly, and you cannot miss success.

A Sunday programme is no more difficult to arrange. Magnificent records
of the “Messiah,” “Elijah,” and many other great oratorios can be
obtained, whilst numberless hymns and anthems are possible to the
gramophone, sung by some of the finest choirs.

With these hints there should be no great difficulty in making a
programme that will prove enjoyable to a mixed audience. They are,
however, but hints; to give exact instructions would be impossible. The
selection, even upon the lines sketched out in this chapter, must be
individual and adapted to the more immediate requirements of your
company, and in consequence no fixed rule for choice can be given.




CHAPTER XIII

MUSICAL GLASSES


A GREAT INVENTOR’S HOPES

A HUNDRED AND FIFTY years ago the fashionable society of London went mad
over musical glasses. When the cloth had been removed and the company
were seated at the polished table, discussing the dessert and enjoying
the rare old port, it was considered a great attainment, after having
partially filled the finger-bowls, to be able to extract music by
casually rubbing a finger around their rims.

Strange as it may seem, even the great composer Gluck did not consider
this musical trick beneath his genius, and used to pride himself upon
the skill he had acquired in this kind of performance.

Mozart composed a song to be played in this manner, and many famous
musicians devoted their energies to perfecting a branch of the science
which they considered to be full of promise.

Even Benjamin Franklin turned his genius to the subject, and after many
experiments succeeded in inventing an apparatus called a Harmonica,
which he hoped would take its place amongst the recognized musical
instruments of his day. From various causes, which shall be explained
later, this invention was never attended with the success its author
anticipated.

Considerable knack is required to obtain a clear note from a glass. A
fine finger-bowl, preferably uncut, or a champagne glass, must be partly
filled with water, and the performer should then damp his forefinger and
also wet the rim of the glass. If the finger now be passed lightly but
firmly round a portion of the rim, after a few touches a clear ringing
sound will be produced. If at first this is difficult to obtain, pass
the finger several times in one direction--_e.g._ from right to left,
and then reverse from left to right. Having done this for a few seconds,
the glass will, in all probability, begin to sound.

As has been said, quite a knack is requisite to perform this with any
success, but the beginner should not be discouraged if failure attends
the first few attempts, as, after a little practice, which seems to
produce nothing but a sad groaning noise, the glass will suddenly begin
to ring. Having devoted a little patience to learning the exact touch,
the performer will find that the slightest movement of his finger
produces the desired note.


LITTLE WATER = LOW NOTE

The note given out depends entirely upon the amount of liquid in the
glass. The less water the lower will be the note; the more water the
higher it will be. Therefore taking eight glasses, or fine finger-bowls,
and filling each one to a different level with water, a complete octave
can be obtained.

The amount of water to be placed in each depends entirely upon the size
of the bowl and the texture of the glass, and must therefore be
determined by the performer himself. A keen ear will soon enable him to
get the glasses thoroughly in tune, and they can then be arranged before
him in the order of the notes in the scale.

For those who desire to attain proficiency in this art, it would be well
to color the water distinctively in each glass, in a manner similar to
the following:

  1. C clear
  2. D red
  3. E blue
  4. F yellow
  5. G green
  6. A purple
  7. B orange
  8. C black

  (See Fig. 1.)

By this arrangement the performer can tell at a glance which glass he
must touch to obtain the note required. This is more especially
applicable to beginners, for, after some practice, the relative
positions of the glasses become fixed in the mind, and he knows
instinctively where to turn for whichever note is wanted.


HALF-NOTES

Half-notes can be made by adjusting the amount of water, which can be
colored accordingly; but for an ordinary entertainment the octave will
be found quite sufficient, and at any rate to begin with, will require
all the musician’s attention. When he can play quickly and correctly
with his first eight glasses, he can introduce half-notes, but it is
very unwise to start with too many vessels, for it will give both him
and his audience far greater satisfaction to hear eight glasses played
well than to hear a larger number played indifferently.

An important point to remember is to keep the finger and the rim
thoroughly wet. If this be borne in mind, the notes will come much more
easily and clearly, whilst the disagreeable droning sound will entirely
disappear. Care must also be taken to see that the glasses are steady on
their bases, as, in the case of champagne glasses, especially, they are
liable to tip up under the pressure of the finger.

With regard to the music suitable to musical glasses, it has already
been mentioned that Gluck and Mozart composed songs for this class of
performance, but the beginner is not recommended to attempt these until
he is very skillful. As some time will elapse before he can play even
the scale with ease, perfectly simple music should be all that he tries
to learn at first. When such easy, although somewhat hackneyed, pieces
as “The Blue Bells of Scotland” and “Annie Laurie” have been mastered,
he can try more advanced works.

[Illustration: FIG. 1.--Showing finger-bowls containing various colored
waters at different levels, each level indicating a different note.]

Many attempts have been made to discover some means of producing the
sound other than by rubbing the finger over the rim of the glass. Violin
bows and other similar contrivances have all proved ineffectual.

It would seem that the texture and surface of the human skin are alone
suitable for this purpose, and nothing else has proved successful. This
is the reason why musical glasses have not become more common, for the
continual rubbing of the wet finger over the surface of the glass
becomes after a time somewhat unpleasant. However, this hardly applies
to the short period that an ordinary performer would devote to an
entertainment. Yet such was the reason that caused the failure of
Franklin’s instrument.

The following few bars of music, being the opening phrases of a
well-known song, will prove very suitable for glass music, especially
when played at the dinner-table after the dessert has been discussed. To
simplify the matter for those who are not familiar with the usual
notation of music, the notes are given by name, thus enabling any one to
pick them out with ease:

  E, E, E, F, F, G, F, E, D, E, F, G, C, F, E, D, C.




CHAPTER XIV

HAND-BELL RINGING


A SWEET-LIPPED FRIEND

THERE is something vital in the ordinary bell that dominates all of us.
It is an important factor in our lives. The railway bell’s clamor
reminds us that haste is needed to catch the departing train. The dinner
bell tells that the meal is ready for our consumption. The church bell,
the wedding chime, the fire bell, the tolling funeral bell, are all our
faithful monitors and guardians, but the exquisite voice of the
hand-bell is the sweet-lipped friend that wooes us in our hour of ease.

Hand-bell ringing is full of charm and interest, and it is astonishing
of what changing harmonies these instruments are capable when
manipulated by dexterous hands. Undertaken with perseverance and
patience to overcome its rudimentary difficulties, this form of
campanology may be achieved with great success.

The first thing to do is to go to a well-known firm to secure the
necessary bells, which must be perfectly in tune. The beginner needs
only a few, as for some time he must essay only the simplest tunes. The
best hand-bells are somewhat expensive, but to buy cheap inferior
instruments is false economy and most unsatisfactory, for sonorousness
and sweetness of tone depend upon purity of metal and perfect balance.

Those known as the “four-in-hand” consist of four hand-bells attached by
means of a leather handle to one base. This enables the player to
manipulate eight bells at once. Of course, by making careful inquiries,
or by advertising, good second-hand sets of bells can be bought quite
cheaply.

It is advisable that the bells be tuned to old Philharmonic pitch,
C--540, and they should be fitted with improved pegged clappers.

The first step undertaken by the novice at bell-ringing is to consider
and study the construction of the bell. It is surmounted by a loop of
leather, and the hinge of the clapper is so made that it can sound only
when swayed towards the flat part of the handle. The part of the clapper
that touches the bell is composed of felt and not of metal, but this
alone is too light a material for the springs, which, it has been
discovered, resist it.

To overcome this difficulty it is necessary that the felt should be
weighted. This achievement needs skill and experience, for the springs
and weight naturally vary according to the size of the bell, and are in
exact proportion, small springs being necessary for the small bells and
large springs for the large ones.


BELL-RINGING COMPANIES

Bell-ringing companies consist of five players, and these are generally
composed of two ladies and three gentlemen; all should be physically
strong and possessed of the sense of strict notation and music-reading
ability. The ladies generally undertake the alto and tenor parts. The
strongest player manages the bass bells, and the most reliable and
cool-headed of the party the treble, which is divided into first and
second, and is extremely important, needing no small amount of agility
and nerve, especially in difficult and intricate passages.

There are many reasons why five players are advisable. Four could not
manage the full harmonies of treble, alto, tenor, and bass, while more
than five are apt to get in each other’s way, besides taking up too much
space on a small platform in a drawing-room.

A long table, covered with some heavy material, such as thick baize or
half-a-dozen pairs of good blankets, is essential. Blankets are the
best. They should not be spread out or divided, but folded upon the
surface, and then concealed by a cloth. This keeps the sound from
vibrating through the wood of the table, as the bells are placed upon
it, at the termination of each note.

The bells must be in easy reach of the ringer, and the company just
formed will do well to chalk lines upon the cloth to divide their
positions from that occupied by the neighbor’s bells.

Tenor and alto players should occupy the center of the table. Their
work, compared with that of bass and treble, is light and subordinate,
and this is why those parts may be undertaken by ladies. The second
treble stands at the right end, next to the alto, and the first treble
and bass occupy the head and bottom of the table, as shown in Fig. 1.

Immediately after the bell is used the player must be careful to replace
it in its former position in the chalked space, or confusion and discord
will be the result, as it is almost impossible to remember the position
of the bells unless this plan is strictly adhered to. To pick up the
wrong bell will lead to disaster.

                            Audience.

         ┏━━━━━━━━┯━━━━━━━━━━━━━━━━━━━━━━━━━━━━┯━━━━━━━━┓
         ┃        │         The Table.         │ First  ┃
         ┃        │      Bells not in use.     │ treble ┃
  Player ┃ Bass   │                            │ bells. ┃ Player
     ○   ┃ bells. ├──────────────┬─────────────┼────────┨    ○
         ┃        │              │             │ Second ┃
         ┃        │ Tenor bells. │ Alto bells. │ treble ┃
         ┃        │              │             │ bells. ┃
         ┗━━━━━━━━┷━━━━━━━━━━━━━━┷━━━━━━━━━━━━━┷━━━━━━━━┛

                      Player ○      Player ○    Player ○

FIG. 1.

Many plans have been tried in which to place the bells so that each
player may identify the different bells to be used. Perhaps the simplest
and most usually adopted is to arrange them in rows upon the table.
Supposing the number of bells required to be fifteen, place them in
three lines of five. For the first row employ the letters of the
alphabet; for the second, even rows of figures; for the last, single odd
figures, thus:--

  ┏━━━━━━━━━━━━━━━━━━━━━┓
  ┃  A   B   C   D   E  ┃
  ┃  ○   ○   ○   ○   ○  ┃
  ┃                     ┃
  ┃  2   4   6   8  10  ┃
  ┃  ○   ○   ○   ○   ○  ┃
  ┃                     ┃
  ┃  1   3   5   7   9  ┃
  ┃  ○   ○   ○   ○   ○  ┃
  ┗━━━━━━━━━━━━━━━━━━━━━┛

FIG. 2.

This plan should be learnt, and the position of the bells be as fixed
and relative to each other as the notes of the keyboard of the
pianoforte. At first the players stand with the left side turned
slightly to the table, but frequently they will be obliged to change
their positions, sometimes turning to the right and sometimes facing the
table. The bell should never be placed with the flat side of its handle
towards the manipulator, for in this position it cannot be struck,
however much waved.

In holding the bell, the thumb must be pressed on the rivet, the fingers
gripping the flat side of the handle. When lifting the bell, the handle
should slope towards the body, thus forcing the weight of the clapper to
swing to the side opposite to that upon which the strike sounds. The
bell, being lifted in this position, is not struck, the hand changing
its inclination from left to right. In so doing, the bell is turned to
an opposite angle, the clapper falls, and the strike is achieved by a
slight impetus of the arm or wrist.

The student should practice lifting and striking the bell with alternate
hands, until it is as easy to manage it with the left hand as the right.
When he has mastered this difficulty he may try the working of two
bells--one in each hand, lifting one bell while the other is struck,
taking care, however, always to place them in such a position that no
turning or twisting of the handle is necessary before action, as this
involves loss of time, and makes him liable to constant blunders when he
takes part in a tune.

The length of the table varies according to the number of bells required
and the style of music undertaken. Forty-four bells are sufficient for
most simple melodies and exercises, and for them the space required is
about 11 feet by 5 feet.


“FLOURISHING”

“Flourishing” the bells is impossible in quick music, and is only
undertaken in slow passages, when the notes are to be sustained. In
working the bells alternately, the dying vibration of one bell must
never be allowed to mingle with the next, for this is even more
discordant than when, in pianoforte playing, a pedal is kept down too
long, and makes the vibration of one chord jar into the next.

To prevent this, the vibrating bell should be placed on the table
immediately before the other is about to be struck, but not in such a
manner as to rob the note of its proper value. In a staccato passage, on
the contrary, the bells should be set quickly on the table as soon as
they have sounded.

In practicing the ringing of alternate bells, make each vibration the
value of a semibreve, then a minim, and lastly a crotchet, until perfect
dexterity is achieved, thus:--

[Illustration]

When the trebles are divided, the first treble plays the notes turned
upwards, and the second treble the downward tailed--thus, in the scale
of C:--

[Illustration]

The notes should follow without any break as continuously and smoothly
as though one player were ringing the scale.

Ringing two bells in each hand is difficult of accomplishment. In order
to do this successfully, one bell is lifted and gripped in the right
hand by the first and second fingers and struck downward. Then another
bell is inserted between the thumb and first finger, the flat part of
the handles at right angles. The first bell is again struck down, when
it will be discovered that the second bell remains silent until it is
slightly turned from left to right by a quick wrist movement, while in
its turn the first bell gives no sound, simply because it needs a
downward stroke, and the side stroke, which gives voice to the second
bell, is in a contrary direction.

Extreme care and perseverance are necessary before these two bells can
be properly manipulated, and a great number of exercises which the
student can construct for himself should be practiced.

Chromatic notes present great difficulty, especially in more advanced
music, and can only be mastered gradually. In simpler passages, when
they occur, the student should place the chromatic bells in the back row
in the order in which they are to be used. If his chromatics are
arranged (1), (2), (3), (4), (5), and he has memorized their position
beforehand, he will have no difficulty in finding them as they are
required.

A company of bell-ringers should have a large _répertoire_ of music of
as much variety as possible. Many of the pieces which are most suitable
are somewhat hackneyed, and yet are cordially welcomed when musically
treated, and other works can always be arranged for playing.

Tone, expression, and phrasing are all-important. The rhythm of sounds
must not alter with the changing of the bells. It must continue in a
sweet flow of music, just as if one hand were manipulating every bell.
The jerk, the overlong pause, or the lack of tone in one player’s work,
has power to mar the whole performance.

In large orchestras constant playing together is necessary for proper
union and harmonizing of sounds, and this is equally essential in
bell-ringing. It must ever be remembered that “practice makes perfect,”
and the blending of the bells needs unending patience and persistence.

For beginners such pieces as “The Minstrel Boy,” “She Wore a Wreath of
Roses,” “Home, Sweet Home,” “The Last Rose of Summer,” and the National
Anthem prove stepping-stones to enterprises of a more complicated
nature, and should be carefully studied, for “vaulting ambition” is
quite out of the question in the art of hand-bell ringing.




CHAPTER XV

THE ART OF DRAWING-ROOM SINGING


CORRECT BREATHING AND VOICE PRODUCTION

[Illustration: FIG. 1.

  A. Hard palate.

  B. Soft „

  D. Uvula.

  E. Tongue.]

ONE of the most delightful sounds in the drawing-room is the music of
the human voice, uplifted in song to a soft pianoforte accompaniment,
if, of course, the voice be tuneful, easily produced, and sympathetic,
and the breathing taken without effort.

The first steps to be considered in singing are (1) correct breathing,
(2) voice production, (3) clear pronunciation. The tongue should be
hollowed behind the teeth, not rolled up in a ball, thus closing the
vocalist’s throat. The uvula, so called because of its supposed likeness
to a grape, should be lifted to the roof of the soft palate, the mouth
presenting a hollow open chamber, through which the notes issue in
clear, bell-like tones (Fig. 1).

The beginner will find this a difficult matter, and effort and will are
needed to keep the tongue down and the uvula up. The position of the
former may be demonstrated by means of the handle of a teaspoon pressed
against it. The tongue will prove rebellious until practice makes it
perfectly easy and natural to subdue it in the necessary manner.

In breathing, inhale a long slow breath through the nose only, keeping
the mouth closed. The air should originate in the upper part of the
diaphragm, and be held until the ribs are slowly inflated, balloon
fashion, when it should be exhaled through the open mouth, gently and
without effort until the ribs contract. Never push the ribs to lengthen
the expiration of breath.

A good plan to insure easy and quiet breathing is to count slowly to ten
while the chest box is being inflated, and also when the air is being
exhaled. In this manner the breath will be prevented from coming and
going in spasmodic gasps and jerks. The number ten may be increased
gradually to twenty or thirty, until the student is able to produce
breath sufficient for the phrase vocalized. Regular breathing exercises
should be taken every day before singing, the hands being placed upon
the ribs, in order to feel and insure their gradual rise and fall.

An anatomical study of the throat, windpipe, and lungs should be made
(Fig. 2), and this will considerably help the student to understand the
difficult mechanism of voice production.

[Illustration: FIG. 2.--Throat, windpipe, and lungs.]

Practice gradually adds new notes to the voice, but the young singer
must be careful not to strain the vocal organs by endeavoring to sing
high and low notes before they are naturally developed.

Concones and every variety of singing exercises should be practiced
before a song is undertaken. Over-practice is harmful. Vocal organs
should never be fatigued or unduly taxed, and half-an-hour’s practice is
ample--indeed, more valuable than an hour at a stretch.

Singing directly after meals should be avoided, and the throat must not
be coddled in furs or compressed by high collars.


DAINTY MODERN SONGS

In drawing-room singing, four or five-versed lyrics are not nearly so
charming as the dainty modern songs of two or three verses, and these
must never be undertaken until the student has reached a proper
understanding of phrasing, breathing, and expression.

Many singers prefer to accompany themselves, but this has its
disadvantages, as the voice is far better produced when the vocalist is
standing. The position should be easy and natural, the head erect, but
not lifted back, as this contracts and narrows the larynx.

While the singer should enter into the idea of the composer, she should
have her own conception of the song, and endeavor to give it, as far as
possible, her own individual expression, her voice being colored by the
cultivation of her soul; otherwise the most perfect vocalization will
fail to move the audience.

These elementary rules hold good for the male as well as the female
singer, and cannot be too carefully considered.

A further important factor in the art of singing is the hygiene of the
human body. The singer must cherish physical health. Plenty of outdoor
exercise should be taken. Indulgence in drinking and over-eating is
injurious. To practice when fatigued, or indisposed, is to risk
permanent harm to the voice; and to sing when suffering from a cold is
extremely foolish. At such times, breathing exercises may be taken with
advantage, as they clear the lungs and help towards recovery.

Lady singers are sometimes inclined to wear gowns which do not allow
them sufficient room for breathing purposes, and they will often
willfully sacrifice the well-being of their voices to be fashionably
attired. In order to perform their functions properly, the lungs and
ribs must have space and freedom from pressure. Too narrow bodices are
almost as pernicious to the voice as tight lacing, for these seriously
retard the breathing, and what in loose garments is natural and easy of
accomplishment, becomes an obvious struggle, which fatigues the singer
and renders her voice thin and poor in quality. This is often the reason
why a vocalist is seen to lift her shoulders and pant audibly during her
song, thus marring her conception, which may be, in every other
particular, delightful and artistic.

Many singers with weak lungs find voice production extremely beneficial,
for proper breathing and careful practice do more to strengthen a
delicate chest than any bottled remedies.

The vocalist should never stoop (for this narrows and compresses the
vocal organs), and in singing the first care should be to see that the
shoulders are well thrown back, although not strained to an unnatural
position.

In practicing, it is beneficial to keep the arms folded behind the back,
placing the hands over the elbows, and taking care not to thrust the
head forward. This will keep the chest expanded, and the body easily
upright.


THE VALUE OF A GOOD ACCOMPANIST

When performing, it is necessary to be equipped with a good
accompanist--one who understands the art thoroughly, and refrains from
banging out the notes as if the voice of the singer were merely the
background to his own performance. The three qualities essential in an
accompanist are sympathy, artistic sensibility, and discernment to
understand the temperament and conception of the vocalist.

An inefficient accompanist has power to transform an artist’s highest
and most conscientious endeavor into irritability and inability to
render individual expression. Pianists frequently are highly recommended
to singers because of their gift of sight reading. Now this is a very
valuable and important accessory, but there are many excellent sight
readers who have no idea of that delicate and tactful manipulation of
accompaniment found in the true artist, and who, even though they play
correctly the most difficult music placed before them, sadly fail
because of inadequate comprehension of the needs vital to the singer.

To hustle the singer is almost as heinous a fault as to lag behind. Some
accompanists convey the fatiguing impression of a brake applied to a
carriage wheel, and the artist feels as if she were pulling the pianist
through the song, while others play as if they were racing to catch a
train, and there is not a moment to lose. Both these defects are equally
fatal. The pianist on these occasions should neither be independent nor
dependent. She or he must realize that, although the pianoforte is
subordinate, it is extremely important because of its power to influence
the mind and conception of the singer, who should feel an electric tide
of sympathy and support flowing from the pianoforte and carrying the
voice on a wave of sound.

An accompanist should be chosen with care, rehearsed with frequently,
and must possess individual qualities in common with the temperament of
the singer. A sense of reliability and strength conveyed will do much to
put the most nervous vocalist at ease, and give that tranquility and
self-possession without which no singing is successful.

Rehearsing before a mirror is of great assistance, for it is only in
studying the reflection of one’s features when singing that one is able
to check nervous mannerisms and facial contortions. Pains must be taken
to open the lips adequately wide, for the mouth is the mold; the voice,
the molten gold; and, if the mold is twisted or narrowed, the gold will
be warped and flawed in quality.

The simpler the manner of the singer the sweeter the song, for the
affectation sometimes indulged in, the airs and grimaces commonly known
as “side,” which some singers see fit to employ, are as unsightly as a
mud-splashed window-pane. They are often also the insignia of the
incompetent and the ignorant, for it is never the true artist who thus
obtrudes herself on her hearers.

Of course, in some cases apparent affectation really originates in
extreme nervousness and hyper self-consciousness. In such cases the
singer must battle patiently with this embarrassing trait until it is
overcome, for unless this is accomplished one’s singing can never be a
joy and delight.

In order to be successful, a song must be delivered harmoniously; to
voice sweet exquisite words accompanied by facial contortions is to make
a pitiful caricature of your performance.

Take care, therefore, that your attitude, features, and expression
combine to carry the emotion conveyed in your voice. Study unity and
repose. Endeavor to forget your own identity for the time being,
considering yourself only as the cage that holds the nightingale.

Although the singer should be perfect mistress of the songs forming her
repertoire, she should always deliver them freshly and spontaneously.

There is an old saying, “Familiarity breeds contempt,” and,
notwithstanding the fact that this is usually said of individuals, it
may be applied very truly to the relationship that exists between singer
and song.


WHY SINGERS OFTEN FAIL

It is very usual for an ambitious student to be consumed with
conscientious determination. She makes up her mind to learn a difficult
song, and she works assiduously at it day after day, week after week,
until she knows every word and every note.

By-and-by she performs it proudly to a select circle of friends, and she
is surprised and discouraged to find that all her keen enthusiasm for
the song has gone. It does not seem to suit her voice; the words have
lost meaning. The emotion she at first poured into it has disappeared,
and she is thoroughly disheartened, and is quite unable to find reason
or remedy for her indifference.

An experienced artist would be able to show that student in a moment
wherein her failure lay.

She had allowed herself to become too familiar, and familiarity had bred
contempt. The song doubtless needed practice, but not incessant grinding
and toiling. One cannot hammer the arts into one’s head as if they were
nails being driven into wood. The subtle essence, the ephemeral spirit
of the song will still evade the singer. To catch that, and to reveal it
to others, the work must be as pure as the widespread petals of a
flower.

So, when listlessness replaces your high enthusiasm for a song with
which you have become too familiar, do not be disheartened, but put it
away, and determine not to touch it or hear it sung until your first
eagerness to master it is reborn. Then, and then only, take it out and
sing it, and you will be astonished at the result; for having mastered
the technicalities you are able to pour your heart into your words, and
the result amazes you and delights your hearers, who think you have
never sung anything better or more suitable to the pitch and timbre of
your voice.




CHAPTER XVI

DRAWING-ROOM RECITALS


THE KEYNOTE OF SUCCESS

[Illustration: FIG. 1.--Correct position for reciter.]

[Illustration: FIG. 1_a_.--The stiff, unnatural position.]

IT is frequently and quite erroneously supposed by the uninitiated that,
given a good memory and a pleasing voice, the young would-be
elocutionist may become highly successful in the art of reciting. It is
only the painstaking, experienced artist who realizes that these
attributes are but as the husk to the nut, the calyx to the bud.

Cased in its shell is the kernel, and folded in its green sheath are the
petals of the flower. So, likewise, the voice and power of memorizing
must be but the covering of numerous other qualities, attained only by
perseverance, judicious practice, and that artistic sense of fitness
without which all attempts to excel are in vain.

It is impossible to play a symphony on the pianoforte before grinding
away at the rudiments of music, and no one may build a house without
mastering the elements of architecture. Yet the difficult art of
reciting is often approached by a novice, who, having pounded some poem
or prose into his or her memory (reciting is usually a feminine
qualification) plunges into it with all the self-satisfaction of
ignorance, and pains or fatigues her listeners by her flagrant and
unsympathetic rendering of a masterpiece, which, in experienced hands,
would be an exquisite piece of work, something to be remembered and
dwelt upon with considerable pleasure.

The speaking voice, properly treated, is an instrument of exquisite
music, capable of as many shades of feeling and power as the pipe organ.
Before all else the voice must possess sympathy, sweetness, power of
expression, and naturalness; and, unless these qualities are governed by
a high sensibility, keen intuition, and common sense, they are futile.

The wing of the voice is the breath. Unless this is elastic, easily and
naturally produced, the voice is like a crippled bird, or similar to a
musical instrument with broken strings. Thus the cultivation of voice
and breath is the most powerful adjunct to good reciting, and this only
comes by constant practice.

In practicing, the reciter should stand in an easy attitude (Fig.
1)--erect, but not stiffly upright, and with muscles neither tense nor
unduly lax, as in Fig. 1_a_. “There are no straight lines in Nature.”
This is an invaluable motto for the student. The best method of gaining
a clear and flexible voice is to read aloud some paragraph or verse
softly at first, studying the meaning and sound of every word spoken,
and endeavoring to express its phonetic quality, not only with the lip,
but with the eyes. A mirror is an excellent help (Fig. 2). It will show
the beginner the difference between facial expression and facial
contortion (Fig. 2_a_).

[Illustration: FIG. 2.--Facial expression.]

[Illustration: FIG. 2_a_.--Facial contortion.]


THE SPEAKING REGISTER

The paragraph may be repeated in a gradual crescendo until the full
power of the voice is used, always taking care to avoid harsh and
stridulous tones, and not strain or fatigue the throat. When the student
has accomplished this to her satisfaction, she should allow her voice to
die gradually away, until it is almost a whisper, but her tone must
always be clear and round in quality. This method will bring many
different shades of inflection and feeling into the voice, and she will
be astonished at the notes she will add to her speaking register.

A good exercise is to make out a list of abstract words, and,
concentrating attention upon them, endeavor to convey their full meaning
with the aid of the mirror. Such sentences as: “I _love_ you _dearly_,”
“My _hate_ is too deep for _words_,” “My _scorn_ is _intense_,” “My
_tender concern_,” “My _pity_,” “My _contempt_,” “My _indifference_,”
“My _desire_,” “My _despair_,” and other impromptu phrases may be spoken
in different tones, united, with eye and features, to express the
qualities voiced.

The student need not despair because she has a bad or untrained memory.
The power of memorizing verse or prose only requires diligence and
concentration to become facile and natural. Exaggeration, affectation,
melodrama, and meaningless gesture should be avoided, for there is
nothing so appealing as simplicity.

Before reading a poem aloud, the reciter should master the meaning of
the story it sets forward. She must remember that she is about to paint
a picture in words. To do this effectively, she must avoid daubing in
lurid colors. She will find it helpful to regard her mind as her
palette, her voice as her brush, and her color tones as sympathy,
tranquillity, gentleness, optimism, faithfulness, and clearness of
expression. She should take as much pains when practicing as when
performing before others, endeavoring to criticise her mode of speech
and expression just as though she were listening to some one else’s
recital.

The following simple rules will prove of great assistance:--

  1. Breathe easily, inflating the lungs slowly, and without effort or
  sound.

  2. Speak distinctly and clearly, and avoid shouting.

  3. Sound the consonants, but do not hiss them.

  4. Sound the syllables distinctly, but without undue emphasis.

  5. Sound the definite article without giving it too much importance.

  6. Read brightly and naturally.

  7. Avoid monotony: graduate tones by feeling.

  8. Understand clearly and sympathetically what is studied.

  9. Read with earnestness, but without heaviness.

  10. Mind pauses and emphasis.

Here is an example from “David Copperfield”:

“Here is our pew in the church. What a high-backed pew! With a window
near it, out of which our house can be seen, and _is_ seen many times
during the morning’s service by Peggotty, who likes to make herself as
sure as she can that it’s not being robbed, or is not in flames. But,
though Peggotty’s eye wanders, she is much offended if mine does, and
frowns to me, as I stand upon the seat, that I am to look at the
clergyman.”

In this passage the reciter is for the time being a little boy
endeavoring to sit quietly in church and fix his eyes on the clergyman.
She must be simplicity itself in order to depict the David and his
surroundings, lending a sympathetic eye that probes the brain and heart
of the child squeezed between his mother and nurse, and she must see
every detail as he describes it.

In order to do this successfully, intuition is essential. It will
inspire the voice to a like comprehension, with the result that her
listeners will be able to see that little weary figure quite plainly.
Thus, in everything undertaken, the student must learn to merge her
personality into that of the man, woman, or child of whom she is
speaking, so that the words spoken seem indeed to fall from the lips of
the characters portrayed.


APPROPRIATE GESTURE

Appropriate gesture presents difficulties, and, although occasionally a
powerful aid, it is more often a stumbling-block to the inexperienced
reciter. Many otherwise excellent recitals have been marred by
superfluous demonstrations, which remind one forcibly of the action
songs and recitations performed in a kindergarten, whilst not a few
reciters hedge themselves in with boundaries. They will mention the sea,
and point to a horizon, indicate distant hills, wood and lake,
frequently forgetting their respective situations. I have seen upon more
than one occasion a reciter engaged in a ludicrous juggling of her
scenery, pushing the sea aside to make room for the hills, and merging
her forests in the lake. This forgetfulness, usually engendered by
extreme nervousness, renders an artist ridiculous. How much better,
then, to refrain from gesticulation, unless she has mastered its
intricacies.

In drawing-room reciting the voice must expand according to the acoustic
properties of the apartment. A good way of making the voice carry is to
imagine it an india-rubber ball, which is being thrown against the
opposite wall. This thought will gradually insure its elastic
properties.

When reciting, the eyes should be kept from roving among the audience,
nor should they be fixed in a strained, glassy stare on the ceiling, for
they are too useful to the performer, and will be needed to express
different shades of thought.

If the reciter is nervous, she should endeavor not to show it by
twisting her fingers or moving her feet. The best cure for this
harassing affliction is to glance quietly at the audience _before_
beginning to recite. Taken individually, they will be found far from
alarming. After this, a determined endeavor should be made to
concentrate the mind on the artistic rendering of the recital.

[Illustration: FIG. 3.--The epic radius, or mental zone.]

To many elocutionists, costumes are a help, enabling them to grip more
powerfully the character portrayed. In this case a certain amount of
gesture is advisable, but there are no hard and fast rules. Actions must
be governed by discretion and common sense.

The hand may properly be called a second tongue. As such it should be
treated, and, to continue the simile, should not be allowed to stammer
behind or chatter meaninglessly before the reciter.

The hands and arms are capable of a vast amount of expression when
properly used.

Gesture may be divided into three classes:--

1. The epic radius, or mental zone, is the movement above the head and
horizontal with the shoulder (Fig. 3). These are sweeping and graceful,
_not_ jerky movements, indicating such sentiments as honor, conscience,
awe, veneration, &c., and may be used with advantage in such lines as--

  “Great ocean! strongest of Creation’s sons,
   Unconquerable, unreposed, untired,
   That roll’d the wild, profound eternal bass
   In Nature’s anthem, and made music such
   As pleased the ear of God! original,
   Unmarr’d, unfaded work of Deity.
   From age to age enduring and unchanged,
   Majestical! inimitable! vast!
   Uttering loud satire day and night on each
   Succeeding race, and little pompous work
   Of man!--unfallen, religious, holy sea.”

In Shakespearean recitals and other blank verse, this epic zone may be
used, as, for instance, in such pieces as the choruses of Henry V.

[Illustration: FIG. 4.--Rhetorical radius or moral zone.]

2. The rhetorical radius, or moral zone, includes the movements of the
arm from breast to shoulder and from the region of the heart (Fig. 4),
and may be used to appeal, implore, beseech, express love, hate, fear,
contempt, &c., as in Queen Katherine’s speech in Shakespeare’s “King
Henry VIII.,” Act ii. Scene 4:--

  “Sir, I desire you do me right and justice,
   And to bestow your pity on me.”

3. The colloquial radius, or vital zone, from below the waist (Fig. 5),
is used to express ordinary sentiments that do not emanate in the heart
or higher intellect, and may be used to give point to a simple, everyday
occurrence, or narration, as in--

  “Only a pin, yet it calmly lay
   On the tufted floor in the light of day;
   And it shone serenely fair and bright,
   Reflecting back the noonday light.”

During the long winter evenings, when amusements and entertainments are
cordially welcomed in home circles and at friends’ firesides, the youth
or maiden who is unable to play or sing, may, with a little care and
practice, provide a delightful item in the programme, which will add
considerably to the evening’s enjoyment.

[Illustration: FIG. 5.--Colloquial radius or vital zone.]

An hour’s regular practice a day will work wonders with the voice of
these aspirants, and there are many simple and exquisite poems that are
easily committed to memory, for the student is far more likely to
succeed and give pleasure to others in memorizing at first only the
simplest and shortest poems, remembering always Shakespeare’s invaluable
counsel to players:--

“Speak the speech, I pray you, as I pronounced it to you, trippingly on
the tongue; but, if you mouth it, as many of your players do, I had as
lief the town-crier spoke my lines. Nor do not saw the air too much with
your hand--thus; but use all gently; for in the very torrent, tempest,
and (as I may say) the whirlwind of passion, you must acquire and beget
a temperance that may give it smoothness ... Be not too tame, neither,
but let your discretion be your tutor; suit the action to the word, the
word to the action, with this special observance, that you o’erstep not
the modesty of Nature.”




CHAPTER XVII

THE ART OF WHISTLING


METHODS OF A FAMOUS SIFFLEUR

THERE is no form of drawing-room entertainment which, when well done, is
more interesting than whistling, with pianoforte accompaniment.

Below are embodied the views and methods of Mr. Charles Capper, the
famous English siffleur, regarding this unique and attractive means of
entertainment.

The great part of humanity knows nothing of that ability of piping and
whistling so natural and melodious in the blackbird and thrush. Most of
us have at some time or other put by a little of our bread-and-butter
earnings in order to take a few lessons in learning to sing or to play
the pianoforte or some stringed instrument. But there are comparatively
few who turn to whistling as a means of livelihood or as an
accomplishment. It is fortunate that this is the case, for, unless one
possesses considerable natural talent, it is mere waste of money, time,
and endeavor.

Whistling cannot be hammered into being. It is only where real ability
is possessed that the student may set himself to work and overcome its
many difficulties, and hope to achieve his best.

Another gift equally essential is that of a good natural ear--an ear
that instantly distinguishes and corrects the note which is a shade
flatter or sharper than it should be.

It is a fact worthy of note that, while an unusually high roof to the
mouth is a disadvantage to the singer, it is--so some medical
specialists assert--a great gain to the whistler, and perhaps this is
the reason why it is so rare to meet skilled exponents of the art.

However, it is common enough to hear in almost every grade of life the
whistling that has never been cultivated. For example, in the early
morning, a few shrill tuneless notes float up to one’s bedchamber from
the area steps, as a dairyman hands in the allowance of milk; but this
annoys rather than delights, although it speaks eloquently of the human
soul of the whistler.

When the boy whistles, his mother knows he is well--in a good temper,
and contented with the whole universe. The merchant, stepping into his
office, may trill a few bars of “Tommy, make room for your uncle,” and
the sound conveys volumes to the sharp-eared clerks, who foresee a day
of unusual calm and peace; because a man suffering from spleen, liver,
gout, or toothache never so far forgets his agony as to whistle.

Whistling invariably shows a light heart, and perhaps the reason why the
birds indulge in this pastime so freely is because they know nothing of
the burdens that beset mankind.


BREATHING AND TONE

The most important qualities to be observed in whistling are production
and control of breathing, modulation, purity and roundness of tone.

The method of breathing in whistling is exactly similar to that used in
vocalization, and can be taught by any good teacher of singing. Scales
and exercises should be daily practiced with infinite care,--to keep the
notes clear and of even pitch.

Slurring or stumbling in a quick passage can be easily
perceived--perhaps more so in the whistler than in the singer. Scales
and runs should be undertaken, slowly at first, gradually increasing
speed and tone until perfect flexibility is attained.

Many a whistler capable of faultless execution fails to charm, through
monotony of tone. This is a fault as common as it is serious. Whistling,
with practice and thought, can be modulated in a far greater degree than
either the flute or the piccolo, and with much greater effect.

It is not enough to whistle a song correctly. The student should first
study and memorize the words, so that he may express the tender pathos
expressed in the song.

The whistler should pay as much attention to artistic rendition as the
vocalist--if possible, even more--because he cannot voice the words with
which to appeal to the hearts of his hearers. He is obliged to convey
the sorrow, or humor, as the case may be, without the utterances we
recognize as the insignia of distress, joy, or love; and his heart must
be behind his notes, and enter into them, to win the spirits of the
audience to comprehension and sympathy.


SUITABLE SOLOS

Whistling may be divided into two classes:--

(1) _The florid._--necessary in such solos as Arditi’s “Il Bacio,” which
seems at first to the beginner to teem with insurmountable difficulties,
but which a little earnest practice will soon overcome.

(2) _The sentimental._--In this category are Bishop’s early English
songs, such as “Bid me discourse,” “Tell me, my heart,” “Should he
upbraid,” “Lo, hear the gentle lark,” “Love has eyes,” Clay’s “I’ll sing
thee songs of Araby,” &c. All these songs make excellent whistling
solos, and are delightful when rendered with artistic sympathy and
meaning.

All songs must be memorized. The whistler cannot give necessary control
to his breathing and production if he holds the music in his hand. In
practicing, it should be placed on a music-stand, and, in performing,
must be note perfect. His whistling must be so faultless in its
conception that the audience must almost hear the words coming from his
lips.

Most of the solos forming the whistler’s repertoire are well known and
popular, and the verses of such songs as “My mother bids me bind my
hair” are familiar wherever the English language is spoken, so that all
audiences are capable of interpreting the meaning of the sweet lilting
notes. When we listen to “The Lost Chord,” played on the organ, we seem
to hear the throbbing rhythm of the words just as if some spirit were
singing them, and so it should be in the whistling of Spohr’s “Rose
softly blooming,” and many another song which will doubtless occur to
the student.

Care should be taken not to whistle in too high a key, as this spoils
the quality of the tone, rendering it thin and shrill. The middle
register contains better notes than the higher.

The piccolo is pitched one octave higher than the flute, whilst the
whistler’s notes are said to be two octaves above the flute. Although
the notes whistled are apparently very high, when judged by the ear, or
compared with the pianoforte accompaniment, they are not so, in reality.

It is rare to find the extremely high or the extremely low whistler.
Except in a very few cases, all whistle in about the same pitch. The
most usual key is F or G.

In spite of the old dogmatic assertion about the “whistling woman and
the crowing hen,” there are more young lady performers in this
profession than young men, and very charming whistlers some of them
are.

It is a remarkable fact that not infrequently an individual, whose
tonation is faultless in singing, cannot whistle such a simple melody as
the national anthem without coming to grief.

Here are two useful points always observed by Mr. Capper.

The first is never to laugh when performing. The veriest novice knows
that his risibilities must be well under control before he can whistle a
single note, so that it is essential for him--no matter what funny
incident is noticed and appeals to him--to hold tight to his gravity.

The second is that lip-salves should be strictly avoided, as they render
the lips susceptible to cracks and cold; besides, they make a film which
sticks and prevents clear whistling.




CHAPTER XVIII

BUNKUM ENTERTAINMENTS


THE CUCKOO OF SOCIETY

IT has been asserted that the noun “bunkum” is first cousin to the verb
“to bunk.” If so, the dealer in bunkumisms disdains the connection until
matters grow too hot for him at the end of a performance, when, as a
last resource, he hugs his relative gladly. Cupboard affection this, and
in order to shelter himself from the righteous wrath of the audience,
achieves a flying bunk from the platform.

The word “bunkum” is interesting. It is defined in the dictionary as
“speech spoken merely to please one’s supporters or constituents and
secure their votes--mere talk.” It originates from “Buncombe, a district
in North Carolina, with a constituency, to please whom a member of
theirs once boasted he made a speech in Congress.”

Bunkum covers a wider field than science, woman’s suffrage, or politics.
It is an autocrat that stands aloof, and demands the gentle hearts of
greenhorn and sage alike for its sacrificial fires. It endeavors to
prove that the age of miracles has not been choked out of existence
beneath the widespread fingers of civilization, or how could an orange
be transformed before our eyes into a cauliflower, an egg into a peeled
potato ?

The bunkum entertainer molds the brains of the most iron-headed cynic
into putty, and transforms the scoffing jeers of the know-all schoolboy
into humble admiration. He is a quack sorcerer, and, even while we
designate him as such, we are obliged to own that his art is steeped in
deepest mystery.

The bunkum entertainer is a parasite, a cartoonist, and mimic, a
smooth-tongued, unscrupulous rascal, who deserves--the conscientious
entertainer (who never tries bunkum because he is too stupid and
wool-headed) so has it--to be banished to a desert island and served to
cannibals as minced donkey flesh “à la bunkum.” He is the sort of man
who borrows five pound notes, gold watches, and diamond rings from his
audience, and forgets to return them. He cheats, deludes, patters, lies
by the yard, swallows enough solid materials to furnish a warehouse, and
give an ostrich indigestion.

He is tough and brazen, and cheaply cynical at the expense of the
authentic conjurer, juggler, phrenologist, ventriloquist, seer, and
spiritualist. He is the cuckoo of society. He concocts a potpourri of
brains and wit, and offers it as his own; and yet, in spite of it all,
how fascinating and overwhelming is his personality. He is the fool of
the world--the jester who prances about in cap and bells, who causes our
sides to ache in our futile effort to keep our risibilities decorously
pitched. Never did a folly play pitch and toss with the pedantic phrases
of solemn courtiers, kings and prelates, as ably and irreverently as
this monster incarnate with the five senses of mankind.

He is wrapped in mystery. We regard him with awe and wonder: the
curtains, the table, the walls, the footlights are his faithful agents.
We gaze at the rabbit popping up from his hat, the watch flicked through
a pistol barrel to the wall, the inane jack of diamonds darting from his
mouth to the back of his coat, in trembling amazement of his cunning. We
whisper to our beating hearts, “Can such things be?” At that instant he
throws aside the cloak of secrecy, and shows us his glaring infidelity.
He has not, as we supposed, ruptured and mastered every law of
gravitation and nature. He has simply been dealing in the art of
“bunkum,” and, when he reveals his methods to us, as he never fails to
do in a continuous prattle of artless confidence, we see--or we think we
see--that it is all child’s play and foolish absurdity.

The rabbit has not been suddenly created, full-grown, in the crown of
his immaculate silk hat. It owes its mild behavior to constant
discipline, its sleek coat to cabbage leaves. Like Topsy--like all other
bipeds, quadrupeds and aquatic creatures--it has simply “growed.” Its
cage is behind the stage, to which it will presently be spirited away,
to rest in peace after its labors.

When we discover this we become very wide-awake, very “cute.” We will
see through the next trick or perish in the attempt. Alas! alas! for our
righteous determination; once again we are deluded and snared. The table
performs a giddy reel, the watch of the confiding benign bald-headed
gentleman in the corner is shattered before our eyes, and with a thrill
of horror we strain our necks to gaze in his direction in order to
witness the anticipated apoplectic seizure.

The gentleman, however, remains stolidly non-committal. My young
schoolboy eyes observe a whitening of the gills, a compression of the
lower jaw that bodes ill for the entertainer if he does not make good
the loss; and a few minutes after he is bidden of the smiling performer
to look in his pocket, and, lo and behold! the monogrammed watch, which
we are ready to swear we saw him pass to the platform, dangles safely
from the end of the chain spanning his stomach. The shattered
timepiece, we are told glibly, was only a base imitation in tin and
glass.

But how, where, in what manner? queries my boyish soul, steeped in
perplexity; and, by-and-by, the monster answers all these questions as
if he read that inner inquisitive voice so satisfactorily that I go home
and try the trick before an admiring circle of friends, borrowing my
maiden aunt’s watch for the purpose, she being quite unaware that I have
its threepenny duplicate in my pocket.


SURE OF SUCCESS

I am sure of success. I imitate the performer’s patronizing complacency
perfectly. I smile and sneer politely with all his evil suavity, and
then I fire my pistol, shatter the glass of the threepenny, and my aunt
rises from her chair with a piercing shriek.

“Tom, you little wretch, what have you done?”

With an airy smile I bid her be calm, and from the rear part of my
person produce with a deft movement her precious belonging.

“Your watch, madam,” I say, with all the superior pleasantry of the
“bunkum” performer.

Then the smile freezes on my face, the timepiece feels strangely light
in my clammy hand. I gaze at it in horror. My eyeballs distend, my heart
swings backwards and forwards between my ribs. I have bungled! The good
watch is shattered beyond hope of redemption. The disc of paper and
glass cowers up at me, its hands stretched confusedly across its
impudent face.

Disgrace and ignominy descend swiftly upon me. My maiden aunt prepares
to leave the house, declaring she will never enter it again. My parents,
who expect great things at her demise, beseech her forgiveness in vain.
I am banished from the firelit circle to my own room, up to which a step
presently approaches, striding away from the disorder and hysterics
downstairs. My father enters with a long slender implement behind his
back--an implement which, from former experience, I know portends woe
terrific.

I draw the curtain--I am chastised and broken in body and spirit. For a
whole week I keep severely aloof from the awful bunkum tyrant, and then,
alas! I am drawn again to the hall, where he is performing as
remorselessly as the silly fly is drawn to enmesh himself in the
spider’s web.

The next time I played a trick on my family I took good care it should
be of a kind that would do no one--not even the most hypersensitive
individual--any harm. Needless to say, my aunt was not of the circle.


THOUGHT-READING EXTRAORDINARY

I told them briefly and airily that I was now about to exhibit my
wonderful skill in thought-reading. Perhaps I should add that my sister
Jane, who adores me, was chosen as my confederate. Bidding them fix on a
number, which I would at once discover by the simple means of placing my
fingers on their temples, I withdrew with a bland smile into the
passage.

When I returned they giggled a little, and one twelve-year-old cynic of
the opposite sex piped out scornfully--

“You’ll never guess it, Tom. You can’t possibly--so there.”

This maiden, often a thorn in my flesh, I silenced with a severe frown.

“If you please, I must request the audience to be perfectly silent, to
concentrate their minds--those of you who possess them----” I paused to
scowl at my pink-and-white torment--“concentrate them absolutely on the
chosen number. I am not going to _guess_ it. I am going to discover it
by means of thought transference, and, as the strain is very great, I
must ask you to be perfectly silent.”

“It’s like having our photo taken,” whispered the torment, but some one
bumped her ribs, and she was reluctantly silent.

Solemnly, slowly, I moved round the circle. With drawn brows and
narrowed eyes I placed my fingers lightly on the temples of my father,
mother, uncle, and friends in succession, and then I reached Jane. She
set her teeth just as I had shown her, and I felt the muscles at her
temples work steadily. Having counted ten vibrations, I went on stolidly
to the other heads until the circle was completed. Then, standing before
them, I wiped the imaginary sweat of fatigue from my brow. The torment
looked radiant.

“You don’t know it? There--I said so, Tom, you goose.”

“Madam,” I returned with a bow, “the digit fixed upon was ten!”

Tableau vivant! The complete confusion of the torment, the most
guileless “bravo” from Jane, and my uncle’s audible whisper to my proud
parents.

“The boy’s a positive genius!”

“And he looks quite white and tired,” quoth mamma.

Result--the promise of a ripping new bicycle from grandpa as a reward
for my merit.

I owed a lot to Jane, who remained my faithful unsuspected confederate
in many other tricks, which gained me a reputation of being something of
an extraordinary phenomenon and possessed of embryo genius. It was
delightful to enjoy the giddy pinnacle of fame to which my female
relations raised me.

Another trick that caused much sensation was the following, and, for any
youth who wishes to follow in the footsteps of the great (which I think
some old poet chap--who had never studied the art of bunkum--remarked
are written “on the sands of Time,”) I will state clearly the manner in
which it was done.

Place three corks on the table, and tell your wondering home circle
that, while you withdraw, they may touch one of them, and you will tell
them which cork they touched. Your confederate must classify them as
top, middle, and bottom.

When you return, do not look at her fixedly, but just once through the
tail of your eye. If you observe her brush her hair carelessly from her
forehead, you may safely conclude that the top cork is the one that has
been touched. If she picks an imaginary speck from her nose or blows it,
it is the middle cork. If she scratches her chin pensively, it is the
bottom cork. She must take care not to prolong the process, and you must
see at once (without appearing to do so) the hint conveyed.


FAKE VENTRILOQUISM

By-and-by, delighted with my many successes, I studied and exhibited the
difficult art of ventriloquism. Jane and I, after long saving of
pocket-money and hoarding of occasional tips--bestowed by kindly
relatives, susceptible to hints--succeeded in purchasing a dilapidated
doll from a second-hand dealer, and, mastering the anatomy of its
joints, produced it, seated in the place of honor in front of a
curtained receptacle in which Hyde, our servant, was cramped with a
mouth organ, glass of water, straw and other apparatus, carefully
schooled beforehand as to cues and the order of utensils to be used. Or
in place of a lay figure, another boy seated in the chair, and
appropriately dressed, can act as dummy (Fig. 1).

The bunkum ventriloquist must insert his hand in the hole at the back of
the dummy, so that he can move his head and limbs as desired. He must
also convey the appearance of throwing his voice outward from his chest,
boots or stomach, without opening his lips except when addressing the
dummy.

“Ladies and gentlemen,” said I very grandly, “I am about to exhibit to
you some marvelous feats to illustrate faithfully the psychological
force which mind exerts over matter. This gentleman has spent thousands
of years in an African tomb. He was buried on his face, and that
accounts for his battered nose, while it typifies the greatness of the
position he occupied in 15 B.C., when it was the custom to put corpses
of royal blood with their features compressed against the bottom of
their coffins. You would much prefer to hear his story from his own
lips, and this he will now relate at my persuasion:--

“Androde!”

Hyde (in a far away husky voice): “Noble lord.”

“The audience here wish to know something of your experiences previous
to your long confinement in the willy waily tomb on the Timbuctoo
plains.”

(Hyde bubbles the water through the straw.)

“He’s overcome with emotion. These are tears trickling through the
floodgates.” (Produce handkerchief and wipe them away.)

“There, there, old chappie, don’t cry.”

Hyde (huskily): “When I think of the sand and the worms, I can’t help
it.”

“Don’t think about them. Tell us about the Palace Mahomé in which you
lived.”

Hyde: “It was very beautiful--flowers, fountains, fruit, and baccy as
much as I could consoom.”

Hyde’s pronunciation is somewhat faulty, but I excuse this by saying
that poor Androde has not sufficient air in his sand-choked lungs to
pronounce clearly.

[Illustration: FIG. 1.--Fake ventriloquism.]

“And there were birds, were there not?”

Hyde (sadly): “The air was thick with them, noble lord.”

“Can you recall the note of the Timbuctoo owl?”

(Figure lost in pondering. Head bent, hand raised to temple in
Shakespearean attitude; lifts his face, mouth opened in a wide grin.)

Hyde: “It all comes back.”

“Give us a specimen of the owl.”

(Pause. Dummy thinks hard, and Hyde blows mouthpiece. I then call upon
him to imitate the Timbuctoo lion, and Hyde growls through a glass
chimney, swayed backwards and forwards, and renders excellent
imitation.)

I need not narrate our further conversation. The young bunkum
entertainer can concoct something probably far more idiotic himself. He
may dish up puns, tell funny tales, ask riddles, &c., and, so long as
his patter is bright, amusing, and illustrated by as many funny jerks
and head-turnings of his dummy as he can squeeze into the entertainment,
he will keep a house party amused for a considerable time.

My figure is not always posed as an unearthed royal mummy from the
plains of Timbuctoo. Sometimes I dress him as a coster-boy,
chimney-sweep, or gentleman in evening dress. Not infrequently he
appears as a clown in tight linen skull-cap and red stockings; and a
quick change into my mother’s old dress, renovated by Jane, transforms
him from an awkward-limbed hoyden to a demure old lady.

This dressing need not cost the performer anything. He has only to
unearth a linen bag, containing remnants and articles of outgrown
clothing, to work the miracle. A dummy should have as many different
costumes as Queen Elizabeth. They will all come in handy, and add
novelty to the entertainment.

If the cost of procuring a dummy is beyond the performer’s purse--as it
was beyond mine for quite a considerable time--he may engage a
confederate to walk, behave, and talk automatically, conceal his face in
mask and wig, and render a clever and ludicrous performance. This,
however, needs considerable rehearsing and care.


THE THREE OLD MAIDS

An item that makes for novelty and change in an evening’s performance is
the following:--

Secure three young girls--I don’t mean kidnap them, but use your
masculine powers of persuasion. (I find the majority of women folk need
little when it’s a matter of dressing up and showing off to hilarious
friends.) This is a digression.

Each damsel must have an old woman’s mask, the uglier the better,
secured at the back of her head by means of elastics, which are easily
hidden by her hair. She must wear a long skirt that conceals her feet,
the back part of it covered by a small apron.

Her hands, in mittens, should be clasped behind her over a stick. To
hide the edge of the mask, some fluffy headgear is essential, such as a
lace fascinator with a rose or two fixed at the side, which is folded
crosswise over the back of her shoulders and frames the mask.

[Illustration: FIG. 2.--The Three Old Maids of Lee.]

Place the three behind a curtain. When all is ready--and the performers
should take care to stand perfectly still, for fear of disclosing the
masked profiles at the back of their heads--the curtain is drawn, and
they sing to a pianoforte accompaniment a verse of “We are three young
maids of Lee.”

The onlookers will probably designate this “pretty, but rather tame.”
This is where the fun comes in, for no one is prepared for the grand
finale. At the end of the verse the maidens step backwards in a row and
retire behind the curtain, or turn round with their masks to the
audience, their heads thrown well over the hands holding the sticks
(Fig. 2). When they are ready the curtain is again drawn, and, amid
shrieks of merriment, the last verse is sung by voices as cracked,
discordant, and out of tune as possible--“We are three old maids of
Lee.” The hands and heads should quiver with old age, the figures be
bowed over the sticks. The result is ludicrous to a degree, and never
fails to delight the unprepared audience.

I once saw an old dowager duchess, severe in full consciousness of
war-paint and feathers, nearly burst the diamond snap of her necklace
with laughing at the absurdity of the spectacle presented. Its great
advantage is that it is cheap and easy, and can be performed without any
rehearsing, by inviting three girls from the audience and spending a few
minutes in instructions behind the scenes.

If you do not know them well enough to presume so far upon their
good-nature, call up three chums of your own sex, array them in feminine
apparel, and the result is even more ludicrous, if more expensive, for
in this case you will require wigs to hide their cropped heads for the
first verse, and dressing them will need more time.


BUNKUM LECTURES

I have frequently amused my long-suffering friends and relatives by
Bunkum Lectures. For example, one on Toe and Cornology, quite an
original science, gives scope for the most idiotic remarks on the
characteristic traits portrayed by toes.

For my lecture I have an easel, covered with a block of thin paper
perforated at the top, so that the sheets are easily torn off. On these
I rapidly sketch in turn different types of toes in chalk.

If the entertainer is unable to draw, he can probably persuade an artist
friend to sketch the members required beforehand. In this case the
sheets need not be perforated, but simply thrown over the top of the
easel as he exhibits the different drawings. An easel is soon
constructed, and can be made at home out of soap boxes by the amateur
carpenter; or the block of paper may be placed on a music-stand.

I begin my lecture by a short treatise on toes. I show diagrams of (1)
the President’s toe, (2) the prelate’s toe, (3) the courtier’s toe, (4)
the tyrant’s toe, (5) the toady’s toe, (6) the artisan’s toe, (7) the
neurotic toe, (8) the spiteful toe, (9) the cringing toe, (10) the
poetic toe, (11) the melancholy toe, (12) the absurd toe, (13) the
philanthropic toe, (14) the corn-riddled toe. Here I try to be witty,
and remark that some people of an original turn of mind wear their corns
on their noses instead of inside their boots.

“The corn is precious--we all need corn; we make a great to-do when our
corn is oppressed by taxes, for we cherish it. There is nothing--not
even his wife or twin babes--so dear to the heart and necessary to the
well-being of man as corn. Corn means bread. Bread is the staff of life.
The man with corn (a corn) is grateful for the prop of the staff, so
that to have a corn sprouting on your big toe should be no hardship.

“It is a convenience. It is tinned for consumption in your boot, out of
reach of Tariff Reformers and Free Traders. It is your own private
property. Sometimes it is trodden on maliciously, but it does not vanish
on that account. There is something obstinate and bull-necked about the
corn--the more it is trodden on the more it asserts itself. It is a
hot-house plant. It needs a cover of wool, a roof of boot leather. Under
these conditions it thrives like the baby fed on Mellin’s food.

“I can’t understand the fuss the unemployed make. Why should they, when
they have such a treasure hidden in their boots? So long as a citizen
possesses this luxury he is an independent man. What does he want with
foreign corn? Ah, my friends, we have not yet reached the full
realization of the tremendous privileges we inherit. The corn may not
yet be ripe for cutting, but every day, every hour, sees it nearer that
perfection which rejoices the heart of humanity.

“See how beneficent nature has become during the last centuries. The
bootless, prehistoric savage had to plant and reap his corn in the
barren fields, while we are provided gratis with an abundant supply that
is likely to last some of us a lifetime.

“There are, of course, some individuals who have barren, cornless toes,
although I am glad to say they are in a very small minority. I have
taken pains to secure a correct census of the corn-sprouts that have
appeared during the last year, and I find on an average that only 5 per
cent. are ignorant of this blessing.

“The uses of a corn crop are too numerous to mention. Its chief function
is its use as a barometer. The man setting out with his wife and
children to spend a day at the seaside should, before starting on the
excursion, consult his booted friend. If it admonishes him severely he
should not ignore its voice. Woe betide him if he does! It is less
disastrous for him to drown his conscience than shut his heart against
the promptings of his corn.

“Should he do so, and act upon his determination to spend a long day on
the sands, anticipating a pleasurable bask in the sunshine, dire
catastrophe will befall him. Rain descends in bucketfuls upon him, his
patient wife, and wailing progeny. They return to town drenched to the
skin, and are all laid up with chills, which means a week’s absence from
the office--perhaps dismissal by his employer, if he is a clerk, and a
long doctor’s bill at the end of the month; and who is to blame? Had
the man obeyed the mandates of the faithful vegetable protuberance on
his big toe all would have been well.

“The only individual I am inclined to respect and admire is the man who
cultivates and is led by his corn in all the important affairs of life.
To be without the ripening corn is to miss the greater part of the
meaning and poignancy of existence. The possession of this treasure
causes a man to thread his way gingerly and tactfully through the city
streets. He never blunders or bungles; he is a sensitive, considerate
person, who unconsciously avoids treading upon or coveting the abundant
crops of others. His corn’s influence is more beneficial than
freemasonry or foreign missions.

“To gain the sympathies and interest of a fellow-being when you are in
trouble and want his financial aid, don’t plunge into your story at
once, but approach him gently with the kindly query, ‘Have you a corn?’
If he replies in the affirmative, you may safely intrust him with your
difficulties. If, on the contrary, he negatives your question, recognize
at once that he is a man of dormant sympathies, and don’t waste further
time upon him. It will be useless. He is a cornless individual,
therefore heartless.”

I wind up my discourse with some such remark as this--

“Ladies and gentlemen, turn away from the pernicious tyrants who seek to
rob you of your birthright in advertising corn salves and plasters. They
are wolves in sheep’s clothing. They are jealous and embittered by the
barrenness of their toe pastures which, do what they will, yield no
corn.”


THE SHARP(?)-SHOOTER

After this, in order to secure the forgiveness of my hearers for my
opinions and oratory, both pure bunkum, I bring a trick to their notice,
which I work with Hyde, and of which I am rather proud, because it is
quite original and works awfully well, in spite of the fact that it’s as
simple as the alphabet. For those who would like to try it, here it
is:--

Hyde, hidden behind me, is armed with a paper bag inflated with air.
Beforehand I place a used bullet on the floor at the spot at which I
intend aiming my pistol.

I employ some patter to remove the growing alarm of my family, and the
anxiety expressed for themselves, the furniture, and lastly--my own
person.

“Ladies and gentlemen,” I say with self-complacency extreme, “I am about
to perform a _feat_ with my _hands_”--(joke--pause--a flutter of
laughter). “Thank you,” I say with a polite bow--“the like of which has
never been seen--since the making of the world. I will load and fire
this revolver, and the bullet will not only make no mark, but there will
not even be a flash or smoke. You will hear the sound of the explosion,
and I will show you the bullet discharged.

“So that you may see that there is no bunkum in this marvelous
achievement, I will hand you the bullet before I place it in the barrel
and immediately after I have fired it.” (Here I pass round unused
bullet. I then place it in full view of the audience in the barrel.)

I retire to the curtain immediately in front of Hyde, and take aim above
the spot where the spent bullet lies. Count aloud “One, two, three!” At
three I pretend to pull the trigger, and Hyde brings his hand forcibly
on the paper bag, which causes my audience to bounce in their chairs.

Then I cross the platform, stoop, pick up the used bullet, hand it round
for inspection, and retire modestly, overcome with glory.


THE GHOST

Occasionally I work a ghost in the following way. After some patter, in
which I inform the onlookers that I am about to conjure up the shade of
some famous character, I extinguish the lights, and withdrawing to a
corner of the room, enfold myself in a long black mackintosh or coat
that shrouds my head and figure completely.

I strike a match behind the curtain, and, when I have a good spark that
will last a few seconds, blow out the flame, and hold the end of the
match between my teeth, so that my mouth is lit up (Fig. 3). My lips are
drawn in a fiendish grin, and I strike an attitude, accompanied by
inhuman moans and drum-beating from Hyde.

[Illustration: FIG. 3.--The Ghost.]

When the spark dies, I hide the black garment behind the curtain, and
assume the position I occupied before the appearance of the ghost.

Hyde switches on the light, and my shivering onlookers have no key to
the riddle.

The apparatus employed by the bunkum entertainer and the cost it entails
depend largely upon his own ingenuity. Most of the articles I employ are
of my own manufacture. My wigs do not hail from a wig-maker’s, but from
the lumber room at the top of our house, where Jane and I shred disused
rope, fix it by means of gum or stitches on to pieces of stiff
book-muslin, shaped so as to fit the head. If other colors, such as
black and red, are required, we resort to aniline dyes, and the result
is much satisfaction to ourselves.




CHAPTER XIX

VENTRILOQUISM IN A MONTH


A PRACTICAL AND COMPREHENSIVE GUIDE TO THE ART OF VALENTINE VOX

THERE is one form of entertainment which perhaps makes a stronger appeal
to the average boy and young man than almost any other. It would not, in
a sense, be wrong to say that ventriloquism is, and has been for a great
number of years, the most envied of all accomplishments incidental to
the art of the amateur and semi-professional entertainer.

True, ventriloquism for many centuries was regarded as an adjunct to
wizardry, and the exponents of black magic, but the great success
achieved by the writer of “Valentine Vox,” the central character in
which was endowed with the most wonderful and extraordinary powers of
voice throwing, brought the subject of ventriloquism at once under
general notice, and ever since it has steadily won its way into
universal favor, with the result that, at the present time, it easily
eclipses in popularity most other forms of amusement.

Despite this, however, the misconceptions existing regarding this branch
of vocal phonetics are extraordinarily numerous and widespread, due,
perhaps, in a measure to the fact that the amount of valuable written
instruction on ventriloquism is so small, while the number of people who
have swallowed the fascinating and improbable adventures dealt with in
the book just referred to are correspondingly large.

To a very considerable extent, then, it is the object of this chapter
primarily to dispose of the many existing fallacies concerning
ventriloquism, because by so doing alone is it possible to commence a
study of the subject with the hope of attaining proficiency and success.

The first idea which the would-be ventriloquist has to dismiss from his
mind is that, by following out a stated course of exercises, he will be
able to “throw” his voice or, in other words, to upset the equanimity of
peaceable old gentlemen snoring quietly in the furthest corner of the
railway carriage--or ruffle the temper of some aged lady by producing
facetious remarks concerning her appearance--from a long distance away;
not that those who approach this subject have any particular desire to
be a disturbing influence to other people, but it is safe to say that
more take up ventriloquism with the idea of practical joking than for
any other purpose.

In point of truth, the real art of Valentine Vox does not lend itself
very easily to the production of such illusions; even when the performer
is capable of producing ventriloquial sound, he will discover that the
“distant” effect depends almost entirely upon his situation at the
moment of utterance, and whether or not those around him are prepared to
give the credence he desires to his efforts. In other words, a
ventriloquist cannot throw his voice wheresoever he will as if it were
sound bottled up only to come out and be heard when it is some distance
away; the best he can hope for is to make that sound so deceptive to the
ears of his audience that, to them, it seems to come from some one other
than the actual speaker.

It cannot, however, be denied that the stock-in-trade of the clever
ventriloquist is so unusual and superior to that of his fellow-worker in
any other branch of entertainment, that he is capable of producing the
most humorous and arresting situations. Moreover, it is a power which
once gained can never be lost, and although a ventriloquist may, from
various causes, give up the pursuit of his favorite subject for a period
of many years, yet he can pick it up again at the point where he left it
and find himself still possessed of the same wonderful and extraordinary
skill.


ALL BORN VENTRILOQUISTS

Unhappily there are other very prevalent misconceptions to be removed
before instruction can be either given or undertaken. The marvelous and
almost incomprehensible powers attributed by the late Mr. Henry Cockton
to his popular character, doubtless gave rise to the idea that
ventriloquism was a gift natural only to those possessing unusual
formation of the throat and vocal organs. Modern research and
investigation, however, have proved that every one is a born
ventriloquist, that the power to make sounds appear to emanate at a
point remote from the speaker is universal--and that all those who study
the subject from a proper and sensible standpoint can easily acquire the
art.

Then, again, it has long been supposed by the uninitiated that
ventriloquial practice is injurious to the throat, and capable of
harming the lungs. Exactly the opposite is the case; the exercises
necessitated by the proper study of the art are such as will serve not
only to train the vocal organs, but also to induce proper breathing--a
practice neglected by many--and to strengthen and invigorate the lungs.

From many years’ personal experience the author can testify to the
truth of this fact; he has known a number of young men who, possessing
lung and throat troubles, and acting on the foregoing advice, have
followed out a practical course of ventriloquial training, and have
obtained much material benefit thereby.

Of course it cannot be denied that some possess a natural aptitude for
the correct expression of ventriloquial sound, and it is they who make
the cleverest exponents. Therefore, from the start it should be assumed
that a ventriloquist has only to cultivate the vocal qualifications with
which he has been endowed in order to shine as a popular entertainer.

Careful and systematic attention to the instructions subjoined will not
only strengthen the throat and respiratory organs, but will also endow
any one young man, or young woman, with the power of giving a highly
amusing entertainment. Probably many who give this chapter attention
will do so with the idea of taking up the subject for the purpose of
making a living, and in that respect it may truthfully be said that
ventriloquism is one of the most paying forms of entertainment. While
the number of conjurors, comic singers, &c., is legion, those capable of
giving a really good ventriloquial entertainment are comparatively few,
with the result that a clever ventriloquist is always certain of
obtaining engagements at fees which he, himself, can fix and command.
The popularity of the subject is so widespread that the chances of
exhibiting it are increasing every year.


THE INITIAL STAGES

Just as the successful illusionist is called upon to devote many many
hours of his time to the speedy and finished manipulation of cards,
coins, and billiard balls, so the young ventriloquist has an equally
uninteresting course to traverse. It is, however, possible for the
initial stages of the work to be accomplished in less time than is the
case with conjuring, and while the work has to be done all the same, dry
and tiresome though it may be, after it is once accomplished the
performer can put it behind him for ever.

The primary difficulty to be overcome is incorrect breathing. Possibly
nine out of ten, when they come to read this chapter, will discover that
their method of breathing is faulty. Most people, from lack of proper
instruction and through carelessness, breathe through the mouth--and
this fault must be remedied at once.

For ventriloquism, as with singing, breathing must take place through
the nostrils. The necessity for this--apart from hygienic reasons--is
that because the ventriloquist, particularly when he is performing with
a “lay” figure, is called upon to conduct a dual conversation, and the
supposed interchange of remarks between him and the automaton is so
rapid that mouth breathing would interfere with the continuous flow of
words. Only by taking in deep inhalations through the nostrils and
filling the lungs to their utmost capacity is it possible to carry on
one part of the conversation with moving lips, and the other with the
face immutably set.


BREATHING EXERCISES

These should be undertaken regularly every day, preferably early in the
morning and in the open air. Stand erect, shoulders drawn well back,
arms hanging loosely at the sides, and then, closing the mouth tightly,
draw in a deep breath, retaining it for some seconds in the lungs. Not
infrequently it happens, that the ventriloquist when performing is
called upon to keep a conversation going for quite a minute and a half
without the opportunity of recharging the lung cells with a fresh supply
of oxygen; from this it will easily be understood how important deep and
sustained breathing is.

At first difficulty will be experienced in holding the breath for more
than five or six seconds; by the end of a week, after ten minutes’
practice every morning, the chest will be so expanded and strengthened
that “half minute breaths” may be taken with ease. Continue the practice
of this exercise until only one inhalation and exhalation takes place
every forty or fifty seconds. Somewhat dry, indeed, sounds this part of
the ventriloquial study; nevertheless it is of the utmost importance,
and will well repay the time, trouble, and perseverance devoted to it.

As a number of minor acquirements must be gained before ventriloquial
effects can be produced, the breathing exercises may be alternated with
the most necessary adjunct of learning to speak without moving the lips.


AUTOMATON--OR MAN?

It has previously been said that ventriloquism largely partakes of the
nature of an illusion, and this effect is produced by the performer
uttering sounds without giving visible indications of the fact.
Consequently, when the audience have before them two figures, a live and
a dummy one, and the mouth of the “dummy” opens and shuts to correspond
with the words used, whilst the face of the ventriloquist remains
mask-like and passive--the illusion that it is the “automaton,” and not
the man who is speaking, is complete.

So important indeed is the ability to do this properly, that speaking
without facial movement ranks of equal importance with the placing of
the vocal chords in such a position that “distant” effect is given to
sound. In fact, one might almost say that a most amusing entertainment
can be given without this latter power at all.

Many ventriloquists or polyphonists, as they more correctly designate
themselves, rely solely for their entertainment on a “knee” figure and
speech without facial expression.

Those who do not aspire to become really first-class and proficient
ventriloquists may conclude their instruction at this point, and rest
quite assured that they have learned sufficient, at any rate, to give a
creditable drawing-room performance.

Naturally the beginner would like to have some idea of the time it would
take to gain a practical working knowledge of ventriloquism. Well, the
student who would take the trouble and devote sufficient time to the
initial and most difficult stages of the work would be in a position to
give a very creditable performance long before his painstaking brother
who, as fast as he seems to be getting on, will find he has to go back
again and again over the early ground.

However, after devoting say a week to the elementary stages, a “knee”
figure might be purchased, and within a very few days a private
entertainment might safely be entered upon. As, however, the course
herewith outlined will take in several different kinds of “voices” for
automata, together with the various modifications of the “distant”
voice, the student should not expect to gain proficiency under a month.
Of course, to give a really finished entertainment consisting of an
exhibition of the “near” and “distant” voices, together with
instrumental and vocal mimicry equal in skill to the average product of
the professional entertainer, many months’ practice are required.


SPEAKING WITH STILL LIPS

A study of the alphabet reveals that difficulties lie in the path of
pronouncing certain letters--a, e, i, o, u, c, d, g, h, j, k, l, n, q,
r, s, t, x, and z--issue from the mouth quite easily; but b, f, m, p, v,
w, y all make a demand upon the muscles of the lips and cheeks.
Unfortunately these letters often recur in ordinary speech, and as it is
almost impossible to speak them distinctly without facial movement,
appropriate vocal substitutes have to be made.

On the border line is “b,” which is generally pronounced by bringing the
upper row of teeth down to the under lip and forcing the breath out
between the lip and teeth; by giving greater force to the exhalation,
and, opening the mouth, it will be found that almost identically the
same sound can be gained, and it is this one which has to be used for
all words commencing with “v” and “b.” Thus the word “brother” is
really pronounced ventriloquially as “vruther”; in the hurry of
conversation the substitution passes notice, and the audience hear only
the correct word.

For “f” an accentuated aspirate makes a very passable
substitution--_i.e._ “fool” becomes “hool,” “feel” becomes “heel,” and
so on.

“m” will be found rather more difficult, but if the lips are formed into
an orifice, and the breath drawn sharply in, the sound of the “m” can be
made inside the mouth instead of by the lips.

As it is almost an impossibility to sound the initial “p” unless the
lips come together, words commencing with it should be studiously
avoided. Another plan is to drop the first letter altogether; but the
former is the better.

“w” is amenable to a little tongue-twisting, and is accomplished by
moving the tongue twice in quick succession to the roof of the mouth
making the sound at the back of the throat. This is as regards the
letter itself, but words commencing with “w” are quite easy. Practice on
“which,” “when,” “what.”

“y,” however, is a fairly certain test, and if you can comfortably
manage this without betraying the fact to the looking-glass (before
which you should carry out your practice) then you have mastered a great
difficulty. A quick exhalation should take place while words commencing
with it are being uttered.


TWO KINDS OF VENTRILOQUISM

Ventriloquism may be divided into two classes--the first and more easy
of acquirement known as “near,” _i.e._ including all those vocal
illusions produced with the aid of automata; and “distant,” which takes
in the various illusions achieved by what is known as “throwing the
voice.”

The most finished exponent of both these branches, of this or any other
age, was the great Lieutenant Walter Cole, and he introduced into his
entertainment such an exquisite blending of the two styles that his
example might well be imitated by other followers of the art.

When carrying on an animated conversation with the “lay” figures placed
at near quarters the proceedings would suddenly be interrupted by the
low sound of voices coming from afar, and this would gradually increase
in volume as the speakers were supposed to draw near, until at last they
would be heard outside the very room in which the entertainment was
taking place.

This is alluded to now, as showing the latitude which ventriloquism
allows its exponents.

Of the two branches, “near” ventriloquism is much the simpler to
acquire, although some might hold that, in order to justify the title,
“distant” sounds should first be mastered.

For the purpose of adding interest to the work, students are recommended
to give precedence to the “near” effects. Briefly, the “near” voices
come from the mouth, the “distant” from the throat.

For the former five modified voices are generally used. These are: “The
old man,” “the old woman,” “the little boy,” “the little girl,” and “the
darky” or “the longshoreman.”

The first is a foundation for the last two. It has been spoken of as the
“grunt,” because, being the vocal production of an aged and uneducated
man, in its initial stages it much resembles the familiar grunting of a
pig.

And here it should be noted that the speech of ventriloquial figures is
always harsh and toneless because the efforts to produce the sound in
the mouth without moving the lips rob them of that music and modulation
invariably associated with the speech of educated persons.

Do not attempt to speak ventriloquially, as you would naturally but slur
the endings of your words. Grunt and drag them out slowly, just as do
many countrymen and those unacquainted with the rules of proper speech.

To give the sound the necessary depth and loudness, keep the lips
slightly apart, the tongue lying loosely in the mouth; then make the
grunt, using some vowel sound like “ah!” fairly far back.

To a certain extent the vocal chords will have to be contracted and the
chin drawn slightly down into the chest.

At first only a spasmodic jerkiness of the breath will come, but after a
little practice “ah!” can be said quite easily, and then other and
longer words follow as a matter of course.


THE OLD WOMAN’S VOICE

Known as the “theek” or “rush” voice, it partakes of the nature of the
squeaky, shrill sound produced by a reed instrument. Most people are
gifted with the power of singing “falsetto,” and the “theek” voice
simply consists of falsetto tones somewhat exaggerated. Either the words
“queek” or “theek” may be used for the preliminary practice, the latter
perhaps being preferable.

As it is not intended in these chapters to enter into a practical
discourse on the anatomy of the throat and vocal chords, technical terms
relating to such will be avoided as far as possible. However, the larynx
must now be mentioned--this is the part of the throat often spoken of as
Adam’s apple, and is the convex portion of the first cartilage of the
larynx. It is, then, this part of the larynx that has to be compressed
by muscular contraction in order to give the “theek” voice its proper
quality; by a slight pressure with the hand on the “apple” you will
realize the position which this part of the throat should occupy when
muscular contraction takes place.

Now, taking in a deep breath and contracting the larynx, it will
naturally curl up the tongue, until the tip presses tightly against the
roof of the mouth. Open the lips fairly wide and say the word “theek” in
a high-pitched falsetto tone, sustaining the vowel sound as long as you
can.

Your first efforts will probably end in dismal failure, but after a few
attempts the full sound settles down to the long drawn-out sound of full
roundness and tone.

Now you have acquired the “theek” voice, which is also the basis of the
voices used with the figures of little boys and little girls.

Very possibly your practice in the elementary stages of ventriloquism
will result in a slight soreness of the throat. To alleviate this, and,
at the same time, to strengthen the vocal chords, gargle with a weak
solution of salt and water, or better still, get a druggist to make up a
gargle for you.

Curiously enough, the mere effort of gargling is in itself a valuable
aid to the production of ventriloquism, inasmuch as the subject is
forced to emit sounds while the water is in the throat, and these will
be found to possess quite a “distant” effect.

Having mastered the “grunt” and “theek” voices, use words consisting of
vowels, changing the words into sentences as progress is made.

At this point the young ventriloquist is sufficiently well equipped to
undertake a public exhibition of his powers, and this being so, it is
perhaps better to make mention of ventriloquial figures before the
remaining “near” voices are dealt with.

As a matter of fact, the practice of ventriloquism in its earlier stages
is not the most interesting of occupations, and not until the beginner
awakens to the full realization of his powers--as he does only when he
is working with automata--is the real fascination of the art felt.


VENTRILOQUIAL FIGURES

Perhaps it is hardly right to assume that every one has seen a
ventriloquial figure; certainly many will be unacquainted with its
peculiarities and modes of working.

The dummy is usually a humorous representation of some grotesque
character--an old man, with strongly accentuated peculiarities, such as
a red nose, wrinkled skin, and big jaws; an old woman, with thin,
pointed nose, sharp eyes, and scanty locks; a little boy grinning
saucily, and having the appearance of possessing the wisdom of all the
ages; the little “miss,” of perky manner; the good-natured, rollicking
black man; and the longshoreman, square jowled and cheeky.

[Illustration: FIG. 1.--Ventriloquist with knee figure.]

[Illustration: FIG. 2.--Working with two figures.]

The one essential about the ventriloquial figure is that it shall have a
moving mouth. In reality the chin is cut away from the face, and the
movable portion working on a pivot or string, gives the same effect as
when a person is speaking.

There are many different forms of ventriloquial figures, some of which
are shown on this page (Figs. 1 and 2), but for the amateur the kind
which possesses only a moving mouth is quite suitable.

[Illustration: FIG. 3.--Showing construction of ventriloquial head.]

By means of a little ingenuity and the expenditure of a few cents a
movable tuft of hair may be added to the wig, but as the working of this
is liable at first somewhat to hamper the manipulation of the automaton,
it should perhaps be left until proficiency is more assured. The hole
in the back of the head or body permits of the hand of the performer
pressing either upon a plate or upon a circle of wire, which in turn
moves down the movable mouth, closing automatically by means of a
spring. Figs. 3, 4 and 5 respectively show the construction of
ventriloquial figure heads and another principle of ventriloquial figure
manipulation.

The number of mouth movements made by the figure should, of course,
coincide as nearly as possible with the number made by the mouth in
ordinary speech; thus a natural effect will be gained.

Placing a “dummy” on each knee, the ventriloquist opens up an amusing
conversation. The aim of the figures is to destroy the effect of the
performer’s remarks by the interpolation of absurd interruptions. The
whole matter resolves itself into a witty dialogue between three or four
people, of whom the entertainer is the central character. Such a
dialogue should be brisk and sparkling with humor, all vulgarity being
carefully eliminated. It is as well to write the dialogue out and learn
it by heart.


VENTRILOQUIAL FIGURE MANIPULATION

Always adhere to a prearranged order of ventriloquial figures. If you
commence your entertaining career with the old man on the right knee and
the old woman on the left, keep to that arrangement all along. A change
will inevitably result in putting the wrong voice into the wrong mouth,
and the result will be disastrous.

Bear in mind that all the while the endeavors of the figures are to make
_you_ appear ridiculous in the eyes of the audience, and they should
turn all your sensible remarks into nonsensical ones, so that the laugh
is always against yourself. Of course the audience will join in the
laugh against you, and it is the taking of this in the proper spirit
that will signalize your success as a ventriloquist.

When putting words into the mouth of an automaton, its face should be
turned towards you; inversely, whilst you yourself are talking the
automaton should be engaged in looking curiously about him at the
audience, as if taking not the slightest interest in your remarks.
Suddenly, however, he will snatch the opportunity of scoring off you, to
the great enjoyment of his partner, the old woman.

[Illustration:

  A. Pull

  B. Spring

  C. Pin

FIG. 4.--Construction of laughing darky’s head.]

[Illustration: FIG. 5.--Principle of ventriloquial figure manipulation.]

Immediately you have finished speaking in your natural voice, keep your
lips absolutely fixed during the time the figure is supposed to be
talking.

It is not proposed here to give specimens of ventriloquial dialogue,
because the humor of these depends so much upon the natural ability of
the performer in presenting the joke or funny story.

Undoubtedly the best plan is to form a cutting-book out of the tit-bits
extracted from the humorous periodicals of the day, and to paste them
in. In this way a voluminous collection of anecdotes, tales, and riddles
will be made, and by a judicious combination and selection of these,
enough material can be speedily gained to last months without fear of
repetition.

The most entertaining form of presenting riddles is for the “old man” or
“little boy,” whichever is being used, to propound them, and the
entertainer to give some practical answer to them. The real point of the
joke should be brought out by the “lay” figure, to the accompaniment of
considerable mirth.

Home-made automata are not recommended, because the cost of purchasing
really serviceable “dummies” is so small as not to make it worth while
spending a deal of time and trouble, to say nothing of money, on their
construction. Moreover, the great point about the “lay figure” is that
it should possess a funny face, and such expressions are rather
difficult for an amateur to obtain.

Many entertainment emporiums deal largely in ventriloquian outfits, and
reliable “dolls” ought to be procured fully dressed for about $5 each.


VOICE FOR “LITTLE BOY”

When a child speaks he almost invariably does so in a high-pitched tone,
more or less directing the sound through his nose. This being so, the
“theek” voice is the one most suitable for him. The similarity between
it and the speech used for the “old woman” may be avoided by speaking in
a somewhat lower tone, and in a simpler and more disjointed fashion.

Suppose, for instance, that you ask the little boy a question? Get him
to repeat that question after you, and give the answer in short, jerky,
broken sentences.

For the “little girl” use a slightly higher tone, without directing the
sound through the nose. In her case also the mode of expression must be
childish, but with slightly more refinement.

The voice for the “longshoreman” and the “darky” are both of the “grunt”
order. For the former, the “old man” voice is used, with the addition of
the peculiar “tough” twang; whilst for the latter, employ speech of a
much lower and more resonant tone.

Place the chords as when using the “grunt” voice, breathing rather
heavily, and force the sound as far back in the throat as possible, at
the same time contracting the muscles of the stomach while the breath is
being expelled.

The word “yah! yah!” is a very good one upon which to practice, and the
vowel sound should be sustained to some length.


THE “DISTANT” VOICES

By this time the young ventriloquist should have attained sufficient
proficiency in the art of manipulating “knee” figures to feel confident
of venturing on the far more difficult and relatively more important
“distant” voices.

The real test of ventriloquial power is when the performer is capable of
making sounds appear to come from a distance, _i.e._ so modify his
utterances that they appear to the audience to proceed from some point
remote both from the entertainer and from themselves.

The basis of real ventriloquism, as apart from polyphony, _i.e._ “near”
effects, is known as the “bee drone,” because the first sound of which
the vocal chords are capable when placed in the required position much
resembles the droning of a bee in full flight.

The “bee drone” should be practiced in loosely fitting clothing, so
that neither the muscles of the throat nor of the chest are unduly
hampered.

From a natural, upright position, inhale in a short, jerky manner,
making what is best described as a retching noise at the back of the
throat. Unpleasant as the practice of this undoubtedly is for the first
few minutes, after a short while the noise emitted will settle down to a
softly sustained hum. The tongue should lie flat, so that the sound
waves produced partly in the larynx and partly in the back of the throat
are forced upwards by the action of the abdominal muscles and directed
towards the roof of the mouth, the latter acting somewhat as a sounding
board--modifying the sound and conveying to the ears of a listener some
distance away a “distant” effect.

The continuous practice of the word “ah,” with the vocal chords in the
position just described, will speedily produce the necessary droning
quality.

It remains now only by a contraction of the throat to regulate the
quality of the tone and the distance from which you wish it to appear to
come.

From this point progress will be found rapid and satisfactory. The
various modifications of the bee drone produce respectively,

  1. _The “roof” voice._
  2. _The “level” voice._
  3. _The “floor” voice._

The “roof” voice is extremely useful for illusions of all kinds, and
perhaps is the easiest of the three to acquire. Its purpose is to make
sound appear to come from any point above the audience, and the
entertainer practices it at first by standing erect, taking in a deep
breath, and then drawing backwards and downwards the lower jaw, holding
it by muscular contraction in that position. With the lips about an inch
apart say your words, whatever they may be, just as you would the “ah!”
of the bee drone, concentrating your mind on the effort of directing the
sound waves towards the roof of the mouth. In this case, however,
exhalation should take place very slowly, while the speech is uttered
with unusual clearness.

The effect of the illusion, however, is destroyed if whilst using the
“roof” voice you look either straight before you or down to the ground.

The ventriloquist must bear in mind that it is important to deceive the
audience, just as a conjurer does, but the former has this advantage
over his magic brother, that the deception is both optical and oral.

Let him, therefore, when “throwing his voice” to the roof, glance
sharply upwards as soon as the words are uttered, and turn his head in a
listening attitude; his example will be followed immediately by the
audience, who naturally fall into the trap prepared for them, and, for
the time being, are quite satisfied that the sounds do really come from
the roof.

This is an advantage on which the ventriloquist can trade to an enormous
extent, because the ear is so easily deceived. How difficult it is, when
listening from within a closed room to a street organ playing outside,
to tell whether the music comes from up or down the road. So with
ventriloquism--the performer has but to modify the position of the vocal
chords as indicated, and to fix his eyes upon the roof, when lo and
behold! everybody is perfectly satisfied that the speech _does_ come
from above.


“LEVEL” SOUNDS

Of the three “distant” voices, the “level” is, perhaps, the most useful
and the most generally successful, because the mere fact of the
entertainer being on the same plane as the door and the windows, from
behind which people are supposed to converse with him, provides him with
opportunities for using the facial muscles and for distorting sounds,
and so heightening the illusion.

For instance, whereas he must turn full or three-quarter face when using
the “roof” voice, he can carry on a dialogue on the “level,” sideways to
the audience; or in the case where the stage possesses a door at the
rear, he may often be permitted for a moment to turn his back.

Practice as before in the “bee drone” voice, without endeavoring to any
great extent to shut off the sound in the throat. This may be done by
curling up the tongue so that its tip presses against the back of the
upper teeth.

If you are practicing by the side of the door, as you open it towards
you the ventriloquially uttered sounds must be raised in tone and made
more distinct by lifting the shutter from the throat, or, in other
words, by allowing the tongue to resume its normal position, and the
sounds to issue forth on the principle of the “bee drone.”


THE “FLOOR” VOICE

This voice is extremely useful for such illusions as “the man in the
cellar attending to the gas meter,” &c. It calls particularly for a
display of histrionic powers, and the mere fact of bending down, as the
sounds appear to come from below, helps to give it the necessary subdued
and “distant” effect. Whilst speaking very slowly in the “bee drone”
thrust the chin forward, contracting the larynx as much as you possibly
can; roll back the tongue to stifle the sound in the throat, and the
illusion will be complete. Immediately you change from the “floor” to
the natural voice, resume the standing position and speak with unusual
distinctness. The contrast cannot fail to escape the notice of the
audience, who will be quite convinced that you have indeed carried on a
conversation with some one below.


VENTRILOQUIAL IMITATIONS

Although imitations can hardly be classed under the heading of pure
ventriloquism, yet they may be pressed into the service of the
entertainer to promote variety in his performance. They serve, too,
another very useful purpose, inasmuch as they provide a relief from what
must inevitably prove a strain on the vocal chords. As has already been
said, ventriloquism necessitates the placing of the vocal chords in a
somewhat unnatural position, and the result is that the exponent,
particularly in the early stages of the work, is apt speedily to become
tired.

As a break between an exhibition of “near” ventriloquism--that is, with
the automata--and an exposition of distant effects, one or two vocal or
instrumental imitations will prove welcome both to the entertainer and
the entertained.

A witty person once remarked that the secret of success lies not so much
in what you can do, as in what you can induce other people to think you
can do. In other words, a little knowledge in the hands of a
ready-witted and competent ventriloquist can be turned to great
advantage and become a valuable asset in his undertakings. For
successful imitations, self-confidence is perhaps of even greater
importance than the possession of real ventriloquial powers.
Self-confidence is a trump card that the ventriloquist should always
hold in his hand, because it will take all the tricks. Success is
impossible without it, and easy with it!

Perhaps there are few branches of entertaining in which self-assurance
is so necessary as in ventriloquial mimicry. The border-line between a
successful imitation and a ludicrous failure is oft-times so narrow,
that a sensitive soul would soon be disheartened.

The only difference between the efforts of the ordinary and the
ventriloquial mimic is that the latter, when giving expression to sounds
vocally produced, should place the chords in the same position as for
the “bee drone” and the “distant” voice.

A very good study is that of a hen as she cackles immediately before
laying an egg, and again after having done so. You will notice that the
first sounds are mostly of a guttural nature, and they should come from
well back in the throat, starting moderately high and descending four or
five notes. Of course the lips will have to be kept slightly opened, and
for the final jubilant crow considerably extended. To avoid the
necessary facial movement, it is as well when uttering the “crow” to
turn sideways to the audience. Again, while the first note of the
cackling should be loud, the successive notes grow quieter.


A DOG FIGHT

An imitation of a dog fight will form a spirited item in your programme.
By your actions you may suggest, for instance, a small cur yapping
vigorously until a larger and more ferocious animal endeavors to quiet
him.

To produce the higher notes of the dog-bark, the falsetto or “thick”
voice must be used, while the deeper guttural tones already explained
for use with the “darky” serve for the larger dog.

It is a little difficult to intersperse the two sets of sounds without
expressing facial contortion, but you may obtain for yourself a certain
amount of license by pretending that the dog fight is taking place
beneath a covered table, behind which you may stoop in your supposed
endeavors to stop the tumult.

It is but natural to turn from dogs to cats. Whereas you have just given
an imitation, perhaps, of a fierce duel, your next effort should
endeavor to portray a feline courtship. This should be made as funny as
possible. The lady’s “marr-rr-ows” and “mia-a-a-ows” are easily copied
after you have been kept awake a night or two listening to the genuine
article, whilst the deeper tones of Mr. Tom are included in the
repertory of every well-educated schoolboy.

The mouth should be kept fairly wide open and a kind of sideways motion
given to it, whilst the cry should be drawled until the lips form for
the final “ow.” The spittings and growlings necessitate the bringing
together of the lips and teeth, a freedom which your audience on this
occasion must permit you. The doleful moans with which our feline
friends endeavor to solace one another can be produced by making the
mouth very hollow, the lips into the form of a large O, slowly
contracted to a very small one.

For the die-away, distant effect, moaning more or less in the throat
must be resorted to. The finale can consist of a number of fierce
spittings and growlings, suddenly interrupted by an unmistakably human
voice (your own) “shoo-ing” the night visitants away.

A variation can be made by giving an imitation of pouring out a glass of
wine. To produce the illusion of drawing the cork from the bottle, turn
slightly round, thrust the forefinger into the mouth against the cheek,
close the lips around the finger, slowly bring the end of the finger
round inside the cheek, and force it smartly out through the lips. The
result will be a loud pop. By moving the tongue from the back of the
mouth quickly backwards and forwards, making it strike against the
inside of the gums, the “glug, glug” of the wine being poured out will
be plainly heard.


THE LION AND THE COW

Under the cover of a screen, the roaring of a lion is simple of
accomplishment. Use an ordinary lamp chimney, and give vent to a series
of deep-throated roars from this. The effect will both be natural and
startling. With the same instrument the deep lowing of a cow can be
perfectly imitated, the lips producing the familiar “moo,” the sound
being gradually drawled through the glass chimney.

To copy a saw at work is quite easy. Get a ruler, or some similar
article, to represent the saw, and draw it backwards and forwards as
though cutting a piece of wood. The sound is best made by clenching the
teeth, placing the tongue a little forward between the upper and lower
teeth, quickly inhaling and exhaling the air. The resultant noise will
be an exact imitation of the saw cutting its way through the wood.

Quite an effective item is the ascent of a rocket. By blowing hard
through pursed lips, and striking the mouth rapidly with sharp little
blows with closed fingers, the curious sound of an ascending rocket may
be reproduced with perfect fidelity. This slowly fades away, there is a
moment’s pause, and then the final pop as the stars burst. Naturally
such an imitation should be performed in the shelter of the screen. As a
last example, an imitation of the itinerant knife-grinder may be
attempted. Keep the lips and the teeth closed to produce the rasping up
and down of the steel upon the grindstone, the while working an
imaginary treadle with the right foot.


THE COMPLETE ENTERTAINMENT

By this time the young ventriloquist should have at his command both
“near” and “distant” voices and imitations. It only remains to say a few
words regarding the manner of giving an entertainment.

Although smart dialogue is very entertaining, it is apt, after a little
while, to pall; and to obviate this it will be found well to introduce
an occasional song or comic recitation. In both cases these may take the
form of parodies, but in the former a serious song really well sung by
the ventriloquial figure will evoke both admiration and applause.

Those not possessed of particularly good vocal qualifications may feel
that the singing of a song successfully is beyond their capabilities.
They should, however, bear in mind that nothing like “finish” or
cleverness in execution is expected from a wooden figure. One or two
verses and the chorus are quite enough to venture upon, as singing
ventriloquially is extremely tiring.

The best time to introduce a song is when dialogue between yourself and
the automata has been in progress for seven or eight minutes. Either the
little boy or the old man or the old woman can essay to try his or her
skill as a vocalist, or the affair may be competitive. Much amusement
may be caused by the little boy extolling his own skill as a vocalist,
and the darky challenging him. To settle the matter, let one sing the
first verse of a song and the other the second, the little boy making a
terrible hash of his part of the performance. If his mistakes are
greeted with groans of derision from the old man, or cries of horror
from the old woman, the audience will be immensely pleased.

While the song is in progress, the ventriloquist should look about him
unconcernedly, feigning total disinterestedness in the affair. Towards
the end of the song he may glance sharply once or twice at the singer
and applaud him for his effort, which applause it is to be hoped the
audience will generously supplement.

It is not intended that these few observations on the art of
ventriloquism should be taken as covering all the ground over which this
fascinating subject spreads. Enough has been said, however, to show any
one who is sufficiently interested how to give a really pleasing
drawing-room performance which shall earn for him the reputation of
being quite a creditable exponent of the wondrous and mystifying art of
Valentine Vox.




CHAPTER XX

CONJURING FOR ALL


MAGIC MEMORIZED

IT is said that at some period of his life every boy becomes
stage-struck, and it may be averred with equal truth that sooner or
later every boy is seized with a desire to become a conjurer.

Considering the fascination to old and young alike of a conjuring
entertainment, this is not to be wondered at. But when the would-be
conjurer begins to realize the years and years of practice necessary
before he can accomplish his desire, he soon despairs; and instead of
proudly mounting the platform as an entertainer, he finally satisfies
himself by humbly occupying a chair as one of the entertained.

It is the purpose of this chapter, however, to set forth a complete
conjuring entertainment in such a manner that anybody can easily learn
and perform it, in precisely the same manner as they would memorize and
deliver a recitation.

Before proceeding with the tricks themselves, it will perhaps be
advisable, for the sake of the uninitiated, briefly to describe how to
fit up a handy conjuring table.

[Illustration: FIG. 1.--A handy conjuring table.]

Procure a small wooden box about six inches deep and one foot in length
and width, and stand it in the center of a small gypsy-table. Then
artistically drape one or two flags, or a brightly-colored cloth over it
(Fig. 1).

It will be noticed that a portion of the table at the back of the box is
left vacant. This, in the dialect of the profession, is known as the
_servante_. It is used for secretly disposing of objects during the
performance.

The magic wand simply consists of a decorated circular stick about ten
inches long.

Each trick will be dealt with in three separate parts. The first will
describe the illusion from the point of view of the audience; the second
will explain the apparatus required; and the third the “patter”
accompanying each trick.

_Presentation._--As seen by the audience, the first trick is as follows:

Two ping-pong balls are lying upon the table, and the conjurer requests
a member of the audience to choose one. This having been done, the
performer picks up the selected ball and commences gently rubbing it in
the palms of his hands, when to the amazement of the audience, the ball
is seen to change into a couple of handkerchiefs!

The conjurer places one of these upon the table, and proceeds to wrap up
the other in a piece of pink paper. Blowing out a candle which has been
standing in a candlestick upon the table, the performer wraps that also
into a similar parcel, using white paper instead of pink.

He next places the two parcels at opposite ends of the table, in full
view of the audience. After making one or two passes with the magic
wand, the conjurer picks up the parcel containing the candle. He then
tears it open, when it is found to contain the handkerchief. Upon the
remaining parcel being examined the candle is discovered within it.

_Apparatus required._--(1) Two ping-pong balls. A large hole must be
bored in one by means of a penknife.

[Illustration: FIG. 2.--False candle containing handkerchief.]

(2) Three small silk handkerchiefs. Two of these should be stuffed into
the prepared ball through the hole. Both balls must then be placed upon
the conjuring table--the hole in the prepared one being turned away from
the audience.

(3) An ordinary candle wrapped in a piece of pink paper, and concealed
in readiness on the _servante_. Another piece of pink paper and a piece
of white should also be ready at hand.

(4) A “false” candle. This is made by gumming a piece of white paper
into the form of a cylinder, and sticking a slice from a real candle in
one end. The third handkerchief must be stuffed into the “false” candle
(Fig. 2), which should then be placed in a candlestick. From a short
distance it will be impossible to distinguish this candle from the
genuine article, and the effect will be considerably heightened by the
candle-end being lit.

_Patter._--The conjurer comes forward to the front of the platform and
delivers himself somewhat after the following:--

“Ladies and gentlemen--you will observe upon my table two ping-pong or
table-tennis balls. They are quite innocent-looking, and although in
appearance they somewhat resemble eggs, will not be found half so
deceptive. Will some lady or gentleman kindly select one?”

If the ball containing the handkerchief is selected the conjurer picks
it up and proceeds with the trick. Should the other be chosen, however,
it makes no difference. The entertainer simply hands it to the person
who has made the selection, and remarks: “Very well. Would you mind
taking the ball you have chosen and examining it?” Upon the person
complying with his request, the conjurer picks up the remaining
ball--the prepared one--and continues with the trick.

“Ladies and gentlemen,” he says, slowly rubbing the ball between the
palms of his hands, and carefully extracting the first handkerchief from
its interior (a simple effort in sleight-of-hand, quickly acquired), “we
will now see what effect a little friction has. Ah! Something is
happening already!”

The performer allows the second handkerchief to stream forth, and then
gradually opens his hands, taking care that one of the handkerchiefs
completely covers the ball and hides it from view. He then lays the
handkerchief sheltering the ball carelessly upon the table. If this is
done in a natural manner, the audience will not have the slightest
suspicion that it covers anything at all. Holding the remaining
handkerchief up to view, he continues:

“We will now see whether this inherits any of the marvelous properties
of the ball from which it was produced. I have here a piece of paper.”
(Holds up the red paper.) “It contains neither trap-doors, hidden
mirrors, nor other mechanical contrivances. The reason for my using pink
paper is that it insures the trick being performed to the _pink_ of
perfection. I will now proceed to roll up the handkerchief in the
paper.”

This is done, the performer taking care to make the parcel exactly
similar in shape to that of the candle on the _servante_. During the
wrapping-up process, however, he carelessly drops the parcel on the
_servante_. With a muttered excuse for his clumsiness, the conjurer
again resorts to quickness of the hand, and picks up _the parcel
containing the candle_. The very audacity of this movement will
effectually keep the audience from suspecting that a substitution has
been effected.

“I will now take this candle and wrap it in the piece of white paper I
have here. By the way, can any one tell me what nobleman could very well
be represented by a burnt-out candle? No one? Why, the Earl of Wicklow!”
(He blows out the “false” candle and wraps it in the white paper.)

“You see I have now two parcels--the pink one containing the
handkerchief, the white one containing the candle. I will place them at
opposite ends of the table, and make a few passes with my magic wand.”

The performer waves the wand a few times. Then, seizing the packet
containing the “false” candle, he rips it open, thus tearing the paper
cylinder, and revealing the handkerchief. The small wax candle-end will
escape observation amongst the torn paper, and the audience will be
under the impression that the candle has changed to a handkerchief.

“Will a gentleman kindly step forward and examine the remaining parcel?”
(Upon the examination being made it is found, of course, to contain the
candle.) “What! The handkerchief and candle appear to have disagreed
with the quarters I originally allotted them, and have changed places! I
think you will agree with me that this little experiment has terminated
in a very interesting manner. I think you will also agree that I have
not once attempted to deceive you, as the whole of the experiment was
conducted before your very eyes.”

The second trick might very aptly be entitled


THE DYE-WORKS

_Presentation._--The conjurer hands round for inspection a small sheet
of white paper. Upon its being returned, he rolls it into a cylinder.
Taking a couple of red silk handkerchiefs from the table, he proceeds to
poke them into the tube by means of the magic wand. He continues to
force them down until they at length make their appearance at the other
end. During this short passage through the tube, however, an astonishing
transformation has ensued. Instead of the handkerchiefs being red, one
emerges a deep blue and the other yellow! Yet upon the roll of paper
being passed round for inspection it is found to be perfectly empty.

[Illustration: FIG. 3.--Cardboard tube with silk bag and handkerchief
attached.]

_Apparatus required._--(1) Two red, one blue, and a yellow silk
handkerchief.

(2) A sheet of stout white paper about six inches long by five wide.

(3) A small cardboard tube about three inches long and an inch and a
half in diameter. A section cut from an ordinary postal tube will do
admirably.

A small bag of yellow silk must be sewn by its edges to the interior of
this tube (Fig. 3). The yellow handkerchief should next be stitched by
its center to the bag, as is shown in the same diagram. This done, both
the yellow and blue handkerchiefs must be forced into the cardboard tube
until they are completely hidden. There will be no difficulty in doing
this, as silk can be made to occupy a very small space. The bag, of
course, will prevent the handkerchiefs coming out at the other end.

The cardboard tube and its contents should then be placed upon the
table, and the two red handkerchiefs laid carelessly over it in order to
obscure it from the view of the audience.

_Patter._--“I have here an ordinary sheet of white paper. I intend,
however, to turn it to a rather extraordinary purpose; in fact, to
manufacture with it a dye-works!

“I first roll the paper into a cylinder--so. Please notice that I do not
attempt to insert anything as I do so.”

The performer rolls up the paper, taking care to make it sufficiently
large to admit the little cardboard tube.

“I have also two red silk handkerchiefs. Every lady present to-night
will know how very difficult it is to dye anything that is red.
Nevertheless, I am going to put these handkerchiefs down my dye-works’
chimney.”

He picks up the handkerchiefs--with the tube still hidden in them--and
apparently attempts to poke them into the cylinder. In reality, however,
he only inserts the cardboard tube, and then pauses, as though in doubt.

“Well, ladies and gentlemen, it appears as if I haven’t built my
dye-works large enough to receive both handkerchiefs together. I think
it will be advisable, therefore, to insert them singly.”

The conjurer proceeds to place first one and then the other handkerchief
in the tube. Then, taking up his magic wand he rams them well down. This
has the effect of forcing them both into the small cardboard tube, thus
liberating the blue and yellow handkerchiefs.

“Ah! I see that one of the handkerchiefs is issuing from the basement of
our dye-works. And the color has been altered during its journey! Here
comes the other straight from the mangle, and, as you will observe, it
is now dyed yellow. The dye-works has proved most successful. In fact,
I believe that if I’d inserted a third handkerchief it would have come
out folded and ironed!”

[Illustration: FIG. 4.--Handkerchief covering small cardboard tube drawn
from cylinder.]

So saying, the conjurer takes the yellow handkerchief by its middle and
draws it from the paper cylinder. The cardboard tube, with the red
handkerchiefs safely in it, will, of course, be drawn out at the same
time. The folds of the yellow handkerchief, however, will completely
hide it (Fig. 4). The conjurer then throws the paper cylinder amongst
the audience, with the remark--

“There you are, ladies and gentlemen. As I am of a philanthropic nature,
I will let you have my dye-works free of charge, with full permission to
make whatever use you like of them.”

The third trick may be called


THE DISSOLVING COIN

_Presentation._--The conjurer, standing a glass of water upon his table,
borrows a quarter, and places it in the center of a loaned handkerchief.
He then requests a member of the audience to hold it over the glass so
that the folds of the handkerchief hang around it and completely hide it
from view (Fig. 5).

The performer next asks the person holding the coin to let it drop into
the water. He does so, and the audience hear it tinkle as it strikes the
bottom of the glass. But when the handkerchief is removed, the quarter
has disappeared!

[Illustration: FIG. 5.--The dissolving coin.]

[Illustration: FIG. 6.--Quarter found inside the orange.]

A dish containing a number of oranges is standing upon the table. The
conjurer picks up a knife and plunges it into one. Passing it to a
member of the audience, he requests him to cut it open. Upon this being
done the quarter is discovered embedded in the center of the fruit (Fig.
6).

_Apparatus required._--(1) A glass of water. (2) A silver quarter. (3) A
watch-glass the size of a quarter. One can be purchased for five cents
from any watch repairer’s. (4) A dish of oranges. A small cut must be
made in one of them, and the quarter forced into the incision. The
prepared orange should then be replaced upon the dish, care being taken
that its position is remembered.

_Patter._--“It is always a conjurer’s duty, during some part of his
entertainment, to borrow. The time is now ripe for me to perform that
pleasant duty. Will some one kindly supply me with a quarter and a
handkerchief?”

As the performer walks amongst the audience to obtain the handkerchief,
he secretly takes the watch-glass from his waistcoat pocket--where it
has been placed in readiness. As he returns to his table with the
handkerchief and the coin, and whilst his back is to the audience, he
must again resort to sleight-of-hand and substitute his watch-glass for
the coin, which can either be slipped into his waistcoat pocket, or
dropped surreptitiously on to the _servante_. The performer then faces
the audience, holding up the watch-glass instead of the coin in the
center of the handkerchief.

“I have placed the quarter in the handkerchief, and should now like the
assistance of a young gentleman.

“Thank you, sir. Would you mind holding this coin over the glass and let
it fall into the water when I count three? Thank you! One--two--three!
You’re sure you dropped it? Well, will you please remove the
handkerchief, thus taking the quarter from the water.” (The watch-glass,
being transparent, will be invisible at the bottom of the glass, and the
assistant will immediately declare that the coin has vanished.)

“It’s gone, you say? That’s rather awkward for the gentleman from whom I
borrowed it. But perhaps you’d like to pay him back yourself? You
strongly object? Well, I must see what I can do!”

The conjurer walks over to the dish of oranges.

“In order to see how this trick is done, ladies and gentlemen, you must
keep one eye upon me, one eye upon that dish of oranges, and the other
upon the gentleman who is assisting me. What’s that? You haven’t three
eyes? I think you are mistaken. First there’s your right eye; then
there’s your left eye; and your nect(eye)ie makes the third.”

The performer then plunges a knife into the prepared orange and hands it
to his assistant.

“Would you mind cutting that in half?” (Upon doing so the young
gentleman will, of course, find the coin embedded in the fruit.) “You
have found the missing coin in its center? I consider it rather clever
of me to purchase for a few cents oranges that grow quarters. Would you
mind returning the coin to its owner; and I must thank you for the very
able assistance you have afforded me.”

The next trick may be called


THE WATCH AND TARGET

_Presentation._--The conjurer borrows a watch from a member of the
audience and wraps it in a piece of paper. He next places it in the
muzzle of a pistol, and then stands a target upon the table. Handing the
pistol to a gentleman in the audience, the performer requests him to
fire at the target. There is a loud report, and--hey, presto!--the watch
is found swinging in the center of the target! And upon the paper parcel
which contained the watch being removed from the pistol’s muzzle it is
found to be perfectly empty.

[Illustration: FIG. 7.--Conjuring pistol, showing flanged cap.]

[Illustration: FIG. 8.--Cup or pan to fit into muzzle of pistol.]

_Apparatus required._--(1) A piece of paper in which to wrap the
borrowed watch; and a second piece of the same size and color. This must
be folded to create the impression that it contains a watch.

(2) An ordinary toy pistol. This must be taken to a tinsmith, in order
to have a tin muzzle of the shape shown in Fig. 7 soldered to the
barrel. It will also be necessary for the tinsmith to make another very
important addition to the pistol. It consists of the little pan
illustrated in Fig. 8. This pan fits into the muzzle. But in order that
it may not sink down too far, and can be removed easily, a flange must
be made round the edge, as shown in Figs. 7 and 8. Before commencing the
trick, the piece of paper folded into the shape of a watch must be
placed inside the muzzle, and the tin pan fitted into position on top of
it.

[Illustration: FIG. 9.--Showing front of target.]

[Illustration: FIG. 10.--Back of target with revolving center.]

(3) A target (Fig. 9). This target, as might be anticipated, is not so
simple as it looks. The “bull’s-eye” at the center must be cut
completely out with a fretsaw, and then replaced again on the two pivots
(B B, Fig. 10). A small wooden clip should next be fixed in the position
illustrated by C, and a piece of elastic fastened to the “bull’s-eye” at
A, and stretched to the other side of the target.

It will now be observed that the tendency of the elastic is to make the
“bull’s-eye” revolve upon its pivots. The wooden catch C, however,
prevents this happening.

The catch is secured to the target by a single nail or screw, in
precisely the same manner as the “button” is fixed to an ordinary
cupboard door. A piece of black thread must be fastened to one end of
the catch, and carried down behind the target through a series of hooks
made from bent pins (D, Fig. 10).

A pull at the thread thus causes the wooden catch to release the
“bull’s-eye,” which will instantly be forced round upon its pivots by
the elastic, and show the other side:--which must be similarly painted
with rings--to the audience. To complete the target, drive a small hook
into the center of the “bull’s-eye.” The finished article must then be
placed behind a screen in readiness for the performance.

[Illustration: FIG. 11.--The elastic at A will be found invaluable to
the young conjurer.]

(4) Lastly, a small piece of black elastic should be sewn across the
V-shaped opening at the bottom of the conjurer’s waistcoat, as shown in
Fig. 11. This keeps the bottom of the waistcoat perfectly tight, thus
making a handy receptacle for any article the performer may poke up it
out of sight.

_Patter._--“Ladies and gentlemen--I was so successful in borrowing for
my last trick, that I am encouraged to be a little less timid in my
requests. Will some gentleman kindly lend me his watch? Thank you, sir!
I may muddle up the wheels a bit during my experiment; but I suppose you
don’t mind that, provided the watch _looks_ all right when I return it?
Now, sir, would you mind wrapping your watch up in this piece of paper?”

Whilst the lender of the watch is engaged in wrapping up his property,
the conjurer walks to the table and returns with the pistol in his hand.
He then takes the parcel from the gentleman, and apparently places it in
the muzzle. In reality, however, it is put only into the small pan.

The performer turns round, and walks towards his table. Holding the
pistol well into the body so that it is completely screened from the
audience, he quickly places his right hand over the muzzle, and grips
the flange with his thumb and little finger. It is then only the work of
a moment to lift the pan and its contents from the pistol, and poke it
under his waistcoat. As the performer’s back is to the audience, these
rapid movements escape observation.

Upon reaching the table the conjurer lays down the pistol, faces the
audience, and says:

“Well, now that I’ve got my ammunition, I suppose I’d better get a
target.”

He retires behind the screen sheltering the target. Hastily taking the
pan from his waistcoat, he tears the watch from the paper, and hangs it
upon the hook on the reverse side of the “bull’s-eye.” Then, returning
to the platform, he places the target upon the table, and taking up the
pistol, says:

“Will the gentleman who lent me the watch kindly take this pistol and
fire at the target when I count three?” (Upon taking the pistol the
gentleman will see the second piece of paper in the muzzle, and imagine
that it contains the watch.) “Are you ready? One!--I hope you are a
good shot. Two!--Mind you don’t hit me instead of the target. THREE!”

As he utters the last word the conjurer pulls the thread, and
simultaneous with the report of the pistol, the “bull’s-eye” flashes
round and reveals the watch hanging to its center.

Of course the thread must be sufficiently long to permit the performer
to stand a short distance from the target. Against a dark background the
thread will be quite invisible to the audience.

Upon the second parcel being examined it will, of course, be found quite
empty.




CHAPTER XXI

SOME KNOTTY POINTS


SECRETS OF HANDKERCHIEF MANIPULATION

[Illustration: FIG. 1.--Handkerchief twisted for the performance.]

[Illustration: FIG. 2.--The one hand knot.]

THE following explanations are intended to provide the beginner with the
knowledge necessary to perform a few of the simple but neat tricks which
can be done with no other apparatus than a handkerchief. For a short
turn or “gag” these tricks are effective and useful, whilst their very
simplicity renders a quick return for the little trouble required to
learn them.

A good-sized silk handkerchief must be procured. Before making any of
the knots it should be twisted like a rope (Fig. 1). Being of silk, the
handkerchief will not untwine easily.


THE ONE HAND KNOT

This knot is very simple to make. Hold the handkerchief, bent double,
across the right hand (Fig. 2). Now, suddenly drop the hand, letting the
fingers pass over the end, A, and catch the end, B, at the point, C,
between the first and second fingers. Let the remainder of the
handkerchief slip off the hand, giving it a sharp flick, which will
tighten the knot already loosely formed.

Practice constantly until the whole movement can be done very rapidly.
To the spectators it will appear as if you have suddenly flicked the
handkerchief into a knot, and the effect will be striking.


THE WRIST KNOT

Stretch the handkerchief between the finger and thumb in both hands, as
in Fig. 3. Cast a loop towards the left hand, taking care that it is
thrown outwards. As the loop is made, the left hand, still with the end
of the handkerchief between finger and thumb, is passed smartly through
the loop from the outside--shown by the dotted lines in the
illustration.

This loop is now loosely round the left wrist, and the knot can be made
taut by pulling the ends with both hands. The instant it is drawn tight
let go of the ends of the handkerchief, and the result will be that a
simple twitch of the right hand has seemed to tie a knot firmly round
your left wrist.


THE DOUBLE BOW

This very pretty trick can be accomplished by making a double bow with a
rapid turn of the hands.

Hold the twisted handkerchief in both hands, as shown by Fig. 4. The two
hands are marked L and R--_i.e._, left and right respectively. Now bring
the right hand round and past the left, as indicated by the dotted
lines, and nip the handkerchief at the point A with the first and second
fingers of the right hand.

[Illustration: FIG. 3.--The wrist knot.]

[Illustration: FIG. 4.--The double bow.]

By doing this you have naturally brought the point B opposite the first
and second fingers of the left hand, between which it should be
similarly nipped. During all these movements the remaining fingers and
thumbs of each hand should retain their original hold on the
handkerchief.

Having now taken hold of both the points A and B, straighten your hands
and pull apart, still retaining the hold of the first and second
fingers. As a result you will find the handkerchief tied in a double
bow, which, if the movements have been done quickly and well, will seem
to have been accomplished by some strange effect of magic.


THE INSTANTANEOUS KNOTS

These knots can be made at each end of the handkerchief by the following
method. Hold the handkerchief in the position shown in Fig. 5, where it
appears lying over the third and fourth fingers with the two ends, A and
B, hanging beyond the thumbs. The movements are done in the same way and
simultaneously with both hands, and it will therefore suffice to
describe the action of your right hand.

[Illustration: FIG. 5.--Instantaneous knots.]

Bring the first and second fingers (1 and 2, Fig. 5) over C, catching
hold of the end, A, behind the wrist. This will be easy after a few
attempts, but you must be careful to see that the end A is of fair
length, otherwise the trick will be impossible.

Now bring the end A up through the resulting loop by means of the two
fingers. The consequence will be a knot in the end of the handkerchief.
Your left hand has, meanwhile, been doing the same thing and with equal
rapidity, so that it will appear to the spectators that, by a sudden
flash of the hands, you have formed two tight knots, one at each end of
the silk.


A FLICK KNOT

Hold the handkerchief stretched between your two hands in the manner
shown in Fig. 6--that is, inside the first and second, and outside the
third and fourth fingers of each hand.

[Illustration: FIG. 6.--A flick knot.]

Give the left hand a half turn, as in Fig. 7, thus enabling the first
and second fingers of the right hand to grip the end A, whilst at the
same moment the thumb and third finger of your left hand catch hold of
the end B.

[Illustration: FIG. 7.--Second stage of the flick knot.]

Slip free the fingers of the left hand, excepting those holding the
handkerchief, and you will find a loosely made knot. A smart flick of
the right hand will now complete the trick, and if you have done all
this very rapidly none of the movements will have been noticed by the
audience.


THE DISAPPEARING KNOT

The foregoing remarks have dealt entirely with making knots in the
handkerchief. By following the instructions now given you will be able
to make a knot disappear entirely.

Take two differently colored handkerchiefs--red and white, for instance,
and cross them, as in Fig. 8. Now make a simple knot similar to that
shown in Fig. 9. By laying D over C and making another simple knot, as
in Fig. 10, the red end will appear on the left, whilst the white end
will be on the right. This is called a Grannie’s knot.

[Illustration: FIG. 8.--Colored silks for disappearing knot.]

[Illustration: FIG. 9.--Simple knot for disappearance.]

[Illustration: FIG. 10.--Grannie’s knot.]

It is now plain that if you take hold of each end of the red
handkerchief it can be pulled quite straight and entirely free of the
turns so closely resembling a genuine knot. Heighten the deception,
however, by seizing the end D and the bulk of the red handkerchief and
pulling them with all your strength. The knot will now appear to have
been tied most securely.

Take several handkerchiefs and tie them in the same way, making
apparently a well-fastened rope to be exhibited to the spectators. Bunch
them all together on a table, and under cover of the folds pull all the
ends free, exhibiting as a result a number of separate handkerchiefs,
not one of which has a knot of any description.




CHAPTER XXII

BLACK STAGE MYSTERIES


A WILY WORKER OF WONDERS

THE best method by which to advocate the “black stage” as a means of
entertainment, will perhaps be to describe one of the many illusions
that can be produced with its aid.

The audience first witnesses the performer--who is generally made up as
a Chinaman--and a young lady dressed in white, standing in the center of
a small “black stage,” as shown in Fig. 1.

[Illustration: FIG. 1.--The floating head.]

The performer then throws a white cloth over the lady’s head. Without a
moment’s pause he draws it away again, and--hey, presto!--the lady is
headless! The Chinaman next takes a larger cloth, and holds it before
the lady in such a manner that she is entirely hidden from the
spectators. A second later, however, he drops the cloth to the ground.
This time the audience is treated to the spectacle of the head of the
lady floating in the air. More wonderful still, the head can speak,
sing, and answer any questions that may be put to it.

After a while the illusionist picks up the cloth, and holding it before
the head, once more cuts off the view of the spectators. Upon its being
drawn away for the third time, nothing whatever is visible--even the
mysterious head has vanished. But when the cloth is held up again and
withdrawn, the young lady--in her entirety--appears, and after bowing to
the audience, walks unconcernedly off the stage.

Almost every well-known conjurer has stated at one time or another that
the secret of his success may be summed up in the one word--practice.
But there are very few young ladies who would have either the courage or
the ability to practice being decapitated. The ordeal might prove a
trifle _too exciting_. However, they may pass through it without fear if
the following method, given in explanation of the illusion, be adopted.

The interior of the stage must be fitted throughout with black cloth.
The lights in the room are lowered, the only illumination of any
brilliance being a row of candles or lamps, at the side of the stage.
These are equipped with tin reflectors, so that the light, instead of
shining on the stage, is projected into the eyes of the audience. The
effect of this is that, whilst any white object can be seen quite
plainly by the spectators, everything black remains invisible.

When the performer envelops the young lady’s head in the white cloth, he
at the same moment throws over her a piece of black material of similar
size and shape, attached to it by one corner. When he removes the white
cloth, however, he allows the black cloth to remain, thus veiling the
head and apparently causing it to disappear.

Another and larger piece of black material is similarly hidden in the
folds of the second white cloth. Directly the performer spreads this
before the lady assistant, so that she is hidden from the audience, she
rapidly pulls off her head-veil, and taking the large black sheet,
muffles herself in it up to the neck. Consequently only her head remains
visible. In order to disappear entirely, it is only necessary for her to
replace the head-veil or to pull the larger black cloth up over her
face.


THE ESSENTIAL ASSISTANT

It is usual when working illusions of this description to have the
assistance of a third person. This assistant must be dressed completely
in black, with black gloves and a black mask. The latter can very easily
be made from a piece of silk, or any other material that is slightly
elastic. It should be stitched into the form of a cylinder sufficiently
large to pull over the head. Two eyeholes are then cut in the desired
position, and the mask is complete (Fig. 5).

Garbed in this somber attire, the assistant is able to move about the
stage quite freely without being seen by the audience, and to lend
powerful but invisible aid in accomplishing many first-class deceptions.
However, this point will be referred to later, and attention should now
be turned to the construction of the “black stage” itself.

[Illustration: FIG. 2.--The finished frame.]

Fig. 1 illustrates the appearance of the finished stage, and Fig. 2
shows the framework of which it is constructed. This framework is
comprised of a number of laths fastened together by the method shown in
Fig. 3. A small metal rod--a long nail with the head filed off will
suffice--is driven into each upright lath. This must be done carefully
or the wood will split. Next a hole is bored by means of a drill or
red-hot poker in each of the laths fitting upon these uprights. By
placing the hole in each cross lath over the nail in the upright lath,
as shown in Fig. 3, the framework can easily be put together or taken to
pieces, when it is necessary to convey the stage from one point to
another.

[Illustration: FIG. 3.--Laths fastened together.]

[Illustration: FIG. 4.--Method of joining laths of frame.]

[Illustration: FIG. 5.--Cloth or silk mask.]

Fig. 4 depicts the mode of fixing two laths together lengthwise.
Instead of having one long lath, it considerably facilitates conveyance
if two smaller laths are joined by two thumbscrews as shown in Fig. 4. A
joint of this description is also shown at C, Fig. 2.

As can be seen by the diagram, the framework is simply a skeleton box;
but a little way beyond the center another lath should be carried across
at the top (A B, Fig. 2). Two curtains of black cloth must be obtained
and fastened to this lath so that they overlap at the center (D, Fig.
2).

It will now be noticed that this curtain divides the stage into two
separate compartments. The first of these is the stage proper, upon
which the illusionist performs his various mysteries. The second
compartment is reserved to provide an exit for the performer and his
assistants, the flap in the curtains acting as a doorway. Some of the
apparatus required for the various illusions may also be kept here
during the performance.

The dimensions of the stage depend entirely, of course, upon the size of
the room in which the entertainment is to be given. The minimum width,
or “length of frontage,” should not be less than ten feet, and the
distance from the front of the stage to the beginning of the partition
curtain not less than six feet. The distance from the partition curtain
to the back of the stage is not of great importance. Provided there is
room for the assistant to move about, this is all that is required. Two
and a half feet is ample.

The following dimensions will be found about as convenient as any; but
if the reader is in a position to construct a larger stage, so much the
better.

Frontage, 12 ft.; height, 7 ft. 6 in.; distance from front to partition
curtain, 7 ft. 6 in.; from partition curtain to back of stage, 3 ft.

Having decided upon the measurements of the stage, a further supply of
black cloth must be procured and fitted completely over the framework.
It is preferable to have this cloth already stitched into shape (Fig.
6), so that it can be simply drawn on over the box-like structure of
laths.

[Illustration: FIG. 6.--Cloth covering for frame.]

It is also necessary to spread another piece of black cloth upon the
floor.

Lastly, the stage front must be decorated. These decorations consist
merely of two curtains hooked at each side of the opening, and a frieze
draped along the top lath, as shown in Fig. 1.

The lighting arrangements must be left largely to the discretion of the
reader. If he be a “handyman,” he can fit four incandescent gas burners
to the front of the show. A very effective, although primitive, method
of lighting is illustrated by Fig. 7. Two pieces of wire are hooked to
the top lath, a pair at each side, and three small bull’s-eye lanterns
fastened at intervals to them (see diagram).

[Illustration: FIG. 7.--Method of lighting.]

[Illustration: FIG. 8.--Another method of lighting.]

Yet another method is depicted in Fig. 8. About half-a-dozen holes are
bored in a piece of gas-piping, which is stopped at one end. Ordinary
burners are screwed into these holes and tin reflectors attached. The
whole arrangement is then bound securely to the top lath after the
framework has been fitted together. It is then necessary only to fix a
length of gas-tubing from the open end of the pipe to the nearest
gas-fitting. If the reader decides upon the latter method of
illumination, his best course will be to go to a plumber and place the
job entirely in his hands.

The chief thing to bear in mind is, that no light must shine into the
stage, the only illumination being projected into the eyes of the
spectators, thus dazzling their vision as much as possible.

The stage described can, of course, be greatly improved upon. The above
description is intended simply as a rough guide for the boy whose skill
in carpentry does not extend much beyond knocking a nail or tin-tack
properly into a piece of wood, which, by the way, is not such an easy
task as most people imagine.

Having constructed a stage suitable for working purposes, we may proceed
with another illusion.


THE FLOATING BARREL

The performer, who, as previously stated, should be dressed as a
Chinaman, or in a white costume of some description, stands alone in
full view of his audience. Presently he makes a beckoning motion, and a
large white barrel floats slowly into view. To the amazement of the
spectators, it drops gently to the ground at the magician’s feet.

He then turns to the other side of the stage and repeats the beckoning
motion. Immediately a second barrel makes its appearance, and deposits
itself on the ground a short distance from the first.

Turning to the audience the performer borrows a dozen or so rings,
chains, and other trinkets. Walking back to the stage, he holds the
borrowed trinkets above the mouth of one barrel, and clearly drops the
mass of jewelry into it. The next moment, without a second’s pause, the
illusionist seizes the barrel and turns it upside down.

Nothing falls out. It is perfectly empty!

Thereupon he darts to the other barrel, turns it over, and out shower
the trinkets.

The performer replaces them, and immediately overturns that barrel as he
did the first. But once again the jewelry is found to have disappeared.
Nor can it be discovered in the other barrel.

Retreating to one side of the stage, however, the illusionist waves his
hands. There is a slight flash, and a small Japanese table is seen
standing in the center of the stage, with the trinkets heaped upon it.

This is a very effective illusion, but it can be even improved upon, as
the reader will see when he has read the following simple explanation of
the trick.

Its success lies almost entirely with the “black” assistant previously
referred to. The “floating” barrels are simply carried in by this
assistant, who must take care to hold them in such a manner that his
black-gloved hands do not show up against the white wood.

Whilst the performer is collecting the articles of jewelry the assistant
holds a small bag or sack in the mouth of the barrel. Consequently, when
the performer drops the trinkets into the barrel, they in reality enter
the sack, when it is a simple thing for the assistant to transfer them
to the second barrel--the black bag rendering them invisible during
transit.

Immediately the performer appears to deposit the trinkets in the barrel
for the second time, the assistant again secures them in his small sack.
This time, however, he carries them to the side of the stage, where a
Japanese table has been placed in readiness out of sight of the
audience. This table is draped with black cloth, which, as already
explained, makes it invisible. The assistant merely lifts up this cloth
and empties the trinkets from the sack on to the table. Then, replacing
the cloth, he carries the table and its contents to the middle of the
stage.

Next he simply whisks away the black cloth when the performer gives the
signal, and the table, with its small heap of jewelry, stands revealed.

As previously stated, this illusion can easily be improved upon. For
instance, the “black” assistant can place a live rabbit in one of the
barrels, giving the audience the impression that the jewelry has
undergone a somewhat extraordinary, though unprofitable, transformation.

The performer should attempt to vary the nature of his entertainment as
much as possible, and the following illusion could very well occupy the
next place upon the programme.

In obedience to the performer’s command, a large white box or
wicker-basket floats on to the stage. This, as the reader will have been
able to gather from the explanation of the previous illusion, is simply
carried on by the “black” assistant.

After having shown that the box or basket--as the case may be--is
perfectly empty, the illusionist raises it from the stage by placing
four blocks, one under each corner. This is to prove the impossibility
of a “false bottom” or trap-door being used.

A man now walks on to the stage, with a white sheet wrapped round him,
and looking like a Dervish or bernoused Arab. Stepping into the basket,
he coils himself up until he is concealed at the bottom.

There is a pause of a few seconds, after which a low groan issues from
the interior of the basket. A moment later the sheet is seen to shoot up
into the air, and collapse in a heap upon the stage. Both sheet and
basket are examined; but their human occupant has disappeared--has
vanished, as it were, into thin air!

The illusionist next throws the sheet back into the basket. No sooner
has he done this than it is seen mysteriously to raise itself on end.
Then for a second time it collapses. A moment later, however, a second
disturbance is seen to be in progress inside the basket, and this time
the white-robed man rises from it, and steps out upon the stage.

The secret of this illusion lies in the fact that the “black” assistant
and white-robed man are one and the same person.

Directly the assistant has carried the wicker basket in, and whilst the
illusionist is showing the audience that it is perfectly empty, he
slips “behind the scenes,” and, taking off his black mask and gloves,
hastily arrays himself in the sheet.

In this guise he again makes his appearance, and steps into the basket.
No sooner has he snuggled down at the bottom, however, than he quickly
throws off the sheet and replaces the gloves and mask. Giving vent to a
hollow groan, he flings the sheet into the air. This for a moment
diverts the attention of the spectators, and gives the assistant time to
step from the basket, behind which he remains in readiness to continue
with the second part of the illusion. In his black clothes he will, of
course, be quite unseen.

When the performer puts the sheet back into the basket, the assistant
merely stoops and slowly lifts it up, until he can step back into the
basket under cover of it.

As he allows the sheet to collapse for the second time, he sinks down
with it out of sight. He then again removes his black mask and gloves,
and envelops his body in the sheet.

This done, the hard-worked “black” assistant in his Dervish disguise has
simply to step from his place of concealment into full view of the
audience, and the illusion is complete.


THE VANISHING MAN

Another good effect, which would act as an excellent climax to the
entertainment, can be brought about as follows:

The performer makes his appearance carrying a large white shawl. This he
spreads upon the ground. Taking the shawl by its two top corners, he
holds it before him so that he is completely hidden.

Next he commences slowly to wave the shawl to and fro, to advance to the
front, and then to retreat to the back of the stage. As he is advancing
for the second time, however, the shawl is suddenly dropped, and--hey,
presto!--there is nothing behind it; the illusionist has gone!

But at the very moment the shawl collapses, a loud shout is heard, and
the illusionist is seen standing to the rear of the audience!

In this illusion, as in the others, the “black” assistant plays an
important part. His task is not nearly so difficult, however, as those
he has already been called upon to undertake. In fact, the whole
illusion, although it can be made one of the most effective on the
programme, is the easiest to accomplish.

Directly the illusionist picks up the shawl and holds it before him, the
“black” assistant steps up and takes it. Still under cover of the shawl,
the two slowly retreat to the back of the stage until they come to the
opening in the partition-curtain (D, Fig. 2). It is then an easy matter
for the illusionist to slip through the opening and get clear away. The
assistant continues to wave the shawl slowly backwards and forwards,
giving the audience the impression that the original performer is still
behind it.

In the meantime the illusionist has made his way out of the room by a
door in the vicinity of the stage. Thence he hurries to a door leading
to that portion of the room containing the audience. Pushing this
slightly open so that he may obtain a view of the stage, he waits until
he sees the shawl drop, when he unexpectedly and dramatically makes his
presence known.

The assistant being arrayed in black apparel will, of course, remain
invisible.

The only drawback to this illusion is, that it necessitates there being
two doors to the room in which the “black stage” is erected. Then again,
although a room may possess the requisite doors, one of them may be so
placed that it is impossible for the performer to reach it without being
first seen by the audience. In such a case, however, the difficulty may
be overcome by an ordinary screen placed from the door to the back
entrance of the stage.

As already observed, these illusions can be easily added to and improved
upon. In fact the “black stage” and its “black” assistant offer
tremendous scope for a really first-class entertainment, teeming with
bewildering and mystifying illusions.

If the stage is large enough, two assistants may be employed, and still
more complex effects attempted. But having described several illusions
of an entirely different nature, and having explained the principle upon
which all such illusions are worked, it must be left to the reader to
invent other “black stage” mysteries with which to entertain and
bewilder his friends.




CHAPTER XXIII

CONCERNING GHOSTS


MIRROR FRAUDS

IF the Honorable Society of Stage Ghosts were to choose a motto, they
would find few more suitable than the old adage, that “People who live
in glass houses should not throw stones.” As the following remarks will
serve to show, their very existence depends upon a sheet of glass, and
if this be cracked or broken, farewell to the apparition and all its
attendant mystery.

If you look out of the window of a lighted room upon a dark night, you
will notice that the pane, instead of being transparent, acts as a
mirror and reflects the room behind you. It is on this principle,
applied to a stage, that the greater number of ghost effects are
produced. Owing to the fact that apparitions are usually seen at night,
a good excuse is found for having the stage darkened, whilst the gloom
serves to conceal several things highly undesirable the audience should
observe.

The ghost effect, as seen by the spectators, is somewhat of the
following description. Any person from the audience is requested to come
upon the stage and seat himself in a chair already provided. He has
scarcely taken his seat when a white figure approaches him, passes in
front, in doing so showing that it is transparent. Kneeling by his side,
it lays a hand--a ghostly white hand--upon his arm, and appears to plead
with him in a most touching manner. But the gentleman from the audience
is implacable; he takes no notice whatever of his ghostly supplicant,
appearing utterly unconscious of its presence.

Suddenly the object of the ghost’s entreaties becomes clear. Fumbling
amongst its white robes it produces a ghostly cigar, again begs our
friend with most urgent entreaties for a match, and finally, disgusted
at his callous indifference, shakes a sepulchral fist at him, throws
aside the cumbersome white shrouds, and appears to the spectators as a
very well-dressed young man in immaculate attire. He is still a ghost,
however, and calmly walks right through the gentleman from the audience,
lights his ghostly cigar with an equally ghostly match, pats his friend
condescendingly upon the head, and vanishes.


UNSEEING AND DISBELIEVING

“Ghost? What ghost? I saw no ghost, but I got very tired sitting up
there all that time without anything happening.” So says the gentleman
from the audience when he returns to his seat, and it is not until he
has seen it all happen to some one else that he will believe anything
really did occur.

[Illustration: FIG. 1.--Arrangement of stage for ghost-producing.]

He is probably provoked when he finds that the next apparition takes the
form of a fascinating young lady who vainly endeavors to make the young
man who has taken his place kiss her. Indeed, such indifference is
astounding, and all her pretty wiles and enticements are as wasted upon
him as though he did not see her. As a matter of fact he does not know
what pleasant temptations surround him.

In Fig. 1 the stage is shown in section, and the phenomenon is
explained. C, G is the stage, upon which is a chair, H, occupied by the
gentleman from the audience, I. A sheet of plate glass, A, B, rises from
the floor of the stage to the flies, and extends from one wing to the
other. This sheet of glass is tilted forward at an angle to be
determined by circumstances. Between the footlights, D, and the end of
the stage, C, is a space or well, to be occupied by the original of the
ghost, K.

When the curtain is raised, the glass, A, B, is quite invisible to the
spectators owing to its transparency, and the extinguishing of the
footlights at D renders the whole of the stage more or less dark. The
space, D, G, is also invisible to the spectators, to whom the stage
appears to present nothing more exceptional than an ordinary chair.

Mr. I, as he may be called, is brought up from the auditorium, round by
the wings and taken to his chair, whence, looking into the theater
before him, he sees nothing of the plate of glass intervening.

[Illustration: FIG. 2.--The coffin trick.]

Being already dressed in the conventional garb of a ghost, the actor,
K, places himself in the space between D and C, whereupon strong lights
on the walls, D, E, and C, F, are switched on, throwing their glare upon
the actor.

Owing to the principle of reflection mentioned above, the glass, A, B,
having a fairly dark background, becomes a mirror upon which is cast the
reflection of the actor K. Of course, Mr. I in his chair is visible the
whole time, but the spectators see in addition to him the reflection of
K, which naturally appears transparent, and moves about the stage
exactly as K moves in the space D, C.

The position of the chair, H, is already known to K, who is accordingly
able to kneel in his space in such a position that his reflection
appears kneeling to I, to go through the rest of the performance with
perfect ease, and to leave our friend I perfectly ignorant of what has
occurred. Returning for a moment to the example of a pane of glass in a
lighted room, it must be remembered that the spectators are in the
position of the persons within the room and see a reflection of what is
their own side of the glass, whilst I is like a person outdoors who
looks into the room unhindered. To him the stage and the audience remain
the same throughout the whole performance.


A PARIS ILLUSION

An interesting variation of this scene is produced in Paris at an old
café, known as the “Cabaret du Néant,” in the Montmartre quarter. The
whole interior of this restaurant is fitted up to appear as funereal as
possible. Guests are served with refreshments upon coffins by waiters
dressed as mourners, whilst the walls are covered with notices and
advertisements of a similarly doleful character.

Upon payment of a small fee the guests are taken into a cellar,
completely dark except for a small glimmer at the farther end. Having
seated themselves they observe this light slowly increase until it is
sufficient to disclose an open coffin standing upright.

Some person from the audience is then requested to accompany one of the
attendants upon the stage, where he is asked to stand upright in the
coffin. His friends and the remainder of the spectators are then
informed in sepulchral tones that they are about to witness a change
which it will some day be the lot of every one to undergo, being at the
same time reassured that the subject of the experiment will suffer no
harm from what is taking place.

A white cloth, stretching from the chin to the heels, is then tucked
round the figure in the coffin, and after a few moments the living face
gradually fades away and a skull is seen in its place, whilst a skeleton
now fills the coffin (Fig. 2). This in its turn fades away, giving
place once more to the original living occupant, who soon descends from
the stage and expresses himself much surprised at what his friends
describe, as he himself has seen nothing of the ghastly change.

As in the former experiment, a large sheet of plate-glass is interposed
between the audience and the rear of the stage where stands the coffin.
This plate of glass is placed diagonally, as can be seen in the plan,
Fig. 3. The coffin, C, is lighted by several electric lamps when the man
takes his place in full view of the audience. At D is another coffin in
the wings, invisible to the man at C, as also to the spectators. When
the white cloth has been wrapped around the living person, the lights
are slowly switched off at C and on at D, with the result that the
skeleton in the latter coffin is reflected in the glass, A, B, in such a
manner that it appears to be actually within the coffin, C. To bring the
man back to life the operation is reversed.

[Illustration: FIG. 3.--Plan explaining coffin trick.]

The object of wrapping the white cloth about the living person is simply
to hide any difference in size between him and the skeleton in D. Both
coffins have, of course, been properly arranged to suit the reflections
before the commencement of the experiment.


THE SEA NYMPH

The Sea Nymph, shown in Fig. 4, is really a beautiful illusion. The
scenery represents a rolling sea beneath an azure sky, flecked here and
there with skimming clouds. Suddenly from out the waves a graceful form
is seen to appear, and, rising steadily, gambol in the billows. Circling
in the air, she plunges down into the waves, only to reappear once more,
and repeat her charming sport.

The sheet of glass is arranged for this performance as in the case of
the ghost, Fig. 1. The scenery, A, B, Fig. 5, is painted as described,
to represent the sea, and at L and M are placed additional waves, close
to the footlights. The glass, H, K, descends diagonally. D, E is a large
circular disc revolving upon an axle, F, which is connected by a rope or
wire to a barrel and handle, G. At C and M strong lights are thrown upon
this disc.

[Illustration: FIG. 4.--The sea nymph.]

The young lady who performs the part of the nymph is suitably attired,
and takes her place, lying upon the disc, D, E. At the proper time the
lights are thrown upon the disc, with the result that the spectators see
her reflection in the glass, H, K, as though she were really standing
upright amongst the scenery on A, B. By turning the handle at G, the
disc is made to revolve, carrying with it the recumbent nymph, who now
appears to be turning elegant somersaults amongst the waves.

[Illustration: FIG. 5.--Plan explaining sea-nymph illusion.]

The only difficulty about presenting any of these effects at home is the
inconvenience of obtaining and handling so large a sheet of plate glass
as is necessary. A good ghost effect can be easily produced, however, in
a room with a large French window.

The window must be fastened open at an angle that will have to be
ascertained by experiment. The room should then be thrown into complete
darkness. The ghost takes his place outside the window and against the
wall, D, F (Fig. 6), with two lamps, B, so arranged as to cast their
light upon him. These lamps should be shaded in such a way that they
cast no glare except upon the figure of the ghost.

[Illustration: FIG. 6.--Plan of room for ghost illusions.]

What happens is very plain. The open window, G, C, reflects the shrouded
figure of the ghost at A, making it appear to stand in the doorway,
pointing ominously at some startled person sitting in the dark room. It
may be added that it is but fair to inform the spectators of what is
about to take place, as many people are alarmed at apparitions, and have
nerves too weak to stand the sudden appearance of a ghost.




CHAPTER XXIV

SOME STAGE ILLUSIONS


FOR HOME PRESENTATION

ALTHOUGH from earliest times wizards and conjurers have attempted to
create illusions to impose upon the more credulous of their dupes, it
was not until the great Robert Houdin devoted his attention to the
matter that any real progress was made in the art. Yet such was the
genius of Houdin that his inventions have hardly been superseded in the
many years which have elapsed since his death, whilst in the greater
number of cases his original plans have barely been improved upon.

[Illustration: FIG. 1.--The principle of reflection.]

Having dealt with the subject of stage apparitions in the previous
chapter, it is the intention here to describe and explain the best
illusions in so simple a manner that, with the minimum of trouble, any
amateur can construct the apparatus necessary for their production. The
successful working of the performance depends entirely upon the skill of
the exhibitors.

A great number of stage illusions are based upon the principle that a
person looking into a mirror from any angle sees the reflection of
objects at a similar angle from the opposite direction. This is borne
out by Fig. 1. Supposing A, B to be the mirror, with the spectator
standing at D, he will see the reflection of an object at E, the angle
D, F, B being equal to the angle E, F, A.

A simple adaptation of this principle is seen in


THE MAGIC CUPBOARD

This is a large cupboard, of sufficient height to hold a man
comfortably, and about 4 feet wide by 2¹⁄₂ feet deep (Fig. 2). The doors
should be double, and meet at the center post H. The cupboard can be
lined with some simple paper of an unobtrusive pattern, and the doors
should close easily and securely.

Now to describe the performance as it appears to the audience.

[Illustration: FIG. 2.--The magic cupboard.]

[Illustration: FIG. 3.--Plan of magic cupboard.]

The cupboard is opened, and anybody allowed to mount the stage and see
for himself that there is no false bottom or trap in the floor. When he
is perfectly satisfied and has returned to his seat, the magician
introduces his assistant. At a nod from him she enters the cupboard,
which is then closed. The wizard makes a few mystic passes with his
wand, utters the words “Imshi! Imshi!” meaning in Arabic, “Depart!
Depart!” The cupboard is then opened and--found to be empty!

Once more the doors are closed. The magician reverses his passes, claps
his hands, looks upward, and again opens the doors. The pretty young
lady stands inside, smiling radiantly!

The mystery is understandable by a glance at Fig. 3. At E and F are
hinged two mirrors, identical in size with the walls of the cupboard.
When opened inwards these mirrors meet at the post, H, which serves to
conceal the line of their meeting.

Now the whole deception lies in the walls of the cupboard. When
inspected by the audience the two mirrors were flush against their
respective sides, and, having their backs covered with the same paper
used to line the whole interior of the cupboard, they were mistaken for
the real walls against which they were pressed. But when the mirrors are
opened inwards the spectator can see only the reflection of the actual
walls cast upon the mirrors in such a way that he imagines he sees the
back of the cupboard. Of course this is really hidden from him by the
opened mirrors, but they reflect the paper-lined walls so accurately
that a discovery of the deception is impossible.

When the lady is introduced into the cupboard the mirrors stand flat
against the sides of the box, which is really empty, but as soon as the
magician closes the outer doors upon his assistant, she pulls out the
sides, shuts herself into the triangle E, H, F, and awaits the opening
of the cupboard. When this takes place the mirrors are, of course, in
the position indicated by Fig. 3. The spectators, seeing in them the
reflection of the walls, think they see the back E, F, and thereby
conclude that the box is empty. This process is reversed when the lady
makes her reappearance.

[Illustration: FIG. 4.--The Mandarin’s head.]

It need scarcely be said that the object of the wizard’s passes and
incantations is to give the assistant time to open and close the
mirrors, as the case may be.

Care must be taken when making such a cupboard that the mirrors shall be
flush with the sides at every point, and that when drawn out they meet
at an angle of 45° from the walls. This is imperative in order that they
shall reflect the actual walls of the cupboard exactly.

The illusion known as


THE MANDARIN’S HEAD

is arranged upon a principle somewhat similar to the foregoing.

To the spectators the effect is this. A box, standing upon a simple
card-table, is opened and seen to contain a human skull. Remarking that
he will call up the original owner of the skull, the wizard closes the
box, mutters a few incantations, reopens it, and displays a living human
head as shown in Fig. 4.

This head laughs, speaks, and nods, and in numberless other ways shows
itself to be no mere imitation. The box having been closed again, the
incantations are reversed, and on the casket being opened once more the
skull is found inside as at first.

The secret of this remarkable illusion requires but little explanation.
In the first place, the table has a hole in its top sufficiently large
to allow of the passage of a human head. The hole is closed by a trap
from below, after the manner shown in Fig. 5, which may be described in
detail thus: A, B, C, D is the table, and E the lid filling the
circular hole. This lid is hinged by G to the table, whilst a bolt, F,
running through the loops I, I in the table and H, H in the lid, secures
the latter in its place. Upon drawing this bolt the lid opens downwards.

As a matter of fact, the simple card-table is not so innocent as it
looks. Indeed, the spectators do not really see under the table at all.
The surrounding screen is reflected in a couple of mirrors shown in Fig.
6. Let A, B, C, D be the four legs of the table, and A, E, D, E two
mirrors placed in the form of a V between them, and reaching from the
table top to the floor.

The result of this arrangement is that the two front legs, B, C, are
reflected in the mirrors in such a way as to appear to the spectators to
be the back legs, A, D, whilst, as in the former experiment, the
reflections of the walls G, H, F, K, appear to be the actual back F, G,
of the screen.

[Illustration: FIG. 5.--Base of table.]

[Illustration: FIG. 6.--Plan of screen and table.]

When the magician first opens the box the lid of the table is closed,
and a skull, imitation or otherwise, rests upon it. But no sooner does
he close the box than the lid is let down by a confederate, concealed in
the space A, E, D, and the skull removed by him.

This confederate, who has already been properly prepared, protrudes his
face through the hole, and, when the box is opened, acts his part to
life. When the box is closed he removes his head from the hole in the
table, replaces the skull on the lid, and the trick is done!

The arrangement of mirrors has all along concealed his body, whilst, as
already explained, the audience has been deceived into thinking they can
see beneath the table.

The wizard must take great care to make all his approaches to the table
directly from the front, as, should the reflection of his legs appear in
the mirrors, the “game would be all up.”

An illusion known as


“THE HEAD OF MARY QUEEN OF SCOTS”

is worked almost in the same manner.

The effect of the trick is shown in Fig. 7, where the head of the
unfortunate Queen is seen resting upon the hafts of two axes laid over
the arms of a chair.

[Illustration: FIG. 7.--The Queen Mary illusion.]

[Illustration: FIG. 8.--The Queen Mary illusion.]

It need scarcely be said that the whole trick lies in the construction
of the chair, illustrated by Figs. 7 and 8. The peculiarity about the
chair is that the back only reaches down to the spot where the arms join
it, thus leaving a space behind the seat. This space is concealed from
view by a slanting mirror, the bottom of which rests on the seat, whilst
the top comes between the arms of the chair. This mirror must incline at
an angle of 45° from the seat.

The haft of one of the axes laid across the chair arms serves to conceal
the upper edge of the mirror, so that when a head is thrust upwards, it
has the appearance of resting upon the ax handle.

In the curtain against which the chair is placed there must be a hole
exactly corresponding to the empty space in the back of the chair.

Now, through this hole a girl, whose face and hair have already been
made up to look like that of the murdered Queen of Scots, thrusts her
body just far enough to allow the head to appear above the edge of the
mirror. Owing to the angle at which it is placed the mirror reflects the
seat of the chair in such a way that it appears to be the missing
portion of the back. The spectators see nothing of the girl’s body; all
that is presented to their horrified gaze is the trunkless head of the
beautiful but unfortunate Queen.

[Illustration: FIG. 9.--When three are a crowd.]


WHEN THREE ARE A CROWD

Most people know the old saying, “Two are company, three are a crowd,”
and a glance at the illustration shows this may really be true.

If three persons stand in a prism-shaped arrangement of mirrors, as
indicated in plan in Fig. 9, an innumerable series of reflections would
appear and the three would in reality become a crowd.


THE FLOATING LADY

A most interesting illusion is that of The Floating Lady, which,
perhaps, should first be described from the point of view of the
audience.

[Illustration: FIG. 10.--The floating lady.]

The magician appears upon the stage leading by the hand a fairy-like
lady. Introducing her to the spectators as Mademoiselle Volatile, he
describes her susceptibility to his powers of mesmerism, in proof of
which he offers to keep her suspended in the air for any length of time.

Mlle. Volatile accordingly lies upon a board supported by two trestles
or chairs of the same height. Next the wizard walks round her, carefully
disposing of her drapery and tucking it neatly about her feet. He makes
a few mesmeric passes, examines her pulse carefully, and removes the
trestles. The lady is seen suspended in the air as in Fig. 10. After a
short time the magician reverses his passes, and smilingly helps
Mademoiselle to the ground.

All this is very mysterious until Fig. 11 “gives the show away.”

[Illustration: FIG. 11.--Key to floating lady illusion.]

A, B represents the back of the scenery through which a hole, E, is
bored. This hole is concealed by a little drapery on the face of the
curtain. Behind the scenes is a simple contrivance, the principle of
which can be seen from the cut. It consists of a strong upright F, which
branches into two arms, each of which terminates in a journal, H, H.
Through these journals runs an iron bar, D, which, terminating at one
end in the handle, G, has the other end protruding through the hole in
the scenery.

In the board, C, upon which the lady lies, is a socket to receive the
end of the handle.

Now, whilst the lady is putting herself in position on the board, the
magician can walk right round her, for the bar has not yet been
protruded through the scenery. But, at a signal from him, an assistant
behind the curtain seizes the handle, G, thrusts the bar through the
hole as far as it will go, and holds the handle firmly.

Whilst adjusting the lady’s robe the magician fits his end of the bar
into the socket in the board, and, still arranging the folds of her
drapery, carefully conceals any sign of what he has done. Having
ascertained that everything is safe, he removes the trestles, and the
board, with its living burden, is maintained in the air by the iron bar.

After replacing the supports the bolt is withdrawn by the assistant
behind the scenes, and no one suspects the existence of the very
material support which has kept the lady in the air.


HOUDIN’S MESMERISM

Robert Houdin used to exhibit to large audiences with startling success
the following example of his mesmeric powers. For the sake of clearness,
let it be supposed that the magician and Mademoiselle Volatile are
performing the trick.

After the usual remarks as to his powers of mesmerism, and how they set
at nought the laws of gravitation, the magician introduces the fair
lady, who wears a short skirt for the occasion.

Taking two sticks, each about five feet long, the wizard requests
Mademoiselle to step upon a stool. Placing one of the sticks beneath
each arm-pit, he then begins the incantation.

When the mystic words have been pronounced and the correct passes made,
the magician removes the stool, and Mlle. Volatile appears suspended
between the two sticks. One or two more passes are made and then the
wizard removes the stick from beneath her left arm, Fig. 12, slowly
raising her body to a horizontal position, as in Fig. 13, and passing a
hoop around her to show there is no hidden support from behind.

Having left the lady thus suspended for some time, he lowers her to the
perpendicular once more, replacing the stick under her left arm and
putting the stool beneath her feet. She is then awakened from the
trance.

The stick beneath Mademoiselle’s right arm is of special construction,
having a core of iron extending its entire length. The lower end fits
firmly into a socket in the floor, whilst the upper end itself contains
a socket the use of which is explained later.

[Illustration: FIG. 12.--Houdin’s mesmerism.]

[Illustration: FIG. 13.--Houdin’s mesmerism.]

Beneath the lady’s clothing, in fact next her skin, is a well-padded
iron cage, shown in Fig. 14. This cage consists of an iron band, H, G,
F, which passes round the body beneath the arm-pits of the wearer. It is
straight behind and somewhat V-shaped in front. A strong leather strap,
E, is fastened to the band at I, passing between the legs and up the
back, where it is fastened to the band again at G. Another piece of iron
stretches from H by the side of the body to a point above the right
knee, where it terminates in a loop of sufficient size to encircle the
leg. Every part of this cage must be well covered to avoid any
discomfort to the wearer.

[Illustration: FIG. 14.--Cage for suspended-lady illusion.]

[Illustration: FIG. 15.--The hinge.]

At H (Fig. 15) is a small bar hinging at B to a piece of iron, A, which,
in its turn, fits into the socket already mentioned in the prepared
stick. This hinge, B, contains several notches, X, X, X, the use of
which is now explained. The bolt G, is fastened to the leg-piece D, and
catches the notches X, X, X at the other end.

It will be obvious that when Mlle. is in her cage with the bolt C in the
lowest notch X, she will be maintained perfectly securely in a
perpendicular position. When the wizard lifts her horizontally, he
releases the bolt and moves the cage with its occupant upon the hinge B.
Having placed her in position, he shoots the bolt into the top notch,
where it holds the cage firmly.

The whole cage, being beneath her costume, is quite invisible to the
audience, and as soon as the experiment is completed Mlle. runs off the
stage and divests herself of this somewhat uncomfortable arrangement.


THE INDIAN BASKET

This familiar deception is yet sufficiently thrilling to prove
fascinating to the most blasé of spectators. With a little practice it
can easily be worked at home, and the following hints will explain the
performance.

The magician, dressed as Bluebeard, leads Fatima on the stage, and,
during the course of a short conversation, discovers that she has been
prying into matters which had better have been left alone. In a fit of
passion he draws his sword and rushes upon her, whereupon Fatima falls
to her knees, crying for mercy. Bluebeard is obdurate, but after many
tears from his wife he consents that she shall be blindfolded, to
prevent her being a witness of her own fate. He binds a black scarf
across her eyes, but has barely finished, when she breaks away, and
rushes from the stage.

Bluebeard pursues hotly, and in another moment returns dragging the
blindfolded girl after him. He puts her into a wicker basket, fastens
the lid, and with a savage grin, thrusts his sword through and through
the basket, his victim shrieking at every stroke.

Having worked the spectators to a pitch of agonized excitement, the
murderer throws down his sword, unfastens the lid of the basket, and
stoops to gaze on his sanguinary work.

The basket is empty!

Staggering back with a look of horror, he suddenly perceives the
“slaughtered” Fatima herself appearing from amongst the spectators,
pointing at him accusingly!

The deception in the trick is twofold. Firstly, the basket is of special
construction, and secondly, there are two Fatimas.

With regard to the basket the solution is shown in Figs. 16 and 17. The
first illustrates the appearance of the basket when Fatima is thrust
inside.

[Illustration: Fig. 16.--The Indian basket trick.]

[Illustration: Fig. 17.--The Indian basket trick explained.]

The lid, A, B, is plain, and hinged to the top at C, D. The back, E, G,
F, J, is similarly hinged at G, J. The top, E, C, F, D, is double,
having a duplicate, L, K, hinged at E, F.

Having placed Fatima in the basket, Bluebeard thrusts his sword through
and through the wicker-work, carefully avoiding the spot where, as he
knows, the girl is lying. At each stroke she screams lustily, as though
the blade were piercing her body.

Then, deftly pushing down the back of the basket, E, G, F, J (Fig. 17),
she rolls herself out upon it, drawing after her the false top, E, K, by
doing which the original back is entirely replaced. She is now lying
outside the basket, which is, of course, empty when opened by Bluebeard.

Now comes the question of the two Fatimas. The girl who is put into the
basket is not the one who was blindfolded by Bluebeard. When Fatima
rushed away pursued by her murderer her place was taken by another girl
waiting behind the scenes similarly dressed and of the same height and
figure. The bandage upon her eyes hid from the spectators any difference
in features.

The substitute having been apparently slain by Bluebeard, the original
Fatima slipped in at the back of the auditorium, slowly walked down
amongst the spectators (who recognized her face) and confronted the
assassin. In the confusion that naturally followed, the substitute
managed to leave her place behind the basket and vanish from the stage.


THE DISAPPEARING PRINCESS

This is an illusion originally produced at one of the French ballets.

A train of slaves appears, bearing a palanquin, in which reclines a
dazzlingly beautiful Princess. The slaves march slowly round the stage,
allowing the spectators ample opportunity to inspect the palanquin from
all sides.

Suddenly a band of brigands rushes upon the scene, with the obvious
intention of seizing the lovely Princess. Flourishing their glittering
swords and brandishing all manner of fearsome weapons, they surround the
palanquin and its terrified bearers.

The robber chieftain advances with uncouth flattery, assuring the lady
that not a hair of her head shall be touched. But the only answer she
makes is to lower in his face the curtain of the litter.

Furious at such an insult, the robber stretches out his hand, and with a
single touch causes the curtains to fly open.

The Princess has disappeared!

Gazing at one another in astonishment, the villains search for the
vanished lady, but their endeavors proving fruitless, they eventually
decide to butcher the slaves and carry off the palanquin as booty.

At this moment a handsome young Prince springs into view; the robbers,
startled at his sudden appearance, take to flight, and abandon all
thought of their prey.

In his turn the Prince approaches the palanquin, sees it empty, and
questions the slaves, who can only say that their mistress was there,
but has disappeared. Pulling the curtains aside to see if they offer a
solution to the mystery, he releases them almost instantly, and the
lovely Princess is found reclining upon the litter, smiling so
charmingly that the Prince then and there loses his heart.

[Illustration: FIG. 18.--The disappearing Princess.]

The explanation of all this is very simple. In Fig. 18 the lady is
sitting upon what appears to be the bottom of the palanquin. In reality
it is a false floor placed upon the real one. At each corner are
attached cords that run up the four columns and are counterpoised by
heavy weights.

When drawing the curtains, the Princess releases a catch, whereupon the
counterpoise and cords immediately draw her, together with the false
floor upon which she rests, to the roof of the palanquin, which has been
so painted as to make it appear shallower than it really is. By pressing
another spring she is enabled to lower herself once more, in time to
appear before the fortunate and admiring Prince.




CHAPTER XXV

THE ROOM OF MYSTERY


HOW TO MAKE A HAUNTED HOUSE

ONE winter evening three boys--Jim Thompson, his cousin Will White, and
a friend named Handley--approached the door of Bobbie Cargill’s house.
Bobbie was a genius for inventions, and they all felt a desire to see
his home.

As they reached the door, White, who was a cynic in his own way, raised
his hand to the knocker and was about to give a thundering “rat-tat,”
when the door silently opened, revealing an empty hall in which the
light flickered dimly.

After a glance of surprise at one another the guests entered.

“CLOSE THE DOOR! WIPE YOUR BOOTS, AND COME UPSTAIRS!”

The visitors started violently as these words were uttered by a hollow
voice, coming from nowhere in particular, and yet quite close to where
they were standing.

After a moment Handley said in a whisper, “I don’t much like this. It
seems----”

“HANG UP YOUR HATS, AND BE QUICK ABOUT IT,” the ghostly voice
interrupted sharply. “ARE YOU GOING TO STAND CHATTERING THERE THE WHOLE
NIGHT? HANG UP YOUR HATS, I SAY!”

This was not a pleasant beginning, yet none of the guests cared to show
the white feather.

“Come on!” said White. “Let’s see it through”; and setting an example he
placed his hat upon the nearest peg.

Crash! Amidst a clatter as of broken glass the hat and peg fell to the
ground. The three boys looked at one another in consternation!

But before they had time to remark on this misfortune, a shriek of weird
laughter rang in their ears. “HA! HA! HA!” The invisible person seemed
in paroxysms of mirth at their disaster.

“I don’t care for this a bit,” muttered Handley; “let’s clear out.” They
were all about to beat a hasty retreat when Bobbie Cargill appeared,
apparently much surprised at finding his visitors making an awkward
group in the hall.

“How did you fellows get in,” he said, “and what have you been doing?
Has there been an accident? Never mind, come along upstairs and have a
‘feed’; perhaps you will feel better then!”

Nothing loth, the three guests followed their host to his own room,
which usually went by the name of “The Den.” The upper part of the house
was totally dark, and it was with a feeling of relief that they saw a
glimmer of light beneath the door of “The Den.”

“Step inside and make yourselves at home,” said Cargill. “I will just
run and say that you have arrived,” and he disappeared into the
darkness.

Followed by the others, White turned the handle and threw the door open,
glad to find a light once more. But the pleasure was short-lived, for
the door had scarcely opened half-way when the light went out.

White, however, strode into the room, and his friends were about to
follow, when there was a heavy stumble, a crash, and a smothered shout
that was instantly drowned in the violent clatter and ringing of bells
about their very ears.

“What has happened?” gasped Handley, scarcely able to hear his own voice
in the deafening clamor. Advancing into the darkness, a violent report
beneath his feet caused him to leap into the air with alarm, whilst in
the gloom White was trying to make himself heard above the pandemonium.

“Here, Cargill, get a light for goodness’ sake!” howled Handley, as
their host appeared. “I don’t know what on earth has happened; it seemed
like a pistol going off.”

“You fellows are making a fine noise between you,” shouted Cargill. “Get
inside, Jim, and turn on the light; it’s just to the left.” Jim had no
sooner stepped across the threshold and begun searching for the switch,
than BANG! BANG!--the very floor seemed thundering beneath him, whilst a
rattle as of a thousand pots falling to the ground made the confusion
worse. Leaping back hastily, he collided with Handley, and the couple
sat down with a ponderous thud.

“That’s right; make yourselves comfortable!” laughed Bobbie Cargill. As
he spoke the light was turned on, the jangling bells ceased, and the
three guests were discovered gazing ruefully at one another, whilst
their host, calm and collected, smiled down on them from the doorway.

It was some time before Bobbie could pacify his guests. Indeed, the
situation might have become painfully awkward had they not happened to
glance at the table, which certainly looked inviting. Knives and forks
glistened cheerfully on a spotless white cloth, whilst dainty mats and
sparkling cruets promised a really substantial “feed.” A large
center-piece full of flowers added to the appearance of the table, and
showed that Bobbie Cargill knew how to do things “in style.”

Following their host’s example, the three chums took their seats at the
table and glanced round the room. It was a cozy “Den,” and looked
cheerful, with a sparkling fire on the hearth. A thick curtain was drawn
across the window at Cargill’s back, lending an air of comfort to the
place.

Before each guest was a napkin, neatly mitered, with a piece of bread
reposing between the horns, and scarcely noticing what he was doing,
White drew this piece of bread from its resting-place.

A sharp exclamation drew attention to him. There he sat, a mass of
bread-crumbs before him, and a look of surprise on his face!

“Have you had an accident?” grinned Cargill. “Never mind the crumbs,
they can soon be scooped up; wait a minute until I fetch the tray.”

He had scarcely risen when a roar of laughter burst from Jim and
Handley. By some strange means the entire mass of crumbs had been swept
off the cloth and scattered all over the place.

“You might have waited for me to clear them away,” grumbled Bobbie, and
this was the beginning of a heated discussion, which would probably have
ended violently had not the host turned the conversation by asking Jim
if he would take a piece of tongue.

“Yes, please,” answered Jim.

Sharpening his knife in a business-like manner, Cargill made ready to
cut a slice.

But at this point a strange thing happened. As soon as the knife and
fork got near the tongue, it leaped from the dish and clung tenderly to
the knife. For a moment or two it hung suspended, and then flopped back
into the dish.

“Let’s have another try,” said Cargill in a puzzled way. Up it jumped
once more, apparently too anxious to be carved to remain still on the
plate.

A murmur of surprise escaped the guests as all eyes were fixed upon this
strange behavior. Once more the carver thrust his knife near the tongue,
caught it neatly as it ascended, and carried it away to a side table,
where he was obliged to bury his face in a handkerchief, presumably
overcome with grief.

Having recovered somewhat, the host resumed his seat, remarking, “I
think that tongue is best out of the way. I am afraid I have nothing
better to offer you than some potatoes. You might help them round,
Handley.”

Before his friend had time to reply, the lid of the tureen arose slowly
and deliberately--ascended and then remained stationary in the air. Only
for a moment, however. Suddenly rising yet higher it was followed by
each individual potato, as one by one they rose sedately to the ceiling,
leaving but one of their number in the tureen.

Their eyes fairly bulging with surprise, the boys looked at one another,
at their host, and then at the tureen with its solitary occupant. But
this last potato had suddenly awakened to a sense of its loneliness, and
sprang into the air to join its companions. Next the whole party of
vegetables slowly crossed the ceiling and disappeared behind the
curtain, to be seen no more.

Jim wanted to jump up and see where they had gone, but his host
dissuaded him, and, anxious to change the subject, asked what he would
have to drink.

“I don’t quite know. What is there?”

A wine bottle that had been quietly standing in front of White lurched
suddenly forward, as though in answer to the question. At the same
moment the table began to heave, the glasses to rattle, and a little
stool, covered with books, toppled over with a prodigious crash.

“Haven’t you some other room we can go to?” stammered Jim.

“Nonsense, it is only some silly trick of Cargill,” said White.
Nevertheless all three guests wished themselves well out of it,
especially when the dim light suddenly grew dimmer, and the shadows in
the room increased. In a few seconds the boys were barely able to see
one another.

At this point a mournful moan rang through the room, the curtains were
seen to open, and a white figure glided from between them and passed out
through the door.

“Let’s get out of here, the place is haunted!” cried White, rising from
his chair.

“HA! HA! HA!” a ghostly laugh issued from the flowers in the center of
the table, and was echoed by the clock on the mantelpiece.

“HA! HA! HA!”--but the guests could stand it no more, and, scrambling
and struggling, they rushed downstairs, with White at their head.
Panting and scared they did not stop until the hall was reached, when
they stood still, staring at one another in dismay.

“What is the matter?” a sweet voice greeted them. The whole party turned
to find Cargill’s sister standing at the dining-room door, looking from
one to the other in frank amazement. None of them cared to reply. It is
no pleasant thing to tell a pretty girl that you have been afraid.

“The ghost, Dolly,” gasped her brother after a moment, and in a shaky
voice he recounted their mysterious adventures.

“So the silly old ghost would not let you have any tea! You must all
come in here and enjoy yourselves. I believe there is plenty to eat,”
and leading the way Miss Dolly ushered them into the dining-room, where
the table was laid with enough good things to cheer a king.

But when she had shown each of the four friends his seat there still
remained a vacant place at the head of the table.

“Now, gentlemen,” she said with a naughty smile, “as you are all feeling
much braver now, I am sure you will not mind if the Ghost sits down and
has something to eat, too.”

The boys looked at one another and then at her, but Miss Dolly, taking
no notice of their surprise, quietly seated herself in the vacant chair,
passed a plate to White, and said--

“Now, Mr. White, please give the Ghost something to eat.”

       *       *       *       *       *

After they had all had a good tea, of course Bobbie Cargill and his
sister, the Ghost, had to tell the others how it was done. This is the
gist of what they said:--

[Illustration: FIG. 1.--Apparatus for producing ghostly sounds.]

The opening of the door was a very simple matter. A loop was tied in one
end of a long piece of strong cord or string, which was carried across
to the wall by means of staples, to a concealed corner. The loop was
slipped over the door-catch, so that when the other end was pulled this
catch was drawn back, whilst the continued pull on the string made the
door open. This loop was made of such a size, that as soon as the door
had opened to its full extent the string slipped automatically from the
catch, and could then be pulled away and out of sight.

[Illustration: FIG. 2.--Mysterious hat-stand.]

In the angle formed by the wainscoting and the floor a piece of simple
tubing was placed, one end reaching a room on the ground floor, whilst
the other was carried up behind the hat-stand to the height of about
five feet. To this end a cardboard funnel was fixed, as in Fig. 1,
which, sticking out from the wall, was concealed by a hat or scarf upon
the rack. A similar funnel was placed upon the other end, so that the
voice of any person speaking through the tube from the room was carried
with undiminished force to the hall, thus transmitting the ghostly
messages and weird laughter to the guests.

In most hat-stands the pegs are screwed to the back, and taking
advantage of this, Bobbie Cargill had unscrewed those pegs most likely
to be used by his visitors, putting “fakes” in their place. To all
appearances there was no difference between the “fakes” and the proper
pegs, but in reality the former were simply gummed against the rack,
just strong enough to bear their own weight, but too weak to support a
hat.

[Illustration: FIG. 3.--Prepared hat-stand peg.]

By the contrivance of a piece of string the fall of the hat-peg was made
to work a kind of booby trap, explained by Fig. 2, which shows the
hat-stand in section. The false peg, A, is lightly gummed to the stand,
B, C, against the hole D, where the real peg is screwed. A bent pin or
nail is driven into this end of the peg, as seen in Fig. 3, the end
bending downwards. A thin piece of string, F in Fig. 2, is fastened
round this pin with a loop, passed through the hole D, and supports at
the other end a tin, G, filled with bits of broken glass, marbles, and
such like.

Naturally, when White hung his hat on the peg the strain brought the peg
away from the stand, in its fall releasing the string and causing the
tin to clatter to the floor. So simply was the whole thing arranged,
however, that Bobbie Cargill had fixed it up in less time than it has
taken to describe.

The absence of lights in the house served a twofold purpose. In the
first place, it made the mystery and eeriness more marked, whilst at the
same time it concealed several little matters which had to be hidden in
order to insure success.

It will now be necessary to glance at the arrangement of the “Den,”
shown by Fig. 4. The room was entered by the door A, whilst in the
opposite wall is the fireplace B. The window C is hidden by the two
heavy curtains at D and E. In the center of the room stood the table F,
around which were placed the chairs G, G, G, G. Between the curtains and
the window stood the ghost, who after all turned out to be none other
than Dolly.

Over the center of the table hung the gas, which, being incandescent,
naturally had a burner with a by-pass, and was easily manipulated by
means of a piece of string running up the chandelier, carried across the
ceiling where it was painted white, and down to Miss Dolly behind the
curtains. A weight should be fastened to the switch to make it fall when
not pulled by the string, as in Fig. 5.

[Illustration: FIG. 4.--Plan of the room of mystery.]

When White opened the door the young lady lowered the gas by means of
her string, and as it was a by-pass the light did not actually go out,
although it went sufficiently low to plunge the room in darkness.

[Illustration: FIG. 5.--The weighted by-pass.]

[Illustration: FIG. 6.--An exploding cap.]

It was an easy matter to cause a collision between the visitors. A piece
of cord stretched across the room, at L, L, quickly did its work, and
was then pulled away behind the curtain.

The “Den” had not been fitted up so neatly for beauty alone, and if they
had looked, the guests might have found a couple of strong electric
bells concealed beneath the dainty hangings of a picture by the door.
Dolly had but to push a button and these two bells were set ringing like
an alarm clock, and with a persistence calculated to arouse the Seven
Sleepers.

Handley’s experience required even less preparation. Several good
percussion caps were placed beneath the carpet and covered with a piece
of tin as shown in Fig. 6. In the center of this piece of tin, a hole
was pierced with a nail, making ragged edges on the further side. These
ragged edges were placed over the powder in the cap, with the result
that so soon as Handley trod upon the carpet over the plate the cap was
exploded with a loud report.

Meanwhile Bobbie Cargill, arriving under cover of the darkness, added
to the uproar by banging a tin can with a heavy stick, and performed
this office so lustily that nothing else could be heard.

It is scarcely necessary to remark that sending Jim into the room to
turn on the switch was merely a feint to get him out of the way, and to
plunge him into the fracas.

A signal from Bobbie was enough to make his sister turn on the light and
release the bell pushes, so that when silence was restored, and the
darkness dispelled, there was nothing to show how all the commotion had
occurred.

By adjusting a screw in the gas-burner Bobbie had previously arranged
matters so that even when the gas was turned full on the light was not
very strong. Although sufficient to illumine the room, it was feeble
enough to hide several tell-tale features.

Besides being an ornament to the table, the large center-piece of
flowers served to conceal the end of a piece of tubing which passed
beneath Bobbie’s chair to the far side of the curtain. Amongst the
frilled mats, too, there were one or two other contrivances to be
explained in their turn.

It had been Miss Dolly’s business to make the fake pieces of bread.
Taking a piece of bread and breaking it up into very small crumbs, she
had then added just enough milk to enable her to mold the crumbs into
the shape of a piece of bread again, and had then let the concoction
dry, when it had become sufficiently brittle to suit her purpose.

Concealed by the mat in the center was a small indiarubber tube, one end
pointed directly to the spot where White had dropped his mass of crumbs,
whilst the other ended in a bulb conveniently placed to Bobbie’s hand.
He had nothing to do, therefore, but to press the bulb suddenly, and
laugh as the wind thus caused sent the crumbs flying.


A DECEITFUL MEMBER

The tongue is proverbially a deceitful member, and the one lying before
Bobbie Cargill was no exception to the rule. Indeed, except for its
appearance there was really very little tongue about it. It consisted of
a round tin, in which had been placed a small bar of highly magnetized
iron. By fixing a slice of real tongue to the top of the tin, and
disguising the sides in a similar manner, Bobbie had made such a good
resemblance to the real thing, that it would have been hard to discover
the deception in the subdued light of the “Den.”

It is very easy to see what happened. So soon as the steel knife
approached the dish, the magnet within the faked tongue made the latter
leap up to meet the knife and cling to it. Of course, when the fork was
plunged through the thin outer coating of meat it struck the tin, making
it crack in a strange manner. In Fig. 7 is shown the method of fixing
the magnet, the whole faked tongue being shown in section. A number of
experiments had to be undertaken before the trick could be made to work
satisfactorily, but in the end Bobbie was quite pleased with the result
of his labors.

[Illustration: FIG. 7.--The mysterious tongue.]

The whole success of the potato trick depended upon Dolly, who worked
the simple apparatus to perfection. Attached to the handle of the lid
was a strong piece of wire, which the half-light rendered invisible.
This passed through a loop in the ceiling and over to the curtain, to
enable that young lady to pull. A second wire was attached to it that
pulled the cover and the potatoes out of sight. Fig. 8 will show how
this was arranged. A ring C is put in the ceiling A B over the tureen.
From the lid E a wire D passes up through this ring and along the
ceiling to the back of the curtain G. Upon the wire D a ring H is
threaded, whilst attached to this ring is another length of wire F, that
also passes behind the curtain.

By pulling the wire D the lid of the tureen is naturally raised to the
ceiling at C. When it has reached the top, it is only necessary to pull
the wire F, and pay out the wire D, to make the whole lid travel towards
G. Each of the potatoes had been previously attached to the lid by a
wire about ten inches long, with the exception of the small one that
remained in the dish, which had a separate arrangement of thread,
similar to that of the lid, all to itself.

The movement of the bottle upon the table was caused by the inflation of
a little india-rubber bulb beneath the cloth, and worked by the host as
he sat at the table.

[Illustration: FIG. 8.--The disappearing potatoes.]

The excitement of his guests having been thus aroused it was a very
simple matter for Bobby Cargill to move the table with his knees, whilst
by dexterously pulling a string Dolly was able to overturn the little
table laden with books (Fig. 4, H). To add to all this confusion Dolly
then began slowly to lower the light, tap the wall by her side, and
utter dismal groans. She then clothed herself in a white sheet, opened
the curtains, and made her way out of the room with all haste. Little
wonder that general consternation ensued!

It only remains to be mentioned that the speaking tube concealed amongst
the flowers in the center-piece was sufficient to carry the laughter
from one of the servants, who, acting under instructions, stood without
the room. It proved the climax, and peace was scarcely restored until
they were all sitting below with the Ghost herself, and partaking of a
real supper without any faked tongue.

As they all agreed, it was not a bad scare for the money, as a very
small sum represented the entire outlay for working The Mysterious
Room.




CHAPTER XXVI

MECHANICAL SECOND-SIGHT


APPROACHING THE SUPERNATURAL

AN exhibition of so-called hypnotism and second-sight is a favorite item
in the programmes of many professional entertainers. If well managed,
the performance appears miraculous, and is sure to impress the majority
of the audience as savoring strongly of the supernatural. The exhibition
is usually somewhat of the following nature.

A young lady is presented to the audience as being possessed of the
marvelous faculty of second-sight, so keenly developed that she is able
to see and describe whatever falls under the observation of her double.
Needless to say, this individual is the performer who introduces her.
Having given this explanation, Prof. B, as he may be called, bandages
the eyes of the gifted young lady, Mlle. C, and seats her on the stage
in full view of the spectators.

The Professor now walks amongst his audience and asks some person to
whisper a number. This having been done, he calls out to Mlle. C,
desiring her to state this whispered number, which she cannot possibly
have heard. Without the least hesitation Mlle. answers correctly.

The Professor will perhaps now ask for a coin, and at his request she
will describe it accurately, give its date and value, and any other
particulars desired. In the same way she will give the number of a
bank-note, describe any article the Professor may happen to be holding
in his hand, or even tell to what he is pointing.

With many other tricks as wonderful and mysterious does the Professor
attempt to beguile the audience into a belief in his occult powers. It
may be very uncharitable to give the Professor’s deceptions away, but
that is what this chapter will do for the benefit of its readers.

The whole secret lies in a private code understandable only by the two
performers. By using this Prof. B tells his accomplice exactly what she
has to answer, gives her the numbers and describes the objects, quite
unknown to his listeners. All that is necessary is a good memory and
quick hearing. Given these essentials, the rest is simple.

Let us begin by describing the code with which the Professor apprises
Mlle. C of the various numbers chosen by the audience.

The units are expressed by letters from which Prof. B forms sentences
when addressing Mlle. C. A very commonly used code is this:--

  1  is represented by t
  2       „     „      n
  3       „     „      m
  4       „     „      r
  5       „     „      l
  6       „     „      h
  7       „     „      k, g, or c
  8       „     „      f, v, or w
  9       „     „      p or b
  0       „     „      s or z

To use this code properly two things are necessary. Mlle. C must know
how many figures the number consists of, and she must also know when the
code is finished.

The latter point is easily settled. When she hears the words, “if you
please,” she knows that whatever follows has no code meaning whatever,
whilst everything that precedes these words carries a hidden meaning.

By the use of the following words the number of figures is conveyed in a
perfectly unmistakable manner.

  For one figure use the word figure.
   „  two figures   „     „   number.
   „  three  „      „     „   very well.
   „  four   „      „     „   very well, sir (Mlle. or madam).
   „  five   „      „     „   very good.
   „  six    „      „     „   very good, sir (or madam).

The following explanation shows how to put this into practice. Taking
all the numbers successively from one to ten (a thing that would never
be done in an ordinary way), Prof. B conveys to his fair friend the
desired information by means of the sentences subjoined.

  _Prof._--Tell this figure. (t = 1; “figure” = one number.)
    „      Now, what is this figure? (n = 2.)
    „      Might I ask this figure? (m = 3.)
    „      Repeat this figure. (r = 4.)
    „      Let me know this figure. (l = 5.)
    „      Have you understood? (h = 6.)
    „      Give me this figure. (g = 7.)
    „      Will you repeat this? (w = 8.)
    „      Please tell me this figure. (p = 9.)

_Prof._--This seems an easy number. (t = 1, s = 0; “number” means two
figures. _Ans._ 10.)

_Prof._--Now, please, tell this number. (n = 2, p = 9; word “number”
means two figures. _Ans._ 29.)

_Prof._--Very well, let me know this. (“Very well” means three figures;
l = 5, m = 3, k = 7. _Ans._ 537.)

_Prof._--Very good, Mlle. Now repeat clearly what this is, if you
please. (“Very good, Mlle.,” means six figures; n = 2, r = 4, c = 7, w =
8, t = 1, s = 0. _Ans._ 247810.)

Sometimes the Professor asks some person present to come upon the stage,
and write certain figures upon a blackboard provided for the purpose.
The method of communicating the numbers is the same, but the Professor
in this instance points to each figure in turn, tells it to the lady,
and awaits her reply before proceeding. For example, suppose the number
638219 to have been written by a gentleman.

_Prof._--Very good, sir (turning to Mlle. C). How many figures have been
written upon the board?

_Mlle._--Six.

_Prof._ (pointing to first figure)--How about this? (h = 6.)

_Mlle._--Six.

_Prof._--May I ask this? (m = 3.)

_Mlle._--Three.

_Prof._--Well! (w = 8.)

_Mlle._--Eight.

_Prof._--Now, if you please. (n = 2.)

_Mlle._--Two.

_Prof._--This? (t = 1.)

_Mlle._--One.

_Prof._--Please. (p = 9.)

_Mlle._--Nine.

_Prof._--That is all right. (This is invariably understood to mean that
the experiment is completed.)

Should any smart person write a number like 99999, and smile
expectantly, awaiting the Professor’s confusion, he will be doomed to
disappointment, for Prof. B merely says to him “Very good”: and turning
to Mlle. C, says “Please,” and she answers immediately, “There are five
nines.” Of course the Professor’s “very good” has told her that there
are five figures, and the “please” has told her that they begin with
nine. Finding that the Professor does not say anything more, she
presumes they are all the same, and replies accordingly.

This system of coding is applied in a similar manner to the letters of
the alphabet, and by this means any word can be easily spelled. But to
avoid detection, the letters have to be transposed somewhat after the
following fashion, which must only be considered as an example, being
too easy of detection for practical use.

  A becomes B
  B    „    C
  C    „    D
  D    „    E
  E    „    F
  F    „    G
  G    „    H
  H    „    I
  I    „    J
  J    „    K
  K    „    L
  L    „    M
  M    „    N
  N    „    O
  O    „    P
  p    „    Q
  Q    „    R
  R    „    S
  S    „    T
  T    „    U
  U    „    V
  V    „    W
  W    „    A
  X    „    “now”
  Y    „    “easy”
  Z    „    “plain”

To show how this is used, it may be supposed that the Professor has in
his hand a brown cap, which some little boy in the audience has given
him.

“Do be quick, if you please, and tell me what I have in my hand?” (d =
c, b = a, q = p.)

“A cap,” answers Mlle. C.

“Come, say precisely, if you please, what color?” (c = b, s = r, p = o.)

“It is a brown cap,” answers she.

This system can be simplified yet further by coding the various objects
most likely to be required, in a way similar to the following:--

  Touch = part of clothing.
  Look at = part of the room.
  Point = part of figure.
  Oh yes! = letter or piece of paper.
  Most certainly = coin, other than money.
  Yes, if you like = a watch.
  This is harder = some trinket.
  I am afraid this is harder = a ring.
  An excellent idea = a playing card.

As an example of how this code can be employed, it may be imagined that
the Professor lays his hand casually upon a gentleman’s coat-sleeve.

_Prof._--What am I touching?

_Mlle._--A part of some one’s clothing.

_Prof._--Tell me fully what, if you please? (t = s, m = l, f = e, w = v;
which reads “sleeve.”)

_Mlle._--I can dimly see a sleeve.

_Prof._--Have you found only a sleeve? (h = g, f = e, o = n; reading
“gent.”)

_Mlle._--Yes, I see a gentleman’s sleeve.

Or as another example, imagine that some one produces a seal.

_Prof._ (loud enough for Mlle. C to hear)--This is harder. This fairly
bothers me (looking at it closely).

_Mlle._ (who has understood “This is harder” to mean a trinket, and
“this fairly bothers me” to read _Seal_)--I can see quite plainly that
it is a seal.

_Prof._--Both initials, if you please.

_Mlle._--A, and then H.

_Prof._--Hurry up, if you please. What metal is it made of?

_Mlle._--It is made of gold.

This last answer is based upon another code for the various metals,
which may be something like this:--

  Brass is represented by T
  Copper     „      „     C
  Silver     „      „     D
  Gold       „      „     H
  Iron       „      „     J
  Tin        „      „     M

Some person in the audience hands the Professor a silver cigarette case,
and, looking up to the stage, he remarks--

“This is harder. Come, perfectly, now!” (c = b, p = o, now = x.)

“I see a box,” murmurs Mlle. C dreamily.

“Describe it.” (d = silver.)

“It is made of silver.”

“Do just have something further, if you please.” (d = c, j = i, h = g, s
= r, f = e--making “cigre.”)

“It looks like a cigarette box--a cigarette case.”

“Let us know the number of cigarettes in it?” (l = 5.)

“There are five cigarettes.”

“Well, just say, if you please, what kind?” (w = v, j = i, s = r.)

“They are cigarettes of Virginia tobacco.”

Money should be designated by N, which, as you remember, is the code
letter for M. The following will then come in handy:--

Gold is coded as 1, silver as 2, copper as 3, and paper as 4.

“Now, if you please, tell me what I have in my hand?”

“I see money.”

“Nature?” (n = 2 = silver.)

“Silver.”

“Let’s see, if you please, how you would describe this coin?” (l = 5, s
= 0.)

“I see a fifty-cent piece.”

“The piece seems new?” (t = 1, p = 9, s = 0, n = 2.)

“The date is 1902.”

Holding out a handful of money, containing say, a five-dollar gold
piece, two fifty-cent pieces, four quarters, and five cents in copper,

The Professor says, “Tell this, if you please, the number of coins in my
hand?” (t = 1, t = 1.)

“Eleven,” answers Mlle. C.

“True. Now, Mademoiselle, if you please, tell me the nature of it?” (t =
1 = gold, n = 2 = silver, m = 3 = copper.)

“Gold, silver, and copper.”

“Leaving, if you please, the others, let us start with the gold.”

“A five-dollar gold piece.”

“Now, if you please, silver.”

“I see two dollars in silver.”

“Likewise, if you please, the copper?”

“Five cents.”

“All right.”

The code for playing cards should be formed in much the same way. The
following is a suggestion of what might be arranged:--

The cards, commencing with the ace and finishing with the king, should
be numbered one to thirteen inclusive. The suits can then be
distinguished thus:--

Good = hearts; very good = diamonds; well = clubs; very well = spades.

Supposing that the Professor has handed a pack of cards to some person
among the spectators, who has drawn the knave of clubs.

“Very well, sir,” says the Professor. “There tell, if you please, what
card this is?” (Very well = clubs, there tell = eleven, _i.e._ the
knave.)

“You are holding the knave of clubs in your hand,” replies Mlle. C.

“Good. Look, if you please, and tell what this is?”

“The five of hearts.”

“Very good, Mademoiselle. Tell me, if you please, what this card is?”

“The king of diamonds.”

“Well, this?”

“The ace of spades.”

At this point it is not an uncommon thing for some skeptical person
present to take a card and demand to know its value without having shown
it to the Professor. The latter rises to the occasion immediately. He
explains that Mademoiselle can only see what he actually sees himself,
her sight being second to his own. Casually drawing a card, and not
showing it to anybody, he remarks, “Very well, Mademoiselle, tell me, if
you please, what this is?”

“The three of clubs,” she answers; and the Professor then shows the card
to all, demonstrating the skill of the gifted lady.

For an extensive programme a greater number of codes is necessary. We
give an idea for some of these which may prove of use. An unfailing
memory is essential to second-sight, and the greater the number of codes
that can be learned, the more sure of success can both performers feel.


CLOTHES AND MATERIALS

  Coat              C
  Overcoat         OC
  Dress Coat       DC
  Waistcoat         G
  Trousers          T
  Boots             B
  Shoes             S
  Handkerchief      N
  Bodice            E
  Skirt             F
  Shawl             H
  Wrapper           A
  Silk              Q
  Cloth             P
  Serge             O
  Cotton            M

Touching a lady’s wrapper, the Professor says: “What do I touch? Answer
quickly, if you please.” (Touch = part of clothing, A = wrapper, Q =
silk.)

“You are now touching a silk wrapper,” replies Mlle.

Again there may be a separate code for flowers, to be introduced by
“What is this before me?” to show Mlle. C that the Flower Code will
follow.

  Rose           S
  Violet         W
  Snowdrop       T
  Pansy          Q
  Carnation      D
  Orchid         P
  Narcissus      E
  Pink           R
  White          A
  Red            B

“What is this before me? Be descriptive.”

“A red carnation,” replies the lady unhesitatingly.

“Well, if you please, what is this flower?”

“It is a violet.”

The Professor and Mlle. C have nearly finished their entertainment. But
before bowing farewell to the company, he approaches a little girl, let
us say in the audience, and in a whisper asks her age. With the utmost
secrecy she informs him that she is just nine.

“Pray, how old is my little friend here?” he demands of Mlle.

“Nine years old,” she replies at once.

“What is your name?” whispers the Professor to the little girl.

“Margery,” she whispers back.

“Now! Be sure! Having found so easily, if you please, her age, what is
the young lady’s name?” (N = m, b = a, s = r, h = g, f = e, s = r,
easily = y.)

“Her name is Margery,” is the reply; and with this pretty example of his
power, the Professor will close the evening.

I have dealt at such length with the Professor and his codes, because it
is the easiest and most general system of mechanical second-sight. But
Professor B and Mlle. C have yet another system of second-sight, more
puzzling still to the spectators, as not a word is exchanged between
either of the confederates during the whole performance.

Seating the lady upon the stage, facing the audience, and omitting to
bandage her eyes, Professor B goes down amongst the spectators as
before, examines various articles, is told different numbers and touches
sundry objects exactly as in the former entertainment. Without speaking
a single word he merely glances at Mlle. C, who after a few seconds
mentions the number or describes the article as the case may be.

All this is highly mysterious, and is the result of a very ingenious
mode of signaling which may be thus explained.

As soon as Professor B raises his eyes to Mlle. C they both start
counting to themselves, and the instant he drops his eyes they cease.
This has been practiced over and over again until they have learned to
count exactly at the same speed. The result is that when the Professor
has counted five, let us say, Mlle. C has counted five also, and so with
any number.

The alphabet is then coded with numbers according to the following
system.

    | 1  2  3  4  5  6
  --+------------------
  1 | F  E  D  C  B  A
  2 | G  H  I  J  K  L
  3 | R  Q  P  O  N  M
  4 | S  T  U  V  W  X
  5 | -  -  -  -  Z  Y

The letters are represented by the vertical figures on the left and the
horizontal figures on the top, and by this ingenious means are
communicated.

To signal the letter A the Professor would glance up at Mlle. C, count
one, and then glance down again; he would then look up and count six and
lower his eyes once more.

Supposing that some lady had lent a diamond ring, the process would be
the following:--

(The letter U shows when the Professor raised his eyes, and the letter D
when he lowered them. The dots designate the numbers he would count in
the interval.)

  _Prof._--(without speaking). U ... D, U . D = R, U .. D, U ... D = I,
  U ... D, U ..... D = N, U .. D, U . D = G.

  _Mlle._--You have a ring in your hand.

  _Prof._--U . D, U ... D = D, U ... D, U ...... D = M, U ... D, U .....
  D = N.

  _Mlle._--It is a diamond ring.

  _Prof._--U . D, U .... D = C = 3.

  _Mlle._--It has three stones.

With reference to this last answer it must be explained that the
numerals are represented by the letters of the alphabet, A = 1, B = 2, C
= 3, &c.

Or again some person holds a bank-note numbered 15498. The Professor
communicates this number thus:--

  U . D, U ...... D = 1, U . D, U .. D = 5, U . D, U ... D = 4, U .. D,
  U ... D = 9, U .. D, U .. D = 8.

Mlle. C then remarks, “The number is 15498.”

Cumbersome as this may seem at first, a little practice enables the
signaling and translating to be done with great rapidity. All the codes
previously described can be introduced, numbers being substituted for
letters, or letters for numbers, as may seem expedient.

Mechanical second-sight has an extraordinary effect in an entertainment
if well done. Both the Professor and his accomplice must be sharp and
sure, the least mistake being not only disconcerting, but likely to
arouse the suspicions of the spectators. If a mistake be made, the only
thing to be done is for the Professor to pretend that he has himself
mistaken the number or not noticed the object properly, and if this fail
he must have recourse to pure “bluff.”

All things considered, the number of out-of-the-way objects likely to be
produced is really very few, and there is no reason why an intelligent
couple of amateurs with retentive memories should not provide a
successful exhibition of second-sight wherewith to amuse their credulous
friends.




CHAPTER XXVII

PAPERGRAPHY


HOW AN EXCELLENT ENTERTAINMENT MAY BE GIVEN WITH A SHEET OF PAPER

THE greatest attraction wielded by Papergraphy is, perhaps, the extreme
simplicity of the apparatus required.

At first sight it seems utterly impracticable that a first-class
entertainment, of almost a quarter of an hour’s duration, can be given
with a sheet of paper. Moreover, very little practice is necessary.

Cartridge paper is the kind usually employed by professional
entertainers, and a suitable size is 54 inches by 36. A sheet of these
dimensions may be purchased from any stationer’s or dealer in artists’
requisites.

[Illustration: FIG. 1.--Paper folded.]

[Illustration: FIG. 2.--Paper pleated.]

[Illustration: FIG. 3.--Rosette.]

The paper must be marked out lengthwise into five parts; the central
section being 12 inches wide and the two on each side 6 inches in width.
The paper should next be folded along these lines (Fig. 1), and once
again folded into a series of pleats, as depicted in Fig. 2. A
convenient width for these pleats is 1 inch.

All being now ready for the first demonstration in Papergraphy, commence
by forming a _Rosette_ (Fig. 3).

Close up the pleated paper, and pull round the corners of each until
they meet.

_Table Mat_ (Fig. 4). Keeping hold of the ends of the rosette, stretch
out the pleats as far as possible.

_A Primitive Boat_ (Fig. 5). With the pleats still fully extended, turn
each end up, almost at right angles.

[Illustration: FIG. 4.--Table mat.]

[Illustration: FIG. 5.--Primitive boat.]

_Church Window_ (Fig. 6). This is formed very similarly to the table
mat, the difference being that one end is allowed to hang straight down.

_Fan_ (Fig. 7). Close up the pleats and spread out one end in the form
of a semicircle.

For the next series of transformations, the first fold (A, Fig. 1) must
be opened.

[Illustration: FIG. 6.--Church window.]

[Illustration: FIG. 7.--Fan.]

[Illustration: FIG. 8.--Mushroom.]

_Mushroom_ (Fig. 8). Pull both ends round to form a cylinder, with the
open fold at the top.

_Candlestick_ (Fig. 9). This is made by simply turning the mushroom
upside down.

_Clown’s Hat_ (Fig. 10). Press the top of the candlestick together,
making it as pointed as possible, and place upon the head, with the
folded bottom acting as a brim.

The second fold--on the same side as the fold already employed--must now
be opened.

_Flower Vase_ (Fig. 11). Keeping the two folds well open, pull the ends
round, into the form of a cylinder.

_Eastern Water-Jug_ (Fig. 12). Bend the paper round in the reverse
direction to that forming the flower vase. Then close the bottom end,
and place on the shoulder, as though carrying a pitcher.

[Illustration: FIG. 9.--Candlestick.]

[Illustration: FIG. 10.--Welsh hat.]

_Chinese Mandarin_ (Fig. 13). Turn the Eastern Water-Jug upside down,
and place it upon your head. Slight facial contortions can always be
made with good effect whenever the three hats included in this list are
formed.

[Illustration: FIG. 11.--Flower vase.]

[Illustration: FIG. 12.--Eastern water-jug.]

The first fold (A, Fig. 1) must next be opened on both sides.

_Sentry Box_ (Fig. 14). Pull round the two corners of one end until they
meet, allowing the other end to hang down to its fullest extent.

_Wash Bowl_ (Fig. 15). Pull round the corners of both ends until they
meet, and press the pleats together.

_Foot-Bath_ (Fig. 16). Still grasping the ends of the wash bowl, draw
the pleats out as far as possible.

_Fatigue Cap_ (Fig. 17). Turn the foot-bath upside down and place upon
the head.

For the remaining papergraphs, all the folds must be opened.

[Illustration: FIG. 13.--Chinese Mandarin.]

[Illustration: FIG. 14.--Sentry box.]

_Dumb-Bell_ (Fig. 18). With the folds open on both sides, pull the
pleats round into a cylinder. Then grasp the dumb-bell by the center
with your right hand, and bending your forearm, flex the biceps as
though exercising.

_Bon-bon_ (Fig. 19). Bend the paper round the reverse way to that
forming the dumb-bell.

[Illustration: FIG. 15.--Wash bowl.]

[Illustration: FIG. 16.--Foot-bath.]

[Illustration: FIG. 17.--Fatigue cap.]

_Granny’s Cap_ (Fig. 20). Open out the pleats, and place the paper upon
the head, pulling the sides down over the ears, to the chin.

After a little practice, all that it is necessary to do in order to give
a successful entertainment is to learn the correct order in which the
transformations take place.

For the first two or three performances it is a good plan to write out a
list of the various “folds” upon a small slip of paper, which should be
placed in such a position that a hasty glance can be thrown at it in
case of the memory failing.

As will doubtless have been noticed, the different folds have been so
arranged in the article that each transformation leads up to the next.
It is therefore of great importance that the performer should remember
their correct order. Otherwise he may suddenly find himself attempting
to make a fold with only one pleat opened, when really three are
required.

It is at such moments as these that the young entertainer wishes the
ground would open beneath him, that a cyclone would whisk him away, or
that any other phenomenon might occur which would carry him beyond the
gaze of his inquisitive audience.

When making a fresh transformation, the performer should move his arms
gently from side to side, and sway slightly from the hips--very much as
though he were holding a concertina. This will lead the audience into
the belief that he is engaged upon some extremely difficult fold, and
will completely hide the simple movement he is really making.

If the performer is a good elocutionist, and possesses plenty of
self-confidence, he might prepare some “patter” to go with the
performance. An excellent alternative, however, is to ask somebody to
play a dreamy waltz from the piano throughout the performance.

It will then only be necessary for the entertainer to make a few
introductory remarks before commencing his “show”; to announce the name
of each transformation as he makes it, and finally to thank the audience
for the attention with which they have followed his few experiments in
Papergraphy.

[Illustration: FIG. 18.--Dumb-bell.]

[Illustration: FIG. 19.--Bon-bon.]

[Illustration: FIG. 20.--Granny’s cap.]




CHAPTER XXVIII

JUGGLING

[Illustration: FIG. 1.--The vertical fall.]


HOW TO MASTER THE PRINCIPLES OF THE ART

THERE is no reason why any boy possessed of an average amount of
dexterity should not be able to perform many juggling tricks after a
certain amount of careful and patient practice. By a close study of the
following instructions, a clear idea of the principles of the art can be
obtained; and when these principles have been mastered, the beginner
should have no difficulty in elaborating the tricks to suit his own
fancy.

As the system of juggling with knives, plates, or clubs is founded
entirely upon the methods employed in manipulating balls, the simplest
plan is to learn the tricks with these last before adapting them to
larger objects.

Any kind of ball may be employed for juggling, but the
specially-prepared balls, made of heavy metal, are the best, and can be
purchased for a small sum in a set of four from any dealer in games.


1. THE VERTICAL FALL

A ball should be thrown into the air in such a manner that it will
descend to the exact point from which it was projected, as in Fig. 1. It
is quite unnecessary to throw the ball higher than four feet. By an
observation of the usual method of catching a ball, it will be noticed
that the hand usually follows the course of the ball; but the great
object of the juggler is to learn to catch without moving the hand from
the position it occupied when throwing the ball into the air.

The great point of the vertical fall is to teach the beginner to move
his hands as little as possible, and for this reason the exercise should
be practiced with both right and left until such precision is acquired
that the movement can be accomplished with the eyes closed.


2. INSIDE AND OUTSIDE FALLS

The inside fall is done by throwing the ball with the right hand, in
such a way that it describes a curve and drops towards the left, as in
Fig. 2. But instead of catching it with the left hand, catch it with the
right by a rapid movement of the hand across the body. The ball being
held in the right hand, it should be thrown back from left to right in a
similar way, as in Fig. 3. The latter is called the outside fall.

This exercise is intended to teach the beginner to throw the ball
several times in succession from side to side without its deviating from
its course. The principle involved is very important for jugglery, and
must be thoroughly acquired before proceeding with other tricks.

[Illustration: FIG. 2.--The inside fall.]

[Illustration: FIG. 3.--The outside fall.]


3. THE PARALLEL FALL

This fall presents greater difficulties. The ball should be thrown with
the right hand, as in the vertical fall, although the hand must be kept
in a line with the shoulder. As soon as the ball has been caught, the
hand must be rapidly brought into line with the left shoulder, the ball
thrown from that position, and caught (Fig. 4).

Having learned the trick with the right hand, it is essential to become
accustomed to perform it equally well with the left hand, moving it to
the right shoulder.


4. FALLS FROM RIGHT TO LEFT

Both hands are required for these falls, which are simply an adaptation
of what has just been described. The ball should be thrown exactly as
described in No. 2, but instead of moving the right hand across the body
to catch the ball when it falls on the left side, the left hand should
catch it, as in Fig. 5, and should immediately return it by means of the
outside fall to the right hand. But little practice is required to learn
this perfectly, and when smartly performed it makes a pretty display.

[Illustration: FIG. 4.--The parallel fall.]

[Illustration: FIG. 5.--Falls from right to left.]


5. THE HORIZONTAL PASS

In this exercise the ball should be thrown from hand to hand in as
straight a line as possible (Fig. 6), whilst the beginner must endeavor,
by continually increasing the distance between his hands, to maintain a
rapid volley.

[Illustration: FIG. 6.--The horizontal pass.]


6. THE DOUBLE VERTICAL FALL

This is the first trick requiring two balls, and will need some
attention. A ball should be taken in each hand, and the simple vertical
fall performed with the right. Before this ball has descended, however,
the ball in the left hand must be thrown in the air, as in Fig. 7, so
that the two balls are continually in motion. It is at this point that
the juggler will find the advantage of being proficient in the use of
both hands for the single vertical fall.

[Illustration: FIG. 7.--The double vertical fall.]

[Illustration: FIG. 8.--Variation of double fall.]

A variation of this double fall can be acquired in the following
manner:--

Both balls should be thrown up at the same time, as in Fig. 8, the hands
being kept about two feet apart, care being taken that neither of the
balls is thrown higher than the other.

The beginner must practice these thoroughly until perfectly accustomed
to having the two balls in motion simultaneously.


7. THE DOUBLE INSIDE FALL

This is a repetition of the outside and inside falls, but performed with
two balls at once, and with both hands. The utmost care must be
exercised to avoid a collision as they pass one another, and for this
reason one ball must be thrown higher than the other, as in Fig. 9.
Until proficiency is attained the balls should be thrown at various
heights, and the hands well apart.


8. THE TRIPLE PASS

Having acquired the last trick perfectly, the beginner should now bring
into use a third ball. A glance at Fig. 10 will show that the triple
pass is nothing but the double inside fall performed with an additional
ball.

Two balls are held in the left hand, and one in the right, the former
being numbered 1 and 3, and the latter 2. Ball No. 1 is thrown from the
left hand, and as soon as it is in the air, No. 2 is sent off from the
right, after which No. 3 is thrown from the left hand. It will be
noticed from Fig. 10 that No. 1 is sent the highest and No. 3 the
lowest, and by this means a collision can best be avoided. The greatest
care must be taken to throw the balls regularly, otherwise confusion
will ensue.

[Illustration: FIG. 9.--The double inside fall.]

[Illustration: FIG. 10.--The triple pass.]

To keep up the volley, each ball must be sent off again as soon as it
has been caught, so that after the first throw neither hand holds more
than one ball at a time.


9. THE TRIPLE OVER PASS

The only difference between this and the Triple Pass is that each ball,
as thrown, passes over instead of under the ball that precedes. This is
shown in Fig. 11, where No. 2 passes over No. 1, whilst No. 3 is thrown
the highest of all. This trick is usually combined with the ordinary
Triple Pass, and from the spectator’s point of view presents no
difference.


10. THE SHOWER

This is one of the prettiest of all the tricks of Juggling, and should
be learned with two balls. Take a ball in each hand and throw the right
one in the air towards the left, whilst as soon as it is in the air pass
the left hand ball to the right hand, as in Fig. 12. The moment this
latter ball has been caught it must be thrown up in the wake of the
first ball, and the whole trick continued as quickly as possible, so
that one ball is always in the air.

[Illustration: FIG. 11.--The triple over pass.]

[Illustration: FIG. 12.--The shower.]

This should be practiced continually until perfection is attained, as it
forms an introduction to--


11. THE TRIPLE SHOWER

Two balls must be taken in the right hand, and one in the left. The
first two should be thrown in rapid succession from the right to the
left, the ball in the latter hand being passed to the right, as in the
Simple Shower. As each ball reaches the left hand pass it rapidly
across, as in Fig. 13, and start it off in the air once more.

The trick has the effect of making the spectators imagine that you have
a large number of balls in your hands, and the more quickly the trick is
done the greater the deception. By starting with three balls in the
right hand and one in the left a still prettier display can be provided
with little extra trouble. In this case, however, the balls will have to
be thrown rather higher to give the left hand more time to catch the
balls and pass them successfully.

As a final exercise the beginner should learn--


12. THE DOUBLE OVER FOUNTAIN

Four balls are required for this, a couple being taken in each hand,
Nos. 1 and 3 being in the left and Nos. 2 and 4 in the right hand.

Nos. 1 and 2 are thrown up simultaneously in the simple Vertical Fall,
as in A, Fig. 14. The hands are then rapidly moved apart and balls Nos.
3 and 4 are thrown over the first two balls in such a manner that they
cross each other and are caught in the opposite hands (Fig. 14). The
volley with those two balls is immediately returned and the hands are
brought nearer together to catch and throw Nos. 1 and 2 again. Thus the
fountain is kept up indefinitely. It will be observed that the two hands
constantly approach and separate, as the two sets of balls are caught in
turn, and such action must be very smartly performed.

[Illustration: FIG. 13.--The triple shower.]

[Illustration: FIG. 14.--The double over fountain.]

The substitution of clubs or knives for balls can be easily effected,
although the performance is none the better for the change. In using
knives, the juggler should see that the handles are well weighted to
insure that part of the object falling into his hand. The substitution
of knives is not sufficiently interesting to compensate for the
additional risk, and the amateur may very well dispense with them.

Plates and clubs are equally unwieldy, and the juggler can scarcely do
better than content himself with the plain balls, the manipulation of
which is certain to provide a pretty and interesting entertainment at
all times.




CHAPTER XXIX

PLATE-SPINNING AND WALTZING


AN EXCITING ENTERTAINMENT

FEW things are productive of such literally breathless interest as
plate-spinning. In what a state of agonized anxiety your audience will
be as they watch you imperturbably spinning a soup-plate on the end of a
rod. How they will catch their breaths as they expect it to fall, and
how surprised they will be when it keeps its position! Yet if you inform
them that it is not so difficult as it looks, you will be stating a
fact, although the art is acquired only after considerable practice and
at the cost of several plates.

To minimize the breakage of crockery it will be as well to begin your
experiments with a mattress laid upon the floor, or failing this, with a
good substantial down comforter. The first attempts will not then be
accompanied by such mortality amongst the plates.

Procure a rod or wand upon which the plates are to be spun. A round
stick, about 2 feet long, is the most suitable for the purpose. Care
should be taken to see that it is straight, and it must be well
sand-papered in order to remove any roughness (Fig. 1).

[Illustration: FIG. 1.--Spinning wand.]

Now reduce one end of the stick to a dull point, which must further be
prepared by a rather strange process. Place this pointed end in your
mouth and moisten it until it is quite soft and all the hardness of the
wood has been removed. When properly softened the fiber of the wood will
remain whilst all the “starch”--if one may so call it--has disappeared.
This preparation gives the stick a certain grip on the plate which is
indispensable for successful spinning.

Next take a soup-plate, as in Fig. 2, and make it revolve rapidly upon
the dull end of the rod. To do this the following instructions and hints
should be noted.

The rod should have a rapid circular motion imparted to it by the wrist,
so that it cuts a circle of about the same circumference as the
soup-plate. The arm should be motionless, the whole movement being
confined to the wrist. The beginner must not expect immediate success,
but after considerable practice the knack of describing the circle with
the end of the rod will be acquired.

Now, by making these circles with the plate upon the end of the wand you
will find that the plate itself begins to spin rapidly, and at length,
when it has attained a certain velocity, it finds its center upon the
point of the rod and revolves so steadily as to appear motionless (Fig.
3).

Practice spinning with the left hand as well as with the right, for in
many cases it is necessary to transfer the wand from one hand to the
other. Probably you will find greater difficulty with the left hand, but
perseverance is all that is required--perseverance and the mattress!

[Illustration: FIG. 2.--The first stage.]

[Illustration: FIG. 3.--The plate finding its center--second stage.]

It is a great mistake to choose a light plate for spinning. The heavier
it is the easier it will be to spin, and you will find that dishes (not
necessarily round) will be the best spinners of all. Do not forget that
very heavy dishes soon tire the wrist and make it too unsteady for
successfully exhibiting other tricks.

So far the _modus operandi_ with unprepared and ordinary plates has been
described. It is quite as well that the learner should begin with these,
as the greater difficulty in balancing and spinning will have taught a
lesson that will render him more at ease with the prepared plates.

Procure another wand, which need not be “softened.” Sharpen one end into
a point, not so dull as in the former case, but with a clearly defined
apex.


PREPARED PLATES

As to the prepared plates. Take for example a thick soup-plate. From the
center of the bottom of this plate a small, shallow piece must be
drilled away, as in Fig. 4, which represents a section of the article.
Any china riveter will do this for you, and will, at your request,
polish the cavity after it has been drilled. Explain the purpose for
which you want it done, as that will insure his making the hole in the
dead center.

[Illustration: FIG. 4.--Plate with drilled cavity for spinning.]

You will now find that this plate not only spins much more easily, but
will continue revolving upon the rod for a great while, even after you
have ceased working the latter with your wrist. This is an important
consideration in view of the balancing feats to be accomplished.

The next thing to practice is catching the plates in mid-air upon the
tip of your wand. This is not so difficult as it sounds, and should be
easily learned. Toss the plate upwards, as you do so giving it a smart
turn or twist to the right, so that it revolves rapidly upon its own
center while ascending.

Now bring the point of the rod under it, and as the plate reaches its
highest point in the air it will turn over and you will have an
opportunity to get the stick into the hole in the center. The plate will
then spin upon the point of the rod, and a few turns with the wrist will
increase its speed and keep it going steadily for a time.

[Illustration: FIG. 5.--Holding rod for catching.]

[Illustration: FIG. 6.--Plate ready for tossing.]

Having mastered the principle of catching the plates in the manner
described, practice holding the rod and tossing the plate with the same
hand.

Hold the stick near to the point and between the fingers and the thumb
(Fig. 5), whilst the outspread fingers are in the bowl of the plate, as
in Fig. 6. These are shown separately to give a clearer idea of the
meaning. Now, toss the plate into the air, as has been explained, again
giving the wrist a smart turn to the right. Bring the rod sharply into
position and catch the plate in the usual fashion.


FURTHER FEATS

Take a couple of rods, one in each hand, and send a plate spinning on
the point of the right-hand rod. By giving a sharp upward jerk you will
send the plate high into the air, and upon its descent you can catch it
upon the end of the other rod. If the plate has been tossed very high,
and is therefore likely to descend with some force, care must be taken
when catching it not to shatter it into pieces. As soon as the plate
touches the point of the wand, lower the latter some distance with the
plate, and thus break the force of the impact--instead of breaking the
plate.

This performance will prepare you for successfully achieving the
following very effective show. Two persons are required for it, however,
and both must be good spinners.

[Illustration: FIG. 7.--Plate spinning and balancing.]

Let each performer take a plate and a rod. Then both should spin their
plates, and throw them to each other, catching the plates upon their
respective wands. The volley may then be returned in the same manner,
increasing the speed each time until the plates fly from one to the
other like tennis balls.

The first attempts will probably result in a shower of broken crockery,
but practice will obviate such a palpable disadvantage, and after a time
you will be able to complicate the exhibition by taking a rod and plate
in each hand, thus having four plates flashing to and fro at the same
time.


BALANCING

Having graduated as a master of spinning and catching plates, the
opportunity has arrived for attempting to balance the spinning dishes.
This is largely a matter of knack, although a sure eye and a steady hand
are indispensable.

Start a plate spinning on a rod, and pass it to the left hand. Do the
same with a second plate, holding the rod likewise in the left hand,
taking great care, of course, that the plates do not collide.

Now with the right hand start off a third plate, and balance the rod
upon your forehead or chin, having done which pass one of the rods back
from the left to the right hand. This makes quite a pleasing exhibition,
as can be seen by Fig. 7, and is well worth learning.

Presuming you are now facing the spectators, with the three plates
spinning as in Fig. 7, the question naturally arises, how to stop the
plates in a graceful manner? There are several ways of doing this, but
the following will be found the simplest.

Lower the rods in the two hands simultaneously until the plates can be
grasped in the fingers. Then, with the plate and rod still balanced upon
your face, lay the two plates upon a convenient table, and taking one of
the rods transfer the rod upon your chin to its point, and thus
balancing one upon the other bring the plate to rest.

Supposing you have a plate spinning upon a wand, balanced upon another
as in Fig. 8, practice the following method of dispensing with one of
these rods.

[Illustration: FIG. 8.--Plate being spun upon two rods.]

By a sharp upward movement jerk the plate into the air from the point of
rod No. 1. This will, of course, by relieving the stick of its burden,
make it fall. You then catch the falling rod smartly with the other
hand. But you must not forget during this time the plate which you have
sent, still spinning, towards the ceiling. Upon its descent catch it
neatly upon the tip of wand No. 2, and the trick is completed.

Such are the rudiments of the arts of spinning and balancing. Having
acquired a thorough knowledge of the various exercises and feats
described, the amateur spinner will have no difficulty in inventing new
things for himself, and will be able to emulate the feats of
professional jugglers. Much patience and long-suffering are necessary,
but with a quick eye and a sure hand there is no reason why any person
should not be able to provide a good plate-spinning entertainment.


PLATE WALTZING

There is a kindred branch of the art which may be described here, and
that is plate waltzing. It is really nothing but an extension of the
trick of spinning a coin upon the table, which every one has done at
some time or other.

A perfectly level table is essential. To insure this it is a good plan
to have a smooth, unpolished board that can be laid upon a table and
made perfectly level by adjusting small pieces of cardboard at the
corners. Around the edge a slight border should be made, rounded to the
surface of the board, as shown in Fig. 9. This will prevent the plates
from dancing off the table and on to the floor.

[Illustration: FIG. 9.--Showing section of table prepared for plate
waltzing.]

[Illustration: FIG. 10.--The plate waltz.]

[Illustration: FIG. 11.--How to set the plate in motion.]

Plates of any description and size, from the delicate tea-plate to the
burly wash-basin are eligible for the dance (Fig. 10).

The following is the easiest way to start twirling a plate. Take a
dinner-plate and stand it upon its edge on the table with the bottom of
its upper edge resting against the extended forefinger, as in Fig. 11.
Describe a small circle with this finger rather quickly, and the plate
will follow its motion. Continue passing the finger round and round,
accelerating the motion with each revolution. The plate will then begin
to revolve very quickly. Take your finger away when it has acquired
sufficient impetus, and leave the plate to dance by itself.

Begin learning with one plate. You will find that as it loses its
impetus it begins to go slower and slower, tending to settle bottom
upwards upon the table. But this is where your skill must be proved in
preventing the fall from lack of momentum.

Whilst the plate is revolving and before the first signs of falling are
apparent, touch the bottom of the plate fairly near the center with the
tip of your finger, moving this latter round in the direction followed
by the plate. This will have the effect of preventing the fall, and will
send the plate dancing on with renewed vigor.

Considerable experience will be required to perform this successfully,
as the exact spot to be touched with the finger can only be ascertained
after much practice.

Large and heavy plates make the best dancers, and it will be necessary
sometimes to use two fingers when preventing the fall, for the pressure
must in all cases be firm and steady. An ordinary plate is better than a
soup-plate, for not only is it more elegant, but its even poise renders
the revolutions steadier.

Practice the use of both hands, remembering, however, that the plates
will revolve in different directions according to which hand you use.
The right hand will send a plate twirling from left to right, whilst the
left hand causes an opposite motion.

The plates will keep admirable time to regular waltz music, and produce
a pleasing effect. Keep your eye upon all of them, being ready to render
assistance to any of your dancers that show signs of subsiding upon the
table.




CHAPTER XXX

THE TIGHT-ROPE


TRICK BALANCING

THERE are probably few actions more graceful than those of a skillful
equilibrist. The necessity of maintaining a symmetrical posture and
disposing the body in a well-balanced manner can produce nothing but a
pleasing effect. To a lithe and healthy boy there are endless
opportunities for creating new figures, whilst many will find an
attraction in performing feats rarely attempted by any but
professionals.

The whole strain of tight-rope walking is centered in the back. The
rigidity of the legs is also an important factor in maintaining the
balance. For this reason no child under ten years of age should ever be
allowed to attempt anything of this sort, for his bones and muscles will
not be sufficiently developed until then.

All the arrangements for a tight-rope exhibition can be made in an
ordinary drawing-room. Very few fixtures are required, and the following
instructions will give an idea of what must be done.

[Illustration: FIG. 1.--Method of fixing bars of wood.]

The rope should be about four feet from the ground, although if the room
is lofty the rope may be even higher. A length of good strong sash-cord
should be used, and thoroughly tested before every performance.

Assuming that the rope is to be stretched at a height of 4 feet, the
supports should be made in the following manner:--

Two stout bars of wood, not less than 1 inch in diameter and 6 feet
long, should be fastened together in the form of an irregular St.
Andrew’s Cross, as in Fig. 1. They must be fastened by running a bolt
through them at a distance of 1 foot from the top. The lower ends should
then be beveled off at such an angle that the bars will rest evenly upon
the floor. To these beveled ends a metal plate should be fastened,
projecting outwards, with a hole through which a thumb-screw can be
passed, as shown in Fig. 2. These plates, together with the metal
screw-plate, which should be fastened over the holes in the floor, can
be bought for a few cents from any hardware store. The cross-pieces can
then be erected and screwed into position, as shown in Fig. 1.

[Illustration: FIG. 2.--Metal plate and screw.]

Strong hooks should now be driven into the floor just below the
wainscoting and in a line with the screw plates. Lengths of very strong
wire are to connect these hooks with the cross at H (Fig. 1). When it is
remembered that these pieces of wire bear the whole strain of the rope,
it will be evident that too much care cannot be exercised in making them
secure and trustworthy.

A similar cross with its attachment must then be erected at the other
side of the room where the tight-rope is to terminate. At the spot H of
this latter cross a piece of bright-colored cloth should be fastened,
for a purpose which will appear later.

The rope can now be stretched between the crosses, every care being
taken to see that it is securely fastened and is not in the least slack.

To simplify explanation, the two ends of the rope, with their respective
supports, will be called A and B, the latter having the piece of colored
rag. In Fig. 3 will be seen the arrangements so far completed.

For the purpose of mounting the rope and resting between the turns, a
pair of steps should be placed between A and the wall, and so adjusted
that the top step is on a level with the rope, or even slightly higher,
say at 4¹⁄₂ feet.


THE BALANCING POLE

There is much difference of opinion amongst acrobats regarding the
balancing pole. Some prefer it long and heavy, whilst others dispense
with it altogether. Amateurs can scarcely hope to do the latter,
however, and 4 ft. 6 in. may be considered a suitable length. The pole
should be smooth, round, and even, rather heavier than an ordinary
broom-handle. It will probably prove useful to mark its exact center by
a notch.

A mattress must be laid beneath the rope to break any falls. Thin-soled
dancing pumps should be worn, the soles being well chalked before use.

Such is the apparatus connected with the public performance of
tight-rope walking. The first attempts should be, however, on a rope
suspended much lower, not more than 1 foot from the ground, as it is
useless to try a high rope until the knack of balancing has been
acquired.

The assistance of two friends will be necessary for the first few
trials. Each must hold a strap fastened around the performer’s waist to
support him until he has learned to find the center of gravity. As he
grows accustomed to the work their help will become less necessary, and
he will soon be able to dispense with their services.

[Illustration: FIG. 3.--Tight-rope ready for walking.]

With the pole balanced in his hands, his eyes fixed steadily upon the
colored rag at B, known as the “point of sight,” and, supported by his
two friends, the first essay is made upon the rope. The feet should be
turned out as much as possible, and at each step the heel first and then
the great toe placed upon the rope.


THE “FORWARD WALK”

According to the recognized canons of the art, the first thing to be
learnt is the “Forward Walk.” The gaze must never leave the “point of
sight.” Each step must be made with the utmost care, and perfect
confidence gained before any attempt is made at more difficult tasks. As
soon as the feet begin to feel sore or tired, practice should be
abandoned for that day.

The next thing to be learned is walking backwards. This is really no
harder than the “Forward Walk” and can be as easily acquired. The eye
should be steadfastly fixed on the rag as in the former case. With the
amateur there is always a tendency to run. This must be checked, and a
stately gait acquired from the beginning.

After the “Forward” and the “Backward” walks comes the “Forward Spring.”
Both this and the “Backward Spring” are difficult, and can only be
learned by constant practice and patience. There will doubtless be a
price to pay in the way of harmless falls and stumblings, but everything
can be learned in time. Indeed, few instructions can be given that would
prove of any real assistance to the beginner. When once a person has
learned to ride a bicycle, the matter of balancing comes naturally; so
with rope walking. As soon as the tyro has gained confidence and
experience on the rope, the difficulties of the “jumps” will gradually
disappear.

Having learned the walks and leaps on the tight-rope, it only remains
for the performer to adapt them according to his own ideas. The aim and
object of every professional is to produce some novelty in his branch of
the art, and the amateur must imitate him in thinking out some effective
show to be produced “up aloft.” The great Blondin used to wheel out a
barrow and cook his pancakes upon a rope suspended at an incredible
height, and it is in ideas such as these that the art of successful
tight-rope walking consists.




CHAPTER XXXI

CLOG DANCING


A NOVEL ENTERTAINMENT

WHEN the old Morris Dances decayed in the country districts of England,
many of the local customs and manners died with them, and are now
entirely lost; but what is considered a survival can yet be found, and
is familiar to many of us under the name of Clog Dancing.

The old Morris Dancers had attached to their ankles bands of bells,
which sounded with the jerking and kicking of the dancers’ feet as they
kept time with the measure and music of the accompaniment.

The use of these bells has now, however, almost entirely ceased, and the
heavy wooden clog alone remains. In place of the ringing and jingling,
with which the Morris man accompanied his dance, the clog makes only a
tapping against the floor, sharper in its precision, if less musical
than the old bells.

The clogs suitable for drawing-room dancing have wooden soles and
leather “uppers.” These can be obtained in endless variety, from the
plain black or red morocco, to the stylish patent leather shoes.

But whatever the style or make of the clogs, one thing is
essential--they must fit perfectly. The appearance matters little, so
long as the clogs are an exact fit. Nobody present cares to see your
feet, but everybody desires to see a skillful dance, and that cannot be
performed with a loose shoe.

Having obtained the shoes, the next thing to arrange is the floor. A
smooth wood floor, or a slate slab, provide excellent surfaces for
practicing and learning upon, while for the actual drawing-room
performance, a thick, smooth piece of wood, about two and a half feet
square, and neatly polished, is very suitable. This can be moved at
pleasure, and taken away after the performance is concluded, without any
awkward rolling back of carpets or moving of furniture.

It is necessary now to devote a little attention to the more important
steps to be learned. In the diagrams illustrating this subject the
letter R denotes the right, and L the left foot, and this must be
constantly borne in mind to make the illustrations intelligible.

The first and most important thing to remember, is to keep the toes well
turned outwards wherever the nature of the figure does not render this
impossible. A glance at Fig. 1 will illustrate this. In all the steps
practice with the left foot is needed more than with the right, as the
latter can generally be trusted to take care of itself.


THE FIRST STEP

The first step to learn is the shuffle, which should be attempted with
one foot first, preferably the left.

Stand firmly upon the right foot, and strike the left toe forward (as in
Fig. 2) towards A, at the same time making a tap upon the floor. Draw it
back from A towards B, making another tap. This should be done
repeatedly until it is possible to make the taps in quick succession and
in even time.

[Illustration: FIG. 1.--Correct standing position.]

[Illustration: FIG. 2.--The single shuffle.]

Having mastered this with the left foot, acquire the same proficiency
with the right. The ankle must be kept loose and mobile. Any stiffness
or inflexibility will utterly spoil all efforts.


SINGLE AND DOUBLE SHUFFLES

Having become familiar with the two taps with both feet, attempts to use
right and left alternately should be made, the while standing upon the
toes. Thus: left forward and back, two taps; right forward and back, two
taps, making in all four taps in rapid and even succession.

This is known as the single shuffle, and it is surprising how many music
hall artists and public performers know no more than this rudimentary
movement. Yet it shows how necessary it is to be perfectly easy and
familiar with the action, which may be considered, together with the
double shuffle, as the ground-work of the art.

The double shuffle is simply a duplication of the single shuffle. Each
foot goes forward and backwards twice, making four taps for the right
and four for the left, or eight taps in all. This is really no harder
than the single shuffle, and must be learned as thoroughly. Indeed, it
is wise to practice no more steps until these two shuffles have been
perfectly mastered.

Having grown familiar with the steps already described, it is time to
learn some of the variations of the two shuffles. Begin with the single
shuffle and


_Variation No. 1._--Stand upon the toes of both feet, give one tap with
the left toe, and a single shuffle with the right foot. Then one tap
with the right, and a single shuffle with the left. Keep this up
continuously, and as clearly and rapidly as possible, taking care that
the beats are all equal, and that no one tap is louder than any of the
others.

The result will be a continuous roll, like that of a drum, and is very
effective.


_Variation No. 2._--Give one tap with the left foot, and a shuffle with
the right, as in the preceding step, then hop on the left, tap with the
right, shuffle with the left, and hop on the right. This makes eight
taps in all, and produces another continuous roll. By pausing on the hop
each time, another step is apparently introduced, and the smooth action
is varied pleasantly.

The hopping mentioned above does not mean a skip into the air. It is
simply employed to give a tap, and is more for the sake of appearance
than for actual sound. It can therefore be replaced by making a tap with
the heel, which is in itself a prominent feature in the Clog Dance.
Indeed the tap from the heel is often preferable as being more
characteristic and elegant than the hop, which has to be done most
gracefully to look at all well.


_Variation No. 3._--Make one tap with the left toe, shuffle with the
right foot, tap with the left heel, and bring the right toe behind the
left foot, as in Fig. 3, A and B.

[Illustration: FIG. 3.--The third variation.]

This must be learned carefully, and repeated in the opposite way--that
is, tap on right toe, shuffle with left foot, tap with right heel, and
finish up by bringing the left toe behind the right foot.

[Illustration: FIG. 4.--The fourth variation.]

[Illustration: FIG. 5.--The fifth variation.]

Practice both of these steps, and introduce them, one after the other,
in the actual performance.


_Variation No. 4._--Make one tap with the left toe, shuffle with right
foot, tap the right toe, shuffle left foot, tap with right heel, and
finish with the left toe behind the right foot, as in Variation No. 3.
This should be learned and repeated in the reverse way to the former
step, and the two should be similarly combined to make one continuous
action, which is really elegant to watch.


_Variation No. 5._--Make one tap with the left toe, a shuffle with the
right foot, another tap with the right toe, then a shuffle with the left
foot, a hop on the right toe, finishing with a tap with the left toe
either behind the right foot, as in Fig. 4, or in front of it, as in
Fig. 5. Learn to do this with the feet reversed as before.

If this step be done properly, the result will be a continuous rattle,
which can be kept up indefinitely, the repetitions and reversals
following one another without break or pause of any kind.


VARIATIONS OF DOUBLE SHUFFLE

These variations require no detailed description. Wherever in the
above-mentioned changes the single shuffle is mentioned, a double
shuffle may be introduced. For example, in Variation No. 1, for the
double shuffle the instructions should read: Stand upon the toes of both
feet; give one tap with the left toe, and a double shuffle with the
right foot; then one tap with the right, and a double shuffle with the
left.

By treating the other variations in a similar manner, it will be seen
that ten variations of the single and double shuffles can be obtained.
They should all be learned and practiced until there is not the least
difficulty in performing any one or all of them.


THE SLIDE

There now remains but the _Slide_ to be learned, and as this is one of
the prettiest of all the clog steps, it is well worth taking pains
properly to acquire.

[Illustration: FIG. 6.--The slide (first position).]

[Illustration: FIG. 7.--The slide (second position).]

[Illustration: FIG. 8.--The slide (third position).]

Stand as in Fig. 6, throwing your weight on the left heel and right toe,
which are to be kept stationary. Now move the left toe and the right
heel in the directions shown by the dotted lines. Your feet will then be
in the position shown in Fig. 7. Keep the left toe and the right heel
stationary, and move the left heel and right toe in the direction
indicated by the dotted lines in Fig. 8.

By continuing this movement you have a steady gliding action from left
to right, and, reversing the steps, you can, of course, move back from
right to left.

This is really a hornpipe movement, but for clog dancing it is very
suitable for the introduction of taps with heels and toes at every
change of position. It is also possible to introduce shuffles during the
movement, but the plain taps are probably more effective and quite
difficult enough to learn without the introduction of more complicated
movements.

It is possible to dance in clogs to any time, or even against time.
Acquire the steps accurately and readily, and the measure will take care
of itself. To practice the shuffles and their variations, the easiest
plan is to have sixteen bars of music of two-four time, or even a verse
of any song set to that time. As the feet become nimble and the actions
familiar, you will be adept at dancing to any time or measure, whilst
with shuffle and tap your feet will twinkle in the most orthodox and
poetic manner.

Practice in the steps described will also enable you to invent movements
for yourself, such as jumping in the air, striking the clogs together
once or twice, rattling the clogs together on the ground, and numberless
other side tricks and fancies. The regular steps are generally
considered the best, however, and should always be executed when
possible, as they form the essence and genius of the whole art.

Clog dancing is tiring, and it is advisable not to make the dance the
central piece of an evening’s entertainment. It makes a good
accompaniment or “gag,” but is not suitable for a _pièce de résistance_.
Adroitly performed it will win approval; and what more can the home
entertainer desire?




CHAPTER XXXII

SHADOW SHOWS


HAND SHADOWS

FEW of us have not lain in bed by candle-light and with more or less
success cast shadows upon the wall. Some may have seen public
entertainments in which shadow pictures formed an important part of the
programme, and have wondered in a dim kind of way how they were done.
From what follows it will be seen how very simple are the arrangements,
and how admirably adapted for a drawing-room entertainment a shadow
theater can prove.

Shadow shows may be divided into three kinds. They are:--

  1. Hand Shadows--in which the performer stands in view of his
  audience.

  2. Figure Shadows--in which he stands behind a screen.

  3. Puppet Shadow Shows--in which the shadows of lay figures are
  exhibited.

Of these three branches of the art, Hand Shadows are distinctly the
easiest to do, but they do not give scope for great variety, and
although very good in their way, like most good things, are apt to pall
upon an audience, who, it must ever be remembered, have an insatiable
taste for novelty and change.

A screen of white cloth about three feet square should be fastened to
the wall and drawn taut, so as to have no fold or crease. A large sheet
of perfectly smooth white paper will make an equally satisfactory
background.

The best light for casting shadows is given by a candle, which should
not be lighted until a minute or so after the lights have been turned
out. This will have the effect of making its light appear all the more
brilliant.

Before attempting to give an exhibition of the various shadows, exercise
the fingers to make them pliable. Clench the fist and try to raise one
finger without moving the others. Raise each finger in turn and they
will soon become supple; then you may commence learning to make the
pictures.

The candle should be on a level with the hand, and you must stand rather
to one side of the screen, in order that your body may not interfere
with the view of the audience.


HOW TO MAKE THE PICTURES

[Illustration: FIG. 1.--A rabbit.]

[Illustration: FIG. 2.--A butterfly.]

In Fig. 1 you see the well-known rabbit, usually the first shadow made
by the amateur performer. Stretch the right thumb down and the
forefinger up as far as it will go, whilst the second and third fingers
should be thrust out, slightly bent, as shown in the figure. With the
left hand crook the forefinger against the upright forefinger of the
right hand, bring the thumb to touch the last-mentioned finger, making a
little loop as depicted. Stick the second and third fingers of the left
hand upright, although slightly bent. Your two hands should now appear
as in Fig. 1, and the shadow they cast will be that of a rabbit.

The butterfly in Fig. 2 is very easily made, and needs little
explanation. Extend the thumbs of both hands, keeping the four fingers
of each bunched together.

Then cross your hands with the thumbs crooked in one another, and the
butterfly will be ready to flit on to the screen.

[Illustration: FIG. 3.--A swan.]

To make the swan shown in Fig. 3, both arms must be partly bared and
the right one bent upwards from the elbow. Extend the third and fourth
fingers horizontally, bend the first and second loosely upon themselves
and bring the thumb to rest naturally upon their tips. Hold the left
hand easily at the crook of the elbow, as shown in the figure, and the
swan is complete.

[Illustration: FIG. 4.--The greyhound.]

Fig. 4 depicts a greyhound ready to sprint. Extend the right hand thumb
and close the fingers together. With the left hand bend the thumb
outwards, double the forefinger, and bring the middle finger down to
touch the first finger of the right hand.

[Illustration: FIG. 5.--The hound panting.]

[Illustration: FIG. 6.--A countryman.]

[Illustration: FIG. 7.--A fireside friend.]

By stretching down the last three fingers of the right hand, as shown in
Fig. 5, the greyhound will be seen panting as he races along, watched by
the old countryman depicted in Fig. 6. The familiar household pet is
shown in Fig. 7 as she sits warming herself by the fire. Figs. 7A and
7B respectively suggest two other easily produced hand shadows, in the
former, additional effect being lent by the pipe.

[Illustration: FIG. 7A.--The costermonger.]

When you have accustomed yourself to forming these figures quickly and
accurately, numberless other objects will present themselves to your
mind, and as the fingers grow supple the characters in your repertoire
will become more and more numerous and amusing.

[Illustration: FIG. 7B.--The parson.]

A few racy remarks about each shadow lend an interest to the performance
and serve to keep the spectators amused. Always be quite sure of what
you are going to do and how you are going to do it; arrange your fingers
quickly and correctly; do not keep the same figure upon the screen too
long, and you are sure to succeed.

A mistake is fatal, as nothing is more dreary for the visitors than to
watch you bungling with your fingers--uncertain how they should be
placed.


FIGURE SHADOWS

These are, perhaps, more entertaining than hand shadows, but require
much greater space, it being necessary to arrange them somewhat after
the manner of tableaux.

A white sheet must be drawn completely over one end of the room, as S in
Fig. 8, whilst near the opposite wall three boxes of varying height
should be arranged as A B C in that figure, a candle being placed upon
the middle one.

There should be no other light in the room, upon either side of the
screen.

[Illustration: FIG. 8.--Arrangement of screen for figure shadows.]

When the performer enters by the door D his shadow is thrown upon the
screen in a natural size, but as he retires from the screen and
approaches the candle, his shadow increases to enormous dimensions, and
very funny effects will be produced.

A couple of performers may have a fight, the one near the candle
apparently being of gigantic stature, whilst the other close to the
screen is of ordinary build.

With a little practice it can be so managed that the two figures,
although in reality at some distance from one another, appear to come to
blows, and the incongruity of their respective statures makes the giant
and dwarf fight of breathless excitement.

To add to the ridiculous situation, the giant can be given a knockout
blow by the dwarf. A very small man can be made to make love to a huge
woman, vainly endeavoring to reach her face in order to imprint a kiss
upon her colossal lips.

Another amusing picture is to show a figure with a very swollen cheek.
This illusion is best produced by tying a ball of worsted to the face.
The dentist then approaches with a pair of large tongs in one hand and
a carving knife in the other, opening and closing the tongs with fierce
relish. Grasping the patient firmly by the throat, he extracts a large
molar, made of cardboard stuck between the worsted and the cheek. Then,
brandishing aloft the cause of his client’s trouble, he slices off the
swollen part of the sufferer’s features, detaching the worsted, and
proudly exhibits patient and tooth to the audience.


THE DISAPPEARING MAN

A surprising effect to be obtained in these figure shadows is the total
disappearance through the ceiling of one of the actors. This is very
simply done by stepping upon the lowest box (C), striding over (B) which
bears the candle, and on to (A) which makes the shadow appear to leap
into the ceiling. Let a figure dressed as a policeman rush upon the
scene, hotly pursued by a sailor brandishing a stout stick. The two
chase each other about the stage for a time, and presently the sailor
shouts very fiercely, “Get off the earth with you--get off!” and makes a
savage rush at the policeman, who, casting one terrified glance over his
shoulder, steps over the candle, and literally “gets off the earth.” The
sailor then bursts into a roar of laughter, dances a hornpipe, and
retires.

During all these tableaux a running patter should be kept up, which,
combined with the fantastic doings upon the screen, cannot fail to keep
the spectators in fits of laughter. Figure shadows are certainly the
most amusing of any Shadow Shows, and are so easily done that fear of
failure need deter no one from undertaking them.

Almost any play can be adapted to Shadow Shows; nursery rhymes,
burlesques of well-known tragedies, purely farcical buffoonery--none
will come amiss so long as there is plenty of action, whilst success is
assured if all the actors concerned keep the ball rolling.

At the close of the entertainment, when the last piece has been
finished, let one of the figures appear upon the screen and repeat--

  “For in and out, above, about, below,
   ’Tis nothing but a magic Shadow Show,
   Played in a box whose candle is the sun,
   Round which we phantom figures come and go.”

This will please the grown-up members of your audience who have read
Omar Khayyám, and will also serve as a suitable finale to the evening’s
entertainment. Having said his little verse, the poet can then disappear
into the ceiling.


PUPPET SHADOW SHOWS

To work a Puppet Shadow Show is more difficult than either of the
preceding entertainments, and requires considerable skill and ingenuity
to present satisfactorily. As the name implies, the shadows in this case
are cast upon the screen by lay figures, and the performers, of whom two
are requisite, do not appear at all.

The simplest way to make a “stage” upon which to exhibit your puppets is
to stretch a strong piece of cord across the corner of a room, and hang
therefrom a sheet which shall reach from one wall to the other. Some
people prefer to stretch it across an open doorway, but this is largely
a matter of convenience, and is not always possible.

Before fastening up the sheet mark upon it a rectangle, as shown in Fig.
9, the rectangle being five feet from the bottom, two feet high, and
four feet wide.

[Illustration: FIG. 9.--Diagram of screen for puppet show.]

Now take pieces of thick brown paper and tack them over the remaining
portions of the sheet, so that when completed it shall be entirely
opaque, except for the rectangle or stage upon which your figures are to
perform. The brown paper will, of course, be on the side hidden from the
audience. The next thing to be considered is the lamp, which should have
a tin reflector and a one-inch burner. Arrange it in such a manner that
it shall hang in the center of the stage and some eighteen inches or two
feet from the screen--indeed at just sufficient distance to allow you to
manipulate your figures without coming into collision with the light.

If possible shut out all light except that which is thrown by the lamp
upon the stage, as the darker the room the more effective will be the
appearance of the shadows. Take great care the sheet is so firmly fixed
that it neither flaps nor creases.

Having accomplished this, turn to the making of the puppets.

The best material from which to manufacture them is thin zinc or tin,
waste scraps of which any tinsmith will gladly sell for a mere trifle.
With a pair of shears the metal can be readily cut to any shape, whilst
it will also be strong enough to bear the rivets for working the
figures.

The puppets should be about six inches in height. This is the best way
to make them. Draw the figure selected upon a piece of fairly thin white
paper, taking care to accentuate all prominent points and features.
Paste the figure--_e.g._ a crossing-sweeper--upon a piece of tin, and
carefully cut the outline with the shears as in Fig. 10.

[Illustration: FIG. 10.--Partly finished figure of crossing-sweeper.]

[Illustration: FIG. 11.--Constructing an arm and broom.]

[Illustration: FIG. 12.--The figure complete.]

Of course the puppets must be as comical as you can imagine, and should
be neatly and accurately outlined. Notice that the figure has no arm, as
this must be movable, and should be made separately, thus: draw the
limb, holding a broom as in Fig. 11, cutting it out in the same way as
you have done the body.

[Illustration: FIG. 13.--A bear.]

Now take a punch and make a hole in the body at the shoulder, whilst two
holes must also be made in the arm, as at A and B in Fig. 11. Get five
cents’ worth of quarter-inch iron rivets, and place one in the hole B of
the arm. Make a loop in a piece of No. 9 size wire and place it over
this rivet in the arm. Next bend the rivet with a pair of pliers, and
fasten the wire as shown in Fig. 12. Put a rivet through A in the
corresponding holes in body and arm, and bend the rivet head over as
before. Your crossing-sweeper is now complete.

[Illustration: FIG. 14.--The elephant.]

By pulling the wire, which should run down one leg, and thus be
invisible to the spectators, the arm can be raised or lowered from
below, and the figure will appear to be sweeping vigorously.

Upon this plan every other puppet may be constructed, making as many
joints in a similar fashion as are required.

[Illustration: FIG. 15.--A crocodile.]

Fig. 13 shows how to make a bear, which can rear upon his hind legs and
also open his mouth. He will serve as an example for making all animals
such as the elephant (Fig. 14), or the crocodile (Fig. 15).

Set pieces such as a church or a house can be easily constructed from
cardboard, as in Fig. 16, whilst a very good effect can be obtained from
a windmill with movable sails (Fig. 17).

It is scarcely necessary to add that the puppets needed depend entirely
upon the piece you desire to represent.

[Illustration: FIG. 16.--A house.]

[Illustration: FIG. 17.--Windmill with movable sails.]

Supposing it is your intention to exhibit three separate plays in the
course of the entertainment, three different sets of figures will be
required. The younger members of an audience are quick to observe any
repetition.

The figures are made so easily and cheaply that it will be quite as well
to have a complete set for each play.


MANIPULATING THE PUPPETS

The following hints should be borne in mind when manipulating the
puppets. Keep all the figures ready for immediate use; lay them upon a
table in the order in which they will be required, and remember where
they are so that you can put your hand upon them the moment they are
wanted. Keep your own head and fingers well out of sight--the whole
effect will be spoiled if the spectators see a great black finger
pulling some wire or adjusting a refractory limb. Keep as calm and
collected as possible.

If some part of a figure sticks and refuses to move, tell the audience,
in an amusing piece of patter, that Jim, or whatever his name may be,
has had a sudden stroke of paralysis, and must be carried away to the
hospital.

When there is a hitch--and this will occur even with a
professional--pass it off with a rattle of bantering fun, making the
audience imagine it to be part of the show.

As the puppets are made from thin metal be careful never to turn them
round upon the stage. March the figures off the scene with some quaint
excuse, and introduce them again facing in the direction you desire.

It is impossible to lay too much stress upon the absolute necessity for
the showman’s being ready with all kinds of patter. Funny as the scenes
may be made with the figures alone, they are quite unentertaining unless
all their doings can be explained with an unceasing tongue.

From the moment your first figure appears upon the scene, until the last
one has made its exit, a continuous flow of amusing dialogue and comment
should keep the audience on tenter-hooks of surprise and
excitement--shrieking with laughter over absurd remarks or in an agony
of wonder as to what will happen next. Dull and stupid as patter may
appear upon paper, it should certainly be written down and well studied
before beginning the show, for impromptu fun cannot be relied upon.

A lot of extempore humor can be introduced when you yourself have
entered into the spirit of the show--but it is imperative that regular
patter should be learned by heart. Nothing can be more tiresome than a
halting conversation of which one party has forgotten the cues, whilst
the other cannot remember the lines.

If you can sing, intersperse a song or two here and there when there
seems a suitable occasion, but be rather sparing than otherwise with
your music.

It may also be borne in mind that it is not necessary to have dialogue
the whole time. A clever and amusing description of what is being done
often proves better than a lengthy conversation in which the characters
explain themselves. A few crisp remarks are worth a bookful of such
speeches. However, when you are once fairly embarked on the play, let
your puppets joke and abuse one another as much as they like.

To conclude with a few words as to what is suitable for the Puppet
Shadow Theater.

The great object of every entertainment is to be funny without
introducing vulgarity. The nature of the show necessitates fairly short
pieces, and experience has proved that several short and amusing plays
are more appreciated than one long piece, during the performance of
which interest is sure to flag.

Choose commonplace incidents of everyday life. An inventive mind will
soon adapt the ridiculous side of things to a screamingly funny show. Do
not attempt too much. With a smart patter, full of current expressions
and allusions to topics of the time, preferably local, which all your
audience can appreciate, the most casual events become laughable.

Take, for instance, the well-known family trouble--


THE PLUMBER

_Figures._

  Mrs. HOGGINS.
  Mr. PLAPPER.
  JIM, the Plumber.
  ROBERT, the Policeman.
  BRIDGET, the Maid.

With these five characters and a suitable amount of talking an amusing
sketch can be given. The following is a mild suggestion of what can be
done, but you will find that it can be made very much funnier when
actually performed.

SCENE, _a House_ (Fig. 16).

  _Mrs. Hoggins emerges, loudly complaining that a pipe has burst and
  spoiled her nice new carpet. She blames everybody in the neighborhood,
  not omitting Mr. Hoggins, who is in town. “Just like a man: never here
  when he is wanted.”_

  _She calls Bridget, and tells her to run for the plumber. Bridget
  seems unable to understand. “Sure, Mum, and the grocer came this
  mornin’ and ye didn’t want any fruit!” Mrs. Hoggins then explains
  matters with considerable volubility, and Bridget departs._

  _Mr. Plapper rushes out, waving his arm, and complaining that his
  house will be ruined by the overflowing water. The drawing-room
  ceiling has already come down. He sees Mrs. Hoggins, and asks her
  heatedly what she means by it. That lady replies suitably, and they
  wrangle until the plumber comes, when Mr. Plapper retires with a few
  sarcastic remarks._

  _Jim, the plumber, listens to Mrs. Hoggins’ explanation, and
  disappears into the house to see what he can do, only to reappear in a
  moment, remarking that he must go home to fetch his hammer. He
  accordingly leaves the stage._

  _Mr. Plapper returns with a policeman, relating matters so excitedly
  that Robert is not quite sure whether it is a case of fire or merely a
  murder. He enters the house, and Plapper abuses the plumber, who,
  returning at this moment, thoroughly enters into the spirit of the
  fray._

  _He also goes into the house, but comes out immediately, having
  suddenly remembered that it is time to go to dinner._

  _Mrs. Hoggins appears upon the scene once more, and encounters
  Plapper, who asks: “Well, Ma’am, and what have you done about it?”
  “Done? If you would do something, instead of standing there talking
  like a monkey, perhaps we should know where we are.”_

  _In an interval of the conversation a loud sound of kissing is heard,
  and Mrs. Hoggins demands what it is. “Water oozing through my
  ceiling,” says Plapper. Mrs. Hoggins laughs satirically and retires.
  She apparently finds Robert making love to Bridget, for he suddenly
  appears running out of the house very hurriedly, followed by the fiery
  remarks of Mrs. Hoggins. He is making a few rejoinders when Jim, the
  plumber, returns just in time to say that his wife is expecting him
  home to afternoon tea. A general chorus of excited abuse is then
  heard, in which Mr. Plapper joins from the background. So Jim walks
  away, saying that he will cut all the water off, leaving them nothing
  to drink, let alone wash in, until next day._

This may seem very poor fun, but when staged and supplemented with good
strong patter it should be most amusing. Opportunities always arise for
introducing smart remarks and witty rejoinders, which cannot fail to
“bring the house down.”

Complete sets of figures, with the various plays for which they are
intended, can be purchased from all good shops making a specialty of
entertainment requisites, but it is more interesting to make everything
for oneself; and the prospective shadow showman may feel assured that,
with care and patience, he will be able to give a performance that,
costing but a dollar or two, will prove quite as entertaining as one
purchased at many times the sum.




CHAPTER XXXIII

LIGHTNING CARTOONS AND “FAKE” SKETCHING


A NOVEL FORM OF DRAWING-ROOM ENTERTAINMENT

AN exhibition of skill which cannot fail to win appreciation from any
audience, particularly one composed largely of grown-ups, is that of
making lightning cartoons and sketches. It is, however, a form of
entertainment which should be undertaken only by those possessing some
artistic qualifications. Although lightning cartoons do not call for any
great genius, yet those with an inherent taste for caricaturing will
find themselves the best exponents of the work.

On the other hand, the task may be undertaken by any youth with even a
moderate knowledge of drawing, because by the observation of the few
rules hereafter indicated, quite passable and pleasing results may be
obtained. The apparatus required is simple and easy to procure. The
first essential is a cheap easel, which can be purchased for fifty cents
from any art store. To give it a presentable appearance for a
drawing-room entertainment, it should be stained with any oak or
mahogany composition. Those who possess a bent for carpentering will
perhaps prefer to make their own easel. It can be made from 2 inch
battening. First cut two pieces to the required height, and glue or
mortise together with two stays, A and B (Fig. 1). Drill holes for the
reception of pegs at CC. A further length, D, will also be needed for
the back stay, hinged at E. F shows a section of the hinging.

[Illustration: FIG. 1.--Easel for lightning cartoons.]

The next requisite is a large drawing-board. Half-a-dozen large sheets
of cheap cartridge paper should also be procured. These latter may be
fixed to the drawing-board by nails driven firmly into the top right-
and left-hand corners in such a manner that each sheet can easily be
removed after it has been drawn upon. The media employed for plain
black-and-white drawings are thick sticks of charcoal or soft crayon.

It should be borne in mind that as lightning sketching permits of no
erasures, each subject must be thoroughly committed to memory before a
public demonstration on the paper is attempted.

The best subjects for a beginner to attempt in black chalk or crayon are
caricatures of celebrities, those selected all possessing some
particularly marked or prominent feature, _e.g._ the late Mr. Gladstone,
with his remarkable forehead, striking nose, and the characteristic high
collar.

Idiosyncrasies of well-known people should also be seized upon; for
instance, the eyeglass and orchid so universally associated with Mr.
Joseph Chamberlain. It will be found that if these peculiarities are
properly portrayed and accentuated, but very few strokes of the crayon
will suffice to produce an unmistakable likeness. The budding cartoonist
should also bear in mind that boldness of execution is essential, the
strokes being put to paper with free and large sweeps of the hand.

The subjects intended to be drawn must be selected beforehand, the order
of their appearance also being prearranged.

To obtain the correct mental picture of each character or subject, it is
at first recommended to attempt only heads. Let the young cartoonist
first procure a pronouncedly good photograph, in profile preferably, and
copy this in detail, gradually omitting half tones or shadings until the
likeness is apparent when only the minimum of strokes is used. As soon
as the ability to do this has been thoroughly acquired, the outlines
should be drawn again and again until the hand has become so accustomed
to the correct presentation of the portrait that it can draw it off in a
second or two. The lightning cartoonist must live up to his reputation
for speed.

[Illustration: FIG. 2.--Method of drawing in leading characteristics.]

[Illustration: FIG. 3.--Complete cartoon.]

[Illustration: FIG. 4.--Showing characteristic features drawn in first.]

[Illustration: FIG. 5.--The final stage.]

Now, to treat with the order in which the various features and leading
characteristics are to be drawn in. A start is generally made with the
curve above the nose, taking the stroke down and round to the nostril
(A, in Fig. 2); then the upper lip, mouth, and chin (B), if possible,
without breaking the line. Next take the chalk and draw the crown of
head and curve of forehead, beginning at the right-hand top of head,
presuming the face to be in profile to the left. With a sweeping stroke
draw in either the outline of the hair or bald head, coming back to the
forehead and finishing at the point from which the start was made (C,
Fig. 2). Now, leaving the outline of the face, return to the point at
which the curve for the hair or head was started, and bring round
another bold sweep down into the nape of the neck (A, Fig. 3). Shading
may be put in according to judgment. The eye must next receive
attention, afterwards the ear, and, lastly, the collar or any other
distinguishing mark.


SIMULTANEOUS DRAWING

A welcome variation to the above is produced by a brief exhibition of
simultaneous drawing with both hands. The best method of procedure is to
take a piece of chalk in each hand, and, bringing them together in the
middle of the top of the drawing (A, in Fig. 6), take each hand round
and down, the right hand drawing the profile, the left the back of the
head, and so complete the picture by working off the lines respectively
on the right side with collar and tie, and on the left with the neck and
back of coat. In Fig. 6 the dots show the other lines necessary to
complete the effect.

[Illustration: FIG. 6.--Simultaneous drawing with both hands.]


A FIGURED FACE

Another diversion may be caused by drawing at lightning speed a figured
face. How this is to be accomplished is not at first apparent when you
sketch in to all intents and purposes at random a few detached numerals,
such as appear in Fig. 7; but the addition of extra figures produces the
very expressive countenance depicted in Fig. 8.

[Illustration: FIG. 7.--Figured face partly finished.]

[Illustration: FIG. 8.--Figured face complete.]

A deal of fun may also be extracted from outline representations of an
egg. Commence by sketching in with quick strokes three or four of these.
Fill in the individual expression of each by such series of lines as are
suggested in Figs. 9 and 10, and as a climax pin to each a suitable
paper costume or fancy collar, frill, or tie, as shown in Figs. 11 and
12. These latter aids to the equipment of the lightning cartoonist must
be prepared beforehand from colored tissue paper, kept behind the easel,
and instantaneously fixed on to the large sheet of cartridge paper by
means of pins. The effect will be both novel and grotesque.

[Illustration: FIG. 9.--A cheerful “eggspression.”]

[Illustration: FIG. 10.--A mournful “eggspression.”]

[Illustration: FIG. 11.--Egg drawing complete.]

[Illustration: FIG. 12.--Egg drawing complete.]


SMOKE PICTURES

To produce wonderfully picturesque and striking examples of land and
seascapes in the space of a few moments of time appears at first sight a
task almost beyond the capabilities of the amateur draughtsman. Yet such
effective additions may be made to the programme of the lightning
cartoonist by his following out the subjoined simple instructions.

First procure a large sheet of iron or tin, enameled white. To purchase
this in a prepared state is rather expensive, but a very fair substitute
can be made by coating the tin or iron with ordinary white enamel.

Smoke the enamel surface to a uniform blackness by passing it backwards
and forwards over an ordinary small hand-lamp, the glass chimney of
which has been removed. Fix the black sheet to the easel, either resting
it on a wooden rack or across the pegs.

[Illustration: FIG. 13.--Sketch to memorize for smoke picture.]

[Illustration: FIG. 14.--Completed smoke picture.]

Before commencing on the actual drawing, memorize a suitable subject,
such as a stretch of water gleaming under the moon, with light
reflections, as in Fig. 13. The effect of the finished picture may now
be obtained by wiping out the black so that the white enamel shows
through and forms the lights. The removal of the black may be
accomplished either with the fingers or by means of a soft piece of rag.
In view of the fact that the fingers form a better medium for drawing
than does the rag the use of the former is recommended, but as the
cartoonist may have arranged to follow this part of his entertainment
with other drawings on white paper, he would do well, while dealing with
the smoked surface to cover his finger-tips with stalls cut from old kid
gloves. These can be discarded without the necessity for a break in the
performance, as would be the case were the fingers blackened in the
process. Fig. 14 shows the finished smoke picture produced from the
sketch in Fig. 13.

[Illustration: A. Blue. B. Brown. C. Green. D. Dark green.

FIG. 15.--A reversible scene.]

[Illustration: FIG. 16.--Initial sketch for “house on the cliff”
drawing.]


TOPSY-TURVEYDOM

Yet another variation in lightning cartooning is provided by the ability
of the artist to produce pictures which, when turned upside down, show
exactly the same view. These are best done in colored chalk or pastel,
which is a softer medium and more workable. Landscapes are peculiarly
adaptable to this purpose. Fig. 15 suggests a realistic example.

[Illustration: FIG. 17.--House on cliff drawing completed.]

Yet a further pleasing addition to the entertainment may be made by
sketching such a scene as Fig. 16 suggests, afterwards over-coloring
with white the part representing the sea, and also the jutting rock
marked A up to the dotted line; then turning the whole picture on end,
blacking in on the whitened portion windows and doors, as shown in Fig.
17. The result will be “The House on the Cliff.”


SHADOW DRAWINGS

A very interesting entertainment is to be brought to a close by a short
exhibition of shadow drawing. The apparatus required is a magic lantern,
before the lens of which is fixed a prepared plate consisting of glass
previously covered with a coating of lamp-black and water. A sheet of
calico should be attached, some distance away, to the wall. Between the
plate and the lantern, and a little to one side, stands the operator,
who with the aid of a stick or stump sketches the subject upon the
plate, the light filtering through throwing an enlarged presentment of
the picture upon the calico screen.




CHAPTER XXXIV

FRICTIONAL FUN


SOME AMUSING ELECTRICAL EXPERIMENTS[1]

ELECTRICITY may be said to have a finger in most pies. From its
manifestations it would appear to be an all-pervading force, and modern
research tends always to substantiate this conclusion. Thus two coins--a
cent and a quarter--cannot be brought into contact without producing
their quotum of electrical force, and in like manner the principles of
its working may often be demonstrated by the simplest apparatus.

There are two states which this subtle force assumes, called Static and
Dynamic. The former word indicates a condition of rest, and is applied
to electricity when stored in suitable magazines ready for discharge at
a favorable opportunity, just as water may be held in lofty reservoirs,
ready to pour down and perform work--whether useful or otherwise--if the
pipes be opened. Dynamic, on the other hand, indicates a state of
motion; so that Dynamic Electricity means that it is flowing along
conductors from one place, where there is a large quantity of the force,
to another less powerful, in the same way as--again using the comparison
with water--the latter pours along connecting pipes from a high level to
a lower. Phenomena of static electricity are invariably produced by
friction, and some experiments of this class will be first described.

The chief element of success in friction electrical experiments is a
warm and dry atmosphere. The operations should therefore be conducted in
a well-ventilated room where the fire has been burning some time, whilst
all apparatus may with advantage have stood warming for some time
before.

1. Rub a 6-inch square of brown paper with a warm silk handkerchief,
then place flat against the wall or marble fireplace. It should cleave
tightly to either of the latter surfaces.

2. Again electrify the brown paper and hold it above any willing
person’s head of hair. The locks will fly up towards the paper and
appear like bristles. You may then make sure of a safe retreat, and
utter side remarks about “wire.”

3. Sprint smartly after the cat, which, like the other apparatus, should
have been warming itself on the hearthrug, and having effected a
capture, stroke the fur backwards. If the hand be not moist,
considerable sparking should occur and be easily visible in a darkened
room.

4. By combing dry hair quickly with a warm ebonite comb, and then
applying this to the knuckles, distinct sparks may often be obtained.

5. Cut a piece of paper into small confetti, and place near it a stick
of sealing-wax or ebonite rod, which has been rubbed with flannel. The
paper atoms are attracted to the rod through a distance of one inch or
more, and then, contact having once occurred, they immediately drop off.

6. In the previous experiment it was found that the paper atoms having
once touched the rod, dropped off directly. This behavior was caused by
a sequence of happenings.

First the negatively excited sealing-wax caused positive charges to
possess the upper surface of the paper--the equal negative charges being
driven downwards--so that, the two kinds of electric energy having a
mutual affinity, the paper sprang towards the wax. Immediately they
touched, however, the positive charges of the paper were neutralized by
the large excess of negative energy from the sealing-wax, and then,
since electricities of like sign exercise mutual repulsion, the negative
paper was driven from the negative wax.

Now this repulsion of similarly charged particles is demonstrable by a
straightforward experiment, whose simplicity of description is in nowise
proportionate to its entertainment. In truth, it consists merely of
blowing a soap-bubble and catching it upon an excited stick of glass or
wax. The bubble becomes electrified, its myriads of particles repel one
another, and the beautiful globe expands in size, possibly to breaking
point.

7. Scratch any design or word upon a small sheet of indiarubber--such as
is used in the manufacture of mats--and then dust over the surface a
thoroughly-shaken mixture of red-lead and sulphur. When all excess of
the powder has been blown away, the design should appear in grains of
red-lead, showing to excellent effect on the gray rubber ground.

8. By the following method a spark of sufficient intensity to light
house gas may be obtained from brown paper. Support a salver on four
well-dried inverted tumblers, placing a rubber ring between the tray and
each glass, and twist a copper wire round a spoon which rests on the
tray. The other end of this wire must be held--insulated from the
fingers by a piece of indiarubber or by the ordinary covering of the
wire--just over the gas-jet, whilst about ¹⁄₈-inch away is held another
piece in metallic connection with the hand; that is, in reality, _via_
the operator’s body with the earth.

Now, if the gas be turned on slightly and a piece of warm brown paper,
electrified by stroking vigorously with a dry brush, be placed on the
salver, a spark should pass across the ¹⁄₈-inch gap and ignite the
escaping gas. If the spark does not pass at once, approach the wire
extremities slightly closer together.

[Illustration: FIG. 1.--Raising paper by touching wooden lath with
electrified sealing-wax.]

9. The following experiment owes its origin to Gray--an early worker in
the field of static electricity: Erect two dry tumblers with a piece of
waxed cardboard between, after the fashion shown in Fig. 1, and lay a
lath on the top glass. Beneath one end of the lath spread small pieces
of paper, over an ebonite or wood surface supported on another inverted
glass. Then if a stick of sealing-wax, which has been vigorously rubbed
with flannel, be approached to the other end of the lath, the particles
of paper will fly backwards and forwards between the lath and the
ebonite surface--on which they would normally rest.

10. A simple trick, but one nevertheless causing considerable amusement
to spectators, may be arranged in the following manner: Bore a hole
carefully at the middle of a wooden meat skewer (A, Fig. 2), of such
size as to take a bone knitting-needle tightly (B, Fig. 2).

Sharpen the blunt end of the skewer and mount it so as to turn easily
between bearings erected on inverted wine-glasses. These may consist of
two wood blocks (C, Fig. 2), in each of which a shallow conical hole is
made to receive the points of the skewer. On these stand weights (E,
Fig. 2) to keep wood-bearings firm. When this is in position and swings
easily, adjust the needle until it balances exactly. It should be at
right angles to the skewer, and may be fixed in position, if necessary,
with glue or sealing-wax.

[Illustration: FIG. 2.--The balanced disc.]

Now cut two discs of white paper (D, Fig. 2) of a diameter about 1 inch
less than the knitting-needle’s length, and, having printed across one
the word “DONE” in large type, glue them--centers at the point where the
needle and skewer intersect--on either side of this cross. Erect the
apparatus as shown, so that the needle stands vertical, with the blank
paper disc facing the audience, and then invite the latter to see if
they can effect a movement without either touching or blowing the disc
or creating any disturbance whatever. The conditions should preclude any
person, except the canny operator, from attaining success. He, however,
innocently takes a postcard (previously warmed and dried), tears it
sharply in half, and presents one ragged edge to the projecting bone
needle. The cardboard became electrified by tearing, and should exercise
quite enough attraction on the needle to upset its nice balance,
whereupon the other disc becomes visible, together with its notice
“DONE.” The audience may take the ambiguous meaning according to their
pleasure.

Few further experiments can be performed without the use of special
apparatus. So far, we have dealt only with the most minute quantities of
electricity, and if more striking effects are to be produced, our stores
of energy must be increased.

Fortunately instruments of a fairly wide application may be rudely
constructed at home, although, naturally, results must not be looked for
comparable to those obtained with perfected apparatus. However, brief
directions now follow for the manufacture of such simple instruments,
and so, as commencement, let us appropriate two 3-lb. jam pots from
which Leyden jars are to be evolved.

[Illustration: FIG. 3.--Leyden jar.]


LEYDEN JARS

Procure as much metal foil as possible, either by raiding the nursery or
by purchasing some tinfoil-wrapped butter scotch at the confectioner’s,
and gum it round the jam jars so as to extend about half-way up the
outside (A, Fig. 3).

Next solder stiff brass wires (8 inches long) to two round pieces of
metal, so cut as to pass the jar mouths readily. To the other end of one
brass rod solder another disc of metal, tin--or, better, brass--nicely
smoothed along its two edges by sandpaper. The other brass rod may be
looped at its end and have tinfoil wrapped round until a respectable
knob be formed, or else have a brass bedstead globe soldered on.

[Illustration: FIG. 4.--The electroscope.]

These brass standards are then stood inside, with their metal bases
resting on the bottom of the jars and surrounded by lead shot to the
same height as that of the tinfoil, without. The finished article should
appear something like the sketch shown as Fig. 3.


GOLD LEAF ELECTROSCOPE

[Illustration: FIG. 5.--Electroscope parts.]

Obtain a square glass pickle or preserve jar, to the mouth of which has
been fitted a large cork bung (A, Fig. 4). Next take a 7-inch length of
¹⁄₈-inch brass wire (B, Fig. 4) (similar to that used for the Leyden
jars above), and flatten one end by hammering (F, Fig. 5), after having
bent it triangular-shape, as in (C, Fig. 4).

A 2¹⁄₂ inch length of cycle valve-tubing (A, Fig. 5) is to be slipped
over the brass rod B (Fig. 5), and then strips of gummed brown paper, 2
inches wide, lapped round and round the rubber-tubing until a paper
cylinder some ¹⁄₄-inch across the outside is formed (C, Fig. 5). Anyway,
this paper cylinder must be a good fit for a hole bored through the
center of cork (D, Fig. 5), into which, moreover, it must be glued when
dry. The stopper, paper, &c., must then be allowed to soak in hot candle
wax for an hour or so, wiped clean and put aside to cool. Excess of
grease must be particularly removed--with paraffin if necessary--from
the plain end of the metal rod, to which we must next solder a brass
knob (D, Fig. 4) or, as an alternative, tinfoil may be twisted round a
loop in the wire until a ball is formed, as in the case of the Leyden
jar.

The next operation is to cut two strips of Dutch metal--or, better, gold
leaf--size ³⁄₄-inch by 2 inches, and gum them on either side of the
flattened brass rod triangle (E, Figs. 4 and 5). This is best managed by
laying the brass, after being lightly gummed, upon the Dutch metal
strips in the correct position, and when fixed trimming off the corners
of the leaves close to the sides of the triangle--not, of course, at the
base, or no strips will remain to hang down. Dutch metal and beaten gold
are both employed in gilding, and should be obtainable in small
quantities at any picture-framer’s shop.

If the cork be now fixed in the mouth of the jar and the brass rod
adjusted so that the gold leaves hang free of the interior, our
electroscope is practically complete. However, a few pieces of calcium
chloride, or pumice stone soaked in strong sulphuric acid, may be
included at the bottom of the jar (F, Fig. 4), in order to absorb
moisture; and lastly, as a brass ball is not always the most
satisfactory terminal for this instrument, one other small accessory may
be made. This consists of a 2-inch circle of tin, or, preferably, brass
(G, Fig. 4), exactly like that fitted to one of the Leyden jars, and to
the under side of which is soldered a ring of springy brass (H, Fig. 4)
about ³⁄₄-inch deep, so made as to fit securely on the brass ball
terminal. Thus the metal table is adaptable to the brass knob, whenever
such an arrangement is required.

[Illustration: FIG. 6.--The electrophorus.]


ELECTROPHORUS

Our Leyden jars have been constructed to store electrical energy, and
the gold leaf electroscope to indicate its presence. But we do not yet
possess the means of producing this energy in any considerable quantity.

To make an instrument for this purpose proceed as follows: Clean the
inner surface of a circular tin lid--diameter 6 inches or 7 inches, and
about ⁵⁄₈-inch deep--(A, Fig. 6), and in the center stand upright on its
head a brass screw, whose point has been filed down until it _nearly_
reaches to the level of the upper edge of the lid (B, Fig. 6). Then
carefully pour in melted lead or zinc to a depth of ¹⁄₈-inch. This
process is not absolutely necessary, but is advisable if the metal be
available and the extra trouble is not distasteful.

When this metal has thoroughly cooled, melt up sufficient rough resin to
just overflow the tin, pour it in and allow to solidify properly without
the least disturbance (D, Fig. 6).

For the upper part of the electrophorus, take a disc of tin or brass,
absolutely flat, and of the same diameter as the resin surface (E, Fig.
6). In the center of its upper side solder a short piece of brass tube
(F, Fig. 6), the correct internal width to fit tightly on a 12-inch
length of polished wood rod, cut, say, from a walking-stick (G, Fig. 6).

The drawing shows the general arrangement of this electrophorus,
wherewith, by the help of a piece of fur, electricity may be generated.
A small cavity must be made in the resin, just above the screw (H, Fig.
6), so that the point of the latter may be clearly seen.

[Illustration: FIG. 7.--The discharger.]


DISCHARGER

One last piece of apparatus--the simplest in construction--remains to be
made. Bend a piece of stout brass wire into a semicircle (A, Fig. 7);
then, having flattened it at the middle, pass through a hole at the end
of a wooden handle (B, Fig. 7), and fix in position by means of a tiny
glued wedge (C, Fig. 7). Next twist the rod at both ends into loops, and
wrap tinfoil round so as to form metal knobs (D, Fig. 7). Brass balls
may be used instead. This arrangement is now complete, and we may
commence experimenting.

11. Twist a stout piece of copper wire surmounted by a brass or tinfoil
ball round the outside coating of a Leyden jar (A, Fig. 8), so that the
two knobs are about 3 inches apart. Suspend a pith ball (B, Fig. 8),
made from dried wood pith, by silk thread (C, Fig. 8) from some support
above, so that it hangs normally midway between the two knobs.

Next excite the resin surface of the electrophorus by rubbing with a
dry rabbit’s fur, muff, or flannel; and, holding the cover of this
instrument by the handle’s extreme end, place it upon the resin. Remove
immediately and bring near to the knob, which connects with the interior
of the Leyden condenser, at the same time touching its outer tinfoil
surface with the finger. A spark should pass between the electrophorus
cover and the Leyden jar, whereupon, if the former and finger be
removed, and the pith ball allowed to drop into position, this will
oscillate violently to and fro between the knobs.

[Illustration: FIG. 8.--Oscillating pith ball.]

[Illustration: FIG. 9.--Sparks from discharger and Leyden jar.]

12. Construct a Leyden jar with knob terminal similar to that previously
described, but cover part way up the outside with gold paint (A, Fig.
9), instead of tinfoil. Charge this condenser by means of the
electrophorus cover, as described in experiment 11, and if sufficient
induction does not take place with one contact, replace the metal disc
on the resin and pass a spark to the Leyden condenser knob several
times, taking care to touch the gold paint coating with the finger on
each occasion. If now the semicircular discharger, held by the wood
handle, be brought so that one knob touches that of the Leyden condenser
whilst the other moves over the gold-paint surface, long series of
sparks, differing greatly in appearance from any previously produced,
will pass between the gilt and the discharger.

13. Excite a stick of sealing-wax by rubbing with flannel, and bring it
against a pith ball suspended by silk. The sealing-wax was negatively
charged, and the pith ball is now in a like condition. To prove this,
approach the flannel which excited the wax, and had consequently
acquired a positive charge; inasmuch as the pith ball is immediately
attracted and we know that positively excited bodies have an affinity
for those negatively affected, the pith ball must be of the latter
character.

If, further, a glass rod be excited by rubbing with silk and brought
near to the negative pith ball, the latter will again be attracted,
showing the glass to be positively charged.

On the other hand, the silk rubber repels a pith ball which has been in
contact with excited sealing-wax, in the same way as it will repel the
latter substance itself if suspended freely, thus indicating that the
silk is similarly, _i.e._ negatively charged.

The phenomenon of positive and negative electricity may be somewhat
differently demonstrated by means of the electroscope. Touch the
terminal of this instrument with rubbed sealing-wax. The gold leaves
diverge. Moreover, they may be thrown farther asunder by bringing the
electrophorus resin near, so that evidently the charge of this
instrument is also negative. Perhaps as a diversion it may be noted that
resin is one of the chief ingredients of sealing-wax. The electroscope
leaves remain apart even when the electrified body has been removed, but
they may be made to collapse by touching the knob with the finger or
bringing an excited glass rod near. The former action “earths” (_i.e._
connects, _via_ the person’s body, with the house walls and the earth)
the gold leaves and allows the electrical charge to escape, whilst the
latter operation counteracts the negative charge by virtue of the
positively excited glass.

14. If the electrophorus and electroscope be placed as shown in Fig. 10,
the gold leaves being already held asunder by a negative charge from
sealing-wax, and the cover of the first instrument be lifted, whilst a
strip of cardboard bridges from its upper surface to the disc terminal
of the electroscope (A, Fig. 10), the instrument’s leaves will fall
together again. From this behavior it may be gathered that the charge on
the upper surface of the electrophorus cover is positive, or opposite in
character to that induced by rubbing on the resin cake.

[Illustration: FIG. 10.--An experiment with the electrophorus and
electroscope.]

15. Stand a charged Leyden jar and the electroscope close together on
the table. They must not be so near, however, that the gold leaves are
affected by the condenser’s presence.

If, now, a few pieces of sulphur, spread upon the Leyden jar’s disc
terminal, be ignited so as to burn freely, the gold leaves will
immediately diverge slightly, indicating that part of the electric
charge, which is being rapidly dissipated by way of the flame into the
atmosphere, has traced a path to the electroscope.

[Illustration: FIG. 11.--The swinging mannikin.]

16. An amusing variation of experiment 11, wherein a pith ball was
rendered restless between the two terminals of a Leyden condenser, is
constituted by carefully modeling a little seated figure out of pith and
sealing-wax. The mannikin is threaded on a silk strand, so that the legs
hang down as though seated on a swing, and is then suspended by tying
the two silk ends to a support above. Fig. 11 indicates the
arrangements.

Two Leyden jars are next required, of opposite influences. To effect
this, charge one by the ordinary method of touching its terminal several
times with an electrophorus cover, being careful on each occasion to
“earth” the outer surface, whilst the other condenser is charged by
presenting its _outer_ surface to the electrophorus cover, and each time
touching the knob terminal with the finger, _i.e._ “earthing” it.

By this method, whilst the charge at the knob of one Leyden jar is
positive, that at the terminal of the other is negative. Place these two
instruments at equal distances on either side of the “swing” support,
and at such an elevation that the pith figure may just touch the brass
knobs.

Then, if the swing be started going, it should continue to oscillate for
a considerable time. As the pith figure approaches, say, the positive
knob, it acquires a negative charge and is thereby attracted. Directly
it touches, however, this negative state is counteracted, a positive
charge supersedes it, and repulsion between pith figure and positive
knob ensues. The pith doll then swings over towards the negative knob
and--being positively influenced--is of course attracted until contact
takes place. Then negative supersedes positive in the pith figure,
repulsion again results, and a similar cycle of changes is repeated.
Thus the figure continues to oscillate until the charges of the jars
have been exhausted or have leaked away.

17. In the same manner as the alternate attraction and repulsion of a
light body has been used to maintain oscillation, so similarly an
electrostatic motor may be constructed embodying the same principles.
Cut out a 16-pointed star of cardboard, 8-inch diameter, and, having
glued a ¹⁄₄-inch slice of cork in the middle of each side (A, Fig. 12),
pass a knitting-needle through the star’s center at right angles (B,
Fig. 12). Both ends of this spindle rest in conical cavities (C, Fig.
12), which may be punched or drilled in small brass discs to act as
bearings, and the apparatus is mounted as shown.

[Illustration: FIG. 12.--Electrostatic motor.]

It is important that the cardboard should be perfectly dry, and with
this end in view it may well have previously received a saturation in
paraffin wax. When set hard, stick a brass pin bent at right angles into
each point of the star, and set Leyden jars of different charges beneath
any two diametrically opposite points. The motor, being given a start,
should continue to revolve for some time owing to the succeeding
attraction and repulsion of the metal pins.

The following description is of a small machine which may be fairly
easily constructed, and when in good working order will give far better
results than the electrophorus. Fig. 13 shows the reference letters and
general arrangement. Two cork bungs (A, Fig. 13), previously saturated
with paraffin wax or shellac varnish, are fixed into the ends of a
cylindrical lamp chimney, and through a hole in the exact center of each
passes a wooden rod (B, Fig. 13), which must be glued in place. Each end
is supported in a wooden bearing (C, Fig. 13), black lead being used as
a lubricant, and to the protruding one a small handle (D, Fig. 13) is
fitted, wherewith the glass may be revolved. Next a long pad of wash
leather (E, Fig. 13), stuffed with horse-hair, is fixed so as to press
gently against the cylinder, whilst a silk flap (F, Fig. 13) about 2
inches wide hangs over the top surface of the glass. A brass chain (G,
Fig. 13) is also fixed to the wash-leather cushion and, in the ordinary
way, connects to “earth” either direct or through the operator. The
wash-leather cushion is well black-leaded where it touches the glass.

[Illustration: FIG. 13.--Frictional machine (more useful than the
electrophorus for producing electric charges).]

On the opposite side of the cylinder a metal comb (H, Fig. 13) is
supported, the teeth being ¹⁄₁₆-inch away from the glass, whilst the
back of the comb is soldered to a brass knob (I, Fig. 13) fixed on a
wood pedestal. Any noticeable edges at the base of the brass globe
should be filed off until only round surfaces are presented.

Care should be taken to dry the machine thoroughly, and if then the
handle be turned regularly, as indicated by the arrow, the brass knob
should rapidly become charged to such an extent that sparks may be drawn
with the knuckles, possibly with discomforting results!

If the brass ball possess any sharp edges or, alternatively, if a length
of wire girdle it so that one end projects radially about one inch, then
the electricity will leak from these extremities in the form of a glow
discharge as fast as it is developed. This frequently creates such a
disturbance in the surrounding air as to distinctly blow a candle flame
when held at the discharging point.

In 1752 Faraday invented an arrangement of attraction and repulsion by
which three bells were kept ringing. To the electrical machine conductor
was attached a metal support from the ends of which hung two bell domes
on brass chains, whilst from the center another was supported by a silk
strand and connected by a brass chain to earth. Between the bells small
brass clappers were hung by silk threads, as shown in Fig. 14.

The action in working was for the machine to charge its conductor and
hence the two outer bell domes, which then attracted their brass
clappers until contact took place. This caused repulsion, so that the
clappers swung over to the center dome, where discharge to earth ensued
and a condition obtained when the cycle of events might be repeated.

[Illustration: FIG. 14.--Faraday’s bell chimes.]

Having thus arrived, _via_ the simplest phenomena, at a piece of
mechanism which will work, our experiments in the field of static
electricity must conclude; but rather, let it be noted, on account of a
dearth of apparatus than from any scarcity of phenomena to be studied.
If therefore the reader foresees an opportunity of pursuing the subject
further, such for example as the use of a well-equipped laboratory, let
him not hesitate to snatch the advantage. To mention two facts
demonstrable by further experiment: (1) Frictional electricity is
produced in excessively small quantities at a very high pressure. For
this reason sparks in air may be produced frictionally of such a length
as cannot be obtained direct from batteries. (2) Friction itself is not
a necessary element in the production of electrical energy, but is
adopted in order to bring every portion of the rubbed surfaces into
perfect contact. Thus far and no further. We must say “Au revoir,” and
splash down a full stop.

  [1] For the experiments in this and the following chapter I am
  indebted to the assistance rendered by Mr. Stanley S. Barnard.--C. H.
  B.




CHAPTER XXXV

SOME ELECTRICAL EFFECTS


THE MAGIC OF MYSTERY

A PHENOMENON is always mysterious, so long as its origin remains hidden.
That is to say that any event, the causes of whose manifestation are
obscure, will be found to prompt some feeling of wonderment.

For this reason then--just as an automobile in motion will bewilder a
savage, because he has at no time seen any but living creatures moving,
and does not understand the new mechanism--so for us an electrical
effect mostly presents something of a miraculous nature. To take a
concrete example. Whereas the ringing of a church bell by the sexton
engenders no feeling of wonderment in the average listener’s breast, the
buzzing of an electric bell, which ensues upon connecting with a
battery, does have this influence to a greater or less extent, because
the electricity’s behavior is by no means so obvious as that of the
sexton pulling the rope.

Let this character of the miraculous then, which pertains with scarcely
an exception to every electrical phenomenon, stand as an excuse for the
experiments to be detailed hereafter.

Electricity may be produced by a variety of methods. For commercial
purposes, where unstinted supplies are necessary, mechanical energy is
converted into the subtle force by means of dynamos. Exceptional sources
of mechanical energy are now frequently used, as witness the Niagara
Falls, where electric current is produced on the site, and whence it is
conducted by cables to places of utility; and also the case of Nansen’s
“Farthest North” Expedition (before Cook found the Pole!), which
utilized a deck windmill for installation of electric light aboard.

Electricity is also produced when any two substances are brought into
contact, and more especially if they are placed near one another, but
not touching, in certain liquids, thereby forming “cells.” With these
arrangements, electricity finds its source in chemical action; and,
although not powerful, such cells are extensively employed, on account
of reliability, in telephone and telegraph systems. No more convenient
source of galvanic energy has yet been devised than a battery of
“cells”--_i.e._ a number of cells connected together--and the type which
we intend to use, and of whose construction the following is a
description, is among the cheapest possible to make and maintain.

The battery is to consist of eight cells, connected together, in a
manner hereafter described. For each cell procure a 1 lb. stone jar (A),
and line it inside with a sheet of tin (B), which may be cut from a
condensed milk can, and should be curved so as to press outwards against
the jar’s inner surface (Fig. 1). A 2-inch length of copper wire (C) is
soldered to its upper edge.

[Illustration: FIG. 1.--Making a cell.]

[Illustration: FIG. 2.--Copper spiral surrounded by broken coke in rag
or flannel bag.]

The next operation is to twist an 8-inch piece of copper wire for about
6 inches of its length round a pencil, thus forming a spiral (X), round
which a flannel bag (A) filled with small coke (B) is tied (Fig. 2). At
least two thicknesses of flannel are advantageous, or if this be found
rather expensive, flannel and rag combined, or odd pieces of rag alone
may be utilized.

The chief considerations are to construct a porous wall of appreciable
thickness round the coke, and to avoid colored rags if possible. The bag
is to stand upright in the middle of the jar, leaving about ¹⁄₂-inch
space all round to be packed with zinc scrap, which for convenience may
well be “granulated.” To make this, melt up as much waste zinc as can be
collected in a ladle and pour it in a thin stream into a large bowl of
cold water, moving the ladle over the surface of the water meanwhile, in
order to cool the zinc stream as suddenly as possible. The zinc which
forms in a heap at the bottom of the bowl should be breakable into very
small pieces, and is termed “granulated” (Fig. 3).

[Illustration: FIG. 3.--Granulating zinc.]

[Illustration: FIG. 4.--Section of the complete cell.]

When the cell has thus been assembled with curved tin sheet, bag of coke
and broken zinc in place, it is nearly filled with strong salt solution,
and above this, in order to prevent evaporation, a thin layer of melted
tallow may well be poured. Fig. 4 represents a section of the complete
cell, A being the flannel bag containing coke; B², wire from coke; C,
wire from tin; D, layer of tallow; E, level of solution; F, the jar; G,
the tin; H, the zinc.

[Illustration: FIG. 5.--Tray to carry battery of cells.]

[Illustration: FIG. 6.--The complete battery.]

The eight components of the battery being thus complete, nothing
necessary remains but to connect them together. However, they will prove
more portable and self contained if arranged in a shallow wood tray.
This may be either a confectionery box--if one of suitable dimensions is
obtainable--or can perhaps be constructed as indicated by the
accompanying sketch, with handles at either end (Fig. 5). It should
certainly be strong, as the set of jars is of considerable weight, and
would, if accidentally dropped, create a pretty printers’ pi. Lastly,
when the cells have been arranged in two rows of four a side, the
finishing touch is to join the copper wire ends by twisting, according
to the plan shown in Fig. 6, and the battery is complete. The end wires
A and B will be referred to hereafter as negative and positive terminals
respectively.

[Illustration: FIG. 7.--The compass test.]

_Experiment 1._--Connect one extremity of a straight wire with the
battery’s positive terminal, and place it on the table so as to lie due
north and south. Above it stand a compass, whose needle--also pointing
due north and south--will be parallel to the wire (Fig. 7). Now, when
the free end of the north-south conductor is connected to the battery’s
other terminal so that a current may flow, the needle swings round at
right angles and thus now lies east and west. Needless to add,
electricity prompts the needle’s behavior, and unless such movement does
take place, the cells are at fault somewhere.

[Illustration: FIG. 8.--Spark-producing.]

_Experiment 2._--Having decided by the compass’s behavior that the
battery is actually efficient, bring the terminal wires into contact in
the dark, and notice the slight spark (Fig. 8). Next obtain a spare
bobbin from an old electric bell (Fig. 9), and pass the current round
the coils whilst making the spark. This should now be more
distinct--thicker, and brighter, though not so frequent--owing to
induction taking place between the wire coils.

[Illustration:

  AA. Bell-bobbin coils.

  B. Iron base.

  C. Wire from battery terminal joined with one end of coil wire.

  D. Other end of coil wire.

  E. Wire from other battery terminal.

FIG. 9.--Showing connections for passing current round bell-bobbin
coils.]

_Experiment 3._--Repeat the previous experiment whilst using pieces of
carbon, round which the free wire ends (D and E, Fig. 9) are twisted, to
bring into contact with one another (Fig. 10). The spark obtained is
very bright, and may possibly by careful handling be maintained for a
moment or two; if the current is more powerful, the spark does keep
constant, even though the carbons be drawn apart considerably, and thus
forms in principle such an arc lamp as floods the streets of towns with
their dazzling rays. The pieces of carbon may frequently be picked up
beneath arc light standards, after the electrician has gone on his
rounds “trimming” the lamps.

[Illustration: FIG. 10.--The principle of the arc lamp.]

_Experiment 4._--Again repeat the No. 2 experiment, but insert a rough
file in the circuit and drag the free end of a wire from the battery up
and down its surface (Fig. 11). Sparks in plenty, but apparently frail
and resembling those thrown off by squib fireworks, are produced in this
manner.

[Illustration: FIG. 11.--More spark production.]

[Illustration: FIG. 12.--Magnetic lines of force.]

_Experiment 5._--If a few iron filings (A, Fig. 12) be scattered evenly
on a sheet of paper (C, Fig. 12) and a horse-shoe magnet (B, Fig. 12)
approached from beneath, the filings arrange themselves in a curious
design, which really maps out the magnetic lines of force. Now, if this
experiment is repeated whilst using the bell-bobbin in place of the
permanent horse-shoe magnet, and a current passed round the coils, the
same disposition of the filings ensues, showing that the bobbin’s iron
cores have been magnetized. In Fig. 13, A is the filings; B, the wire
from negative terminal battery; C, the sheet of paper; and D, the wire
from positive terminal.

_Experiment 6._--“Flax” wire, whose core consists of about forty fine
copper filaments stranded together, may often be had in scrap lengths at
electricians’ shops, as it finds wide employment in lighting
installations. The silk and rubber insulation should be ignited and
allowed to burn, any residue being carefully wiped off with rag, after
which two lengths of, say, three strands apiece are separated from the
wire core. These are very flexible, so that when attached to the battery
terminals and magnet wires the bobbin, being extended as shown by a silk
strand, is able to revolve freely in any direction. As a matter of fact,
whilst the current is flowing the bobbin sets itself north and south
like any other magnet--a very ordinary performance, the reader may
remark! But, on the other hand, if the flexible wires be changed over so
that the one previously connected to the battery’s positive terminal is
now connected to the negative and _vice versa_, with the result that the
current travels round the bobbin coils in an opposite direction, the
electro-magnet swings half a turn, and comes to rest with its pole that
was towards the north now pointing south. So that the bobbin resembles a
weathercock, except in so far as it changes with the current instead of
the wind (Fig. 14).

[Illustration: FIG. 13.--The filings arrange themselves in a curious
design.]

[Illustration: FIG. 14.--An electrical weathercock.]

_Experiment 7._--The number “7” has been regarded among races of men as
peculiarly fortunate. Perhaps happily, therefore, it falls to this
experiment, which, indeed, is rather the construction of new than the
arrangement of old apparatus. The magnetic properties of a bell-bobbin
may be utilized in constructing a primitive electro-motor. Decapitate
four 1¹⁄₂-inch nails, and, having bent ¹⁄₈-inch of both ends of each at
right angles, mount them equal distances apart round the circumference
of a thread reel (Fig. 15).

[Illustration:

  A. Nail ready to drive into reel.

FIG. 15.--A primitive electro-motor.]

[Illustration:

  A. Square of copper or tin.

  B. Brass standard.

FIG. 16.--Standard for electro-motor.]

Next plug the center hole of this reel with hard wood, and bore another
hole through of smaller diameter, so as to slide stiffly on a straight
piece of ¹⁄₈-inch brass wire. About 1 inch from the cotton reel is to be
soldered a ³⁄₈-inch square of tin or copper sheet, having a hole at its
center through which the brass spindle passes (Fig. 16). Two small brass
standards, for which straightened curtain-rod clips may well be
employed, are screwed about 3¹⁄₂ inches apart to a wooden baseboard, and
have a hole drilled near their top edges to accommodate the spindle (B,
Figs. 16 and 17). This being placed in position, should be provided near
the bearings with washers (E, Fig. 17) and beads (D, Fig. 17), the
washers being soldered in order to prevent lateral movement of the
shaft. Lastly, with a view to realistic appearance, solder a small tin
fan (C, Fig. 17) to one projecting end of the spindle, and enamel or
paint it gray. The arrangements of these fittings are made quite clear
by the diagram.

[Illustration: FIG. 17.--An electro-motor.]

[Illustration:

  H. Wood strip across top of magnet.

  I. Block of wood supporting bobbin at correct height.

  J. Wood base board.

FIG. 18.--Bell-bobbin mounted.]

By now the most difficult part of our task has been attempted, so that
if the reel and spindle revolve “sweetly” in the bearings, no doubt need
be entertained as to whether the motor will ever reach completion.

The bell-bobbin must be mounted with its magnet faces as near the reel
circumference as possible, and with their centers the same height above
the baseboard as the spindle. A piece of wood beneath the bobbin, of
such thickness as to keep it at the right height, and another strip
across the top, through the ends of both of which screws are driven into
the baseboard, will secure the magnet firmly in position (Fig. 18). The
next operation is to bend a springy strip of brass to the shape shown in
F, Fig. 19, and fix it immovably by the screw G--round which one free
end of the bobbin wire (L) has been twisted several turns--to the
baseboard, so that its top portion misses the metal square or
contact-breaker (P) on the spindle by about ¹⁄₄ inch. Now drive a second
screw (R) carefully into the wood through another hole in the strip,
until this latter presses lightly against each point of the
contact-breaker successively as the spindle revolves.

[Illustration: FIG. 19.--The contact-breaker.]

[Illustration: FIG. 20.--Showing wire connections (X, Y, Z) and motor.]

The little motor is now complete, except, perhaps, for the addition of
two terminal screws, one of which is joined with the remaining free
bobbin wire, and the other by a short length of wire to either of the
bearings. The entire connections are shown in the accompanying sketch
(Fig. 20). Now for working! Connect the battery wires to the motor
terminals, and adjust the spindle so that one corner of the
contact-breaker is fairly touching the vertical brass strip. A current
should now be flowing round the bobbins, which consequently become
magnetized and attract the nearest iron nail fastened to the thread
reel. If the iron is not sufficiently near to be under the magnet’s
influence, turn the reel _on the shaft_ until it is in the proper
position. The motor, with a little adjustment, ought to run merrily, as
the bell-bobbin--alternately magnetized and demagnetized--attracts and
releases the short iron bars.

_Experiment 8._--Connect the battery terminals together by means of some
thin iron wire such as is used for wiring flowers, and twist it into a
spiral so that it may rest comfortably in a cup of cold water (A, Fig.
21). Stand also therein a thermometer (B, Fig. 21). The water’s
temperature will be observed to rise steadily, showing that the passage
of the electric current heats the iron wire (C, Fig. 21), which in turn
imparts some warmth to the surrounding liquid.

[Illustration: FIG. 21.--Warming water by electricity.]

[Illustration: FIG. 22.--Decomposing water into its chemical
constituents by means of an electric current.]

_Experiment 9._--The previous experiment showed that an electric current
heats a material through which it passes. If the thin iron wire be
shortened to a length of about ¹⁄₂-inch, our battery will probably bring
it to red-heat, thus demonstrating the principle of electric
incandescent lamps. The difference between theory and practice, however,
in this case consists in the use of carbon, or, very rarely, platinum,
in place of the iron filament, and of inclosing this in a glass bulb
free of air, so that combustion cannot proceed rapidly.

_Experiment 10._--Immerse two wires from the battery terminals at some
little distance apart in a glass of water, which has been _slightly_
soured with sulphuric acid or spirits of salt. The weak acid readily
conducts the electric current, which decomposes the water into its
chemical constituents, hydrogen and oxygen, the former gas coming off in
bubbles at the wire which leads from the battery tins, and the oxygen
round the other conductor (Fig. 22). The hydrogen bubbles may perhaps be
ignited as they are evolved by holding a lighted match just near the
water’s surface; or another method is to seal the wires into separate
glass tubes, so that both dip beneath the water, and light the hydrogen
gas as it escapes from the tube’s upper end (Fig. 23). In this case
great care must be taken to allow time for the expulsion of all air from
the tube, because hydrogen and air in certain proportions form a very
explosive mixture.

[Illustration: FIG. 23.--The hydrogen bubbles may be ignited by holding
a match near the free end of the hydrogen tube.]

[Illustration: FIG. 24.--Electro-plating in its infancy.]

_Experiment 11._--Repeat the foregoing experiment, using copper sulphate
solution in place of the acidified water. After the current has passed
for some time, one of the wires will be noticed to have become thicker
whilst the diameter of the other has decreased. This behavior is owing
to deposit of copper from the solution on the one conductor and
abstraction of metal from the other, whose bulk diminishes in
automatically maintaining the solution’s strength (Fig. 24). In this
reaction is seen the basis of commercial electroplating--silver and
nickel solutions being mostly employed instead of the copper bath, since
these are the metals with which those of a baser nature are more
frequently plated.

_Experiment 12._--Electrotyping is a modification of electro-plating,
where a mold of wax coated with some conducting substance like graphite
is used to deposit the metal upon. Melt some quantity of sealing-wax on
to a piece of cardboard, so that it spreads out slightly larger in
diameter than a fifty-cent piece, and when just plastic press the “head”
surface of the new coin into the wax, so that an exact replica is
obtained. Fasten a copper wire by some extra wax to the cardboard disc
(as in Fig. 25), and carefully cover the whole matrix with powdered
blacklead, working it well into the crevices and up to the copper
conductor, with a camel-hair brush. Hang this in a jar containing
saturated copper sulphate solution--the copper wire being connected to
the negative battery terminals (A, Fig. 26), whilst a sheet of copper or
coil of wire is suspended in the solution some little distance from the
sealing-wax mold, with a wire connecting to the other battery terminal
(B, Fig. 26).

[Illustration: FIG. 25.--Preparation for experiment in electrotyping.]

[Illustration: FIG. 26.--Sealing-wax mold suspended in solution of
saturated copper sulphate, near to sheet of copper or coil of wire.]

So long as the current continues flowing a reddish deposit will form on
the blacklead surface, and if the action be allowed to continue until a
fair thickness of metal is secured, the wax may be carefully melted off,
leaving an exact relief of a fifty-cent piece’s reverse side in a
copper. Any medal or seal may be used in place of the silver piece to
obtain a first mold, but the coin has been mentioned as being probably
the most suitable article near at hand.

With this example of electrotyping, our series of descriptions must
terminate. But the embryo scientist, who has traveled thus far, need not
cast his apparatus to the winds and henceforward forsake electrical
matters. He may arrange various combinations of wines and liquids--such,
for example, as passing the current through water to his motor, and
noting the decrease in speed, or insert various lengths of iron wire in
the circuit. Possibly the batteries will betray exhaustion, and they may
then be reinstated by discarding the old salt solution, rinsing and
replenishing the granulated zinc, and washing the flannel bags in
permanganate of potash solution. These batteries are, in fact, a real
asset, as they can be used--three or four together--in setting up an
electric-bell installation, and are easily replenishable, when at length
their life begins to ebb.

An endless fund of amusement--less expensive and more instructive than
many--awaits those who explore the realms of the pygmy lightning spark.




CHAPTER XXXVI

SAFE SCIENTIFIC EXPERIMENTS


AMUSING TRICKS WITH SIMPLE APPARATUS

TO many boys and girls who have acquired at school some knowledge of
Science, the mere mention of the words “Scientific Experiments” recalls
memories of experiments far from amusing, for the science of the
laboratory is more often than not accompanied by some of the innumerable
little worries of school life.

When, however, experiments are conducted at leisure in the home, the
work assumes a totally different aspect, and much pleasure may be
derived from it.

Not only may such experiments become a source of great amusement, but
they are of considerable educational value, since it is from the study
of the most elementary scientific laws that some of the greatest
discoveries of modern science have been made.

The aim of this chapter is, then, to place before you a series of
interesting and instructive experiments which may be performed for the
amusement of yourselves and friends on occasions when outdoor recreation
is impossible.

In selecting these experiments, endeavors have been made wherever
possible to mention only home-made apparatus, or such requisites as are
easily procurable at very slight cost.

Of what, then, do these amusing experiments consist?


PIERCING A COIN WITH A NEEDLE

The first is one which, at a casual glance, seems impossible to perform.

To pierce a copper coin with a needle, especially if the needle is thin,
seems, indeed, a tremendous task. It is, however, very simple.

The apparatus necessary consists of a cork, a needle, and a hammer.

Stick the needle through the cork in such a manner that the point only
just protrudes, and, with a pair of pincers, cut off the head of the
needle remaining above the cork.

Then, having placed the coin and cork as shown in the diagram, hit the
cork vigorously with the hammer (Fig. 1). The needle being unable to
bend in any direction owing to the cork keeping it rigid, will pierce
the coin quite easily, since we know that the steel of which the needle
is composed is harder than the copper of the coin.

[Illustration: FIG. 1.--Coin piercing extraordinary.]

[Illustration: FIG. 2.--A match trick.]


A MATCH TRICK

Another very interesting experiment is that performed with an ordinary
match, a bottle, and a coin.

[Illustration: FIG. 3.--Coin leaving match and dropping into the
bottle.]

Bend in two an ordinary large match, thus partly breaking it, in such a
manner that the two parts hold together by a few fibers of wood.

Place it, thus broken, on the neck of a bottle, and then on the match
place a dime or any other small coin.

Having done this ask a friend if he can make the coin fall into the
bottle without touching the coin, the bottle, or the match. You will
find that he will search in vain for a solution to this seemingly
impossible task, which however may be overcome in a very simple manner,
as may now be seen.

Dip your finger in a glass of water, and placing it above the angle
formed by the match, allow one or two drops of the liquid to fall on
this angle (Fig. 2).

Immediately the fibers of wood, swollen by the moisture, try to
straighten themselves, and you will see the angle of the match increase
little by little until the match no longer supports the coin, which then
drops into the bottle (Fig. 3).


THE TRICOLOR GLASS

Most of us, if not all, know that if wine is carefully poured on water,
it floats on the surface, but not every one knows how to place the wine
at the bottom of the glass with the water above it, and this without
mixing the two liquids. For this experiment make use of the different
densities of hot and cold water.

Take an ordinary glass (moistened first with hot water to prevent its
cracking) and pour some boiling water into it.

Then by means of a funnel placed almost to the bottom of the glass, pour
in some wine which has previously been cooled by ice. By working
carefully you will see the wine form in a red layer at the bottom of the
glass (Fig. 4).

[Illustration: FIG. 4.--The wine at the bottom of the glass.]

[Illustration: FIG. 5.--The tricolor glass.]

Now gently remove the funnel, and pour on the surface a bluish liquid
lighter than water (for instance, alcohol colored with ink) (Fig. 5).

You will now have a layer of blue on top, thus completing the tricolor
glass, which will by the aid of a light project the three colors of the
flag on the wall. The tricolor glass may also be used for illumination
purposes.

To make it represent fireworks is even more entertaining.

If you allow the water in the glass to cool by placing it in a vessel
containing cold water, the wine will rise from the bottom of the glass
in the form of thin threads, strongly resembling rockets (Fig. 6).

The different liquids mix, and the descending columns of blue, mixed
with the ascending columns of red, produce a curious spectacle like that
of fireworks in a glass of water.

[Illustration: FIG. 6.--Water rockets.]

[Illustration: FIG. 7.--Changing water into wine.]


CHANGING WATER INTO WINE

This is not a reproduction of the miracle performed at the wedding feast
of Cana, but it is, nevertheless, a most interesting experiment.

Fill two tumblers (A), or wine glasses, of equal diameter, with water,
by completely immersing them in a basin of that liquid, standing one
upright and the other upside down upon it. When they are both completely
full, with not a bubble of air in either, join their rims and remove
them from the basin. Now place them upright on a dish, and, if their
rims fit accurately upon each other, the water will remain in them. It
is now necessary to place on the top of the upper glass a third glass,
(B), containing wine, or better still, spirits of wine in which is
dissolved a little aniline dye.

Now announce to your friends that without touching any of the glasses,
you will, before the eyes of the audience, cause the wine to pass from
the glass (B) into the upper (A) glass without a drop entering the lower
(A) glass.

In order to perform this amazing experiment take a strip of wool or
cotton, moisten it with the liquid contained in the top glass (B), and
hang it over the edge of this glass with one end completely immersed in
the liquid.

This forms an excellent siphon, for it allows the liquid in the top
glass (B) to flow away in drops which fall on and run down the glass
underneath until they reach the junction of the rims. Here they are
drawn in by capillary attraction, and, the wine being lighter than the
water, they rise to the top of the upturned glass (A), displacing the
water contained therein by causing it to flow out between the rims,
after which it collects in the dish below.

This action will go on until the top glass (B) is empty, when the whole
of its contents will find their way into the upturned glass, whilst the
lower one (A) remains perfectly clear (Fig. 7).


THE ERUPTION OF VESUVIUS

Many of us, no doubt, have often tried to picture to ourselves a volcano
in eruption, but most will confess that unless we have seen some very
good pictures of an actual eruption, we are not at all certain that our
self-made picture is correct.

Now to detail an experiment which gives a vivid idea of a volcano in
action.

At the bottom of a large glass bowl put a flask containing red wine, or
spirits of wine, in which has been dissolved a little aniline (B, Fig.
8). This flask should be closed by a cork pierced with a very narrow
hole. By the aid of plaster, or, simpler still, of earth or clay,
fashion a mountain around the flask, leaving at the top a hole through
which the cork can just be seen. This will form the crater.

Having made your volcano, fill the bowl with water (A, Fig. 8), and you
will now witness the eruption.

We know that, owing to the difference in the density of the two liquids,
the water will penetrate into the flask, thus displacing the wine, which
escapes in a thin red column. As this column nears the surface, it will
spread out, thus resembling a cloud of fiery smoke as seen issuing from
a volcano.

Care must be taken to shake the water, in order that the streak of color
may represent in as realistic a manner as possible the reddish smoke of
a volcano disturbed by the wind.

[Illustration: FIG. 8.--The eruption of Vesuvius.]

[Illustration: FIG. 9.--Vesuvius in eruption.]

In this way you will provide your friends with an almost exact
reproduction of Vesuvius in action (Fig. 9).

[Illustration: FIG. 10.--A peculiar candlestick.]


A PECULIAR CANDLESTICK

Water supporting a lighted candle seems a very peculiar form of
candlestick; and yet despite this it will be found quite as serviceable
as any other.

To make the candlestick is quite easy. All you have to do is first to
weight the end of a piece of candle (previously used) with a nail or
piece of metal, in such a manner that, when placed in a vessel of water,
the liquid will be flush with the edge of the candle without wetting the
wick.

Next light the candle, and announce that, in spite of the unfavorable
surroundings, your candle will burn to the end.

This may at first seem extraordinary, but a little reflection will show
that your statement is correct, for this experiment is only a striking
example of the Law of Archimedes, which states that “when a body is
immersed in water, it loses in weight an amount equal to the weight of
the water displaced.”

Now, whilst the candle is being consumed it is becoming shorter, but,
on account of its diminution in weight, it rises in the water at the
same rate at which it is consumed (Fig. 10).


MAKING A PAPER FISH SWIM

The title of this experiment suggests something rather wonderful,
indeed, for it seems impossible to impart motion to a paper fish.

It may be done, however, and quite easily, as will be seen from the
following.

From a piece of ordinary paper cut out a fish like that shown in the
diagram, and of the size of an ordinary fish. In the center make a
circular hole (A), communicating with the tail by a narrow canal. (A B)
(Fig. 11). Having done this, fill an elongated vessel with water, and
place the fish on the surface of the liquid in such a manner that the
underneath face is completely moistened, while the other remains quite
dry.

[Illustration: FIG. 11.--The swimming paper fish.]

You are now ready to set the fish in motion; but to add to the interest
of the experiment, challenge any of your friends to make the fish move
without touching or even blowing upon it.

This may seem to them impossible. This is how it is performed.

[Illustration: FIG. 12.--The swimming fish.]

With great care pour one large drop of oil into the opening (A); the oil
at once tries to spread over the surface of the liquid, but that is only
possible if it escapes by the narrow passage (A B).

This it does, and owing to the reaction the fish is thrust in the
direction opposite to the flowing of the oil--_i.e._ it will be thrust
forward, the movement lasting long enough for the spectators to view
with astonishment the unusual sight of a paper fish swimming (Fig. 12).


FLOATING PINS AND NEEDLES

[Illustration: FIG. 13.--The floating pin.]

If a drop of water is placed on glass it will at once spread, but if the
same thing is done with a drop of mercury, the liquid will not spread,
but remain in the form of a bead.

These two different results are due to the fact, that whilst the water
wets the glass the mercury does not.

Now take a pin which has been well dried; it is a body which water will
moisten, but owing to its very smooth surface, not so easily as in the
case of glass.

Suppose, then, that by some means or other you can place the pin so
gently on the surface of the liquid that the water does not make it wet,
you will notice that the water takes on either side of the pin a convex
shape, and in this way a sufficient volume of water is displaced to
allow the pin to float as if it were a match.

The experiment may, of course, be as easily performed with a needle; nor
must it be thought it is confined to pins and needles which are thin,
for, with care, you may even succeed with big darning-needles.

It has not yet been shown, however, how to place the pin on the water in
such a manner that it is not made even wet.

There are several ways of doing this, some requiring considerable
practice.

The following is the simplest.

Float on the surface of the water a cigarette paper; place the pin upon
it; leave the paper to sink to the bottom when it has become soaked, and
the pin will float without any difficulty, for on either side of the pin
the water takes the convex shape before mentioned, thus displacing
sufficient water to allow the pin to float.

In order to hide from the spectators the stratagem you have employed,
gently remove the paper before showing them the floating pin.


JOINED BY AIR

The picture below is not taken from a prospectus advertising cement for
joining glass and porcelain, but is simply used to show how atmospheric
pressure may be utilized for joining glasses and plates.

In order to accomplish this it is necessary to form a vacuum, but as an
air-pump is not at the disposal of every boy a partial vacuum must
suffice.

To obtain this partial vacuum suspend a glass from the ceiling, or any
other suitable place, by means of a string, and under it burn a piece of
paper. This will cause the air it contains to expand. Immediately
afterwards place the plate over the mouth of the glass, and it will
adhere quite firmly.

In order to prevent the entrance of any external air, and thus destroy
the vacuum, the edges of the glass may be smeared with tallow.

Now, how is it that the glass and plate are so easily fixed? Well,
directly the hot air contained in the glass comes in contact with the
cold surface of the plate, the air contracts, and as the plate prevents
the entrance of any more air, a partial vacuum is formed within the
glass.

[Illustration: FIG. 14.--Joined by air.]

As the atmospheric pressure is much greater than the pressure from
within, the plate remains firmly fixed to the glass (Fig. 14).


GLASS RAISING EXTRAORDINARY

This experiment, similar in principle to the last, is quite as striking
in its effect.

It consists of raising in air a glass filled with water, by causing it
to adhere to the hand when the latter is held quite open.

With the last experiment fresh in our minds, it is not difficult to
guess that this phenomenon is due to the existence of a partial vacuum
under the hand, but it is not so easy to know how to obtain this vacuum.

The means of carrying out the experiments are as follows:--

Put the glass filled with water on the table, and over the top place
the palm of the hand, taking care that the four fingers are bent almost
at right angles, as shown in the first of the accompanying figures (Fig.
15).

If, continuing to press the palm of the hand on the edge of the glass,
you raise the four fingers quickly, thus having the palm stretched out,
you will force out most of the air which is between your palm and the
surface of the water, and in this way you will produce under your hand a
partial vacuum. This vacuum will be sufficient to allow the atmospheric
pressure to overcome the weight of the glass and its contents; thus a
sucker is formed which allows the glass to remain attached to the hand
(Fig. 16).

[Illustration: FIG. 15.--Glass raising extraordinary.]

[Illustration: FIG. 16.--Glass raising extraordinary.]


A NOVEL GLASS EMPTIER

If you are given a glass filled with water, and a bottle equally full,
and then asked to empty the glass by means of the bottle, and that
without emptying the bottle itself, you will imagine you have been set a
very difficult task indeed.

[Illustration: FIG. 17.--The glass-emptying bottle.]

You will soon see, however, that the solution to this seemingly
difficult experiment is quite simple.

First take a cork, and in it pierce two holes. Through these gently push
two straws, one being as long as the glass, the other considerably
longer (Fig. 17).

By means of a pellet of bread or wax close the opening of the shorter
straw, and push the cork into the bottle until the water gushes out of
the longer straw.

In order to empty the glass it is now only necessary to turn the bottle
upside down, in such manner that the little straw touches the bottom of
the glass.

Then, taking a pair of scissors, cut this straw very near the end which
is sealed.

Immediately the water in the glass will flow out by the long straw until
the glass is quite empty, despite the fact that the bottle has remained
full all the time (Fig. 18).

Now for a few words of explanation, in order to make clear the reason
for this unexpected action.

The two straws form the two arms of a siphon, and as they are full of
water it is not necessary to remove any air from them.

[Illustration: FIG. 18.--A novel glass-emptier.]

As the liquid flows out of the long straw, it tends to produce in the
bottle a vacuum. As a vacuum is contrary to nature, it is immediately
destroyed by the entrance of an equal quantity of water from the little
straw, for the atmospheric pressure exerted on the water in the glass
keeps this little straw continually full. In this way all the water is
drawn from the glass by the bottle filled with water.


A STRIKING SIPHON EXPERIMENT

A very pretty experiment with the siphon may be performed by making use
of the following simple apparatus: An ordinary glass; a little water
colored, say with aniline; a piece of rubber tubing about an inch long,
one end of which is cut obliquely, as shown in the diagram; together
with a piece of glass tubing from four to five feet long.

[Illustration: FIG. 19.--A siphon experiment.]

This tubing may be obtained from almost any druggist.

Prepare for your experiment by taking the length of tubing and, with a
gas flame, drawing one end out to a point.

Having done this, bend the tube twice, as shown in Fig. 19, particular
care being taken to avoid any sharp angles. The bending of this tubing
is easily done by holding it in a gas or spirit-lamp flame until the
flame is colored yellow. The glass is then soft enough to be gently bent
to the required angle.

Over the end which is not pointed slip the piece of india-rubber tubing,
and then place this end in the colored water.

By applying suction to the pointed end of the tube with your mouth, the
siphon may be set in motion.

If now you so arrange the tube that the oval opening is partly out of
water, the flowing liquid will draw in bubbles of air which, passing
alternately down the tube with the drops of colored water, produce a
very pretty result.

The shape and size of the air bubbles may be altered at any time by
raising or lowering the tube, and this will add to the effect of the
experiment.

The experiment may be again varied by removing the tube from the liquid,
and before lowering it again, allowing 10 or 12 inches of air to enter.
This long bubble will be seen to pass slowly down the tube until it
arrives at the small opening, when it will be expelled at a great rate.
The liquid following this bubble acquires the same velocity, and,
arriving at the point, is ejected with such force that it will rise to a
height of 6 or 7 feet.


AN ELECTRIC FOUNTAIN

Most of you would like to make an electric fountain, especially when you
learn how simple and easily arranged is this striking experiment. Your
apparatus consists solely of a glass, a long india-rubber tube, with two
small glass tubes and a piece of sealing-wax (a stick of sulphur or
piece of vulcanite will do just as well).

Make a small nozzle by drawing out a length of bent glass tubing, and,
by means of a long piece of india-rubber piping, fix it to another piece
of bent glass tubing. Place the first piece of tubing bent at two right
angles over the side of a glass filled with water, taking care that the
reservoir thus formed is from 3 to 4 feet above the nozzle (Fig. 20).

When the fountain is playing the issuing jet of water will be inclined
to one side.

Now to electrify the fountain. Take the piece of sealing-wax, vulcanite,
or sulphur, and, after seeing that both your hand and the material you
hold are perfectly dry, rub the sealing-wax on the sleeve of your coat.

[Illustration: FIG. 20.--An electric fountain.]

If now you hold the sealing-wax opposite the stream of water, at a
distance of a few feet, a remarkable change will come over the cascades.
Instead of the water falling in scattering drops, these latter will at
once unite, and descend in a solid stream, whilst directly the
sealing-wax is removed the jet of water returns to its original form. If
the water be allowed to fall on a piece of stiff paper, a difference in
sound will be noticed according as the water falls in a stream or in
drops.


THE BOTTLE CANNON

Doubtless you would like to have at home the experience of firing a
cannon, of hearing a report loud enough to frighten nervous persons, to
see the shell fly as quick as lightning, and then to witness the recoil
of your home-made piece of artillery.

Your apparatus will be quite simple, for you must first take a strong
bottle, such as a vinegar, or better still, a champagne bottle, and fill
it a third full with water.

Next take a little carbonate of soda, and also some tartaric acid, both
of which may be obtained at any druggist’s, taking care to wrap them in
packets which will not be confused one with the other.

Dissolve the carbonate of soda in the water contained in the bottle, at
the same time placing the tartaric acid in a playing card rolled in the
form of a cylinder, one end of which should be filled with a plug of
blotting-paper.

[Illustration: FIG. 21.--The bottle cannon.]

Having accomplished this much to your satisfaction, suspend the
cartridge just made from the cork of the bottle by sticking in it a pin
to which is attached a thread, particular care being taken that the
bottle is standing upright on the table, and that the open end of the
tube is the upper one.

After having regulated the length of the thread so that the bottom of
the tube does not touch the liquid in the bottle, tightly fit the cork
in.

You now have your cannon charged, and all that remains to be done is to
fire it.

This is done by laying the bottle horizontally on two pencils placed
parallel to one another, thus forming a gun-carriage. Immediately the
bottle is so placed, the water penetrates the tube, and dissolves the
tartaric acid. The carbonic acid gas which is immediately produced blows
out the cork with a violent explosion, whilst at the same time, owing to
the reaction, the bottle rolls back on the two pencils, in exact
imitation of the recoil of a piece of artillery (Fig. 21).




CHAPTER XXXVII

SAFE CHEMICAL EXPERIMENTS


TWENTIETH-CENTURY “BLACK ART”

AS we stand in the twentieth century and peer curiously down the
corridors of Time, we find at all periods a deep interest in chemical
phenomena.

From the age when wisdom devoted itself in vain to the discovery of an
elixir of life and a method of transmuting the base metals into gold, to
the present day, when scientists pursue their experiments with more
reasonable and far worthier hopes, chemistry appears never to have
suffered any dearth of devotees, despite the fact that in olden times
one had either to occupy a high position or be a man greatly daring if
the Black Art was to be followed without fear of molestation.

To-day matters are different, so that the junior chemist need only
anticipate interference from _materfamilias_--a truly excellent person,
who, however, invariably regards chemical concoctions with hostile
contempt.

The obstacles instanced in the previous paragraph being foreseen,
perhaps no better initiative can be taken than to conciliate the
household deities by the performance of some particular experiment which
has an obviously beneficial result. This might happily be the removal of
ink stains from white linen; and naturally, if no cloth happen to be so
disfigured, some arrangement must be made whereby the ink is
accidentally spilt!


EXPERIMENTS WITH CHLORINE

(1) _Apparatus._--Erect a 4-oz. round-bottom flask about 8 inches above
the table (A, Fig. 1), by clamping its neck in a wooden clip or twisted
stiff iron wire, and fastening this to a firm standard. Introduce three
or four tablespoonfuls of powdered manganese dioxide (obtainable cheaply
in qr. lbs. at most druggists’), and pour over this spirits of salt
until the flask is one-third full. Into the neck now fit a cork provided
with two circular holes, through one of which a stem funnel passes, and
into the other a glass tube fits tightly, being bent at two right
angles, as shown in Fig. 1. The glass tube may be readily bent by
softening it first over a spirit lamp--the flame being colored distinct
yellow when the glass reaches a pliable state. Slide a 4¹⁄₂-inch disc of
paper (B, Fig. 1) on the free limb of the tube, and also soak several
4-inch circles of cardboard in water. These will make satisfactory
covers for the small glass preserve jars, in which the gas is to be
collected.

[Illustration: FIG. 1.--Apparatus for chlorine experiments.]

(2) _Preparation._--Place one jar beneath the glass tube so that the
latter’s orifice reaches nearly to the bottom, and slide the paper disc
down until it covers the mouth of the jar C. On warming the glass flask
gently with a spirit lamp or, if available, Bunsen gas flame, a
greenish-yellow gas is evolved, and gradually expels the air from flask,
tube, and jar, until this latter is filled with heavy chlorine. The
warming is then interrupted whilst the one jar is removed, covered with
a moist cardboard disc, and replaced by another. The heating again
proceeds, and so on until each remaining jar is successively filled.

[Illustration: FIG. 2.--The unalterable postmark.]

_Chlorine Experiments_ (1).--Damp an addressed envelope, received
through the post, by pressing between sheets of wet blotting-paper, and
stand it in a jar of chlorine with the cover replaced (A, Fig. 2). The
writing ink address will soon begin to fade and finally disappear,
whilst the postmark, which has been impressed in indelible printing ink,
remains unaltered. This reaction shows that chlorine possesses the
valuable property of bleaching writing ink. It may be turned to account
in removing stains from cloth by wetting the spoiled material first and
then standing in a vessel containing the yellow gas (Fig. 3). The fabric
must be quite damp, however, as bleaching only proceeds in the presence
of moisture. Coloring matters, other than black ink, are readily removed
by chlorine, as may be strikingly shown by steeping a wet rose blossom
or bunch of violets in a jar of the gas (Fig. 4); the flowers assume a
transparent waxy appearance, that will puzzle any spectator as to their
real identity.

[Illustration: FIG. 3.--Removing stains from linen by means of
chlorine.]

[Illustration: FIG. 4.--The transparent rose.]

_Chlorine Experiments_ (2).--The energetic gas attacks many substances
spontaneously. If thin blotting-paper be soaked in turpentine, drained,
and dropped into a jar of chlorine, the oil takes fire at once, burning
rapidly amid smoky black fumes. Metals are attacked just as readily as
the inflammable oil of turpentine. Powdered antimony metal or iron
filings shaken into a jar of chlorine scintillate brilliantly with the
evolution of thick white fumes. Similarly Dutch metal leaf, used for
gilding cheap picture frames, ignites in the gas; a salt of copper being
precipitated to the bottom of the jar when the action has ceased.

_All dealings with chlorine should be conducted in a well
ventilated--even draughty--room, and care must be taken not to inhale
the gas._ It corrodes animal tissues just as eagerly as it attacks
turpentine and metals. The gas is very heavy, however, and is therefore
the less difficult to keep under control.

_Niter Paper._--Touch-paper burns quickly, surely, and without flame. It
is prepared by soaking thin tissue paper with a saturated solution of
saltpeter in weak vinegar, and when dry feels rough and crisp to the
touch. Moreover, it burns with a rather pleasant smell. The
advertisement scheme of bygone days, wherein a lighted match was placed
on a particular spot of a paper sheet, and thence the name of the
advertised commodity gradually burnt itself out over the surface, was a
modification of this preparation (Fig. 5). The name or design is simply
drawn with a pointed stump of wood dipped repeatedly in the saltpeter
solution, and the starting-point marked conspicuously by a cross or
black spot. When dry a match is applied to this mark. If there is a
tendency for other parts of the paper than the design itself to burn, a
short immersion in dilute alum solution, when the saltpeter lines have
dried, may be resorted to.

[Illustration: FIG. 5.--A niter paper experiment.]

_Electric Fire._--This compound is in no way of an electric nature,
except that it burns rapidly with brilliant blue illumination. The
constituents are flowers of sulphur, saltpeter, and antimony, four parts
of the former being intermingled with ten parts of powdered saltpeter,
and then one-seventh the total quantity of powdered antimony finally
added. Thorough mixing by gentle stirring must be insured. A good method
of firing the powder is to pack it round a twist of touch-paper in a
small mustard tin, threading the fuse (A, Fig. 6) through a hole in the
lid, so that it may be lighted easily. The mixture burns not only
brightly, but with intense heat--sufficient to melt the thin iron of the
inclosing tin.

[Illustration: FIG. 6.--Lighting electric fire.]

[Illustration: FIG. 7.--A sodium or potassium experiment.]

_The Lightest Element._--Hydrogen is a gas at ordinary temperature, and
has the honor of being the lightest element, for all practical purposes,
known. For this reason it finds wide employment in filling balloons and
airships. The most common methods of preparation consist of decomposing
water or an acid in their several constituents, either by the influence
of electricity or the reaction of a metal. For instance, if a pea’s bulk
of sodium or potassium metal be thrown into a basin of water, A, Fig. 7,
(the experimenter should not bend directly over the vessel), a violent
reaction ensues, the metal decomposes and hustles round the surface as
though in feverish excitement, and in the case of potassium a purple
flame springs up spontaneously. The sodium may also be ignited if it is
thrown on to a floating piece of blotting-paper, or if the water be
thickened with starch. This metal burns with a yellow flame, or rather
colors the hydrogen flame yellow.

[Illustration: FIG. 8.--An interesting hydrogen experiment.]

Preparing hydrogen by the foregoing method is inconvenient and expensive
if any quantity is to be collected, and so in this case the following
plan is usually adopted:--Support a flask (A, Fig. 8), and place zinc
chips (B) in it to the depth of about ¹⁄₄ inch. Fit the mouth with a
cork, through which passes a delivery tube (C) and a “thistle” funnel
(D), dipping nearly to the level of the zinc. When the gas is required,
dilute sulphuric acid--one part oil of vitriol to ten parts water--is
poured down the funnel until the flask is about one-third filled (E).

Five or ten minutes should be allowed after bubbling has commenced
before an attempt is made to light the gas at the delivery tube, as
otherwise air from the flask may be intermingled in the exact proportion
to cause a bad explosion. _No danger need be feared if several minutes
are allowed for the air to be thoroughly dispelled, or, as an additional
measure of safety, a damp towel_ (F) _is wrapped round the flask to
prevent scattering of the glass in the event of a mishap._ The glass
delivery tube should have been softened in a spirit flame and drawn to
a fine point where the hydrogen issues. The gas will be found to burn
with an almost colorless flame.

If a glass tube (A) of larger bore than the delivery pipe be slid over
this latter while the gas burns, a peculiar musical note is
produced--hollow-sounding and shrill (Fig. 9). It is caused by the rapid
succession of slight explosions which constitute the combustion of
hydrogen.

[Illustration: FIG. 9.--A musical flame.]

The extreme lightness of hydrogen, as well as its combustibility, is
well illustrated by blowing a soap bubble. Connect a clay pipe with the
glass delivery tube by means of a length of india-rubber tubing, and
provide this latter with a small clip--tie-clip, for example--so that
the gas supply may be shut off at will (Fig. 10). Let the hydrogen pass
for a minute or so, to clear air out of the clay pipe, and then, having
shut off the gas, dip the pipe bowl into soap-suds. Next open the clip
until the hydrogen has blown the bubble large enough, and then shut off,
shaking the shimmering globe free. It will rise very quickly, just like
an unballasted balloon, and if a lighted taper be applied to its surface
it will explode to annihilation with a loud report.

[Illustration: FIG. 10.--To explode a soap bubble.]

[Illustration: FIG. 11.--Freezing a flask of ammonia to a block of
wood.]

_Spirits of Hartshorn._--Commercial ammonia is actually an aqueous
solution of the gas, which dissolves to an abnormal extent in water.
When it has been absorbed as much as possible the liquid weighs only
22.25 as much as an equal bulk of water, owing, of course, to the
latter’s association with a compound far lighter than itself. So great
is the energy of solution that heat is dissipated from the liquid as
absorption proceeds. Conversely, if the gas be dispelled by blowing air
through strong liquor ammoniac, heat is rapidly absorbed at the expense
of surrounding objects. To show this, stand a small flask in a pool of
water on a wood block, and having about half filled the flask with fresh
ammonia, blow into this through a glass tube connected with the mouth by
a length of rubber tubing (Fig. 11). No long time should elapse before
enough heat has been abstracted from the water to convert it into ice,
so that the flask is frozen firmly to the wood.

Another demonstration of water’s avidity for ammonia gas is afforded by
the following performance. Erect one large flask (A) in an inverted
position, so that the distance between its neck and the table is several
inches greater than its own height. Some distance away, as shown in Fig.
12, erect a small 4-oz. flask (B), and half fill it with a mixture of
four parts sal-ammoniac to three parts slaked lime (C). Fit the neck
with a cork and a delivery tube, which has been so bent as to pass
through a stopper in the mouth and reach nearly to the bottom of a jar
(D) packed with quicklime (E).

Another glass tube (F) issues from this chamber--but only from just
below the cork’s under surface--and passes upwards into the orifice of
the large flask. A square of paper (G, in Fig. 12) is pushed over the
glass tube and presses against the mouth of the flask.

[Illustration: FIG. 12.--To prove water’s affection for ammonia.]

If now the mixture in the 4-oz. flask be warmed, ammonia gas is
produced, and having been robbed of moisture by the quicklime through
which it passes, travels upwards, and collects in the large inverted
flask. When the action has continued for a little while, stop the
heating and remove the delivery tube, and bring an open spirits of salt
bottle near the inverted flask’s mouth. If dense white fumes are
immediately formed, the flask is known to be filled with ammonia gas,
and must be corked up.

[Illustration: FIG. 13.--A novel fountain.]

Beneath this container is next stood another large flask filled with red
litmus solution (A) and fitted with a stopper, through which pass two
glass tubes (M and N, in Fig. 13). One of these (N) is bent outwards,
and extends only just inside the flask’s neck, whilst the other is long
enough to reach from the bottom of the lower flask almost to the top of
that holding the ammonia. Instead of red litmus solution, a liquid made
by boiling red cabbage leaves in water, and adding _just enough_ vinegar
to dispel entirely the bluish coloration, may be used with equal
success.

The position then is that two flasks--of which the upper (B) holds
ammonia gas, whilst the lower retains a pink solution--are supported one
above the other, their necks approaching and joined by a glass tube (M).
A second glass tube (N) also emerges from just above the surface of the
pink liquid, and is bent outwards from the flask, so that it may be held
in the mouth. When this is blown through, the pink water is forced up
the connecting tube (M) and sprays out, fountain-like, within the upper
flask. Moreover, as the ammonia is so rapidly absorbed by the incoming
water, this continually ascends to fill the vacuum, which tends to form
as the gas is dissolved. The fountain continues to play when the blowing
has ceased, and further, although the spray presents a reddish tinge on
entering the flask, it immediately turns blue as the ammonia dissolves
(C, Fig. 13). This reaction indicates the alkalinity of ammonia, such
substances being capable of neutralizing acids, which redden solutions
of vegetable blues.




CHAPTER XXXVIII

ODD EXPERIMENTS


TO WHILE AWAY WINTER HOURS

THE famous King Belshazzar was much dismayed to see the mysterious
writing upon the wall of his palace. Without reducing your friends to a
similar state of terror, a very easy experiment can be performed
productive of the same effect, and if it does not exactly make their
knees strike together, it will astonish them very much.

The appliances are such as can be found in any home, and the strange
writing can be produced in the following way.

[Illustration: FIG. 1.--Showing relative positions of candle and mirror
so that patch of light is thrown on the wall.]

At one end of a dark room erect a screen that shall conceal you and your
apparatus effectually from the spectators. Upon a table behind this
screen place a large mirror, such as can be found upon any
dressing-table. Put a lighted candle in front of this glass, placing the
latter at such an angle that a large patch of light is thrown upon the
wall before you, as in Fig. 1.

The screen must, of course, hide all this from the company, who will see
nothing but the light on the wall.

To write your message is now a very simple matter. Dip a coarse brush
into some lamp-black water color, and, writing backwards, inscribe what
you wish upon the face of the mirror. The message will then appear
legibly upon the wall, seemingly written by a mysterious hand.

By dipping the brush into clean water and washing out what you have
written upon the glass, the message on the wall will disappear as
inexplicably as it appeared in the first place.

[Illustration: FIG. 2.--Thread passed round prongs of the bone.]

[Illustration: FIG. 3.--Match through twisted thread.]

A peculiar optical illusion is accomplished as follows. The wishbone of
a fowl or duck should be thoroughly cleaned, and a thread passed several
times around the prongs of the fork, as shown in Fig. 2. Having secured
the thread tightly, pass a strong wooden match between the strands,
twisting it several times until the prongs of the bone have been drawn
closer together (Fig. 3).

Now, pulling out the match sufficiently to allow of one end catching
against the fork, hold the bone firmly. Releasing the match it
immediately describes a circle, striking against the under part of the
fork, but so rapidly has it completed this revolution that the eye has
been quite unable to follow it. This causes an illusion that induces all
who witness the experiment to imagine that the match passes through the
fork of the bone at A.

But if the eye was too slow in the last experiment, it is so officious
in what is next to be described that it sees something which really does
not take place.

[Illustration: FIG. 4.--The lion and his cage.]

Draw a lion and a cage, as in Fig. 4. If you place a visiting card upon
the line A B, and put your face so near that the right eye looks upon
the lion whilst the left can see only the cage, you will observe the
lion walking into his cage as naturally as if he were at the Zoo!

A rather amusing experiment, and one which will afford immense pleasure
to the juvenile members of your party, is as follows:--

Cut a circular disc of stout cardboard 12″ in diameter. In the center
make a hole to allow the disc to revolve easily, but not loosely, upon a
wooden penholder, which should be fixed at right angles to a wooden
stick (Fig. 5).

[Illustration: FIG. 5.--Disc of cardboard kept in place with penholder.]

[Illustration: FIG. 6.--Showing box in correct position.]

Upon the center of the disc fasten a cylindrical cardboard box (A, Fig.
6), with the penholder passing right through it. This box should be
roughly 3″ high and 2″ in diameter.

At a radius of 4¹⁄₂″ from the center describe a semicircle upon the disc
at E F (Fig. 6), whilst upon the same half of the cylinder describe a
line as G H in the same figure. Now pierce about twenty-five equidistant
holes in E F and G H, joining them with thread, as in Fig. 7.

Cover these threads with little strips of paper in such a manner as to
make a plane surface, as shown in Fig. 8. Then fasten a cork upon the
end of a wire attached to the stick, and in a cleft in this cork put a
little cardboard figure as in the illustration.

Make the disc revolve by a rapid turn of the hand, and if a candle be so
placed as to cast the shadow of the little man upon the disc, he will
be seen engaged in making sundry passes and lunges in the manner of the
perfect fencer.

[Illustration: FIG. 7.--Mode of joining thread.]

[Illustration: FIG. 8.--The toy complete.]

Various other figures can be made in a similar way with great success,
and when cleverly managed the toy will be found most amusing.


LIFE PARTNERS

If at any time it should happen that an engaged couple are amongst the
friends whom you wish to entertain, a very simple piece of apparatus can
be made that will give these good people much pleasure.

In the four sides of a cube box, measuring 18″ each way, make an oval
opening, 9″ by 7″, as A, B, C, D in Fig. 9. Inside the box place two
mirrors, back to back, diagonally from G to E (Fig. 10), and contrive
four curtains to draw up simultaneously over the holes.

[Illustration: FIG. 9.--Showing box with oval openings.]

[Illustration: FIG. 10.--Showing box with oval openings and mirrors.]

You must now get two couples to look through the holes, arranging the
two men opposite each other, as at A and C, and the ladies at B and D,
promising them that by looking into the simple but magical box they
shall see the future partners of their lives and pleasures.

As soon as they are in position raise the curtains, when A will see B,
and C will be gazing at D, so that if you have sorted the parties
aright, they will feel so pleased with themselves and with you that no
inquiry will be made as to how the trick is done.

To turn from sight to hearing, the following is a simple experiment
which can be exhibited without any special apparatus.

Cut a plain cross from a sheet of notepaper, as in Fig. 11, and place it
over a wine-glass, bending the ends to prevent it slipping off. Almost
fill the glass with water, taking great care to leave the sides and rim
perfectly dry.

If you damp your finger and pass it over any part of the glass outside,
a distinct humming will be heard, but the more remarkable thing to
observe is that the cross will begin to revolve very slowly so long as
your finger rubs a portion of the glass between the arms of the
cross--as at A in Fig. 11. Yet when you begin to rub beneath one of the
arms the paper will remain perfectly still. A complete revolution of the
paper can be produced by rubbing round the glass in a circle.

[Illustration: FIG. 11.--Showing paper cross and glass almost filled
with water and cross placed over the top.]

The vibration of the glass when emitting the notes explains this
phenomenon, although the reason that the cross should remain still when
you rub beneath one of its arms is too technical for explanation here.

[Illustration: FIG. 12.--A “light” experiment.]


A LIGHT EXPERIMENT

Why do we wear white clothes in extreme heat and dark clothes in the
winter? To this question every one will answer that white clothes absorb
less heat than black, and that we therefore feel the rays of the sun
less.

Quite true; and yet, how is it that Polar bears and other Arctic
creatures exposed to such extreme cold are clothed in white?

The fact is that not only does white absorb less heat, but it serves to
retain heat, and a white coat preserves the natural warmth in the
animal’s body. This is exemplified by the following experiment, for
which only a tumbler is required.

Choose a glass with the lower part faced, as in Fig. 12. Color these
faces black and white alternately, a little India ink serving for the
former and some crushed chalk and water for the latter.

With a very small knob of wax fasten a pin to each face, as shown in the
figure. Having done this place a lighted candle within the glass.

The heat, striking the interior equally, is modified by the colors
painted on the outside to such an extent that after some little while
the wax supporting the pins of the BLACK faces is melted, whilst the
pins on the white parts remain unaffected. This shows very clearly that
the white prevents the escape of internal heat, as surely as it prevents
the penetration of external warmth.


THE PYROMETER

We all know that metals expand under heat. The amount of such expansion
may be measured by a simple little apparatus called a pyrometer.

[Illustration: FIG. 13.--Showing how to make a pyrometer.]

On a wooden base, B, C (Fig. 13), make two uprights, A and D, of which A
must be a half inch higher than D. Bore a hole a quarter of an inch from
the top of A, but not right through the wood.

A couple of pins must be bent into the shape of a Y and driven into the
top of D, as in Fig. 13. With a little sealing-wax fasten a paper
pointer to the eye end of a needle and lay the needle across the pins,
P, P (Fig. 14). Next place an ordinary knitting-needle in the hole at A,
and rest it over the small needle with the pointer. The pyrometer is now
complete.

Put a lighted candle under the knitting-needle between D and A, as in
the figure, taking care that the flame plays freely upon the needle. As
the latter grows hot you will notice that the pointer moves slowly from
left to right, being acted upon by the hot knitting-needle passing over
the axle at X.

[Illustration: FIG. 14.--Showing needle laid in position across pins.]

If a small paper dial be made against the pointer, the amount of the
expansion can be even more clearly observed. Of course two or even more
candles may be used, the result being that the needle shows more and
more expansion as it becomes hotter.


THE BROKEN BOTTLE

An interesting and useful experiment with a broken bottle is depicted in
Fig. 15.

Fill the broken piece with oil to whatever level you desire it to be
cut, and stand it upon a perfectly level table. Now plunge a red-hot
poker into the oil and hold it there for a few seconds, when there will
be a loud crack, and the top of the broken part will come off, even and
smooth, as in Fig. 16.

[Illustration: FIG. 15.--Portion of broken bottle for experiment.]

[Illustration: FIG. 16.--Showing smooth break after red-hot poker has
been plunged into the oil.]

It may not be generally known that a sheet of glass may be cut regularly
and evenly with a pair of strong scissors.

A glance at Fig. 17 will give an idea of how this is done. The apparatus
required is a large pail of cold water and a pair of strong scissors.

Plunge the glass, the scissors, and the hands, right into the water so
that no part of either scissors or glass escapes immersion. You will now
find that the scissors cut cleanly without the glass cracking or
splintering.

The reason for this is that the water deadens the vibrations both of the
scissors and the glass, thus insuring a neat and clean fracture.

[Illustration: FIG. 17.--A glass-cutting experiment.]


COMPRESSED AIR

An interesting and effective experiment may be performed with compressed
air. The arrangements are very simple and the requirements few.

[Illustration: FIG. 18.--Walnut shell with necessary holes bored.]

Divide a walnut shell into two, and bore a hole in the bottom of each
half. In one of the cups thus obtained make another hole half-way up the
side, as in Fig. 18. Now, with a little sealing-wax fasten three straws
into these holes.

In the cork of a fair-sized jar, which should be of some opaque glass,
bore two holes, through which the straws must be placed at unequal
heights, as shown in Fig. 19. Having almost filled the jar with clear
water, place the cork with the straws so tightly that no air can
possibly enter either at the sides or by any other means than through
the straws.

The following strange effect will now be obtained. Pouring some colored
liquid into the top shell A, plain clear water will come from the spout
C of the lower shell B, and will continue as long as you pour from above
(Fig. 20).

The reason of this is that the compressed air in the jar forces the
clear water through the straw at B, which, being plunged deep into the
clear liquid, carries off none of the colored matter passed into the jar
by means of A.

[Illustration: FIG. 19.--Showing positions of straws for experiment.]

[Illustration: FIG. 20.--Pouring the colored liquid into the top shell.]

This experiment may be performed with red wine and water, but the result
is not quite so satisfactory on account of the ease with which wine and
water mix.




CHAPTER XXXIX

MORE EXPERIMENTS

TIPS AND DODGES FOR THE WINTER EVENINGS


THE REFRACTORY CORK

A VERY interesting and amusing experiment may be performed with a bottle
and a cork.

Take a cork of a diameter less than the internal diameter of the neck of
the bottle you propose using, and ask a friend to make it enter the
bottle by blowing upon it.

At first sight this seems a very easy task, and your friend at once
proceeds to blow strongly upon the cork. This, however, instead of
making the cork enter the bottle, causes it to fly out.

Again your friend tries to overcome the troublesome cork, on the next
occasion by blowing very gently, but again it flies out (Fig. 1).

The explanation of this is as follows:--

In blowing upon the cork, a certain amount of air at the same time
enters the bottle, the air in which becomes so compressed that it
rapidly ejects the cork. There are, however, three ways in which the
refractory cork may be overcome.

[Illustration: FIG. 1.--The refractory cork.]

Since you know that by blowing on the cork it is at once ejected, try to
achieve success by performing the contrary action--that is, by
withdrawing some of the air from the bottle.

Indeed, the experiment will prove to you that, by so doing, you create
in the bottle a partial vacuum, and as soon as your mouth leaves the
neck of the bottle air enters it owing to atmospheric pressure. This
incoming current of air pulls with it the cork, which at once slides
into the aperture.

The same result may also be achieved by first warming the bottle, when,
owing to the expansion of the air, a part of it is expelled. Directly
the air inside the bottle cools, a vacuum is created, and a current of
air from without enters. If you add to this current of air by blowing
air from your mouth, you will find this quite sufficient to cause the
cork to enter the bottle. Then, again, having a straw or a pipe-stem
handy, all you have to do is to blow through the tube, directing the air
exactly on the base of the cork, which will once again enter the
aperture.

Whichever of these means is adopted, you must always take the precaution
of seeing that the bottle is perfectly dry. It should be wiped every
time. The moisture formed in the neck is sufficient to prevent the cork
from gliding along the glass.


THE FLYING COIN

You may be inclined to think that special apparatus is necessary to make
a coin fly from the bottom of a glass, but here is shown a very simple
method by which the trick may be performed at any moment in your home.

First procure a liqueur glass of conical shape, having in its largest
part a diameter not much greater than that of a silver dollar. At the
bottom of this glass place a quarter, and above it, near the top of the
glass, a silver dollar, the latter forming a kind of cover (A, Fig. 2).
Now declare to your friends that, without touching the dollar, you will
make the quarter jump from the glass.

[Illustration: FIG. 2.--The flying coin.]

This at first seems to them an impossibility, but all you have to do is
to blow very strongly on the edge of the dollar. This will make the
larger coin turn about on its own diameter into a vertical position,
whilst the compressed air under the quarter causes the latter to fly out
of the glass, after which the dollar returns to its original horizontal
position.


A CIGARETTE-SMOKING LAMP-GLASS

This is a very striking experiment, and is quite easy to perform. The
apparatus is also quite simple, and may be easily obtained. It consists
of a lamp-chimney, a cork, a cigarette, together with two little valves.

[Illustration: FIG. 3.--The self-smoking cigarette.]

Tightly cork up one end of the lamp-chimney with a large cork, thus
hermetically sealing it. In this cork bore two holes, one following the
line of the cork’s axis and having exactly the same diameter as the
cigarette: the other being oblique with respect to this axis, and having
a much smaller diameter (Fig. 3).

[Illustration: FIG. 4.--The self-smoking cigarette.]

It is now necessary to make the valves. This is done by cutting from a
glove two round pieces of the skin or leather, which, by means of pins,
may be fixed over the holes, one being above the little hole on the top
of the cork, the other over the large hole on the under side of the
cork.

The first valve allows the smoke to escape, at the same time preventing
the entrance of any external air, whilst the lower valve allows the
smoke from the cigarette to enter the glass tube, but will not allow it
to escape by the same hole.

Having thus made the valves, next plunge the tube in the water as far as
the cork, and place the cigarette in the hole made for it. After having
lit it, proceed to make the lamp-chimney smoke it.

In order that it may inhale the smoke, slowly raise the glass. By so
doing a vacuum is produced between the surface of the water and the
bottom of the cork. To destroy this vacuum, air must enter from without,
and the only means of its entrance is through the cigarette, as the
valve on the top of the cork remains tightly closed. In passing through
the cigarette this current of air greatly assists combustion, and the
smoke formed will pass with the air into the lamp-chimney.

If now the glass be lowered again, the air which is compressed by so
doing closes the central valve, whilst that above the oblique tube is
opened. From this valve the smoke will ascend in clouds (Fig. 4).

In this way the glass may be made to smoke the whole cigarette.


WATER SWINGING

Nearly every one has seen, at the circus or elsewhere, an acrobat
executing giddy circular movements with a glass of water, and doubtless
has wondered how it is that none of the liquid is spilt. This is due to
the action of centrifugal force.

Having placed the glass full of water on the table, it is only a matter
of taking it properly with the hand, holding it at arm’s length, and,
with the arm thus extended, describing a complete circle, after which it
may be placed upon the table without the loss of a single drop.

To insure the success of the experiment, particular attention must be
paid to the manner in which the glass is held. Instead of taking it as
you would when drinking, hold it with the hand reversed, the palm being
turned upwards, as shown in Fig. 5.

[Illustration: FIG. 5.--Centrifugal force experiment. First position.]

Without hesitation throw the arm in the air, and swing it, not too
quickly, but without shaking it, in the direction of the arrows in the
diagram (Fig. 6).

[Illustration: FIG. 6.--Swinging the glass.]

[Illustration: FIG. 7.--The action completed.]

After one complete revolution the glass should be as shown by Fig. 7;
whilst in this position it may be placed on the table. At first it is
advisable to practice this experiment with water, but, as more skill is
acquired, other liquids, such as milk or wine, may be used as occasion
permits.

[Illustration: FIG. 8.--The spoon mirror.]


A NOVEL MIRROR

A simple method of illuminating the back of the mouth and throat,
especially when throat trouble is suspected, may often be found
extremely useful. Here is a means of supplying, at a moment’s notice, an
extemporized illuminant of this kind.

Take a well-cleaned spoon, and hold it against a candle flame, when you
form an excellent mirror, which will permit you to concentrate the rays
of light and produce at the back of the throat enough illumination for
the making of a careful examination (Fig. 8).

A silver spoon, moreover, allows you to study the curious properties of
curved mirrors. Holding the hollow part of the spoon before your face,
notice that the head is at the bottom; turn the spoon round, and you
have the bulging part a convex mirror, which will show an image, very
long and narrow. If you approach this face in the spoon little by
little, you will see the nose attain the most amusing proportions.


A DISAPPEARING COIN

If you look at an object which has been placed in water, owing to the
phenomenon of refraction, the article appears in a different position
from that in which it really is.

It is due to this phenomenon, therefore, that a stick, when half plunged
into water, seems to be bent or broken.

A very interesting experiment based on this principle is the
following:--

Take a bowl full of water, and at the bottom place a coin. Next request
one of your friends to lower his head until his eye, the edge of the
bowl, and the near edge of the cent, appear to be in the same line.

As a matter of fact, it is not the coin itself that your friend can see,
but only the image created by refraction.

Now, keeping your friend in the same position, inform him that you
intend to make the coin disappear from his view.

To do this, remove some of the water from the bowl, which may be
accomplished by means of a small syringe (Fig. 9).

[Illustration: FIG. 9.--The disappearing coin.]

Directly you lower the level of the water, your friend will no longer be
able to see the image of the coin, which will be hidden by the side of
the bowl. If, however, the extracted water be replaced, the image of the
coin immediately reappears.


ELECTRIFIED PAPER

Very few people realize that paper can be electrified at a moment’s
notice, no special apparatus for the purpose being required.

Take a piece of light paper, which should have been well dried, and rub
it briskly with a clothes brush, silk handkerchief, or even the open
hand.

After a little time the paper, becoming electrified, will adhere to your
face, your hands, or your clothes, as easily as if it were attached by
means of gum.

Nor is this property confined to thin paper. Thick paper, when dried,
will act in the same manner. For instance, take a postcard, dry it, and
rub it, and you will notice that, as is the case with sealing-wax,
glass, sulphur, &c., the card has the power of attracting light bodies,
such as small pieces of cork.

The following interesting experiment may be carried out with an
electrified postcard and a walking-stick.

Balance the walking-stick over the back of a chair, and announce that
you can make the stick fall without touching it, without blowing it, or
without interfering with the chair. This is easily possible by utilizing
the electrified postcard.

[Illustration: FIG. 10.--The electrified postcard.]

First rub it on the sleeve of your coat. Now hold it near one end of the
stick, and you will notice that the latter follows it as iron follows a
magnet (Fig. 10), until the moment when the equilibrium being destroyed,
the stick falls to the ground.

Of course the experiment may be varied by using any other suitable
article in place of the stick, as for instance a fishing-rod.


ELECTRIFIED BALLOONS

From the last experiment it may have been gathered that if a piece of
paper is dried and rubbed with a silk handkerchief or the dry hand it
will adhere to the face, arms, or clothing.

It may not be so widely known, however, that if toy balloons be filled
with air, and then stroked for a short time with a piece of fur, they
will act in the same way as the electrified paper.

It is rather amusing to see these balloons, after being treated thus,
placed against the wall or ceiling, where they will stick as if they
were glued there.

[Illustration: FIG. 11.--The electrified balloons.]

Having entertained your friends in this manner, you may, by way of a
little change, take two of these toy balloons, and, after having
electrified them, suspend them from the same point by means of two
silken threads.

You will be surprised to find that the balloons now repel each other in
the same manner as pith balls do (Fig. 11).


EXPLODING FLOUR

Flour will create an explosion!

Take a large handful of flour, and leave it for some time near the fire,
in order that every trace of dampness may be expelled.

Whilst the flour is drying take a large tin box (a cracker tin will do
admirably), and near the bottom make a small hole.

Through this hole pass the end of a piece of india-rubber tubing, and
place the handful of dry flour in front of it.

At the other end of the box place a short piece of candle, and after
lighting it, cover the box with the lid, taking care that it is not too
firmly fixed.

If you now blow down the tube with your mouth, or better still, with a
pair of bellows an explosion at once takes place, as a result of which
the lid will be blown off (Fig. 12).

[Illustration: FIG. 12.--Exploding flour.]

If flour be not available the experiment may be performed with equal
success by using fine dust, such as may be found on the backs of
pictures, or collected from any elevated parts of the room.


THE APPARENTLY IMPOSSIBLE

Have you ever had tea on the top of a mountain? If so, you will agree
that your cup of tea could by no means be termed excellent.

Now, why is it that a cup of tea made on a mountain-top is much inferior
to one made at a lower level? If the fault lay in the tea, the defect
could be easily remedied, but such is not the case, for it depends upon
the fact that water on the top of a mountain boils at a lower
temperature than water at the sea-level.

In order to make a good cup of tea, the water must boil at a temperature
very near 100° C., and it is at this temperature that the water is
generally boiled in your homes.

Why is it, then, that water boils at different temperatures at different
altitudes? It is because, as the altitude is increased, so the
atmospheric pressure becomes less.

At sea-level, atmospheric pressure is equal to about 15 lbs. to the
square inch, but at the top of a mountain it is much less. The greater
the atmospheric pressure the more heat is required before the bubbles of
vapor formed within the water can break at the surface.

After this explanation, perhaps the subjoined experiment will be
attempted with additional interest.

Take a flask, to which should be fitted a good cork or india-rubber
stopper, and in it boil some water, taking care of course to remove the
stopper beforehand.

After some minutes the steam from the boiling water will have expelled
all the air from the flask. Now remove the source of heat, at the same
time quickly inserting the stopper.

If the flask is allowed to stand for a minute or two, the temperature of
the water will fall considerably below 100° C.

Next inform your friends that, without applying any extra heat, you will
cause the water in the flask to boil vigorously again. This seems to
them impossible, especially when you tell them that you are going to do
it by means of cold water. Quickly turn the glass upside down, and
squeeze a sponge soaked in cold water on its upturned under-surface.
Immediately the liquid inside will begin to boil, as if extra heat had
been applied (Fig. 13).

[Illustration: FIG. 13.--A curious boiling experiment.]

But how are you to explain this apparently extraordinary phenomenon?

Well, directly the cold water comes in contact with the flask it causes
the steam contained therein to condense, and, as no air can enter,
thanks to the well-fitting cork, the pressure on the surface of the warm
water is now considerably less than it was before.

Directly the pressure is lessened the vapor bubbles contained within the
warm water are able to rise to the surface, and the water is seen to
boil merrily.


MAKING COAL GAS

Here is a very simple way of obtaining coal gas.

Procure an ordinary long clay tobacco pipe, the bowl of which should be
filled with very small pieces of coal. Carefully cover the top with soft
clay, and put the bowl in the fire, with the long stem protruding
through the bars. Now watch this end of the pipe very closely and see
what happens.

[Illustration: FIG. 14.--Simple gas-making.]

Very soon you will notice a light-colored smoke issuing from the
mouthpiece, but after a time this smoke disappears. But what happens if
you hold a lighted match to the mouthpiece of the pipe? Immediately a
bright yellow flame appears (Fig. 14).

The gas now burning is the same gas as is burnt in your house, although
this latter, of course, is much purer.

If now you take the pipe from the fire, allow it to cool and then break
it, you will be surprised to find that its contents have changed in
appearance, for, in place of the coal, you will see what looks like a
cinder. This is the coke. Thus you have manufactured gas from coal, at
the same time producing coke.


EXPERIMENTS WITH CARBONIC ACID GAS

In a previous chapter, when describing how to make a miniature cannon,
it was explained that the “gunpowder” with which the “shell” was fired
is in reality carbonic acid gas.

It may not be amiss to show how to generate it, in order that you may
discover for yourselves some of its properties.

There are several ways of obtaining carbonic acid gas, but most of these
are of a complicated nature. The following, however, is an extremely
simple method.

Take a 6-oz. or 8-oz. flask, and fit it with a cork with a hole, in
which may be fitted a piece of glass tubing.

This tubing should be bent twice at right angles, as shown in Fig. 15,
and the longer end should be allowed to dip into a large glass.

[Illustration: FIG. 15.--A carbonic acid gas experiment.]

Into the flask pour a little lemonade, soda water or ginger ale, and
after replacing the cork or tube, heat the flask by means of a
gas-burner or spirit lamp.

You will notice that bubbles of gas are given off, and, as this gas is
considerably heavier than air, it will, after being forced up the tube,
displace the air in the glass, and gradually fill it. To test whether
the glass is full, hold a match in the top. If the match is
extinguished, the glass which is full may be removed. In this way
several glasses can be filled, care being taken to cover each with a
glass plate or cardboard disc to prevent diffusion.

From this experiment you will have discovered the three main properties
of this gas (commonly known as carbon dioxide)--that it is colorless, is
considerably heavier than air, and will not support combustion. Its high
density affords another interesting experiment, which consists of
pouring the gas from one glass to another (Fig. 16).

[Illustration: FIG. 16.--Pouring carbon dioxide from one glass to
another.]

Take two glasses, one full of air and the other containing the carbonic
acid gas, and into each plunge a lighted match. The match of course will
burn in the glass containing air, whilst it will be immediately
extinguished when it comes in contact with the carbon dioxide. You have
thus clearly shown which glass contains air and which contains the gas.
Now take the glass containing the gas and pour its contents into the
other glass, in exactly the same way as you would pour in water. Again
test with a lighted match and you will find that the gas has passed from
one glass to another, thus proving that it is much heavier than air.

Next take two glasses, one containing air and the other carbonic acid
gas, and, by means of a clay pipe, blow a soap bubble into each,
carefully watching the different manners in which they behave. That
dropped into the glass containing air will sink to the bottom, where,
coming in contact with the glass, it will burst. The other bubble,
however, as soon as it reaches the gas in the glass, rebounds owing to
the high density of the carbon dioxide, but after a time, when it has
settled down, it will float motionless on the surface (Fig. 17).

[Illustration: FIG. 17.--Soap bubbles in A (air), and B, carbon
dioxide.]

Before you finish experimenting you should know how to detect the
presence of carbon dioxide. Take a little lime water, which may be
obtained from any druggist, and pour it into a glass containing carbon
dioxide. Shake the glass, and carefully observe the change which takes
place. The lime water, which was previously colorless, has assumed a
certain milkiness, and if allowed to stand the white powder causing this
milkiness will settle at the bottom of the glass. This powder proves to
be calcium carbonate, or chalk, which is always formed when lime water
comes in contact with carbon dioxide, so that you have here a means of
detecting the presence of carbon dioxide. Breathe into a little lime
water and you will learn, from the milky appearance it at once assumes,
that the air we exhale contains a certain quantity of this interesting
gas.




CHAPTER XL

PHOTO PASTIMES


CAMERA KNIGHTS’ EXPERIMENTS

IT has been presumed in commencing these notes that most would-be
experimenters already possess a camera, or will at least shortly do so.
Thus the greater number of experiments are such as would interest a
camera fiend more deeply than the ordinary reader, although the latter
might still derive much enjoyment from conducting them so far as the
lack of a “dark box” will allow him.

It will perhaps be as well to spend a paragraph at the outset in
describing simply and noting a few peculiarities about the commonplace
camera. Photography means drawing by the agency of light. Now light is
reflected from an illuminated object in straight lines or rays, of which
a proportion may be collected by a lens and thrown in points upon a
surface behind. (See Fig. 1, A, illuminated object; B, lens; C, surface
behind lens; D, rays of light thrown upon surface C.)

[Illustration: FIG. 1.--Rays of light collected by lens and thrown upon
surface behind.]

The front of a camera contains the lens, and is provided with a movable
shutter, so that light may be only allowed to enter the dark box when a
picture is to be taken on one of the sensitive plates inside. According
to Fig. 2--which represents a camera in position to photograph the
object A--the light is reflected in rays, which are collected in myriads
of groups and cast pointed upon the surface of the sensitized plate B.
Such ray groups--being parallel when they leave the object and pointed
after passing the lens--are termed pencils of light, a most applicable
name when they are employed in “sketching” a portrait on the
photographic plate.

[Illustration: FIG. 2.--Camera in position to photograph object A.]

It will be seen that the action of the lens causes the base of the
object to be registered upon the top of the plate, and _vice
versa_--_i.e._ the picture is taken upside down. Another noticeable
feature about the magazine box camera, which does not, however, apply to
the focussing camera with bellows, is that it may not be placed nearer
than a certain distance (usually 10 feet or thereabouts) to the object
photographed, or else the picture obtained will be blurred. The
remembrance of this simple fact will save the loss of many plates to the
tyro.

Finally a last note remains to be taken of the “stops.” These are really
various sized holes in a metal screen, any one of which may be placed at
will before the lens, and by the use of which the sharpness or
distinctness of the photograph may be improved. Thus a lens at full
aperture will not give such a sharp picture as would be obtained if a
small hole were used, but, as the amount of light permitted to pass in
the latter case is much diminished, a longer exposure must be given.
Consequently when a short-timed snapshot is being secured, the largest
practicable aperture or stop should be employed, even though the
sharpness of the picture be thereby to some extent sacrificed.

Having thus briefly reviewed the essential features of a camera,
arrangements may be made for conducting our first experiment.


Experiment A.--A FIRESIDE PHOTO

Probably no souvenir can give greater pleasure to the amateur
photographer, or prove more acceptable to his bosom chums, than their
portrait, as a fireside group, lighted by the glow from a genial fire.
Nor is this difficult of attainment.

First the figures should be grouped seated on chairs--and perhaps some
standing behind, if many faces are to be included--in a quarter circle
from one chimney-corner, whilst the camera may be securely placed some 9
or 10 feet away, about the position shown at X in Fig. 3.

[Illustration: FIG. 3.--Relative positions of camera and sitters for a
fireside photo.]

Next some shade like a small fire-screen must be placed between the
blaze and the camera, in order to protect the sensitized plate from the
full glare of the firelight. Now of course the photograph is not
actually secured by the coal flame illumination, which would not be
bright enough to give proper exposure, so recourse is had to dropping
some material into the fire which will burn rapidly with a bright white
flame. Magnesium powder is generally used for this purpose.

Supposing the group to have been arranged and the camera firmly in
position, the person (B, in Fig. 3) seated next the grate should hold a
tablespoonful of saltpeter and also a square inch or so of sheet zinc.
Then, all being so far ready, let the outside member of the group
(marked A in Fig. 3) open the camera shutter and slip back to his seat,
whilst the flashlight operator drops the saltpeter and zinc successively
among the glowing coals. The flame of dazzling brilliancy which results
records the sitters’ figures on the plate, so that directly it is over,
the person (A) may again visit the camera and close the shutter. His
movements will not be noticeable, since they are made before and after
the flashlight.

The operation of development may be proceeded with at once and should go
fairly easily, but flashlight exposures are difficult to estimate
accurately, and therefore, although a square inch of zinc has sufficed
for a small group with stop and an extra rapid plate, this amount may
have to be increased if the group be large or if other conditions be
changed.

One last hint as to behavior of the sitters. Let them sit as naturally
and quietly as possible, but be advised to _blink their eyes as much as
the bright light prompts them_ rather than keep them staring wide open,
when their faces must wear a most inane expression in the finished
photo.


Experiments B.--“PHOTO-CHEMICAL”

Salts of silver form the basis of most modern photographic processes.
Thus in order to perform chemical experiments of a photographic nature,
some solution of silver must be available, the nitrate salt being
usually employed.

[Illustration: FIG. 4.--Silver solution and precipitate.]

It is best procured at the druggist’s in solution or as crystals, in
which latter case it must be dissolved for use in clean rain or
distilled water. The solution need be only weak, but must be kept in a
dark bottle screened from daylight. Chemical test-tubes, if they can be
obtained, will be found best for the experiments.

(1) Prepare a weak solution of table salt, and add it drop by drop to a
little of the silver nitrate in a test tube (or wine-glass as a
makeshift). A white sediment is precipitated, which, by shading part of
the tube with a band of paper and exposing to daylight, may be shown to
be sensitive to light, inasmuch as the unscreened part will rapidly turn
purple. This precipitate consists of silver chloride, which, in
combination with unaltered nitrate, forms the essential ingredient of
printing paper. In Fig. 4, A is Solution; B, Precipitate; C, Band of
Paper.

(2) Photographic plates are coated with bromide of silver, a yellow
substance, which may be prepared similarly to the previous precipitate
by adding potassium bromide solution (instead of table salt) to the
nitrate of silver. Its appearance does not change rapidly under the
influence of light, but if first exposed and then treated with a
developing solution the yellow color very soon changes to black--finely
divided metallic silver being, in fact, produced. Actually, light more
readily alters the constitution of the bromide than that of the white
chloride, but the former knows better how to preserve an outward
appearance of composure.

(3) Suppose, now, another solution be made, this time of the fixing salt
known familiarly to every camera knight as “Hypo.” When this is added to
either the white chloride or yellow bromide precipitates above noticed,
they gradually dissolve away, except such portions as have changed color
under the influence of light.

Such action constitutes the process of fixing a photograph, whereby the
sensitive silver compound is removed from those parts of the paper or
plate which have more or less escaped the influence of light.

(4) This experiment is an aquatic performance in which one actor
only--our old acquaintance Hypo--takes part. Provided proper care be
taken in the preparatory stages, it will afford at the climax as
excellent a spectacle as many another more complex.

[Illustration: FIG. 5.--Preparing saturated solution.]

[Illustration: FIG. 6.--Grooved cork for “dripping” solutions.]

A tumbler glass full of saturated solution has first to be prepared, and
this is best done by tying about ¹⁄₂ lb. of Hypo in a piece of muslin,
so that it may be held against the rim of the glass and allowed to hang
in hot water after the manner of Fig. 5. When an appreciable quantity of
the salt has dissolved, the liquid being but lukewarm, the muslin bag
may be removed and the solution stirred gently. Then it must be stood
somewhere firm, and allowed to remain absolutely undisturbed until cold.
There should then be a glass full of clear liquid, and the phenomenon is
at hand.

Let the smallest crystal of solid Hypo be dropped in this liquid, or let
it but be disturbed, and behold! a wonderful transformation proceeds,
until the glass interior becomes a shimmering mass of sparkling
crystals. The reason of this curious behavior is not far to seek. Hypo,
in common with most chemicals, dissolves to a greater extent in hot
water than in cold, but is different, inasmuch as the excess of salt
does not settle out as the solution becomes cold. Cold solution is
therefore really over-saturated, and to such an extent that only an
extra crystal or the least disturbance is sufficient to upset the
delicate balance, upon which climax the great excess of Hypo soon
settles out.

(5) This is another reaction in which Hypo takes part, but one other
substance is required as well, viz. permanganate of potash. Condy’s
fluid is equally suitable, and in either case the solution need only be
weak--just a transparent deep pink color. The vessel containing this
permanganate may be about half full. When Hypo solution is gradually
dripped into this and the mixture stirred, the color is immediately
dispelled, leaving the liquid clear as water.

Inasmuch as every photographer knows the necessity for washing his
prints until all fixing salt is removed, this decoloring action may be
fully employed in testing the washing water occasionally. When it no
longer affects the tint of a pink permanganate solution he may rest
assured that the deleterious Hypo--like some friends in being welcome so
they stop not too long--has really departed. For the ready performance
of this experiment it may be noted that any solution can most easily be
“dropped in drips” from a bottle whose cork is cut grooved at both sides
(Fig. 6).

[Illustration: FIG. 7.--Sensitizing blue-print paper.]


Experiment C.--BLUE PRINT PAPER

Engineers’ drawings have for many years past been copied upon
ferro-prussiate, or “blue print” paper. The original design being made
in opaque ink upon tracing linen, a sheet of the sensitive paper is held
against this in strong daylight until blue coloration has advanced
everywhere except beneath the ink lines of the drawing. These remain
yellow, or rather white, when finished, as the excess of sensitive salt
is removed by washing.

Since this last operation is in itself all-sufficient to insure
permanency, the simplicity is unique. In fact, the impossibilty of
securing other colors than blue has been the only factor to exclude this
process from far wider use.

The preparation of the sensitive surface presents no great difficulties,
provided a drawing-paper of good quality be used. It should be cut into
strips about 6 inches wide, which are passed one by one up and down (see
Fig. 7) through a dish containing the following solution: 1 oz.
ferri-cyanide of potash + 4 oz. water, added to 1 oz. ammonio-citrate of
iron + 4 oz. water. (_Note_--4 oz. water = nearly ¹⁄₄ pint.) This must
be done in very dull light--candle or paraffin oil by preference--and
the wet paper pinned up to dry in a dark cupboard, hanging from the edge
of a shelf or other projecting support. Then it may be cut into pieces
of the required size and stored with a wrapping of tissue and brown
paper in a handy box.

All manner of designs may be produced on this paper, such for example as
fern leaves, lace, and embroidery. Actual sea-view photos or imitation
moonlight views also look very well indeed. Another notion is to secure
the copy of some picture printed in black on thin paper, which has been
oiled and dried in order to render it translucent for quicker printing.
The final washings should be thorough, and then the blue print will last
its maker as long as the latter cares to keep it.


Experiment D.--TO SHOW THE CONSTITUENTS OF WHITE LIGHT

Few physicists to-day doubt that light consists of waves set up in an
all-pervading medium called ether; that, moreover, white light is
composed of different tinted rays--to be seen reflected from the bevel
edge of a looking-glass, or indeed from the more natural rainbow--which
further are caused by the different lengths of waves whereby the colored
lights are propagated.

Now we may produce these phenomena for ourselves by cutting a slit 1¹⁄₂
inches long in a temporary window-shutter, or, more conveniently, in the
end of a large wooden box (A, Fig. 8). Near this a glass prism, such as
once adorned gas-pendants so profusely, must be supported (B, Fig. 8) on
a block of wood, and at the opposite end of the box a sheet of paper
pinned to the inside (C, Fig. 8). The arrangement is shown in the
diagram.

Now notice, if you regard this screen from the open top--a large cloth
covering head and box in order to keep out superfluous light--a band of
color is depicted thereon, gradating gently like a rainbow from violet
through blue and yellow to red. Thus the white light which entered
through the slit has been separated into its component parts. So far,
gorgeous enough! But for the photographer much greater interest is at
hand, will he proceed as follows. Place the box so that bright sunshine
enters through the slit, and after fastening a piece of blue print paper
instead of the white on the box interior, allow this to print, at the
same time excluding extraneous light by a dark cloth overspread. When
this piece of paper has been washed and fixed, the colored band should
have registered itself in various shades of blue, from which it will be
noticeable that the purple and blue lights have darkened the paper most,
whilst red and yellow hardly affect it at all. If ordinary printing
paper, or still better, a photographic plate (in which latter case a
considerably shorter exposure will suffice, and outside light must be
rigorously excluded) be used, instead of the blue print paper, the
result is still more striking.

[Illustration: FIG. 8.--The refraction of white light into its
constituent colors.]

From this experiment further is to be gathered the reason for developing
plates by red light, which evidently does not affect the sensitive
surface in any appreciable degree. But, on the other hand, special
orthochromatic plates are made which, by dyeing, have been rendered
sensitive to the yellow rays as well as to the blue, and if one of these
be employed to “take” the colored band, technically called “spectrum,” a
totally different gradation is obtained compared with that on an
ordinary plate or on “blue print” paper.

Then again, suppose instead of sunlight, ordinary lamplight or
incandescent gas be used as an illuminant, the gradation varies, whilst
still another modification is to photograph the spectrum of a methylated
spirit-flame in which common salt is being burnt. In this case the light
is so yellow that an orthochromatic plate must be used. Another
illuminant worth testing is magnesium ribbon, which also may be ignited
in the spirit-flame.

Before saying a final adieu to these spectrum results, one last item
remains for remark--last but not least. We say that the series of
visible colors extended from violet through blue and yellow to red, and
that darkness obtained at each end. Well! Mount a plate or piece of
printing paper inside the box, so that half of it is well in the
darkness beyond the bluish-violet bands, and expose long enough to
secure a slight opacity in these parts (_i.e._ where the blue bands
fell) when the plate is developed and fixed. The half of the plate which
was in darkness and therefore apparently received no exposure,
nevertheless develops darker than the remainder, seeming to indicate
that some light, although invisible to the human eye, had affected the
sensitive silver compounds in the plate. This is actually the case. The
rays of light which exert this wonderful influence are called
“ultra-violet,” meaning beyond the violet, and their existence explains,
amongst other matters, why photography of the heavens has revealed the
presence of many thousands more stars than can ever be seen by man. Such
stars emit only “ultra violet” light.


Experiment E.--ONE PERSON IN TWO PLACES--AND SPIRITUALISM

Pictures of a man decapitating himself, or of the reader’s sister
turning the skipping-rope for another girl, who is herself, may justly
be called mystifying. Not only may they almost deceive the operator
himself, but will quite nonplus the uninitiated, to whom proofs may thus
be presented of the most impossible happenings. Two methods are
applicable to the production of such freak portraits, viz:--

(1) To photograph the entire picture in two separate halves on the
plate, moving the sitter from one position to another for each exposure.

(2) To employ a background as dark and dim as practicable, whilst
well-lighting the sitter and furniture, and giving a separate exposure
for each position of the model. The latter procedure is by far the
simpler, and provided reasonably correct exposures are given, success
should not be very elusive.

To take for a concrete example the portrait of a boy playing checkers
with himself. Hang up a curtain of black or deep-red material in some
dark recess of a room, and a few feet before it stand a small bamboo
table with checker-board, &c., complete, at which the person to be
photographed may be posed sitting. As mentioned above, all available
light must be concentrated on the group, whilst if the model be wearing
light clothes, the effect will be enhanced accordingly.

As to the camera, this may with greatest advantage be of the focussing
type, or at any rate a box instrument fitted with magnifiers, so that
by being placed near to the sitter the latter may be rendered large and
sharp in the portrait whilst the background remains indistinct. This
should be of such a size that its somber image well covers the whole
plate. A suggested arrangement for the tableau is sketched in Fig. 9.

The first exposure may be made with the person seated at 1--the
left-hand side of the table--he either resting one finger on a checker
as if about to make his move, or adopting such other pose as his acting
capabilities may suggest.

Primarily the time of exposure should be just sufficient for the
light-clothed sitter, and therefore not enough for the table and
background, which receive a second exposure. This should be made when
the model has taken his chair to the opposite side of the table, and
again assumed a position natural to the player, who anxiously watches
his opponent’s play.

[Illustration: FIG. 9.--One person in two places.

  A. Table.

  B. Black or red curtain as background.

  C. Fireplace.

  D. White sheet as reflector.

  E. Camera.

  1 and 2. Positions of sitter in first and second exposures.
]

All possible care must, of course, be taken to keep the table
undisturbed during the model’s movements, and also to insure that no
lighter object than the sitter himself has a place in either exposure
just where he appears in the other. For example, a pile of books must
not be photographed during the first exposure just behind or in front of
the position which the model is to occupy during the second exposure;
otherwise the vision of books through the person’s transparent chest, or
a similar incongruous phenomenon, will result.


SPIRIT PHOTOGRAPHY

Spirit or ghost photography is but a modification of these methods. The
chief element of success is to ignore the caution of the preceding
paragraph, and render the ghost figure as transparent as possible. The
first exposure should be an adequate one of the human model, who has
twisted himself into an attitude of groveling terror compatible with the
fright from which he is supposed to be suffering, whilst the background
behind him must be dark and indistinct, if he is next to impersonate
the spook. The latter’s surroundings, on the contrary, may be as
detailed and well-lighted as convenient, because the white-robed figure
is to appear transparent.

A sheet will be fit apparel for the “spirit,” and must be large enough
to drape entirely the gliding form with outspread arms.

The second exposure must be abnormally short, so as just to obtain a
faint impression of the sheet and its folds. Finally, if the
terror-stricken person can maintain his attitude of fear during the
first exposure, and also for the photograph of the ghost, whose rôle may
be taken by some one else beneath a sheet, there is no necessity to have
any part of the background unusually dark. Still, darkness is said to
favor spooks, so the background is perhaps entirely a matter of choice.

With such dash toward the borders of the spiritual realm, this series of
photo experiments must conclude. The most ardent camera fiend can
scarcely denounce them as embracing too narrow a field when he considers
that ghosts as well as mundane matters--psychical and physical
alike--have been approached. Even if his finger-tips do not resemble
ebony with silver nitrate, he may still rightly term his hobby the
“Black Art.” And his friends! Well, if present at the researches, may
their remarks be unheard. Doubtless they will ponder deeply, and
conclude that the camera does sometimes lie.

       *       *       *       *       *

Sun pictures of the earliest types had been no long time in existence
before a rumor spread that photography could not lie. Critics and
admirers of the new process rightly enough concluded that a knight of
the camera must be constrained to narrow interpretations by his
instruments as no artist is by his brushes. But this conclusion, held
widely now as then, is only in part correct. The camera records the
relative position of objects absolutely, but may on the other hand
ruthlessly destroy all sense of perspective, or render globular images
of rectilinear buildings. Nor are these the only peculiarities which, in
themselves disadvantageous, may frequently be turned to account by the
photographer.

Sensitive plates are seldom correctly exposed. They either suffer under-
or over-exposure, and when there is a gross error the resulting picture
either lacks detail and is blotchy, or else presents the light gradation
of a London fog. But, as a set-off to these failings, it might be noted
that moonlight pictures are obtainable by excessively short daylight
exposures, which give only the outline of the objects, and a contrast
between light and shade appropriate to night scenes, whilst photographs
of flowers, portraits, and cloud studies may mostly receive full
exposure with advantage, the softness of lighting engendered lending
additional charm to such subjects.

[Illustration: FIG. 10.--Slanting screen (C) with circular aperture to
equalize exposures of sky (A) and foreground (B) in landscapes.]

Landscapes commonly reveal over-exposure of the sky or inadequate
exposure of the ground and objects, because the amounts of light emitted
by these respective portions differ so much. To obviate this difficulty
an early photograph worker devised, and indeed used, the arrangement of
a circular aperture before the lens, slanting so that it might not admit
such large parallels of light from the sky as from the ground portion.
The device is more easily understood from the accompanying sketch (Fig.
10).

[Illustration: FIG. 11.--A method of securing “modeling” in
portraiture.]

The portrait hunter should rejoice to realize that, by judicious
procedure, persons of the coarsest complexion may be flattered in their
likenesses. Not the least valuable dodge is to render freckles and red
blotches invisible by the use of orthochromatic plates, and, if
necessary, a yellow screen, which articles prevent the pink skin from
securing any advantage over the insular blotches in point of actinic
light value.

A supplementary method of securing pleasant portrait effects is to mount
a disc of cardboard (A, Fig. 11), round whose edge holes of various
sizes from ¹⁄₄ to ⁵⁄₈-inch diameter and about ¹⁄₂-inch apart are cut (B,
Fig. 11), in front of the camera on a spindle (C, Fig. 11) as shown. Any
one of the holes should be adjustable exactly in front of the lens, and
the mode of usage is to spin the card disc rapidly whilst the exposure
is being given. This should, of course, be proportionately longer than
usual.


NOVEL RESULTS

Excellent imitations of crayon pictures are to be produced by taking the
required photograph through a negative screen, which has been made by
copying to equal size or slight reduction, a piece of rough
drawing-paper rubbed evenly with charcoal. It is employable in two ways,
either by keeping it in contact with the sensitive plate in the dark
slide whilst the photograph is being taken--a slightly longer exposure
being given--or else holding it in the frame on the opposite side of the
negative to the sensitive paper during printing, which is conducted in
the sunshine.

By systems of double or triple printing, all manner of novel results are
obtainable. The only difficulty presented in this work is that of
correct registration, but if printing paper--the most usual medium--be
employed, this should not be insurmountable even at the first trial. As
a first instance of these compositions, suppose out of black paper 4
inches by 6 inches, a piece be removed the shape of the negative portion
required, and this mask be used to print through on to a sensitized
postcard. The black shape removed should have been gummed on to tissue
paper and this used, after the picture portion has been secured, to
print a border--showing the grain of the translucent paper--around the
photograph.

For a second, and last, example of triple printing, proceed by first
preparing the negative of a picture frame, in which, however, an
ordinary plain canvas surface has superseded the work of art. The idea
is then, by multiple printing, to introduce a camera view into this
frame image, and so make the result resemble the copy of another
painting.

Cut a black paper mask with an aperture the exact size of the canvas
image in the frame negative, and through this mask print the photograph
required a shade lighter than usual. Then substitute the frame negative,
and, with the same mask in place, secure a slight record of the inner
canvas image over the photograph already printed. This gives the
requisite oil painting effect. Lastly the piece of black paper,
originally removed to form the mask, is fixed over the canvas image of
the frame negative and the sensitive paper replaced in position, so that
registration and printing of the frame periphery is secured. Then toning
and fixing ensue, and the “fraud” is complete.

[Illustration: FIG. 1.--Plan of Marionette stage.]




CHAPTER XLI

HOW TO MAKE AND WORK MARIONETTES


CONSTRUCTING THE STAGE

MARIONETTES, though claiming no rivalry to the time-honored institution
of Punch and Judy, have a great charm of their own, and, with no
traditional story of Punch, Judy, and Dog Toby, are at liberty to
perform whatever play their manager may desire.

Although it is possible, of course, to purchase ready-made Marionette
theaters and puppets, the purpose of this chapter is to describe a
method by which the whole apparatus can be constructed at home at the
cost of very little money and time.

Naturally, the first thing to be made is the stage. This must depend
very much upon the Marionettes you intend to work. As a convenient size,
suppose you decide upon figures 8 inches in height. This means that the
frontage of the stage must be about 28 inches wide by 16 inches high,
whilst it will run back to a depth of some 14 inches.

Make a base of plain wood, 42 inches by 22 inches. If more convenient
this can be made in two pieces, each 21 inches by 22 inches. These fit
together flush and are held by a couple of hooks and nails fastening
beneath. Glue a block of wood at each corner to form a support, as shown
in Fig. 1, which depicts the under side of the base. A, B are the two
hooks and nails; C, C, C, C are the above-mentioned blocks. At a
distance of 2 inches from what will be the front, and 2¹⁄₂ inches from
either end, cut a mortice in each piece of the base (D, D in the
figure), through which the tenons of the stage front will project. They
must, therefore, be made to suit the thickness of the wood employed. At
a distance of 5 inches from the back make four mortices, a couple in
each part of the base as E, E, E, E in the figure. These will serve to
hold the rear of the stage.

The front of the stage is now constructed as indicated by Fig. 2. Two
pieces must be made exactly similar to one another, each to form
one-half of the front. The tenon, D, should be long enough to pass
through the mortice made for it in the base, and project from the other
side sufficiently to allow of a peg being pushed through a hole bored in
it. This peg will serve to maintain the upright front in place.
Furthermore, two hooks must be placed upon one of the halves, to fasten
to corresponding nails in the other half, thus holding the pieces of the
stage front firmly together.

The back of the stage consists of two pieces of wood each 18 inches by
18 inches, having tenons to fit into the mortices below the pegs, and
fastened together by hooks and nails. Before proceeding further with the
work, bore two holes, of sufficient size to hold a piece of stout copper
wire firmly in each piece of the base (P, P, P, P, Fig. 1). The use of
these will be explained shortly.

[Illustration: FIG. 2.--Construction of front of stage.]

The actual fabric of the stage is now complete. Bear in mind no string
or wire should extend from the front to the back of the stage, for the
simple reason that these spaces must be left perfectly clear to allow of
the exit and entrance of the puppets.

[Illustration: FIG. 3.--Stage front completed.]

Next fix the drapery in the form of curtains to each side of the stage
front. These must be chosen according to your own taste, and should
harmonize with the exterior decoration of the theater. The curtains
should be gathered up and tacked to the stage front from the inside, as
in Fig. 3, from which an idea of the general adornment of the whole
theater can be gleaned.


A MOVABLE CURTAIN

The following plan will be found very suitable for the arrangement of
the movable curtain. Take a piece of strong copper wire and bend it, as
shown in Fig. 4. The length of the unbent portion should be about 30
inches. Fit the two ends, A and B, into holes bored in the stage front,
inside and above the opening. The wire rod will thus run the whole
length of the actual stage, whilst the ends A and B suffice to clear the
fixed curtains already tacked up. Hang the movable curtains by a number
of little rings upon this rod. When drawn, the two curtains, which
should be of some stout material, will completely cover the stage.

[Illustration: FIG. 4.--Wire rod for movable curtain.]

The method of drawing the curtains is arranged thus: A string (L, Fig.
5) is passed through the loop C in the rod, through all the rings from
G4 to G, where it is fastened, and then passed on through H and all
those rings up to the loop D. The string L then returns through the H
rings 4 to 1 to H itself, where it is fastened and ends. By pulling the
string L when the curtain is drawn, the ring H is therefore drawn
towards D and the ring G towards C, thus opening the curtains
simultaneously by means of only one string.

[Illustration: FIG. 5.--Arrangement for drawing curtains.]

[Illustration: FIG. 6.--Frame for wings.]

Supposing the curtains to be now pulled right back, thread another
string, M, through the loop E, pass it through all the G rings and
across to H, where it must be fixed. Then pass this string through all
the H rings, through the loop F, and back by way of H to the ring G,
where it must be tied and end. It will now be found that by pulling the
string M, the rings G and H are drawn together. To avoid any confusion,
a distinctive mark should be placed upon the ends L and M of each
string.

You must next bend a couple of pieces of strong copper wire into the
shape depicted in Fig. 6. The sides A B and C D should measure 20
inches, whilst B C must be of such a length that the ends A and D can
fit into the holes P P already bored in the base. These pieces of wire
serve to support the wings, trees, or other stage arrangements as
occasion requires.

The stage is now complete, and will take to pieces and pack up flat with
no trouble or inconvenience of any kind.

[Illustration: FIG. 7.--A stage tree.]


INTERIOR DECORATION

The next questions that arise concern scenery. This depends entirely
upon the play to be performed. The floor of the stage must be covered
with suitable paper, or better still with a carpet. In the arrangement
of the wings and the scenery connected therewith, do not forget that the
spaces on each side must be left clear. Marionettes cannot enter by
doors, and a descent from the ceiling is not only undignified but
impracticable. The side scenery must therefore be as simple as possible.

Unless your performance is to be upon a very extensive scale, the actual
amount of scenery required is not great. An interior can easily be
painted. Pieces representing the walls of the room can be hung upon what
may be called the wing wires, whilst the rest of the interior can be
painted upon the stage back.

In all probability a rural scene will also be required. A stage tree or
two (Fig. 7) should be fastened to the wing wires, and the background of
sky and landscape need present no difficulty to a handy amateur. Street
scenes can be arranged by hanging the ends and fronts of houses from the
wing wires, whilst the background may either depict the street fading
into the distance, or have another house at the corner, after the
fashion of stageland. A great variety of scenery may be made with the
help of an artistic friend; and when at the theater, inspect the effects
closely. By doing this many invaluable hints as to setting and scenic
inventions can be acquired.

But what is a theater without the actors? Who are to perform upon the
boards you have so carefully constructed?

It has already been mentioned that the Marionettes are to be about 8
inches high. This will be found a convenient size for the beginner,
since very small figures are apt to be troublesome, and large ones are
sure to prove unwieldly. It is important to have the Marionettes so
articulated that they will readily answer every motion of the operator’s
strings, and be neither too stiff nor too limp.

[Illustration: FIG. 8.--Dutch doll for puppet.]


HOME-MADE FIGURES

[Illustration: FIG. 9.--Universal arm-joint.]

The following hints will show how the figures are to be made at home at
slight cost. Get an ordinary Dutch doll (similar to that shown in Fig.
8) of the proper size and neatly made. Notice that the hip-joints allow
the legs to move upwards freely, a convenience that the ordinary doll
lacks. The knee-joints are after the same pattern, and allow the lower
part of the leg to double up for sitting and kneeling. These joints
should be made to work easily and evenly.

The arms should be attached to the body by what is known as a universal
joint (seen in Fig. 9). Make the surface A B (Fig. 10) perfectly even,
and then scoop a slight hollow in the wood. In this hollow drive a
staple almost up to the head, leaving only enough room to insert a piece
of string in the loop, whilst the head of the staple is level with the
surface A B. Round off the end of the arm (Fig. 11), and pierce a hole
about half-an-inch from the end. Thread a piece of string through the
staple and through the hole in the arm, tying the ends together fairly
tightly, so that the arm is perfectly free at the joint but does not
hang loosely.

For the head, either touch up the original Peggy’s head to make it
respectable, or remove it altogether, replacing it by that of a china
doll. In the former case, a flaxen wig must be glued over the black
painted hair, and a human complexion given to the crimson cheeks.
Undoubtedly a better effect is produced by exchanging heads with a china
sister.

The dressing of the Marionettes need be a matter of no difficulty. The
costumes must depend entirely upon the nature of the play, although
certain stock characters may be made once and for all, and kept in
readiness. A sailor, a soldier in resplendent uniform, a policeman, and
an ordinary man or two can be kept prepared; whilst for the fair sex, an
old lady, a young one, a maid-servant, and a little girl are likely to
be of service. The remainder of your cast must be regulated by
circumstances. The clothing may be fastened to the above-mentioned
characters; but in special cases the costumes should be made to take off
as occasion may require.

[Illustration: FIG. 10.--Socket for arm.]

[Illustration: FIG. 11.--Rounded end of arm.]

[Illustration: FIG. 12.--Showing how and where threads should be
attached.]

Having prepared the figures, they must now be made to act and move in a
rational manner.

Five black threads are attached to each figure and ascend to the flies,
where they are manipulated by the performer. A glance at Fig. 12 shows
how and where these threads are to be attached. Fix A and B to the right
and left hand respectively, C and D to the knees, whilst E must fasten
to the back, where it serves to support the figure. These threads should
be very fine, for the whole success of your undertaking depends upon
their concealment.


WORKING THE PUPPETS

[Illustration: FIG. 13.--Finger loops for manipulating puppet.]

There are two methods of holding the threads and working the puppets,
the first of which is also shown in Fig. 12. The arm threads, A and B,
are attached to the end of a stick, F; the leg threads are similarly
attached to another stick, G, to the center of which the body thread,
E, is fastened.

The sticks are then held, one in each hand, or both in the same.
Although more convenient for manipulation, this method possesses the
disadvantage of limiting each operator to the management of one puppet,
and where there are several characters upon the stage, much confusion
may result. If the two sticks be held in one hand free play, so far as
pulling the strings is concerned, is allowed to the fingers, and there
should be no difficulty in working two Marionettes at the same time, one
with each hand.

An easier method of manipulating the figures is shown in Fig. 13. The
thread attachments are the same, but instead of being fastened to
sticks, each string terminates in a brass ring placed upon the finger.
The threads should be of such a length that, when the hand is held as in
Fig. 13, the body of the puppet will be upright, the legs stretched, and
the arms dropped by the sides.

Place the rings upon the fingers in the following order: The body
string, E, to the third finger; the leg strings, C and D, to the thumb
and little finger; and the arm threads to the first and second fingers,
as shown in Fig. 13.

With very little practice the figures can be made to walk, the
progressive motion of the legs being manipulated by alternately moving
the thumb and little finger. A similar movement of the first and second
fingers will put the arms into action.

When sitting upon a chair, the lower parts of the legs bend by their own
weight, and you will need only to pull the body string to make the
figure rise quite naturally.

The theater, scenery and actors being ready, it remains to decide what
they shall play.

Your programme must necessarily be chosen according to the audience.
Presuming there is somebody to assist you in working the figures,
thereby making it possible to have three or four characters upon the
stage at once, the variety of plays is very great, and the choice of one
or two short pieces should be easy. Several publishers issue large
assortments of Marionette plays, and catalogues can be obtained giving
full particulars as to the number of characters required, scenery
necessary, and so forth.

The Marionette stage is not adapted to heavy drama. Tragedies would be
ridiculous on the “two foot boards.” The rôles, therefore, assumed by
each character should be amusing and topical, containing allusions
likely to be understood by the spectators, and interspersed with such
local “gags” as opportunity may suggest.

The two operators should divide their labors, as far as possible, in
such a way that the lady does the female characters, whilst her partner
works the men. The reason for this division is clear, for it will come
more natural for a lady to caricature the female voice, whilst her
accomplice will be better suited to the stern accents of the menacing
policeman, or the passionate entreaties of the ardent lover.


WORKING

Practice the parts carefully and thoroughly. Be ready with some joke or
patter to cover any mishap that may occur. Accidents are unfortunate,
but in Marionette-land quite probable, so if Aladdin’s left arm fails to
work at the critical moment, there is nothing to do but make the
audience think it all part of the fun.

Supposing the evening for your entertainment to have arrived, and that
all is in readiness, place the theater upon a table at such a height
that the spectators will get a clear view of the stage, but will not be
able to see the flies. The table should be against a wall, and arranged
in such a manner that you and your partner have sufficient room to move
behind it. In the space between the table and wall a couple of boards
must be placed on trestles, so that the operators may stand above the
stage.

A curtain must hang from the ceiling to meet the top of the theater. On
no account should the audience be able to watch the heads of the
manipulators moving the puppets. There are few better plans than to have
the stage arranged in the embrasure of a window, for the curtain can
then be easily contrived, whilst the “show” does not take any of the
space required for the spectators. But this, of course, must depend upon
the nature of the room at your disposal.

The guests having been marshaled into their places, the entertainment
should open with an overture. If there be intervals in the course of the
play, the pianist will find fresh employment, whilst at times a running
accompaniment is very suitable.

Start with a one act farce, to be followed by a fairy tale or pantomime.
Conclude with another short farce, into which may be introduced all
kinds of whimsicalities, jokes, local patter, and topical allusions.

The puppets will do exactly as you direct them. Make them work their
best; let the show be worth seeing and hearing, for the possibilities of
the Marionette stage are very great, and with ordinary care a most
enjoyable entertainment can be produced.




CHAPTER XLII

LIVING MARIONETTES


A GOOD “ONE MAN” SHOW

A LIVING Marionette entertainment is well adapted for a “One Man Show,”
and sure to prove a success. The very appearance of the weird creature,
half human and half doll, makes the spectators laugh, and this laugh
will scarcely subside until the curtain has been finally rung down on
the entertainment.

[Illustration: FIG. 1.--The dummy body with the human head.]

[Illustration: FIG. 2.--Front view of living Marionette stage.]

The mysterious combination shown in Fig. 1 needs but little explanation,
since it is very clear that the head is human whilst the body is wooden.
This makes so comical a figure that anything but pure humor would seem
singularly out of place issuing from those lips; it must, therefore, be
clearly understood that the living Marionette is comic from beginning to
end.

The stage must be about 3 feet wide, and of the same height, thus
allowing room for the head and false body. The stage front may be made
in the same manner adopted for the Marionettes proper, though so much
space will not be required at the top, as can be seen from Fig. 2. The
stage itself should be about 12 inches deep, and arranged at such a
height that when standing behind, your chin will be about 11 inches
above the stage. The whole construction will then be somewhat like the
box and stage of an old-fashioned Punch and Judy Show.

A strip of perfectly black cloth is next stretched from side to side
along the inner edge of the stage, _i.e._ the part farthest removed from
the audience. This cloth should be 11 inches wide, and when in place
will occupy the position shown in Fig. 3. Between this edge of the stage
and the actual back of the box should be a space of 15 inches. The
actual back must also be covered with black cloth. The sectional
appearance of the stage will therefore be as in Fig. 4. An arrangement
of curtains, as described in connection with the Marionette stage, must
be fitted with the strings below the stage, in order that you may pull
them unseen by the audience.

The wooden bodies should be 10 inches high, and headless. A collar must
be sewn to the costume where the neck should be, in order to conceal the
spot where the living head is thrust over the false body.

The most satisfactory way of working the limbs of the puppet is as
follows: Above the stage, in the flies, a rod, upon which are strung
several brass rings, extends from side to side (A, Fig. 4). Now the
strings attached to the arms and legs pass up and through these rings,
whence they descend behind the cloth screen and are moved invisibly by
the operator. As there is only one figure to work, you can hold the arm
threads in one hand, the leg threads in the other, whilst the supporting
body thread passes in a loop around your neck. In this way the body is
forced to move with the living head, as though really a part of it (Fig.
5).

You should now make up your face to suit the character. Suppose the body
represents an ordinary Jack Tar, with bell-bottomed trousers, blue
collar, and so forth. The comic sailor’s beard must be so adjusted that
its bushiness will conceal what may be called the junction between your
head and his false body. The hat or round cap can be put on at a
nautical tilt.

Having fixed the body-thread around your throat and fastened the beard,
crane your own neck forward, and place the Marionette body upon the
stage, having the strip of black cloth between it and your shoulders.
Arrange the arm and leg strings through the rings, and keep the ends in
your hands ready for action. When everything is completed, draw the
curtain and commence.

[Illustration: FIG. 4.--Sectional view of Marionette stage.]


COMICAL EFFECTS

Songs and monologues are naturally the best turns for the Living
Marionette. Choose a rollicking, nautical song, suitable to Jack Tar.
All the gestures and motions can be given to the limbs by means of the
threads, whilst every now and again Jack can enliven himself and the
audience by executing a hornpipe. A little practice with the leg-strings
will enable you to perform this with great effect.

[Illustration: FIG. 3.--Black cloth arrangement to conceal top of
performer’s body.]

Always strive to obtain comical effects. If the gallant mariner has a
telescope in his hand, this should be raised to the eye, where the
extraordinary contrast between the tiny hand holding a midget telescope,
and the enormous face emerging from its forest of beard, is ludicrous in
the extreme.

Or if the other branch of the Service be on the boards, the cavalryman
may flourish a saber, which, at full arm’s length, will scarcely reach
the tip of his ear. A tiny rifle raised to the shoulder makes another
laughable effect.

The Man about Town is a humorous figure. Dressed in an exaggeration of
the latest style, with a dapper strut, flourishing a modish cane, he is
a person to be admired--and laughed at. Over the pigmy body looms an
enormous face, smoking a huge cigar, big even for an ordinary
individual. Naturally it would be impossible to sing or speak with the
cigar in his mouth, and it cannot be gracefully removed with dummy hands
that will scarcely reach it. The simplest method of getting the cigar
out of the way is to make “Bertie” stumble over his own cane, for
instance, and in the agitation of the moment drop his “smoke.” He will
then be able to air his peculiarities in comfort, and will prove a most
amusing personage.

Two figures may be introduced upon the stage, although they are likely
to prove a tight fit. Some laughable dialogues and duets are the result.
Quarrels or love scenes must be intensely funny. A young gentleman and a
younger lady can be introduced with much formality, and, advancing to
shake hands, meet with an embarrassing adventure, pleasant enough in its
way. Owing to the smallness of their arms and the largeness of their
faces, before their hands have met, their lips have perforce sealed the
contract of friendship.

A general idea of Living Marionettes and their working may be gained
from the foregoing suggestions. Sentimental songs, sung with a whimsical
air of grotesque pathos, will probably “bring the house down,” whilst
the applause attending a good comic song in character will encourage all
parties concerned.

Living Marionettes are sometimes introduced in conjunction with an
ordinary Marionette show, and should be given after the latter has
concluded. The contrast between the symmetrical little mannikins and the
distorted living doll will be remarkable, whilst the exuberant humor of
the latter is sure to provide a pleasant finale to what all will judge a
delightful evening.

[Illustration: FIG. 5.--Living Marionette operator at work.]




CHAPTER XLIII

A HOME CIRCUS


A NEW FORM OF ENTERTAINMENT

A HOME CIRCUS has so far been beyond the wildest dreams of the amateur
showman. Yet when one considers the wide scope a circus presents to
performers of every type, it is curious that “amateur circuses” are not
almost as popular as “amateur theatricals.” At first sight such a show
seems impracticable, on account of the large floor area required for the
ring. This need occupy but little more space than a stage, however; and,
taking into consideration the fact that the audience almost completely
surrounds the performers, it will ultimately be found that a circus does
not necessitate so large a room as might be anticipated.

[Illustration: FIG. 1.--Showing barricade and ring entrance.]

Of premier importance, of course, is the ring itself. It need not be
more than fifteen feet in diameter; but if additional space can be
spared, so much the better.

Fig. 1 gives a plan of a ring. It principally consists of a circular
barricade about 30 inches high. In one portion there is a gap of four or
five feet, which acts as an entrance (A, Fig. 1). If the ring can be so
arranged that a door of the room in which the circus is being
constructed, coincides with this entrance, much trouble will be saved.
Should this be impossible, however, two or three screens can be arranged
to form a passage from the ring entrance to the nearest door.

The method of constructing the barricade is explained in Fig. 2. A
number of broomsticks are sawn into 30 inch lengths and fixed to heavy
wooden bases in order that they may stand firmly upon the floor. A hole
is then bored in the other extremity; this may be done by means of a
red-hot meat skewer.

The position selected for the ring must next be marked out in chalk, and
the wooden stands placed round it at intervals of about a yard. Then
thread a piece of stout cord through the holes in the extremities of the
uprights.

Having determined the exact circumference of the ring, purchase a
sufficient length of cheap red flannelette to go completely round it.
The cost of this material should be about 10 cents per yard, and its
width exactly equal to the height of the stands. A number of large hooks
must be obtained from the same shop, and sewn along one edge of the
flannelette. It remains only to hook the material to the cord, as shown
in Fig. 2, in order to complete the barricade.

[Illustration: FIG. 2.--Construction of barricade.]

The entrance must now be artistically draped with curtains, after the
style of A, Fig. 1. It will then serve the additional purpose of a
“stage,” upon which conjurers, jugglers, and other artists who do not
wish the audience to see the back of their apparatus can perform.

The vexed question of “lights”--always a difficult problem in amateur
theatricals--need not here be considered, the gas or electric fixtures
already installed being sufficient.

A circus is never complete without its horses, so attention must now be
paid to this department. It is hardly practicable to turn several
full-grown animals loose in a circus constructed in an ordinary room nor
is it probable that the reader’s purse will run to the importation of
one or two Shetland ponies. But a whole stud of “circus horses” may be
obtained at small expense by carrying out the following directions.

[Illustration: FIG. 3.--Showing outline of horse and part to be
stitched.]

Purchase three yards of cotton cloth, at 6 cents per yard. Fold the
material in the center, thus making a double piece 1¹⁄₂ yards long.
With a pencil or piece of chalk sketch the outlines of the head and
back of a horse upon it, as shown in Fig. 3. Then take a pair of
scissors and carefully cut out the stuff. The result will be two
horse-shaped pieces of calico of exactly similar proportions.

At this stage, if the young showman is wise, he will place the
operations in the hands of his mother or sister, for the two patterns
must be stitched together along the edges, to the points marked A and B,
Fig. 3. This done, the whole affair should be turned inside out.

Next obtain a quantity of rags or shavings, or purchase some excelsior
from an upholsterer’s, and stuff first the head and then the haunches of
the “horse.” The two unsewn pieces of cloth in the center remain empty.
One of them must be cut in half, and the two sections thus obtained
folded and stitched into the form of two small bolsters and stuffed with
flock (A, B, Fig. 4).

[Illustration: FIG. 4.--Opening in horse for rider; tapes at A and B to
be tied.]

The remaining side should be similarly treated, only in this case it
must not be cut in half, but remain intact. The result will be the head
and haunches of a horse, with two “sausage-shaped” flanks in the center
(Fig. 4).


OTHER DECORATIONS

The “noble thorough-bred” is now ready for its final decorations.

Unravel some coarse rope and sew it along the neck of the horse to
represent the mane. Another piece, unraveled at one end only, does duty
for a tail. The ears are constructed by cutting a piece of calico,
folded in the form of a sugar bag, perpendicularly down the center, and
stitching the two halves into position on the head.

The color of the horse must next be determined. If dapple-gray, a few
ink blobs upon the white background will suffice; but if chestnut,
brown, or black, a distemper must be applied with a thick brush. This
distemper can be made by mixing ordinary water color, of the shade
required, with size water, and thickening with whiting.

When the distemper is dry, the “rider” of the horse must get into the
hollow in the center, and secure it to his hips by tying the tapes
together at A, B, Fig. 4. A “valance” of cretonne should then be sewn
completely round the horse to hide the “rider’s” legs (Fig. 5). A pair
of reins, and two dummy legs stitched on the flanks complete the
“mount.”

[Illustration: FIG. 5.--Ready for the tournament.]

It will be noticed that in Fig. 5 the “rider” has a short skirt at the
waist of his coat or armor. This is to hide the manner in which the
horse is attached to the “rider’s” hips, and the junction of the dummy
legs.

These horses can be used in numerous ways. A very effective item in
which they might be employed is a “tilting scene.” Two knights attired
in armor--this latter commodity can be easily constructed, as it
consists simply of back- and breast-plates made from painted cardboard,
with a helmet of the same material--“canter” into the ring. A clown
follows them, also mounted, and carrying two long poles upon the ends of
which are pads of rag, one covered with soot and the other with flour.

[Illustration: FIG. 6.--Dummy horse for bareback rider.]

The clown then proposes that they shall have a tournament, and offers to
act as referee. He thereupon hands them the poles, and, holding them as
they would lances, the knights retire to opposite sides of the ring. At
a signal from the clown, the combatants dash towards each other, to
commence the attack. The self-constituted referee gets in the way,
however, and comes in for a lot of hustling. The knights again retire,
and once more advance to the attack. But, as before, the clown becomes
mixed up in the affray. This occurs again and again. Finally the two
principals lose their temper and make a joint attack upon the referee.
Pursued by the irate knights, the clown dashes round and round the ring,
making his horse gallop first backwards, then sideways, and perform
other ludicrous capers. At length, daubed with soot and flour from the
knights’ “lances,” he darts precipitately from the ring.

There is another style of “horse” shown in Fig. 6. The carcase is made
in a manner similar to that already described, but in this case the
stuffing must be replaced by two men or boys, who crouch in the position
illustrated in the diagram. It will be necessary, however, slightly to
stuff the “horse” in such places as the head and haunches, in order to
make it of correct shape.

The two men or boys must carry upon their backs an oval-shaped piece of
board, having four “legs” nailed to its side, by means of which the
carriers hold it firmly in position during the performance. This is
clearly shown in Fig. 6. The purpose of the board is to make a flat and
solid surface upon which the “daring bareback rider” can perform.

The performance consists of jumping over garlands and through hoops;
leaping on to the back of the “horse” whilst it is at full gallop, and
other of the more simple feats seen at circuses.

It is preferable, however, that the “bareback rider” should be a clown,
who, instead of jumping the garlands, trips over them, and falls
headlong to the ground, completely misses the horse when attempting to
leap upon its back, and lands on the ringmaster instead, thus making a
travesty of the whole affair.

The next performance should be of a more serious nature.

Among the reader’s acquaintances is sure to be one who goes in for
gymnastics, and he should be prevailed upon to give an exhibition of his
prowess upon the parallel bars, these being preferable to any other
apparatus on account of the small space they occupy. To increase the
interest of the display, a clown should attempt to emulate each movement
as it is performed, but must fail miserably and come a “cropper” every
time. It is advisable to have a set of mattresses to soften any
unpremeditated falls.


HOW IS IT DONE?

Another item suitable for the programme of the home circus is a “mock”
conjuring entertainment. The ring-master announces that Herr
Bluffemstein, the famous illusionist, will present his marvelous
performance. Thereupon one of the boys or young men taking part in the
circus must stalk majestically into the ring, and bow stiffly to the
audience. If possible he should be attired in evening dress. He should
also wear a fierce, upturned mustache, and carry an air-gun under his
arm. A large target is then placed in the curtained entrance to the
ring. This target consists merely of a wooden board containing several
bent nails, upon which lighted candles are stuck. Below each candle a
large number is painted (Fig. 7).

“Herr Bluffemstein” then requests the audience to call out one of these
numbers. Upon their complying, he loads the air-gun, raises it to his
shoulder, takes aim, fires--and the lighted candle over the chosen
number goes out! He repeats this marvelous feat of marksmanship several
times. Then, without warning, the remaining candles are suddenly
extinguished one by one, and a voice exclaims: “I say, mister, how much
longer are you going to keep me blowing out these lights?”

The next moment a boy, wearing a glaring red wig, steps from behind the
target, where he has been engaged in blowing out the candles through
small holes bored exactly level with the wicks.

[Illustration: FIG. 7.--Target for trick shooting.]

After admonishing his assistant for having “given the game away,” the
conjurer tells him to fetch the apparatus for the next trick. The boy
retires, but shortly reappears with a tin kettle and a jug of water.
“Herr Bluffemstein” then proceeds to fill the kettle with water. Having
done so, he holds it over his assistant’s head. A few seconds pass, then
steam is seen to be issuing from the spout!

The illusionist hands the kettle to his assistant, with instructions to
take it away and fetch something else. The boy, however, lifts off the
lid, and placing his hand into the interior, draws out a piece of wire
to which is attached a smoldering ball of brown paper.

The conjurer, enraged at thus having his second trick spoilt, chases his
assistant round the ring. He at length gives up the chase as hopeless,
and entices him to proceed with the next trick. The boy again leaves the
ring; but soon returns with a slate, a slip of ordinary writing-paper, a
wet sponge, and a piece of brown paper.

The latter requires a little preparation before being used. The conjurer
and his assistant must fix upon a certain number--say 21--and write it
reversely on the brown paper with a thick piece of chalk. This, of
course, must be done “behind the scenes,” and the assistant should be
careful that the audience do not catch sight of the figures when he
enters the ring.

“Herr Bluffemstein” takes the slip of white paper, and hands it in turn
to three people sitting in different parts of the room, with the request
that each shall write a certain number upon it without letting him know
what has been written. Whilst they are thus engaged he wipes the slate
with the wet sponge, and proceeds to wrap it in the brown paper, taking
care that the chalked figures come in contact with the middle of the
slate. Placing the parcel on the ground, he orders his assistant to
stand upon it. The pressure thus applied will, of course, print the
chalked figures on to the slate.

The conjurer then takes the paper from the member of the audience who
last wrote upon it. Handing it to the boy, he instructs him to add up
the figures, and read out the result. The boy pretends to make the
addition, but in reality calls out the number previously decided upon.

When the slate is unwrapped the audience are amazed to perceive the
apparently correct figures chalked upon it. But before their
astonishment has had time to abate, the assistant whips up the brown
paper, and displaying the chalked figures to the audience, exclaims:
“Why, sir, there’s still a lot more chalk to come off! And do you know I
nearly forgot the number I was told to call out?”

There are numerous other tricks than can be adapted in the above manner,
but space will not permit further examples to be given. It is a good
plan to finish up with a really first-class illusion, such as


THE INDIAN SACK TRICK

In this illusion the assistant brings forward a sack and proceeds to get
into it. The conjurer then seizes the top of the sack, and pulls it
right over the boy’s head. Producing a piece of rope, he requests some
one in the audience so to tie the mouth of the sack that it will be
impossible for the assistant to get out.

When this is done, the conjurer places a screen round the boy, and
slowly counts “One, two, three!” As he utters the last word, he pulls
away the screen. The assistant is then seen to be perfectly free, with
the sack slung carelessly across his shoulder. When the sack is examined
it is found to be still securely tied with the identical knot made by
the member of the audience.

The explanation lies in the fact that two sacks are employed. The
assistant has one secreted up his coat, and as the conjurer pulls the
first sack over his head, the boy carefully pushes the top of the other
through its mouth. The conjurer hides the junction between the two by
gathering the material together in his hand--apparently with the
intention of making it more easy to tie. Consequently the member from
the audience unconsciously ties the mouth of the second sack instead of
the first. All that is necessary for the assistant to do, therefore,
when the screen is placed round him is to scramble out of the first
sack, stuff it up his coat out of sight, then sling the other carelessly
over his shoulder.

Juggling is another performance eminently suitable for a show such as
the home circus. The only juggling the average person is capable of,
however, consists in balancing a stick upon his finger, or keeping a
couple of balls in motion. But the few hints given below will make it
possible for any one to give a trick juggling performance after a few
hours’ practice.


TRICK JUGGLING

Fig. 8 shows the first feat--that of balancing a stick, card, and wooden
ball upon the hand. The whole secret lies in the card. It really
consists of two cards pasted together, with a piece of wire passing
diagonally between them and protruding about half an inch at each end.
In both the ball and stick are small holes into which this wire fits.
The audience, of course, must be kept in ignorance of this--not a
difficult thing to do when several feet separate them from the
performer.

[Illustration: FIG. 8.--Balancing stick, card, and wooden ball.]

[Illustration: FIG. 9.--Two balls balanced upon stick.]

The feat depicted in Fig. 9 consists in balancing two balls upon a
stick. This is done by means of a wire constructed to slide up and down
in the center of the stick. At first this wire is completely hidden, but
by pushing up the small handle the performer can make it protrude from
the extremity of the stick, and pass through small holes in the balls.
Of course, other objects may be made to balance by this device.

The juggler should also number amongst his apparatus several cardboard
plates of the pattern shown by the three diagrams comprising Fig. 10. A
segment must first be cut from a circular piece of cardboard, as shown
by A. The edges of this segment should then be gummed together, the
result being the conical contrivance seen in B. Lastly, a circular
cardboard ring must be fixed to the edge of this cone, C, and the plate
is complete. It is quite an easy matter to impart a spin to these plates
as they are thrown into the air, and then catch them on the end of a
stick, where they will rapidly revolve without the possibility of
falling.

[Illustration: FIG. 10.--Cardboard plate for spinning.]

Fig. 11 shows a method whereby a billiard ball can be made to roll along
the edge of a fan. A piece of wire is hinged to the bottom of the fan,
the other end protruding about one-eighth of an inch beyond the edge.
The billiard ball, which is partly pierced by a small hole, fixes upon
this wire. If the performer then places his forefinger in the small ring
made in the wire, and works it slowly backward and forwards, the
billiard ball will appear to be rolling along the edge of the fan.

[Illustration: FIG. 11.--Balancing ball on fan.]

[Illustration: FIG. 12.--Trick cards.]

An excellent series of tricks may also be performed by means of a pack
of cards, having each card joined together by a thin piece of twine in
the manner shown by Fig. 12.

Numerous other devices can be adopted by the juggler, and the
suggestions offered above may be enlarged upon considerably. The merest
tyro in the “art of balancing” should thus be able to contribute an
excellent item to the home circus.

Every owner of a dog has taught his pet at some time or another several
little tricks. The manager of the circus should therefore get those of
his acquaintances who possess dogs to combine in contributing to the
programme.

Then, again, a big dog might be clothed in a “bull’s skin” made from
calico, and a farcical bull-fight arranged. Here the circus “horses”
could be once more employed to good purpose.

The “strong man” is a character always associated with circuses, and
there is no reason why the home circus should not possess one. The
weights must be made from wood, painted black to represent the genuine
article. After the “strong man”--who should be selected from the most
powerfully-built of the reader’s acquaintances--has lifted the different
“weights,” apparently with a great deal of exertion, he makes his exit,
leaving them upon the ground. A little boy then enters, and picking up
all the “weights,” walks unconcernedly from the ring.

As has been before mentioned, the home circus presents scope for almost
every kind of amateur performance, but it must be left to the ingenuity
of the reader to give further variety and make the programme as
attractive as possible.

As a grand finale, a stirring, spectacular sketch should be given--such
as an attack upon a settler’s hut by redskins, or a raid on the shanty
of a miner. The main idea in this sketch must be to make a lot of noise,
blaze away with toy pistols at frequent intervals, and burn as much
“colored fire” as possible. The soldiers or mounted police should arrive
in the nick of time, of course, and drive the marauders completely from
the field. Thus everything ends quite happily.




CHAPTER XLIV

HOW TO MAKE AND WORK A PEEP-SHOW


AN OLD FORM OF ENTERTAINMENT REVIVED

A PEEP-SHOW makes an excellent and quite novel form of home
entertainment, and a boy would be well repaid for any trouble to which
the construction of one might put him.

The first consideration is the dimensions of the show. One can be large
enough to occupy the whole of a table, or so small that it can be made
from a soap or cigar box. The best course, therefore, will be to leave
the question of size to the reader.

Fig. 1 is an illustration of the peep-show when finished.

[Illustration: FIG. 1.--The finished show.]

The first requisite is a wooden box of the shape shown in Fig. 2. As
previously mentioned, for a small show a cigar box does admirably. If
you visit a friend who has just commenced smoking, and ask him for a
box, he will most likely bless you for the opportunity you have given
him of throwing away his horribly strong cigars. Should no such friend
be numbered amongst your acquaintances, however, a tobacconist will be
pleased to let you have one for a cent or so.

Having obtained the box, commence operations upon it. First of all one
end must be entirely removed, not a very difficult task to accomplish.
The next thing to do is to make the peep-holes. There is no fixed size
for these. They may be large enough for both eyes to be applied, or to
permit only one to gaze through. But provided they are of sufficient
dimensions to allow the “audience” to obtain a comprehensive view of the
interior that is all that is required.

The number of peep-holes must, of course, be regulated by the size of
the show.

If the reader possesses a fretsaw the making of the holes will present
no difficulty. The best method to be adopted by those who have not one
of these useful instruments, is to make small holes in the necessary
places with a red-hot poker. They can then be easily whittled to the
desired size with a penknife, the edges being finished off with a piece
of emery paper. Should the reader wish to make his show “extra smart,”
he can putty a piece of glass inside the box over the holes. But this is
not essential.

[Illustration: FIG. 2.--Showing back view of stage front and lighting.]

[Illustration: FIG. 3.--Candle stand and roof protector.]

Next obtain a piece of cardboard, and from it cut out a stage front to
fit the interior of the box, as shown in Fig. 2. This front must be
painted in bright colors and glued inside the box about 3¹⁄₂ inches
from the end opposite to that at which the peep-holes have been made.

The dotted lines in the illustration of the finished show (Fig. 1)
indicate the position of this stage front. A reference to the same
diagram will also show a small door at the side of the show (D, Fig. 1).
This must next claim our attention.

Simply cut a small aperture about 3 inches wide by 4 inches deep, and
hinge the oblong of wood thus obtained back into its position by means
of a piece of linen and glue. The object of this door is to enable the
showman to attend to the lighting of his show, done by means of a
candle, or, if necessary, two or three candles. The lights are placed
behind the stage front in such a position that they are invisible to
those gazing through the peep-holes. In order that the candles shall
not scorch the roof, they should be placed upon pieces of tin, bent to
the shape shown in Fig. 3.

The first portion of the show is now complete, and we will turn our
attention to the second, and more important section.

Another raid must be made upon the tobacconist’s or grocer’s and a
second box procured similar to the first. It is necessary that this box
should be of the same width, and at least twice as high as the first is
deep.

This box is represented by B, Fig. 1. Stand it on end and place the
other against it in the manner shown by the diagram. Now take a pencil
and mark a line across the second box at its junction with the first.
With a fretsaw or penknife make a cut along this line, and then
completely remove the square of wood below this cut. A glance at Fig. 4
will make this clear.

[Illustration: FIG. 4.--Scene-raising apparatus.]

The back of the box must be taken off and hinged on again in the form of
a door. This is to enable the youthful showman easily to execute repairs
if anything “goes wrong with the works.”

It is now time to turn attention to the most important portion of the
show--the scenes.

If the reader possesses any artistic ability, he cannot do better than
paint them himself. A few hints upon this subject will perhaps be
useful.

He must pay a visit to a stationer’s, and purchase a supply of white
drawing-card, such as is used by artists. A fair-sized sheet costs only
two cents. Having procured this he must lightly sketch, in pencil, the
first scene upon it. If he be at all doubtful as to his artistic
abilities, however, the following is an excellent plan to adopt.

Armed with a pencil and piece of tracing-paper cut to the size of the
scenes, he should carefully examine the various illustrations appearing
in magazines. A short search should reveal a mountain, a mass of
foliage, a waste of sea, or some other subject suitable for the
background of the first scene. He must then get to work with the pencil
and trace this upon the tracing-paper. Another search will bring to
light something adaptable for the middle-distance. Lastly, a group of
objects for the foreground must be selected, and the whole transferred
first to the tracing-paper and thence to the drawing-card. Thus by
taking a background from one illustration and a foreground from another,
almost any scene may be built up.

After being sketched-in in pencil the scenes must be colored. This
should be done with a view to general effect rather than perfect detail.
First the predominant colors should be laid on in a bold wash, then the
objects in the background painted in. The coloring must be as vivid as
possible, in fact, almost gaudy.

Instead of each scene representing a single incident, it is preferable
to weave the whole series into some sort of a narrative, such as “A
Voyage round the World,” “With Shackleton to the South Pole,” or, if the
reader is very imaginative, “Round the United States in an Aeroplane.”

Having procured the scenes--they can number from half-a-dozen to a
score--proceed to fix them in the show. Fig. 5 gives an interior view of
scene-raising apparatus.

[Illustration: FIG. 5.--Interior view of scene-raising apparatus.]

A hole must first be bored in the center of each scene and pieces of
stout thread knotted in them. A series of diminutive wire-rings,
corresponding numerically to the number of scenes, must be fixed into
the roof of the box in the position indicated by the dots at A, Fig. 4.
Fig. 5 shows position of wire-rings at A, B thread, and C loop for
scene-raising. The pieces of thread must be carried through the rings at
A, bent at right angles at B, and brought to the outside of the box
through a number of small holes (B, Fig. 4).

It will now be observed that when one of these threads is pulled, the
scene to which it is attached is lifted swiftly out of view of the
audience and behind the top portion of the box.

In order to prevent the scenes and threads becoming entangled when
raised and lowered, thin strips of wood should be glued up either side
of the box, thus making a series of grooves in which each scene can
work. In Fig. 4 the first scene has been raised, leaving one of these
grooves displayed to view.

Another reference to this diagram (C, Fig. 4) will show a number of
small nails corresponding to the holes at B. When a scene is pulled up,
the wire-ring at the end of the thread can be slipped over this nail,
thus preventing its dropping down again.

It now remains only to put the two sections of the peep-show together.
This is easily done. Simply push one box firmly against the other in the
manner shown in Fig. 1, and secure them either by means of small brads
or strong glue.

The whole contrivance can then be painted and decorated to suit the
taste of the young showman, and everything is ready for the first
“performance.”

The showman lights his candles, places the show upon the table in a
convenient position, and gets his “audience” to look through the
peep-holes. Then he starts upon his description of the first scene,
making it as entertaining as possible by well padding with jokes. When
he has finished with the first scene--Zr-r-rip!--he pulls the thread,
the picture is whisked out of the audience’s view before they quite
realize what has happened, and the next scene is displayed.

Thus he will go through the whole series of pictures, and then--well,
after that, I trust he will be listening to the congratulations of the
audience upon his success as a peep-show man.




CHAPTER XLV

THE “MECHANICAL” PEEP-SHOW


SECRETS OF LIGHTNING TRANSFORMATIONS

THERE is another variety of peep-show well worthy of attention. It is
known as the “mechanical” peep-show. A short account of the finished
show will not be out of place before proceeding with a more detailed
description.

Upon looking through the peep-holes the interior of a cottage is
perceived, including side wings. The next moment, however, a faint click
is heard--and the interior of the cottage miraculously vanishes, giving
place to a scene in a forest glade!

The simplest and most satisfactory manner of explaining this marvelous
transformation is to describe how one of these “mechanical” shows may be
made.

Procure a wooden box similar to the first of those employed in the
manufacture of the previous show. Having decided upon the number of
peep-holes, cut them out in the manner already described. Another “stage
front” must then be fixed in position about 3 inches from the peep-holes
(Fig. 1). For the sake of convenience it is advisable to turn the box
upside down, with the lid at the bottom instead of the top. This will
permit the interior of the show being attended to without unnecessarily
disturbing the mechanism.

Having, for the time being, finished with the body of the peep-show,
turn your attention to the internal parts. These are by no means
complicated.

[Illustration: FIG. 1.--Handles and tin clip for holding scenes.]

First obtain a piece of white drawing-card, and cut it to fit exactly
the back of the box. Then take another piece, half the size of the
first, and hinge it by means of a strip of linen and gum to the center
as shown in A A, Fig. 2.

With the flap thus formed hanging downwards, place the card upon the
table, and proceed to paint thereon a forest scene (C, Fig. 2). If a
suitable illustration can be procured from a magazine it will only be
necessary to paste it on the card and carefully trim the edges.

[Illustration: FIG. 2.--A double-barreled scene.]

Having satisfactorily completed the forest scene, bend the flap upwards,
thus hiding the picture, leaving in its place a blank piece of card.
Brushes and paints must again be employed, and the blank card
transformed to the interior of a cottage. The result is the
“double-barreled” scene represented by Fig. 2. A glance at this diagram
makes it apparent that by simply dropping down, or lifting up, the
hinged flap D, the scene can be changed at the will of the operator.

Fig. 3 is an example of one of the wings employed in the show. Like the
scene, it is “double-barreled.” A strip of white cardboard is the first
requisite. Its size will be dependent upon the dimensions of the show.

[Illustration: FIG. 3.--Part of double-barreled wing.]

Draw a line down the center of the card (Fig. 3). Then proceed to paint
upon one side of this line a section of a tree, or some other piece of
forest foliage (A, Fig. 3). Having done this, turn the card over and
paint upon the reverse side a curtain, window, or anything else
suggesting a cottage interior at B, Fig. 3. This double wing must then
be carefully cut out in the manner shown.

Next take a piece of wood slightly longer than the wing, and about
¹⁄₄-inch wide by ¹⁄₈-inch thick. Glue this to the center of the wing as
shown at C, Fig. 3. A closer reference to this diagram reveals that the
strip of wood is whittled to a point at E; also that a wire “handle” is
fixed to the other extremity, D. At present, however, this “handle”
should be held in reserve.

Three other wings have also to be made. Fig. 4 suggests the various
forms they may take.

The segments of the show are now complete, and all that remains is to
put them together.

First take the hinged scene and fix it in the end of the box opposite
the peep-holes. To prevent the flap falling down at an inopportune
moment and displaying the wrong scene, a slit must be made at the top of
the box and a small strip of tin inserted (B, Fig. 1). This strip of tin
is also shown at B, Fig. 2. It will be found that when this is pushed
down, it clips on the flap D, holding it against C.

On being pulled up, however, the flap is released, and, falling down,
changes the picture. To lift the flap again, attach a piece of thread to
one corner, carrying the loose end out through a small hole in the back
of the box.

The wings should be placed in the interior of the show, in the position
illustrated by Fig. 4. The wooden point at the base of each wing acts as
a pivot in a small hole made in the bottom of the box. Four
corresponding holes must also be bored at the top.

The wire “handles” next claim attention. They should be pushed through
the small hole, as shown in Fig. 1, and fixed firmly in each wing. The
holes must, in every case, be large enough to permit the wings to
revolve easily and with the least possible resistance.

Each “handle” is connected by a straight piece of wire having both ends
bent in the form of a small ring (G, Fig. 4). It will also be noticed in
this diagram that one of these “handles” has a considerably longer shank
than the others (H, Fig. 4). This is to enable the showman to bring
about the transformation previously explained.

[Illustration: FIG. 4.--Simultaneous revolving wings.]

A glance at Fig. 4 will make it apparent that when H is turned, the four
wings revolve also. Thus the wings for the forest scene may be suddenly
switched out of sight, and those for the interior of the cottage
displayed, or _vice versa_, at the will of the operator. To prevent the
wings revolving too far, a small block of wood should be nailed to the
bottom of the box at the base of the first wing, in the position shown
by X, Fig. 4.

The mechanical peep-show is now finished. After the showman has grouped
his audience at the peep-holes, and all is ready for the transformation,
he simply turns the wire handle with one hand, and with the other
simultaneously raises the clip securing the back scene. All that is
heard by those at the peep-holes is a faint click as the wings revolve.
Then they perceive, with no little bewilderment, that in some
inexplicable manner the interior of the show has been completely
changed. The showman will be wise to refrain from permitting them
further to examine the apparatus, however, for when they realize the
absurdly simple mechanism by which the transformation is wrought, their
bewilderment will vanish even more rapidly than do the scenes
themselves.




CHAPTER XLVI

HOW TO MAKE AND WORK A PUNCH AND JUDY SHOW


HIS HIGHNESS OF THE HUMP

MR. PUNCH and Mrs. Judy at one time held quite an exalted position among
forms of entertainment dear to the heart of the British boy. As far back
as the reign of Queen Anne, a well-known periodical devoted quite a
considerable space to a criticism of a Punch and Judy performance!

[Illustration: FIG. 1.--The framework.]

[Illustration: FIG. 2.--Frames hinged together.]

Moreover, in England, less than fifty years ago it was no unusual
occurrence for a traveling showman to hire a barn or large room and give
a whole evening’s performance with his Punch and Judy.

Punch is just as amusing indoors as out, and the boy who is interested
in giving different forms of home entertainment will find a Punch and
Judy an excellent addition to his other shows.

The stage upon which Mr. Punch performs his amusing antics is simple of
construction.

It will first be necessary to procure six uprights, each 7 feet long and
1 inch thick; and nine crosspieces each 2¹⁄₂ feet long and 1 inch thick.

Take a pair of uprights and join them together with three
crosspieces--one at each end and the other in the center. The result
will be a framework such as is shown in Fig. 1. The four remaining
uprights must be similarly treated.

Altogether three frames will have been constructed, and they must be
hinged together, as shown in Fig. 2.

[Illustration: FIG. 3.--The platform.]

This may be done with either strips of cloth or small metal hinges. The
latter may be purchased from any hardware store for a few cents.

It will be noticed that the framework has only three sides. The fourth
side is to be occupied by Punch’s platform, which merely consists of a
small board about 6 inches wide and 2 feet 6 inches long. An oblong nick
1 inch by ¹⁄₂ inch should be cut in each side of this platform, as shown
both in Fig. 3 and A, Fig. 4. A cut of similar dimensions must also be
made 5 feet 6 inches from the ground in both the front uprights of the
framework (B, Fig. 4). The incisions in the platform dovetail into those
in the uprights. To make all quite secure two small catches (A, Fig. 4)
are fitted to the ends of the platform, and these clamp round the
uprights, holding everything firmly in position.

[Illustration: FIG. 4.--Arrangement for supporting platform on frame.]

The framework is now complete, and with the exception of the small space
above Punch’s platform, should be covered with dark red or green paper
cambric, which may be purchased at five or six cents a yard. The width
of the cloth will be found just over 2 feet 6 inches, _i.e._ the same
width as a single frame. The best course, therefore, will be to cut the
cloth into seven-foot lengths and nail it with small tacks or brads over
each frame separately.

[Illustration: FIG. 5.--Front of show complete.]

The space below Punch’s platform, however, is covered in a different
manner.

A row of tacks or brads is driven into the front of the two uprights to
about three-quarters of their length. A corresponding number of small
curtain rings--to be obtained at any hardware store for 5 cents a
dozen--are then sewn down the sides of a piece of the cambric 5 feet 6
inches long. By this means the cloth may be hooked to the front of the
show, as illustrated in Fig. 5.


PACKING UP THE SHOW

When the Punch and Judy Show has to be packed away, it is merely
necessary to unhook the front cloth, take out the platform, and fold the
framework up as though it were a screen or a clothes’ horse.

But before this trial “pack up” is attempted, there are one or two small
but important additions to be made.

First of all, the top of the opening at which Punch presents his cheery
countenance must be decorated. This is easily done. Two small nails are
driven perpendicularly into the top of the front uprights, and a stout
piece of wire stretched between them. A frieze of cambric is then hemmed
round the wire (Fig. 5). The wire should be simply hooked on the nails,
so that it can easily be detached when the show is folded up.

A similar frieze must also be tacked along the edge of the platform.

With regard to the scenery! Mr. Punch is very modest in this direction,
for he requires only two wings with which to garnish his abode. These
generally take the form of a scene of the top window of a house, and the
front of a shop or a portico.

The front and back of one of these wings are shown in Figs. 6 and 6_a_
respectively.

It consists merely of a framework of wood, 1¹⁄₂ feet long by 9 inches
wide, over which a piece of white cardboard is nailed or glued. The
desired scene is then executed on the cardboard in either oil paint,
water color, or crayon.

The window itself should be cut completely out and hinged back again
with a strip of linen, so that Punch and the other characters may poke
their heads through (Fig. 6_a_).

The complete wings must then be hinged one on each side of the show, as
seen in Fig. 7. In this diagram the wings are illustrated as seen from
the inside.

[Illustration: FIG. 6.--Exterior view of window.]

[Illustration: FIG. 6_a_.--Back of wing.]

[Illustration: FIG. 7.--Swing-doors opening inwards.]


THE PUPPETS

The “stage” is now complete, and it remains but to make the grotesque
little puppets that perform upon it.

Pride of place must be given, of course, to the redoubtable Punch
himself.

The most difficult part of this puppet to construct is the head. There
are very few boys skillful enough to carve out the correct features from
an ordinary block of wood; therefore they must find some other
foundation upon which to work. A Dutch doll, to be purchased at any
toyshop for a few cents, serves splendidly. Whilst the reader is in the
toyshop buying the one doll, he may as well extend his order to about a
dozen more; not only are they useful for making Punch, but their stony
countenances can be transformed into those of Judy or any of the other
characters.

The dolls should all be decapitated, and have their hands and feet
removed as well. One of the heads must then be selected, and the little
snub nose taken off with a sharp knife. A semicircular line should next
be penciled right across the lower part of the face, and all the wood
below this line cut away to the depth of ¹⁄₈ inch or so (Fig. 8). A
“false” chin is to go here, whilst a “false” nose must adorn the spot
whence the original member was removed.

[Illustration: FIG. 8.--Preparing Punch’s face.]

[Illustration: FIG. 9.--Punch’s nose and chin.]

Both nose and chin can be whittled from separate pieces of wood--the
doll’s discarded body will do. Fig. 9 shows the shape they should
assume. When both have been carved to the reader’s satisfaction, they
must be glued firmly in their respective positions, and the joints
hidden by a few judicious touches of the paint-brush.

[Illustration: FIG. 10.--Pattern for Punch’s coat.]

[Illustration: FIG. 11.--Mr. Punch.]

In the case of the nose, a small tag of wood must be left, as in Fig. 9,
and a hole bored in the head to receive it. This will make the joint
more secure than if it were simply glued, and as Punch’s nose receives
more than its fair share of knocks, the precaution of having it firmly
fixed is not altogether an unwarrantable one.

The adjusting of the “false” nose and chin is by no means a simple task,
requiring, as it does, considerable ingenuity. But on the whole it will
be found much easier than having to carve the entire face.

The clothing of Punch is best left in the hands of the reader’s mother
or sister. Although it is astonishing what a boy can do with needle and
thread when necessity puts him to the trial, making the tiny suit of
scarlet calls for an amount of patience and a carefulness over detail
that only a lady can be relied upon to exercise.

Fig. 10 shows the pattern for Punch’s coat. The cloth selected for the
garment must be folded double, cut to the pattern given, then hemmed
round the edges as indicated by the dotted lines. The sleeves are made
separately, being afterwards sewn into position on the jacket.

When the reader’s mother or sister has finished the little scarlet coat,
Punch’s head must be glued by its neck into the collar, a lace frill
being afterwards attached to finish off the joint neatly. The hands from
the Dutch doll should next be glued into the sleeves, and smaller frills
similarly attached.

Before the head is stuck in position, however, a hole must be bored in
the base of the neck just large enough to admit the tip of the
forefinger.

For Punch’s nether garments two cylinders of cloth only are necessary.
The feet from the Dutch doll must be glued into one end of each
cylinder, whilst the other ends should be sewn individually inside the
front of the coat.

A conical hat must next be made, and either glued or tacked to the head.
After the hump has been well stuffed with wadding, Punch should have
assumed an appearance similar to that of the gentleman depicted in Fig.
11.


WORKING THE FIGURES

To “work” the figures the performer first puts his hand up the back of
the coat, and sticks the tip of his forefinger in the hole in the head.
He then places his thumb and second finger in the diminutive sleeves. By
this means the puppet can be made to fling his arms about, and move his
head in a most grotesque fashion.

The other puppets are constructed on practically the same lines; but in
the majority of cases it will be unnecessary to provide them with
knickerbockers and legs, as the audience see only the upper part of the
bodies above the platform. In these circumstances the attire can take
the form of a simple, long, loose gown, such as that worn by the Clown
in Fig. 12.

[Illustration: FIG. 12.--The Clown.]

[Illustration: FIG. 13.--Skull head for the Ghost.]

Judy’s prepossessing features may be made from another of the dolls’
heads by substituting a beaked nose for the original organ. The lady’s
dress consists of a gown made from some red spotted material.

By a judicious application of paint, and by gluing on colored tufts of
wood for hair, the remaining heads can be transformed into craniums
suitable for the other puppets.


THE GHOST

The Ghost, however, may receive a little special treatment. One of the
heads should be vividly painted in black and white to represent a skull.
Then attach it to a wooden stick, decorated with a series of black
rings, as shown in Fig. 13.

The body consists of a long white gown similar to the other dresses, the
only difference being that the head is left quite free in the collar.
When the mysterious visitor makes his first appearance his head is right
down upon his shoulders, as in Fig. 14.

Directly Punch becomes too familiar, however, the showman can make the
Ghost suddenly shoot out his long neck, thereby giving the old gentleman
a bad attack of the “nerves.”

There remains one other piece of “stage furniture” to be constructed.
This is the gallows--which plays such an important part in the exciting
scene where Punch turns the tables on Jack Ketch.

Take a piece of wood six inches long, half an inch wide, and an eighth
of an inch thick, and nail it at right angles to the extremity of
another piece the same width and thickness, only eight inches long. A
third strip of wood must then be nailed diagonally between the other
two. The completed article will have the appearance of Fig. 15.

The end of the longer arm must be whittled to a blunt point, and a hole
bored in Punch’s platform to receive it. Two small holes should also be
bored in the short arm. They must be about two and a half inches apart,
and a piece of string knotted in the first, then looped down and
threaded through the second, as shown in the diagram. It is into this
loop that the wily Punch persuades Jack Ketch to place his head, when
the old fellow gleefully gives a sharp pull to the other end and hangs
him.

[Illustration: FIG. 14.--Ghost as seen at first appearance.]

[Illustration: FIG. 15.--The gallows.]

To those readers who do not possess a dog, at first sight Toby presents
a difficulty which it seems impossible to overcome. But all that is
necessary is to cut the head from a wooden toy dog and attach it to a
stiff muslin gown, over which some black paint has been spotted to
represent the tight skin of a mongrel terrier. By placing the hand up
the gown, this “Toby” can be worked similarly to the puppets.

[Illustration: FIG. 16.--The squeaker.]

Many professional showmen use what is known as a “Punch squeaker” for
imitating Mr. Punch’s voice. Most boys, with their well-known genius for
mimicry, will find it much easier to assume the high-pitched tenor of
Punch without any artificial aid. However, for the benefit of those who
are anxious to cheer the neighbors with the dulcet notes of the
squeaker, instructions are given for making one.

First obtain a piece of tape six or seven inches long and half an inch
wide; also two pieces of tin about two inches long and half an inch
wide. Both pieces of metal must then be bent slightly in the center, and
a single layer of tape placed between them. The remaining tape is next
bound firmly round the outside, all being held fast with thread. The
finished squeaker is illustrated in Fig. 16. Before being used it should
be well soaked in water.

To produce the required sound place the squeaker between the teeth,
half speaking and half blowing the words through it.

The story of Punch is so well known that most boys will be able to work
out a performance of their own. But those who wish to give the correct
version of the adventures encountered by our Hero of the Hump will find
at any theatrical publishers’ a little book giving the complete
dialogue.




CHAPTER XLVII

DISSOLVING VIEWS


WITHOUT A MAGIC LANTERN

PREVIOUS to the introduction of the cinematograph, dissolving views
ranked amongst the most popular of entertainments. By means of a
specially-constructed magic lantern, a painted picture from a glass
slide is thrown upon a screen. Then, at the will of the operator, the
picture apparently dissolves into a haze, through which a second picture
gradually makes its appearance.

Subjects are usually chosen which specially adapt themselves to such an
optical illusion. For instance, a picture might be shown of a small
country village, which slowly dissolves into a view of the same place
several years after, when it has developed into a thriving and populous
town.

But the specially constructed magic lantern necessary for these
dissolving views is a very costly piece of apparatus, the purchase of
which would entail the careful saving of two or three years’ pocket
money. However keen a boy may be to provide some form of home
entertainment for the amusement of his friends, such an alarming
prospect would make his keenness dissolve as completely as the pictures
he hoped to display.

[Illustration: FIG. 1.--Show as seen by audience.]

It is the purpose of this chapter, however, to explain how an apparatus
may be constructed for a small sum that will bring about effects similar
to those of the special magic lantern costing many dollars.

Fig. 1 depicts the show as seen by the audience. It consists principally
of a framework not unlike that of a model stage, the dimensions of
which must be left to the decision of the reader. For the sake of
convenience, however, it will be advisable to explain the method of
constructing apparatus capable of displaying views about the size of a
picture postcard.

A stage front similar to that in Figs. 1 and 2 should first be cut from
either thin wood or stout cardboard. The size of a picture postcard is
usually 3¹⁄₂ inches by 5¹⁄₂ inches. Consequently the opening in the
stage front must be about 6¹⁄₂ inches by 8¹⁄₂ inches. This allows for a
nice margin around each dissolving view.

It will be noticed from the diagrams that both sides of the show are
fitted with two small rods, bearing miniature curtains. These are to
prevent the audience seeing what the showman is doing “behind the
scenes.” Their mode of fixture is explained in Fig. 3. Four pins, with
their heads nipped off, are bent in the shape of a horseshoe, and a pair
driven into each side of the stage front (A, Fig. 3).

[Illustration: FIG. 2.--Show from back view.]

The two rods, which can consist of thin pieces of cane, are then pushed
into the sockets thus formed, and the curtains threaded upon them by
means of a wide hem sewn along the top. The advantage of this method of
fixture is that when the show is packed up, the curtains can be easily
removed by merely pulling the rods from their horseshoe-shaped sockets.

[Illustration: FIG. 3.--Back view of partially constructed apparatus.]

The floor or base of the show must next be provided. Procure a piece of
wood about 10 inches long, ¹⁄₈-inch thick, and of the same width as the
stage front. A block of wood is then nailed or glued along one end of
this, and the stage front fixed firmly to it (Fig. 2).

Having done this, make a journey to the nearest glazier’s, and purchase
a piece of glass of about the same dimensions as the wooden base. This
should not cost more than ten cents. Clean the glass thoroughly, and
rest it against the top of the stage-front at an angle of about 60°
(Fig. 3). Next take a picture postcard, and lay it on the wooden base
between the end of the glass and the stage front. (See B, Fig. 3.)

If the room now be darkened, and a bright light thrown upon the
postcard, its reflection will be clearly visible on the glass, and to
those looking through the stage front it will appear exactly similar to
the view projected upon a screen by a small magic lantern.

Should the reflection be at all lopsided, the angle of the glass must be
altered until this defect is remedied. A block of wood, or an ordinary
cigar-box, must then be placed upon the wooden base with its edge along
the glass, and nailed securely in position. (See A, Fig. 4.)

[Illustration: FIG. 4.--Showing position of picture postcard and glass
screen.]

Three pieces of cardboard are the next requisites. One piece is to be
glued to the block of wood or cigar box at the back of the show; the
other along one side, and the last over the top, as depicted in Fig. 4.
It is now necessary to slide out the glass and paint the whole of the
interior dead black.

[Illustration: FIG. 5.--Lighting apparatus with serrated shutter.]


EXHIBITING

Whilst the paint is drying the young showman can turn his attention to
the lights. These merely consist of two lamps--photographic dark-room
lamps are most suitable, or a wax candle will serve quite well. Each
lamp is provided with a cardboard shutter serrated at the bottom, as
shown in Fig. 5. It is this serration that imparts the dissolving
effects to the various views.

When the paint is dry the first exhibition may be given.

The room in which the entertainment is to take place must be darkened;
the glass placed in position between the cigar-box and the stage front,
and the lamps lit. Two picture postcards must also be obtained; the
first being placed upright upon the cigar-box at the back of the show,
and the other on the wooden base between the glass and the stage front.
A glance at Fig. 4 explains this.

The two lamps must now be so arranged that the light from one, whilst
brightly illuminating the first postcard, leaves the portion of the show
behind the glass in complete darkness; and the light from the other
falls solely upon the card on the cigar box.

If the shutter of the first lamp is now closed, and that of the second
opened, the audience will see only the postcard at the back, set in a
frame of dead black.

The exhibitor should then slowly press down the shutter of the second
lamp, and simultaneously raise that of the first. The serrations--in one
case gently cutting off the light, and in the other permitting it to
stream forth gradually--will have the effect of making one postcard
slowly dissolve from view, and give place to the reflection of the
other.

The back of the show being in complete darkness, the glass acts as a
perfect mirror, and whilst the audience are gazing at the reflection of
the first card, a fresh view may be substituted for that at the back,
without their being aware of the change.

Having accomplished this, the showman must uncover the second lamp and
push down the shutter of the first. The result will be that the
reflected view fades from sight, and the fresh picture postcard is
displayed.

It is then a simple matter to slip the card already used from its
position between the glass and stage front, and insert another in its
place.

In this manner a succession of views may be made to dissolve into one
another.

As has already been mentioned, there is no limit to the dimensions of
such a show--the showman being guided by the size of the pictures he is
able to obtain. Picture postcards are always procurable, and no
difficulty should be experienced in obtaining slightly larger views from
magazines, art catalogues, &c.

Of course, in the very large shows a much brighter light is required,
and four lamps must be used instead of two.




CHAPTER XLVIII

INDOOR FIREWORKS


WITHOUT THE USE OF EXPLOSIVES

A FIREWORK display without the employment of brimstone and saltpeter is
somewhat unusual. But it is quite possible to give such a display, and
to do so without the heavy expense usually attending Fourth of July
pyrotechnics.

It is first necessary to make a frame or “stage,” upon which to present
the firework display. In appearance this frame greatly resembles a
three-winged clothes-horse; in fact, one of these humble home
“thoroughbreds” may, after slight alteration, be easily pressed into
service.

[Illustration: FIG. 1.--Showing frame and side wings.]

The question of dimensions rests entirely with the exhibitor. Fig. 1
shows a diagram of the frame. As will be seen, its front is divided into
two compartments, A and B. The lower compartment, B, is occupied by a
scene of some Exposition Building. This must be made of cardboard, and
can either be permanently nailed to the frame, or so constructed as to
slide in and out between two grooves. The advantage of the latter mode
of fixture is that when the owner of the firework show tires of one
scene he can readily substitute another.

To represent the windows and glass domes of the Exposition Building,
small squares should be cut from the cardboard scene and tissue paper
pasted over them. When a light is placed behind, the effect will be very
pleasing, and will considerably enhance the reality of the firework
display.

After draping the two side wings (C and D, Fig. 1) with red or green
cloth, the framework or “stage” may be set aside, and attention paid to
the fireworks themselves. They are by no means of a character calculated
to send cold shivers down the backs of timid parents. Fig. 2 shows a
portion of one. It simply consists of a piece of cardboard, slightly
larger than the top frame (A, Fig. 1).

A design similar to that in the diagram must be lightly penciled upon
it. Then, with a rather coarse needle, prick out this design with a
series of small holes, through which the light can easily penetrate. It
is also necessary to make four larger holes at each corner of the card,
and to drive four wooden pegs or nails into the corresponding corners of
the frame. By means of these the cardboard design can be quickly removed
from or fixed to the “stage.” (See D, Fig. 4.)

[Illustration: FIG. 2.--Showing firework design formed by series of
small holes.]

[Illustration: FIG. 3.--Revolving wheel, spaces fitted with colored
tissue paper.]

From another piece of cardboard cut out a wheel about 6 inches in
diameter, and of the shape shown in Fig. 3. The numerous spaces between
the spokes should be filled with pieces of transparent tissue paper of
various colors.

A small stand upon which this wheel can revolve is the next requisite.
This simply consists of a flat wooden base, with two wooden uprights
glued firmly upon it. These uprights are connected at one extremity by a
short piece of wire--an ordinary pin will serve the purpose
excellently--forming an axle for the cardboard to revolve upon. Fig. 3
makes this quite clear.

Now to test the effect of the first firework.

Fix the cardboard design in the upper portion of the frame, and stand
the whole upon a table. Then take a magic lantern (B, Fig. 4), or,
failing this, a bull’s-eye lantern or cycle lamp, and focus its rays
upon the cardboard design. Next place the “wheel” (C, Fig. 4) in such a
position that the beam of light shines through one of the tissue paper
films, and then continues its original course to the screen.

When everything is in position, the room in which the display is to take
place must be darkened. Having done this, grip the edge of the “wheel”
by the thumb and forefinger, and spin it sharply round.

[Illustration: FIG. 4.--Firework apparatus complete.]

As it swiftly revolves various colored beams of light will be thrown in
rapid succession on the cardboard screen, and, penetrating the minute
holes, will present the appearance of a fountain of brilliant,
life-endowed sparks.


THE FIREWORK BOXERS

But our firework show gives scope for far better effects even than this.
Some time ago great surprise was caused at an exhibition by the
production of a firework boxer. With a little care and ingenuity, the
same surprising result may be produced in the following manner:--

By means of a needle prick out two boxers in a defensive position (C and
D, Fig. 5). The others must then be designed; only in this case, one
boxer is administering the _coup de grace_ to his unfortunate opponent.

Two grooved strips of wood are next glued to the top and bottom, as
shown at A, Fig. 5, and two pieces of cardboard slid between them (B,
B). These two cards should then be connected by three pieces of wire, as
shown in the diagram, and have their corners rounded off in order to
insure free movement in the grooves.

By pulling the left wire one pair of figures is hidden and the other
revealed. Thus we have two firework boxers, who will fight a short but
decisive contest.

[Illustration: FIG. 5.--The firework boxers.]

There is another type of “indoor firework” working on the same principle
as the above. A reference to Fig. 6 will put the exhibitor in possession
of all its details.

[Illustration: FIG. 6.--Another type of indoor fireworks with changing
views.]

At first only the central “Catherine wheel” is seen by the audience.
Then, on the wire to the left being pulled, and the cardboard to which
it is attached raised, a fountain of fire shoots into the air and bursts
into a number of stars. A similar occurrence takes place on the right,
and by pulling the central wire the “Catherine wheel” is made suddenly
to vanish and give place to the spectacle depicted at D.

Care should be taken when manipulating these “mechanical” fireworks that
the hand does not come between the light and the framework.

Of course, on the above principles, numerous other designs may be made
for the show, and a stock of “fireworks” manufactured that will dwarf
any supply.




CHAPTER XLIX

HOW TO MAKE A TELEPHONE


FOR USE AT HOME

IT is quite easy to make a telephone, which besides affording amusement,
will, at times, be found extremely useful. Fitted from the ground floor
to the rooms above, or from your friend’s house to your own, it is
impossible to overestimate its convenience.

[Illustration: FIG. 1_a_.--Section of case.]

Of course it is quite possible to buy the parts of a telephone ready
made and fitted together, but it is much more interesting to construct
the apparatus yourself.

The whole affair is so easily and cheaply made that no difficulty can
possibly be experienced, and you have only to exercise care in order to
succeed in constructing a very handy and interesting machine.

[Illustration: FIG. 1_b_.--Magnet case.]

For the apparatus to be of any practical use, a pair of receivers are
required--one for the person speaking, and the other for the person
listening.

First of all purchase two bar-magnets, _i.e._ straight and magnetized at
one end only--not the ordinary horse-shoe magnets. These bar-magnets
should be about four inches long, and can be bought from any
electrician; at the same time obtain from him an ounce of silk-covered
wire, No. 36.

Before taking the magnets from the shop it would be as well to test
them. This can be done by placing the marked end of one to the unmarked
end of the other, and unless the former is able to support the weight of
the latter, do not take either, but insist upon the electrician giving
you stronger ones.

Having made your purchase, set to work upon the actual apparatus. The
first things to be made are the wooden cases for the magnets, and these
require care in construction.

From a straight broom-handle cut off two lengths, each a little longer
than the magnets, _i.e._ about 4¹⁄₂ inches long, and split them
carefully down the middle with a chisel. Along the center of each of
these halves cut a groove (B, Fig. 1_a_), in such a manner that when the
two halves are put together they fit properly, and there is room for the
magnet to slip backwards and forwards in the hole running through them.
Now glue the parts together and you will have two short wooden tubes, or
magnet cases, as shown in Fig. 1_b_.


MAKING MOUTHPIECES

Having made the cases for the magnets, now make the mouthpieces. Procure
two wooden boxes such as boot-buttons are sold in, and glue one to the
end of each of the wooden tubes you have just made, cutting a hole in
the bottom of the box to correspond with the bore of the case. In Fig.
1_a_ you will see the work, so far as you have completed it, shown in
section. In the lid of the box cut a clean hole the size of a dime right
in the center, but this lid must not be fastened to the box just yet.

The next things to be made are two bobbins upon which to wind the
wire--one for each instrument. Cut a piece of fairly strong cardboard
about ¹⁄₄-inch wide and just large enough in circumference to fit the
marked end of the magnets tightly. Divide your No. 36 wire into two
equal lengths, and wind each piece around the bobbins, leaving the two
ends free to the length of about two inches.

Next slip the magnet, M, into the groove, and push it through so that
the bobbin, L, is contained in the box C, Fig. 2. Make two holes in the
bottom of this box, pass the ends of the wires through them and fasten
them with binding screws, as in the illustration H, Fig. 2.

The thin plate which vibrates with the voice must next be made. Obtain a
smooth piece of very thin sheet-iron--of just such a texture as is used
by photographers for ferrotypes. Take the greatest care to keep this
perfectly flat. Cut two round pieces large enough to cover the
mouthpieces as you will see in P, Fig. 3, where it is shown in section.
Take the lid in which you have already cut the circular hole and fasten
it to the box in such a way that it keeps the iron plate in position (Q,
Fig. 3).

[Illustration: FIG. 2.--Arrangement of magnet.]

[Illustration: FIG. 3.--Section of completed instrument.]

[Illustration: FIG. 4.--Connection with battery.]

Push the magnet very close to, but not quite touching, the disc of
iron--say ¹⁄₁₆th of an inch away, and fasten it in that position, either
by means of a wooden plug at the other end, or by driving a screw into
the case in such a way that it grips the magnet and holds it firm (S,
Fig. 3). Fill up the hole at the other end of the case with a piece of
cork, glue or screw on the lid, keeping the opening so that it almost
touches the iron disc, and your telephone is complete. Fig. 3 shows in
section how it should now appear.

It remains only to make the connections with the batteries in the manner
shown in Fig. 4, and you will be able to speak with your telephone. It
is very possible, however, that the voice will carry faintly, but do not
be disappointed, as this can be very easily remedied by making an
apparatus which is usually attached to the telephone, and is known as


THE MICROPHONE

[Illustration: FIG. 5.--Sectional view of microphone.]

This instrument, as its name implies, serves to make small sounds
greater. Besides being useful in conjunction with a telephone, it is
also of interest in itself.

Make a base, BC, and an upright, A, from a piece of thin pine wood, as
shown in Fig. 5. Buy from the electrician two blocks of carbon such as
are used in batteries (these will cost but a few cents), each measuring
about a cubic inch. In one side of each of these blocks fasten a long
binding screw, whilst in an adjacent side make a hollow with a
rat-tailed file or a penknife. Then get a small pencil of charcoal such
as is used in the large arc lamp, and cut off a piece 4 inches long;
file both ends to a point in the way that you sharpen a pencil (E, Fig.
5).

Having made these various parts, fit them together. Screw the two pieces
of carbon to the upright in such a way that one rests upon the base
whilst the other is at such a height that the charcoal pencil rests
lightly in the hollows, between the two carbons, as in DD, Fig. 5.

The microphone is now complete, and can be attached to the telephone as
shown in Fig. 6. It will be found to increase the sound to such an
extent that your voice will be distinctly audible, and conversation
perfectly clear.

[Illustration: FIG. 6.--Connection of microphone and telephone.]

By attaching one receiver and the battery to the microphone as shown in
Fig. 7, very slight sounds will be increased to an extraordinary degree.
The ticking of a watch seems like so many heavy footfalls, and if you
can succeed in getting a fly to walk across the sounding-board, as the
base is called, the footsteps will be plainly heard. Many interesting
experiments can be performed in this manner, and as the microphone is so
easily made, it is well worth constructing one for the sake of such
experiments alone.

[Illustration: FIG. 7.--Experiment with microphone.]




CHAPTER L

TELEGRAPHY AT HOME


A GALVANOMETER ADAPTED

LIKE most of the inventions that have revolutionized the world, the
electric telegraph is constructed upon the simplest principles.

As will be shown, an instrument for transmitting and receiving messages
can easily be made at a very small cost by any one prepared to devote a
little care to its construction; and when completed it will be found of
considerable use and convenience.

To make a model of the elaborate machines now employed, which not only
receive but print messages in legible Roman characters, would be far
beyond the scope of any amateur, necessitating the purchase of many
costly parts and requiring a considerable knowledge of engineering to
fit them satisfactorily together. But the instrument that can be made
according to the following instructions, is exactly similar to those in
use throughout many smaller offices the world over.

The telegraph is based upon the following principle. A current of
electricity, passed through a hoop of wire within which a needle is
suspended, will move that needle from left to right, or from right to
left, according as the wires are attached to one or other of the poles
of a battery. This simple apparatus is called a galvanometer. A
telegraph instrument is nothing but a galvanometer adapted to convenient
usage.

Before entering upon the method of construction, it would be as well to
inform whoever undertakes this work that the utmost care is necessary in
adjusting the various parts. The slightest fault will certainly spoil
the whole instrument, and the least carelessness render all the labor
expended utterly useless.

Now to describe the simplest way to make a receiver and transmitter.

Three pieces of wood will be required, a cigar-box furnishing the best
material for the purpose; if you have not one at home, any tobacconist
will let you have one for a few cents.

To commence with the base. Cut a piece of wood measuring 6 inches by 5
inches. In this two grooves must be made (D D and E) according to the
measurements shown in A, Fig. 1. The width of these grooves must, of
course, depend upon the thickness of the wood, for the dial and the
upright will have to be fitted into them.

[Illustration: A.--Base of instrument.

B.

C.--Upright.

FIG. 1.]

For the dial you will require a piece of wood similar to the base, but
measuring 5 inches by 4 inches. One end of this should be rounded as
shown in B, Fig. 1. Drill a hole (F) right through this dial, 3 inches
from the bottom and 2¹⁄₂ inches from either side. As a piece of wire
will have to revolve easily in this hole, take great care to cut it
cleanly. In the lower end of the dial cut out two notches (G H), each
according to the measurements in B, Fig. 1, _i.e._ ³⁄₄-inch deep and
¹⁄₂-inch wide. Each notch must be ³⁄₄-inch from its side of the dial.

The upright is very easily made, being simply a strip of wood 3¹⁄₂
inches by 1 inch (C, Fig. 1). In this drill a hole (K) 3 inches from the
end and ¹⁄₂-inch from either side, taking the same care as with the hole
in the dial.

Having thus prepared the several pieces of the framework, the dial
should be glued into its groove. A small square block of wood glued into
the angle formed by the base and the dial will insure the latter’s being
perfectly perpendicular. The upright will be fixed in its place later.

To proceed with the more delicate part of the work. Cut a piece of
cardboard, fairly thin in texture, 5 inches long and 1 inch wide, and
bend it into the shape of an oblong hoop. Upon the hoop or bobbin wind
about half an ounce of fine cotton-covered copper wire, size No. 36,
which can be obtained from any electrician. Wind this wire very
carefully and evenly, but not tightly, leaving about 4 inches free at
either end (A, Fig. 2).

The next thing to be made is a magnetized needle, which can be easily
done as follows. Take a piece of ordinary watch spring, an inch long,
and make it red hot. When in this condition drill a hole through the
center, and when it is cooler round the ends, as in B, Fig. 2. Heat it
once more to a red heat and then plunge into cold water to harden. The
needle must now be magnetized by being drawn several times firmly across
the pole of a strong magnet, care being taken that it is always drawn in
the same direction.

The pointer (C, Fig. 2) should be made in a similar manner, except that
it must not be magnetized, and should be at least twice as large as the
needle. Through the hole in the magnetized needle pass a couple of
inches of straight stout wire, and with a little solder, or even
sealing-wax, fasten the needle as shown in B, Fig. 2.

[Illustration: A.--Coil of wire.

B.--Magnetized needle.

C. Pointer.

FIG. 2.]

All these parts can now be fixed together. In the middle of the broad
side of the coil of wire you must push aside the strands in such a
manner that holes can be made through the cardboard hoop. Pass the two
ends of the thick wire, to which the needle is attached through these
holes, so that the needle is then suspended within the coil. Take care
to make these holes large enough to allow the axles of the needle to
revolve freely, as the whole success of your apparatus depends upon the
needle turning easily within the coil, which should now appear as in
Fig. 3.

Fasten the coil upon the back of the dial, one end of the protruding
axle passing through the hole you have already made in the wood. Then
glue the upright firmly in its groove, with the other end of the axle
through its corresponding hole. Take great care that the needle can
revolve freely within the coil. Fasten the pointer to the end of the
axle passing through the dial, and in this latter drive two pins or
wooden pegs (P P) on either side of the pointer, in order that it may
only move within a limited arc (B, Fig. 1).

[Illustration: FIG. 3.--Revolving needle in coil.]


TESTING

It would now be as well to test what you have already done. Connect the
loose ends of the coil to the poles of a battery, reverse them, and
repeat this two or three times. If the instrument has been properly
made, the needle should swing to the left when the wires are connected
in one way; to the right when they are reversed.

[Illustration: FIG. 4.--The keyboard.]

Nothing more remains to be done but to make the keyboard, which is
really the base of the instrument you have just been constructing. A
glance at Fig. 4 shows how this is to be done. C and D are two thin
brass springs, 5 inches long, and, as they have to pass through the
notches in the dial, less than half an inch in width, they must be bent
upwards, so that when fastened to the board at C and D the opposite
ends will spring up and press against the under side of the metal bridge
BF. They are then in what is called “metallic contact.”

The bridge should be made from a piece similar to the springs and bent
as shown in Fig. 5. Another strip of brass must be screwed flat to the
board at AE, parallel to BF, and over this a couple of wooden or ivory
knobs should be fastened to the springs, as they are used to press down
CD in contact with AE (Fig. 4). When released they should fly back to
BF. Be very careful to see that all these details are thoroughly in
order, as they form the most vital part of the keyboard.

[Illustration: FIG. 5.--The instruments ready for use.]


MESSAGE TRANSMITTING

At the ends CD of the springs fasten two binding screws, and do the same
at A and B. Fasten the two loose ends from the coil to C and D, and
attach the wires from the battery to A and B. Now is the time to see
whether your machine has been properly made. By pressing down one key
you will find that the current of electricity deflects the needle and
the pointer to one side, and by releasing this key and pressing the
other one, the pointer will swing down to the other side. If this is
done satisfactorily your telegraph instrument is complete, and with a
couple of them you will be able to send messages from one room, or one
house, to another.

The complete apparatus should appear as in Fig. 5, which also shows the
connections with the battery.

A couple of Daniels’ cells, or two ordinary dry batteries are sufficient
to work both instruments.

Two copies of the Morse alphabet should also be made, one to be kept by
the side of each machine. When the needle deflects to the left it
designates a dot. When it turns to the right it is a dash. A short space
separates the letters, and a longer one the words.

When the alphabet has been mastered both for transmitting and receiving,
the use of your telegraph will be a matter of the greatest simplicity,
and you will be able to send messages with considerable speed to your
friend at the other end of the line. Below, the Morse alphabet is given,
as well as a message, which it is hoped you will be able to send.


MORSE ALPHABET

  A · —
  B — · · ·
  C — · — ·
  D — · ·
  E ·
  F · · — —
  G — — ·
  H · · · ·
  I · ·
  J · — — —
  K — · —
  L · — · ·
  M — —
  N — ·
  O — — —
  P · — — ·
  Q — — · —
  R · — ·
  S · · ·
  T —
  U · · —
  V · · · —
  W · — —
  X — · · —
  Y — · — —
  Z — — · ·


MESSAGE

  — —   · —   — · —   · · · ·   · ·   — ·   ·
  · — —   — — —   · — ·   — · —   · · ·
  · — — ·   ·   · — ·   · · — —  ·   — · — ·   —   · — · ·   — · — —




CHAPTER LI

ELEMENTARY HYPNOTISM


THE MYSTERIES AND MARVELS OF “UNDER-SLEEP”

THE term “Hypnotism” is defined in Nuttall as “an artificially induced
state of sleep,” and is of Greek origin, the prefix “hypo” signifying
“under” or “beneath,” and the Greek root “hypnos,” sleep.

Hypnotic, or “under-sleep” conditions, may be induced in several ways,
and are not limited to the best-known method, that of absorbing the
attention of the subject by means of an object; for oblivion may be
caused quite as successfully by means of the sense of touch as in gentle
continuous stroking, pressure of the skin, by the motion of the hands
over the body without touch, or by soothing words, which, accompanied by
the penetrating magnetism of the eye, convey hints or suggestions to the
intelligence.

Methods of hypnotism may be divided into two classes:--

1. _The Mental Method_--which directs the subject’s imagination and
senses to co-operation, creates an image in his mind, thrusts the
dormant brain into a totally different environment from that to which it
is accustomed, renders it extraordinarily hypersensitive to suggestion,
and unfolds experiences probably hitherto unique, at the will of the
exponent.

2. _The Physiological Method_--that steeps the faculties in oblivion as
completely as when chloroform is administered.

This latter form is often used as a therapeutic means of securing rest
and relief from pain. It has been proved that individual character takes
a far greater part in the mental method than the physiological.

When an object is used to induce hypnosis, it is held at a distance of
about eight inches from the eyes, and removed gradually to a foot above
the forehead (Fig. 1).

During this process the gaze should follow the slowly moving object
until the lids are strained to their widest extent (Fig. 1_a_). This
position naturally fatigues the eyeballs and causes the lids to close
swiftly.

[Illustration: FIG. 1.--Range of object to induce hypnotic sleep.]

[Illustration: FIG. 1_a_.--Gazing with eyelids open to widest extent.]

It is not essential that a glittering object be used. It has been found
that the finger of the operator, moved gradually, is as successful a
means as any object. Should the hypnotizer desire to enforce slumber, he
may accompany his action with suggestions that the subject is extremely
tired and longing for sleep.

“You are worn-out. Your head is heavy. Your limbs are fatigued. You need
rest. Sleep is essential. You are gradually falling asleep.”

Before hypnotism can take place, the patient makes his mind a perfect
blank, and concentrates his whole being and vision on the button, coin,
glass, or crystal held before him. It will now be seen that his eyes
begin to water, the pupils undergoing a series of changes, contracting,
dilating, and recontracting, as if he were succumbing to natural
slumber. His sight becomes gradually insensible to the light, and in a
few moments he is unconscious.

The state of hypnotism begins with the second narrowing of the pupil,
and is accompanied by a quickening or retarding of the pulse, rigidity
of body and heaviness of brain, which becomes chaotic and wildly
confused before the final stage is reached. The will is entirely
surrendered to the hypnotizer, and the subject is powerless to move,
speak, or feel, except at his suggestion.

A sure test that the individual experimented upon is really oblivious to
everything about him is shown when the operator gently moves his arms
from his side in a horizontal position and lifts his eyelid. When the
arms remain rigidly outstretched and the eyeball is fixed and glassy,
the exponent is assured that his subject is completely at his mercy
(Fig. 2).

In order to bring about this condition successfully, the hypnotizer must
possess no small amount of cultured will-power and concentration. His
mind must be absorbed in the experiment as wholly as the subject’s
faculties are concentrated upon him. He is now forcing his brain to act
at his dictation, not only upon his own movements, but upon those of the
individual chained to him by his exertion of hypnotic influence. One
mind operates them both, and, during his subject’s trance, he has as
complete a sway over his nervous system as if he possessed two bodies
and a double supply of arms and legs.

[Illustration: FIG. 2.--The subject, when hypnosis is complete.]

The eyes, whether closed or widely open, are focused on his brain,
insensate of everything beyond the compelling force creating his
thoughts. He can hear sounds, smell, taste, see, talk, or remain
silent--only in obedience to that petrifying will.

Of every movement of our bodies, the brain is supreme operator. The code
of suggestion is flashed through telegraph wires composed of nerves and
muscles. No turn of the head, twitch of the finger, beat of the heart,
can take place without the coalition of those wonderful brain-cells.
When an individual is stricken with paralysis, and has lost all power
over his limbs, it is not because his bodily organs are injured.
Impotence is caused by the fact that his brain has lost its ability to
exert its power over his organs.

The wheels of a brain, however carefully oiled and cleaned, remain
motionless unless the engine fires are lit; and, in hypnotism,
helplessness is not brought about by the mastery of the exponent over
every separate joint and muscle (for it would be absolutely useless,
even were it possible, for him to concentrate his attention on every
minute movement of the body), but simply because he is robbing the brain
of its individual control, and is exerting his own will to dominate the
purpose and identity of his subject as relentlessly as the magnet
dominates the needle.


WEAK-WILLED SUBJECTS NOT ESSENTIAL

Some subjects are less amenable to hypnotic influence than others. The
belief that those of weak will are the easiest prey is a fallacy.

The real reason lies in the fact that the individual is incapable of
concentrating his will in obedience to the dominating mind. This is
generally the case with persons inclined to hysteria or of neurotic
temperament, and for such, a revolving glass is the best object to be
gazed upon, as it wearies the eye and induces slumber without the need
of concentration or surrender of will.

There are others who cannot easily be hypnotized because they
determinedly set themselves to oppose the purpose of the operator to
such an extent that his brain becomes exhausted in the process and loses
its potency. In such cases the best plan is for the hypnotizer to
inspire faith by means of experiments performed over other individuals
in the presence of the resisting or cynical, until the incredulous are
convinced that the hypnotic influence is not induced by trickery or
confederacy. The influence of imitation is an important factor in
hypnotism, and faith once founded does a great deal to overcome defiant
wills.

It has been found that some of the best results have been those when the
subject is taken completely by surprise.

The _motion of the hands_ often brings about unconsciousness as swiftly
as when an object is used. The hypnotizer should stand a few paces from
the subject, gaze into his eyes, and with hands raised sweep them gently
in continual passes over the body, reaching from above the head to below
the hips. This action should be continued without a pause for some
minutes, the hands sweeping across the face, as near as possible without
touching it (Fig. 3). The motion may also be performed at the back of
the subject (Fig. 3_a_).

[Illustration: FIG. 3.--Motion of hands “before” subject.]

[Illustration: FIG. 3_a_.--Motion of hands “behind” subject.]

The body will gradually sway backwards or forwards, the gaze become
fixed and lifeless until the subject’s will is surrendered, when, by
withdrawing a few paces and raising a finger, the exponent will be able
to draw him in any direction he wishes.

The power of hand motion has been explained as due to stimulation over
those zones of the body most susceptible to hypnotic influence, or the
slight motion of the air, or mental influence. It is probable that all
these influences combine, the most important being the mental influence.

The idea that the hypnotizer possesses some magnetic fluid which passes
from him to the subject in the process of hypnotism has been proved to
be without any foundation, and is merely a foolish superstition. There
is nothing mysterious or supernatural in the influence of this power. It
is due entirely to the exertion of mental force and the involuntary
co-operation of the individual hypnotized.

Performance of hypnotism in a drawing-room is not difficult, although,
like everything else, it needs practice and perseverance before it can
be successfully accomplished; and, unless the mind of the hypnotizer is
disciplined to determination and control, it naturally fails to act upon
other minds.

Now, provided that the student has some knowledge of the subject, and
has trained himself to keep his attention fixed, to the exclusion of
everything else, upon the matter in hand, a few experiments may be
undertaken. Elementary ones should be essayed at first.

Fix upon an individual among your onlookers. Ask him to withdraw for a
moment or two, while you and your friends decide what he shall
accomplish. However simple the action, every mind must be concentrated
upon it, and there must be no laughing or talking.

If you know something of the character and temperament of the subject
chosen, this will aid you considerably. He should have faith in your
power, and willingly surrender his will to your control. As an aid to
concentration, request him to close his eyes; or, better still,
blindfold them. Next turn him round several times, taking care not to
induce giddiness. Your only reason for doing this is to shut out all
objects that may draw his thoughts from your purpose.

Place the tips of your fingers lightly on his shoulders, but do not push
him forward (Fig. 4). He must move only when he feels the impulse of
your will impelling him with sufficient force to render resistance
difficult or impossible. He will probably stand motionless for a few
moments, and this is when spectators are inclined to giggle a little,
just as when, for no particular reason, one’s risibilities are stirred
while being posed before a camera.

If, however, the slightest sound intrudes upon the silence, the growing
spell will be broken, for it at once disturbs the train of thought
surrounding the subject, and draws his attention from your will. Silence
is absolutely essential, for it has almost as powerful an influence as
the strongest will.

This gained, you will feel your subject sway a little under your fingers
before he goes slowly and unhesitatingly forward, feeling his way with
outstretched hands, and walking with the peculiar tread of a
somnambulist, until he unerringly picks up the photograph, takes a pin
from the curtain, removes a flower from a vase and places it in his
button-hole, or any other trivial act you have fixed upon. Then he will
pause, as if in relief that the deed is accomplished.

[Illustration: FIG. 4.--Inducing hypnotic sleep.]

Only one action should be decided upon at a time--the simpler the better
to begin with.

As you excel in this form of hypnotism, you may try more complicated
experiments, but not until you have overcome the rudimentary
difficulties and have developed your powers to such an extent that you
have absolute faith in your ability, for self-reliance and
self-confidence are the corner-stones of hypnotism.


AUTO-SUGGESTION OR SELF-HYPNOSIS

In order to cultivate these, experiment upon yourself by the means of
auto-suggestion or self-hypnosis, which is a splendid means of training
those faculties necessary to the mastery of other minds.

Change your state by means of words which imply a condition either
mental or physical not personally experienced by you, and believe
implicitly in your own ideas. Treat yourself exactly as if you were
experimenting on another individual, surrendering your subjective and
objective mind wholly to absorb the idea conveyed, and gradually its
meaning will influence and take possession of your brain to the
exclusion of everything else.

The change suggested should be exactly opposite to your natural
state--for instance, if you are warm, tell yourself determinedly that
you are cold until you credit the fact, when your body, which blindly
follows mind and will, experiences the sensation of cold.

If you have a headache, suggest that the pain has gone, &c.
Auto-suggestion may be perfected to such an extent, that, under its
hypnotic trance, a needle may be plunged into the skin without the
action’s causing the slightest degree of pain.

In suggestion, it is always the subjective mind that is swayed by
hypnotic influence. This is always keenly alive, and it is through its
medium that the subject is induced to an extraordinary power of
imagining and experiencing the processes suggested by the hypnotizer.

Elementary exhibitions are very entertaining, and are quite sufficient
to illustrate the motive power which achieves your purpose. Some
individuals are better hypnotists than others, because they have a
natural supply of animal magnetism at their disposal, but it is
extraordinary what results can be brought about by study and patience,
so that students less gifted need not despair of success.

For the sake of those who have succeeded in such simple experiments as
the foregoing, the following may be undertaken. In these, intuition,
sympathy, and imagination play almost as important a part as thoughtful
concentration, which is ever the most powerful possession in the outfit
of the hypnotizer.

Here, one word as to the difference between the terms _hypnotist_ and
_hypnotizer_. The former is a scientist, who employs his art solely for
therapeutic or medicinal purposes. The latter is the entertainer, and
care should be taken to distinguish between the two words.

_Experiment._--Place the subject in a chair, with palms on knees. Pass
your hands over him for a space of several minutes, the while his eyes
are fastened on your own. Watch his expression carefully. It undergoes
several changes, the individual character dominating (Fig. 5), gradually
disappears, and finally gives place to vacancy (Fig. 5_a_). The firm
lines of the mouth fade, and the lips become slightly parted. The face
grows blank and purposeless, the eyes staring and void.

You have some plan in your mind which you are straining to impress on
his brain. Supposing it is that he shall not remove his hands from his
knees. Say to him, in a low soothing voice, which penetrates his hearing
perfectly (to shout, breaks the spell in a moment), “Your hands are
stuck to your knees; you cannot remove them. They’re glued; they’re
tight fast. Do what you will, you can’t lift them. Now try----”

[Illustration: FIG. 5.--Face showing character before hypnotic sleep.]

[Illustration: FIG. 5_a_.--Face showing vacancy under hypnotic sleep.]

At your dictation he endeavors to do so. He lifts his knees. He ducks
his head, trying to push his hands away by means of his chin, but every
effort is futile until you say, “You can now remove your hands. See, it
is quite easy, they are free!” At once he lifts them easily.

Now ask him his name. He tells you in a dazed, obedient voice that it is
“John Jones.” You determine he shall forget his name. You say to him
again and again, “You have forgotten your name. You cannot tell me what
it is. You don’t know your own name; you can’t remember.”

The subject’s face at once indicates that he is absolutely nonplused. He
struggles to remember, but in vain. Should you suggest that his name is
Mary Smith, he will believe you implicitly, and, with a relieved
expression, declare this name to be his own.

Bid him open his mouth as wide as he can. Then say to him, “You can’t
shut your mouth. It is fixed, rigid. Try to shut it.” He vainly
endeavors to do so. He places one hand on his head, the other on his
lower jaw, and tries to force his lips together, but he is powerless so
long as your will opposes him. When you command him to shut his mouth,
he does so without effort.

A subject should not be kept longer than a few moments in this
subservience to your will. He can be released by a snap of your fingers
at his ears or before his eyes. Address him softly by his name, and he
will return to consciousness in an instant. When he looks dazedly round,
reassure him, kindly, that he is quite well, and will suffer no harmful
results from your experiments.

[Illustration: FIG. 6.--Awakening the subject.]

The hypnotizer should never abuse his power over an individual. He must
possess sufficient humanity to prevent him from keeping his subject too
long under control.

When he finds a subject who answers readily and quickly to the hypnotic
influence, he may be tempted to continue an exhibition of his powers in
order not to lose time on less amenable individuals, but he should
determinedly resist this temptation.

A valuable aid for him will be to time his experiments by a watch,
limiting each individual’s trance to a space of, at most, four minutes’
duration.

The hypnotizer must be in perfect health, for, unless his body, nerves,
and mind are in proper condition, the supply of animal magnetism fails.
He must study hygiene, take sufficient exercise, and be most particular
to keep his body, linen, hair, and finger-nails scrupulously clean.

A dirty finger, held up before a subject undergoing the hypnotic trance,
inspires the latter with a revolting sense of disgust, and clouds the
vision conjured by the brain.

The hypnotic entertainer should abstain from any indulgences, and eat
only plain, wholesome food. During the process of hypnotism, the
exponent should never lose his head or self-reliance. Any dread
experienced by him is at once conveyed to the subject. Should the latter
be unable to awake from the trance at command, the operator must wave
his handkerchief before his eyes. If these are closed and refuse to
open, he must at once rub the eyebrows with the tips of his fingers,
beginning at the root of the nose, and ending at the temples,
terminating this action by gentle fanning or blowing until such efforts
meet with success (Fig. 6).

It should always be remembered by the student that the power of
hypnotism--like fire--is a good servant, but a bad, tyrannical, and
lawless master, unless properly controlled.




CHAPTER LII

THE POWERS AND MYSTERIES OF CLAIRVOYANCE


MARVELS OF THE “SIXTH” SENSE

CLAIRVOYANCE, originally a French word, means the ability to see
clearly. The reason so few people possess this extraordinary psychic
faculty, is because most human beings are three-quarter parts blind,
deaf, and insensate to anything beyond the ordinary emotions.

The power of prophecy and acute intuition is a sixth sense which most of
us have in a slight degree dormant and uncultivated.

Clairvoyance has often been mistaken for superstition or wilfully
imposed and cunning deceptions, and it is difficult for ignorant and
cynical people to believe that it is founded on science and truth.

It has stood firm through the ages in spite of the quackery of wizards,
paraphernalia of sorcerers (used to inspire fear and awe in the
uninitiated), the sneers of those of material minds. All of us at some
time or other have felt the control of that still small voice, potent
and penetrating as conscience, which comes, unaccompanied by earthquake
or fire, to instill us with awe, joy, extreme sadness, or warning at
some critical juncture of our lives; often anticipating, with power
greater than speech can convey, some event that concerns our well-being.

Why this power should be deemed more extraordinary or mysterious than
the senses of sight, hearing, smell, and touch which, even to those
thoroughly conversant with the anatomy of the human body, remain steeped
in mystery, it is difficult to say.

Science teaches that a million delicate sounds escape the ear and brain,
and as many minute exquisitely fashioned atoms escape the eye.

A magnifying glass reveals the marvelous structure of insects and
microbes invisible to naked sight, and it is only by means of a
telescope that the beauty of the stars is discerned; thus the developed
power of clairvoyance may be called the magnifying lens of the soul.

It is because this lens is dull and misty that we fail to see.

The history of ages and a great deal of our most cherished literature
prove its existence.

Many of the stories and prophecies of the Bible are founded on
clairvoyance. People were simpler and more trusting then; for this
reason visions and clear sight were granted them.

Pilate’s disregard of the warning conveyed in his wife’s dream, affected
the whole course of Christianity, and the Bible abounds with examples of
the disasters that befell those who disobeyed the spiritual promptings
sent them.

This wonderful faculty of inner sight is the possession of the
individual born blind. He demonstrates its existence when by merely
passing his fingers over an object he can describe exactly a color he
has never seen. In him it is nature’s recompense, and no one who watches
his movements can doubt that he is guided by this psychic organism, yet
when we note the same power granted to a man or woman blessed with
eyesight, we at once decide that happy coincidence, trickery, or
charlatanism is the origin of the manifestation.

Clairvoyance teaches that everybody has a distinctive color, which
conveys more of character and personality than any word or action. The
shades of these colors vary according to temperament, and are as much
concealed from untrained vision as the million tints composing the gold,
purple, and green bands of the rainbow.

  Optimistic persons emanate a pale blue aura.

  Large-minded progressive persons, a pale green.

  Pessimistic worried persons, gray.

  Ill-health in mind or body, dark green.

  Kindly benevolent, humane persons, pink.

  The thinker and scholar, deep blue.

  The degraded, brown.

  The passionate and bad-tempered, red.

  The ambitious, orange.

  The lover of the beautiful in Art, yellow.


KEYS TO CHARACTER

These colors, however, although providing the key to the character, are
subject to constant changes. Our moods sway and change our thoughts
according to the happenings that affect us.

For example, bereavement or anxiety has power to transform the blue aura
of the optimistic temperament to gray, and this temporary change of
color studied alone may perplex the clairvoyant, and mislead him to a
false diagnosis of character.

In order to prevent this, the seer will do well to request some article
constantly worn by the inquirer to be handed him; the older and shabbier
it is the better. A dilapidated glove, an everyday tie or a ring
constantly worn are equally valuable by which to discriminate between
the temporary and habitual aura peculiar to temperament. When a man’s
glove emits a pale blue aura, in contradiction to the gray of his own
personality, the deduction is that he is naturally of a hopeful and
cheerful tendency, but that some mental anxiety or bereavement causes
the gray, deep or pale, according to the depth of emotion dominating
him.

The reason of this difference of colors is that the glove is, as it
were, saturated with the essence of his normal disposition, while the
color of his character has been changed by circumstances or environment.

In the brain there exists a small and delicate organ known as the pineal
gland, and it is thought by some scientists that this is responsible
for, and sensitive to, the subtle vibrations of ether which are too
minute to stir the tympanum of the ear. Its cultivation produces the
power that beholds and distinguishes the difference in shades of mental
color in which the mind is absorbed.

People of erratic temperament possess an aura of many and constantly
changing colors, but those whose calm never varies maintain but one.

Some few persons are aware of the tones of their aura, and are therefore
keenly sensitive to the influence of their surroundings.

They will be perfectly miserable if the paper on their walls, or the
material of their clothes, clashes in color with that of their
character; while they are at their best and happiest surrounded by the
tints that blend or contrast harmoniously.

The clairvoyant’s outfit consists of six qualities:--

  1. Power of magnetism.

  2. Mental health and influence.

  3. Physical health and cleanliness.

  4. Temperance in food and drink.

  5. The power of discerning the aura and interpreting its colors.

  6. The liberty from all evil or slothful habits.

In advanced clairvoyance the use of the crystal for vision is designated
by many seers as “clap-trap” and vulgar “playing to the gallery.” It is
found to be injurious to eyesight and brain centers to gaze at any
shining article for too long a period, yet in parlor clairvoyance there
is no doubt that it has great power of inducing concentration of sight
and thought.


CRYSTAL GAZING

By means of crystal scrying the gazer creates and becomes subject to the
influence of auto-hypnosis--that is, he is able to throw himself into a
trance which veils his own personality and links him to that of his
client.

The surface of the crystal gradually reflects images, and subconscious
impressions conveyed by and vital to the individual whose past, present,
and future are being revealed.

Sympathy and intuition merge the soothsayer’s aura with the
temperamental coloring of his client. His magnetic force creates further
powers, while his psychic discernment or sixth sense is the nucleus
about which these are bound.

No student of clairvoyance can be successful in discerning character and
personal emanations of color unless he is disciplined by simple rules
which should govern his life.

Excessive eating, drinking, intemperance in any form, self-indulgence,
bad habits, and drugs destroy this delicate sixth sense past redemption.

Want of sincerity and integrity results in the rapid decline of its
power.

The body and mind must be pure and of perfect mental and physical
balance. No nervous fretting or pettiness of outlook should be permitted
to intrude.

In clairvoyance the brain is ruled by large and lofty aims, and it must
be kept as unspotted and clean as a white garment; so only is it capable
of performing its proper functions.

Likewise it is essential to remember the important, nay, vital dominion
it exerts over the body, which cannot rise to perfect beauty and health
unless its mental orbit is lofty and serene.

In consulting a clairvoyant the client should be serious, earnest, and
trustful that he will hear the truth. Frivolity, incredulity, or idle
curiosity forms as it were a thick crust between the mind of exponent
and inquirer, which prevents the penetrating of thoughts and vision,
strains the powers, and results in disappointment.

In the same spirit in which one visits a doctor or solicitor should the
clairvoyant be approached, and there must be no determined reserve to
conceal thoughts and character in the mind.

Clairvoyance in a drawing-room full of people is extremely
difficult--indeed impossible, unless the onlookers can be induced to
keep perfect silence during the operation.

It is always better to be closeted alone with the inquirer in a small
room to which street noises do not penetrate, provided only with the
necessary furniture, kept clean and fresh, airy, and well lighted.

The crystal should never be touched by any one save the clairvoyant, and
must be kept free from spots and smudges. A black silk handkerchief
round its globe will be a help to divination by preventing the
reflection of lights.

There may be, especially to beginners, temptations to pose as the
possessor of supernatural powers--to make passes over the crystal, light
wax tapers, burn perfumes, and murmur incantations--but these methods,
although employed by the ancient prophets, are of no aid to the modern
sage. Indeed, they do harm by appealing to the senses and superstitions,
and, being a mere affectation, are unworthy of that sixth sense and
harmful to it.


SIMPLE MANIFESTATIONS BEST

The simpler the manifestation, the more assured the clairvoyant may be
of arriving at the truth.

Self-confidence, an absolute belief in his gift, and faith in his
methods dominate him.

He does not endeavor to avoid exertion of his nervous forces by
discreetly “pumping” the inquirer as to ways and means, but takes a
delight in silent investigation.

The clairvoyant should come to his task fresh and buoyant, bubbling with
enthusiasm, and yet without frivolity or thoughtless mind. At the
slightest sense of fatigue he should desist from his efforts, for it is
extremely harmful to apply any force or strain to this abstract power.

Physical fatigue and excitement must be avoided, for these engender
jangled nerves, sleeplessness, and finally inability to isolate the mind
from the orbit of our own concerns to the sphere of others.

The processes that occur in crystal-gazing are thought transference and
telepathy. A communication of ideas is set up between the prophet and
client, and the mirror-like surface of the crystal is the medium by
means of which innate thoughts are reflected.

As far as possible, the clairvoyant submerges his own personality in
that of the inquirer, putting himself in his or her place. The best
means of creating these links is to place an article constantly worn by
the inquirer to the head. Profound silence brings about the sense of
atmosphere and aura usual to the latter, and by these means, and an
intent gazing into the crystal, visions originate.

The crystal is supposed to be the magic bridge which spans the chasm
fixed between itself and the spiritual world. In the iron it contains
are situated the collective and culminating forces.

Mists of white, green, blue, and violet tints are symbols of good
fortune and happiness; black, yellow, and red are warnings of disaster.

When the mists disperse and gradually ascend to the surface, the
clairvoyant may reply to any question in the affirmative; mists that
descend to the bottom are signs of negation.

Images that develop to the left of the clairvoyant are real; those on
the right are purely symbolical.

It will be seen from the above that in order to apply oneself to the
achievement of reading the secret depths of mind, character, talent, and
circumstances, it is necessary to possess the power of separating
oneself from material surroundings and allowing the spirit to dominate
the body.

This can only be executed by the process of hypnotizing oneself.
Clairvoyance is based on certain forms of this semi-somnolent state,
for, just as in hypnotism, the mind reigns supreme over matter and
becomes isolated by means of an object, so, in clairvoyance, a waking
trance is brought about by fixed gazing into the crystal.

However, there are other methods of inducing this state, more or less
difficult of manipulation, until constant practice and experience have
made them a habit.

For the reason, formerly mentioned, that long gazing at a bright surface
is injurious to eyesight, many clairvoyants prefer to create visions
without the use of a crystal.

Words repeated over and over again have a mysterious power of isolating
the sixth sense from the rest.

For example, the word AUM is extraordinarily symbolical. It stands for
three influences--

  A = the objective.

  U = the subjective.

  M = the Eternal.

These are the three kingdoms in the heart of man.

_The objective_, being the natural surroundings of objects and events
which we all can feel and see.

_The subjective_, being the realm of influences the degree of which is
felt according to the perception and training of our spiritual forces;
too often vague and illusive, because most of us ignore its existence.

_The Eternal World_, being that state to which the subjective world, in
its highest state of development, leads. This word repeated, slowly and
steadily at first, and then at great speed, has a marvelous power to
create as it were a vacuum between the spirit and body of the prophet.

His mind dwells on its meaning; the vibration of the different letters
acts on his mind, and he is carried by gentle stages to the very seat of
his spiritual being.

It is when he attains this full development that he is granted large,
clear, and deep perceptions of his client’s character, and is able to
reveal facts concerning him which in his normal state would be
absolutely impossible.

The sensation experienced is that of being plunged into space in which
the senses of sight, hearing, and touch are transmuted to the brain and
spirit.

The student will doubtless be discouraged at first at his inability to
produce this state, but he should remember that hard work and
perseverance are the attributes which all must give to be perfect in any
learning, art, or science.

One destined to become a great mathematician stumbles in childhood with
despair over the first addition sum, and the most distinguished musician
has to do battle with the rudiments of music.

Thus it is in clairvoyance. Seemingly insuperable difficulties surround
the novice who has never learnt to recognize the value and power of the
sixth sense. Patience, a tranquil, determined mind, and not a little
courage, are necessary in this branch of science. Time and growth work
wonders in the persistent mind, and it will be seen that the obstacles
gradually move aside, the curtain is lifted, and the strenuous seeker
reaches that mature vision which he has formerly imagined dimly, if at
all.

It is a good plan for the novice to ponder on his own name, and, shut
away from all distractions, repeat it again and again to himself. He
will gradually feel a sense of deepest mystery surrounding him, for in
that name is concentrated the riddle of existence. The blending of
spiritual and material kingdoms lies behind it, and the material slips
rapidly into obscurity.


THE ETERNAL QUESTION

The eternal question based on introspection faces him. “What am I?
Whither am I going? What is the meaning of this thoughtful brain, this
palpitating heart, these stirring pulses through which the mysteries of
the soul flash in a thousand directions?”

These and many other questions will move into being until the eternal
atmosphere of spirituality is reached, and the wings of the soul become
unfurled and increase in strength and power to lift him to the realms of
his desire.

Only when the heart is pure and worthy will the vision be granted--the
dross of bitterness, envy, hatred, and malice, which generally hide the
precious jewel from the light, and render scintillating brilliance
impossible, all discarded.

Every one knows how difficult it is to control the mind, and keep it
from mean and uncharitable thoughts. It is more rebellious even than the
body, and influences it for good or evil.

Temptations small and great are created and emerge from the mind. No one
thieves with his fingers until the thought of theft is born. His mental
faculties plan the ways and means and cunningly devise protections
against the punishment in which the act when culminated results, unless
artful deceptions render discovery impossible. No treason or wrong-doing
was ever committed before the deed was hatched in the brain.

The mental sphere may be a hotbed of falsehoods and treachery, or it may
be a world of purest truth and virtue.

Therefore, before all else, the clairvoyant must learn to discipline and
constrain his thoughts, and this is extremely difficult, and seems at
first almost impossible; yet, if the lamp is to burn brightly, it must
be kept clean, and daily fed with all thoughts that are benevolent,
gentle, and good.

A humble demeanor, a longing for purity and singleness of purpose are
needed to bring about these noble qualities, and here it is that proper
treatment of the body is invaluable.

Simple diet, early rising, daily exercise, constant isolation, and
cultivation of good habits create the orbit for the higher faculties.
These are the elementary rudiments of clairvoyance, and, unless they are
mastered, the clairvoyant, no matter how diligent and persevering he may
be in his studies and labor, is doomed to failure.

A quiet state of mind helps in all the storms and stress of life. It is
a harbor of quiet blue waters, in which the seafaring vessel may shelter
beneath peaceful starlit skies, securing power and refreshment and
shafts of clearest light by which other human ships may be led towards
his haven.




CHAPTER LIII

TABLE-TURNING


FUN FOR AN IMPROMPTU PARTY

THERE is something sufficiently fascinating about table-turning to fix
the attention and interest of guests gathered for an evening’s
recreation, and as it needs no previous arranging, it is an excellent
device at an impromptu party.

The table must be round, light, and of wood. As many of the company as
can be squeezed in its circle may take part, but the excitement will be
shared by the onlookers. Each places both hands lightly on the surface
with the thumbs touching, and the little finger joined to that of his
neighbor. It is important that there should be no break in the chain of
hands, as this prevents the flow of the electric current, which is alone
responsible for the vibration and movement of the table.

The time of waiting for its first motion must be spent in silence, and
may last from five to twenty minutes. Any “wag” who takes it into his
head to jerk the table with his knees, or push it with his hands during
this period, should at once be called upon to forfeit his place.

Those experienced in table-turning know perfectly well how different the
movement caused by such a proceeding is from the real tilt the table
gives when moved by the electric current, and will soon discover the
impostor, for no trick can bring about the same curious vibration.

The table should be treated with the greatest respect, otherwise its
“spirit” becomes taciturn and silent, and, even after the tilting
backwards and forwards has gone on for some time, it has been known to
retire at the slightest sign of levity and incredulity. Not until the
manipulators are assured of its movement should any question be asked,
and, before this is done, they must agree upon some plan by which they
may comprehend the answers given.

Two taps or bows may stand for “Yes,” one for “No,” or _vice versa_;
but, when once decided upon, should remain fixed.

The question must not be asked until the preliminary vibrations have
ceased; then one of the party--the medium, so-called because he or she
possesses more magnetic power than the rest, addresses the spirit, and
those anxious to hear anything affecting themselves must use him or her
as mouthpiece. The table is questioned in some such way as this:--

_Medium_--“Are you going to be kind to us to-night, O Spirit? Please
answer two taps for ‘Yes,’ and one for ‘No.’”

At this polite request the spirit doubtless replies in the affirmative.
When ages and dates are required, the medium counts the number of taps,
and gleans the result when the taps cease.

Names are discovered by carefully going through the alphabet. Each tap
stands for a letter, and, when the table pauses, the initial and other
letters of the name are provided, until the whole is spelt out. Thus,
supposing the medium inquires the name of his left-hand neighbor, which
it may be presumed is Alice, the spirit, having apparently heard the
question, gives one decided jerk, and then is perfectly motionless. The
medium says “A--next letter, please.” The table obediently bobs twelve
times; that is, until L is reached. The medium continues, “Next letter,
please,” and the table obligingly bobs nine times. “I,” says the
medium--“next letter, please.” Three bobs give C. Five bobs give E. The
table is then motionless, and another question may be asked.

Queries should never be clamored at once by the impatient guests, nor
should one monopolize the spirit’s attention with his own affairs. A
good plan to follow is for each in turn to supply the medium with an
inquiry. The initials, Christian or surname, of the man or maid one is
destined to marry may be revealed by the spirit. Initial letters are
better, because when there are many eager to know their fate, the full
names take too long.

Sometimes it will be noticed that the spirit gives very decided answers,
jerking to one side so abruptly that the players are obliged to push
back their chairs and have some difficulty in keeping their hands on its
surface. At other times it seems undecided, and if the question is an
unwelcome one, the spirit will race through the alphabet again and again
at a great speed and without a moment’s pause. When this is the case,
another question should be asked.


THE PRESENCE OF AN “UNBELIEVER”

Should the spirit refuse to communicate at the end of twenty minutes,
the manipulators may be sure that an “unbeliever” is in their midst, or
that the whole assembly has too small magnetic power. When this happens,
other persons should try their skill.

As mediums are not uncommon, there will probably be one among them, and
a brief waiting at the table will prove that this is the case.

A good experiment to spare further waste of time is for the circle of
attendants to decrease until only sufficient are left to maintain the
chain. In this way the medium is discovered. A good medium creates
movement in five minutes or less, and, with a tiny tea-table, it has
often been shown that, when once set in full motion, all may withdraw
except the medium under whose magnetic touch the table will continue to
gyrate for several minutes.

The spirit has many characteristics, and sometimes tires of the part
expected of it, and, yielding to a frivolous mood, will dance or jump
all over the floor, sometimes carrying its ministers out of the room to
the passage. At others it remains true to the rôle of dignified sage,
philosopher, and seer; but its moods are complicated, and these depend a
great deal upon the amount of concentration and will that dominate it.

Constant peals of laughter provoke it to giddiness or abrupt, curt
“answers,” while not infrequently, after several hours in which
inquiries have been constantly fired at it, it shows a most discourteous
inclination to remain stolidly non-committal and motionless. Then the
medium with gentle coaxings may restore its good temper and patience,
but only for a short period.

Perhaps the real reason for this reserve is to be found in the players
themselves, whose magnetic power becomes exhausted, and fails to act as
spontaneously as during the early hours of the evening. At any rate,
when the medium asks courteously, “Are you very weary, O Spirit?” the
table will frequently reply with two most emphatic bobs.

Another means of discovering a medium and an “unbeliever” (the latter
term does not imply a cynic, but simply an individual with an
insufficient supply of magnetism) is to ask the spirit to spell out the
name of the person it loves best. In nine cases out of ten, it will
spell out the name of the medium, and it will be found that it is as
quick to reveal the person it hates, viz., the “unbeliever”--no matter
if he is far removed from its vicinity.




CHAPTER LIV

PALMISTRY


SECRETS OF THE PAST, PRESENT, AND FUTURE

AT social functions, such as garden and evening parties, fairs, &c.,
there are few people whose notice and attentions are so solicited as the
palmist’s. He speedily finds himself the central figure of a knot of
people of both sexes, all eager to thrust their hands under his
discerning eye, and compare their own estimation of their
character--which, alas! is often subject to a severe shock--with that
revealed by the sage’s comparison of lines, mounts, and stars engraved
upon the palm.

The true palmist is no flatterer, nor is he over-hasty in judgment.

[Illustration: FIG. 1.--Names of the “mounts” and their signs.]

Most hands index as many contradictions and complexities of disposition
as the human face, and the experienced reader of these hieroglyphics
finds that, to secure a just diagnosis of the subject’s character,
comparison of the many signs and minute calculations are necessary. The
art of addition, subtraction, and multiplication is the fundamental
principle of his profession.

Shape, quality, proportion, and texture are of paramount importance, and
these should be examined before the lines are studied. The size of the
fingers, and the manner in which they are set on the hand, furnish the
key to the character of the hand examined. Each finger has its name and
sign, and each has its distinguishing characteristics. For just as every
leaf and petal possesses some minute difference that distinguishes it
from its neighbor, so no hands in the world are exactly alike in form
and structure.

The name given to the first finger is Jupiter; to the second, Saturn; to
the third, Apollo; to the fourth, Mercury; and to the thumb, Pollux.
Fig. 1 shows some signs with their respective names.

The natural bend of the fingers is important, and the palmist should be
quick to notice its natural attitude before examining the interior of
the hand.

Some fingers are distinguished by their independent, prominent position
over the rest. When the tips are inclined to curl to the palm, a
plodding, determined nature is indicated, one that does not easily
relinquish a set aim or purpose because of obstacles.

A wide space between Jupiter and Saturn shows unconventionality, and
originality of thought and outlook.

When the Jupiter finger is upright and straight, and of normal length, a
just, candid nature is revealed. Should its position be in advance of
the other fingers, the love of dominion. Falling slightly behind:
dependency on others, a shirking of taking the initiative and
responsibilities. Short: ingratitude, no enthusiasm. Pointed: tact,
comprehension, and sympathy. (Fig. 2.) Square: integrity, unkindly frank
in expressing opinions.

The generous and broad phalanges of Saturn show gravity, depth of
character, and sense of proportion. A short Saturn: imprudence,
inclination to act on impulse, somewhat foolhardy. Spatulate: energy.
Square: cool, clear-headed, thought before action, absence of hasty
judgments. (Fig. 3.)

[Illustration: FIG. 2.--The Jupiter pointed finger.]

[Illustration: FIG. 3.--The Saturn square finger.]

[Illustration: FIG. 4.--The Apollo spatulate finger.]

Apollo: well-developed, artistic tendencies. Forward: painting, drawing,
or sculpture. Pointed: the artistic ability is greater than the
practical. Spatulate: a sense of the beautiful in form and color,
dramatic powers. (Fig. 4.)

Mercury, set lower than the other fingers, reveals the fact that many
adverse circumstances have been battled with. Pointed: tact,
discrimination, intuition. Square: love of scientific pursuits, good
reasoning powers.

Beneath each finger rest their respective mounts. There are two mounts
of Mars--that immediately at the base of the Jupiter mount, and that
situated beneath Mercury mount. The mount of Luna is directly opposite
to that of Venus, which is found where the thumb joins the wrist. (Fig.
5.)

In many hands it will be observed that the position of the mounts
varies. Jupiter may swell over the boundary line, and squeeze Saturn
into close proximity with Apollo, which, in its turn, may take the place
allotted to Mercury. These signs are important.

Jupiter’s approach to Saturn shows timidity and self-consciousness.

Saturn’s approach to Apollo shows that the creation of art and
literature is tinged with melancholy.

Apollo’s approach to Mercury shows humanity, charity, and a peaceable
disposition.

Mercury’s approach to Mars: self-reliance and resource in danger.

Mars’ approach to Mercury: originality, defiance, and ability to hold
one’s own against opposition.

Luna inclining towards the wrist: reveries, some frivolity and love of
pleasure.

[Illustration: FIG. 5.--Showing the position of the various mounts.]

A glance will reveal which bumps are most developed in the hand, and
these, taken together, are valuable keys to character.

Jupiter and Mercury are worldly, versatile traits.

Jupiter and Apollo are honest, noble traits.

Jupiter and Venus are somewhat selfish, vain traits.

Saturn and Mercury are signs that, unless among gay companions, the
individual has no power of resource.

These mounts are generally prominent in the hands of those who depend
entirely upon others for their amusement, and have developed no powers
by which to create a world of their own. They are shallow, discontented
persons as a rule, unable to concentrate their minds on books or music.

Saturn and Mars: a thrifty temperament, verging on the avaricious.

Saturn and Luna: hypersensitiveness, distrust of self. A nature which is
distressed, and rendered almost morbid by the sadder side of life, art,
and literature.

Apollo and Luna: extreme imaginative force.

Apollo and Mars: in a creative hand show an inclination to depict the
strong things of life, a certain amount of realism in portrayals. A love
of danger and adventure.

Mercury and Mars: a superabundant amount of fun and good spirits.

Mercury and Venus: a gay, somewhat heartless, temperament.

Mercury and Luna make a humorist.

Venus and Apollo: a charitable, generous individual.


THE PHALANGES

Each finger has three divisions, known as the phalanges, and these are
supposed to represent three worlds.

The first, which includes the nail, stands for the spiritual.

The second stands for the intellectual.

The third stands for the material.

Correct comparison of these phalanges provides the orbit of thoughts and
ambitions in which the mind of the individual revolves, and when one of
these predominates in length over the others, that quality for which it
stands is the principal quality possessed, although a further study of
the hand may contradict these attributes, or render them more excessive.

For this reason the student is warned not to form his judgment by one
indication only. He can arrive at no reliable solution to the riddle of
character until he has studied every portion of the hand and linked
together the various peculiarities it expresses.

The thumb is, as it were, the figurehead of the hand. There is more
character to be discerned in its form, habitual attitude, phalanges, and
the space between it and the first finger, than in any other signs
conveyed by the physical formation of the rest. The first phalange
indexes strength or weakness of will power, constancy or fickleness,
affection or coldness of disposition. The second phalange shows by what
degree of reason the will is guided. Should it be much thinner towards
the base than at the apex, a certain degree of narrow-minded, one-sided
views is indicated.

The third phalange represents emotions. The two angles stand for music,
and are strongly marked upon the thumb of the musician and composer. The
first indicates time, the second harmony.

When the length of the third phalange preponderates over the first and
second, a passionate character, uncurbed by the power of will,
discipline of reason, and self-control is shown.

In a well-balanced, warm-hearted nature, these phalanges are in
proportion. Extreme length in the first phalange shows a tyrannical and
dogmatic will, which will surely prove a stumbling-block through life,
unless the thumb of the right hand modifies this natural obstinacy.

The palmist should beware of, as it were, labeling the hand. He cannot
be too cautious in reaching an ultimate conclusion. The hand possesses
a range of complexities. Strength and weakness are mingled. Great
talents may be mitigated by signs of almost equal inefficiency.
Therefore all the links of circumstances and character depicted should
be consolidated into a chain before the exponent ventures to voice his
convictions.

The left hand indicates natural tendencies; the right shows how far the
good and bad propensities of the individual have been developed. It is
possible that the former may represent an intellectual type which the
latter does not verify. For instance, a clear and unbroken head line in
the left hand may be marred and broken in the right, thus showing that
ability in this direction has been neglected; or it may be that an
inefficient head line in the left palm continues clear and deep on the
right; and the conclusion arrived at is, of course, that, by dogged will
and perseverance, inherent incompetency has gradually been remedied.

Upon the palm six important lines are inscribed, as shown in Fig. 6:--

_The life line_, which forms a semicircle at the base of the thumb.

_The head line_, which traverses the palm, and forms an angle with the
life line.

_The heart line_, which runs above and parallel with the head line.

_The fate line_, which runs horizontally from Mount Saturn to the wrist.

_The Apollo or fortune line_, which runs parallel with the fate line
from Mount Apollo to Mount Luna.

_The line of health_, which forms an angle with the base of the life
line, and reaches almost to Mount Mercury.

_The ring of Saturn_, reaching from Mount Apollo to Mount Jupiter.

_The line of intuition_, curving from Mount Mercury to Mount Luna.

Upon the depth, direction, and length of these lines the vitality,
health, affections, future, finances, general tendencies of disposition
and circumstances of the subject may be arrived at.

[Illustration:

  A - A. The Line of Life.  E - E. The Line of Fortune.
  B - B. The Head Line.     F - F. The Line of Health.
  C - C. The Heart Line.    G - G. The Ring of Saturn.
  D - D. The Line of Fate.  H - H. The Line of Intuition.
                      I. Bracelets.

FIG. 6.--The principal lines of the palm.]

The manifestation of stars and islands, dots, grilles, and chains are
indications of misfortune, obstacles, ill-health, and domestic
unhappiness. Triangles, squares, clear-cut crosses, when not formed on
or by the lines of the hands, and circles on the mounts, are fortunate.


SIGNS--AND WONDERS!

The age of the subject is arrived at in the following manner. Divide the
fate line, call the point of division 30. The age of 10 is slightly
above the base of Luna. From 10 to 50 the line should be partitioned
into equal parts; after that, however, the distances lessen.

The life line may also be used to calculate age, but here the method of
calculation is reversed, for childhood is above the thumb, and old age
is indicated by the length of the curve to the wrist.

Doubtless the most interesting marks to be found among the minor lines
of the hand, such as indicate voyages, change of environment, talents
and ambitions, are those which concern the attachments, love affairs,
and future marriage of the subject.

These are the influence lines, which may be discerned running from Mount
Luna to the line of Fate, from Mount Venus to the line of Life, and on
the Mount of Mercury. Their depth, length, and clearness depend upon the
enduring nature of the sentiment involved. When crossed, barred, or cut,
they demonstrate the fact that difficulties and opposition from parents,
friends, or relatives are to be encountered, or it may be that the
influence was merely a fleeting infatuation, what is commonly known as
“calf-love,” which time and deeper development of the character have
annihilated.

These signs should be compared with the age calculated upon the fate
line--it will then be discovered whether the influence lines are of the
past, present, or future; only constant practice and experience can aid
the exponent to a correct estimate of the period of these happenings.

It may happen that the hand of a man or woman under thirty years of age
shows no indication of any of these influences, but this does not mean
that love and matrimony will never happen to them, for these lines are
sometimes late in appearance and may be found years after.

An island situated on an influence line is extremely unfortunate, for it
means either that marriage will be rendered impossible by the ill-health
of the subject, or that the man to whom she is engaged is fickle or
worthless in character. Likewise, it is unfortunate for Mercury’s
influence lines to terminate on the heart line, for this foretells
bereavement and widowhood. Should it cross the heart line and run
towards Venus, a separation is almost certain to culminate the alliance.

Nearly all the lines traversing Mount Luna are attachments or influences
connected with the opposite sex. When they rise from the life line, they
may stand for close friends or relatives of the same sex.

Another important group of lines may be discerned at the base of the
palm. The subject should rest the elbow on the table, with the hand bent
over the wrist, which is marked with “rascettes” or bracelets. When
these lines curve up towards the palm, they signify that the ideals,
thoughts, and impulses governing the character are noble and uplifting;
when they droop to the wrist, mercenary ambitions and self-interest are
dominant. When the rascettes are creased by other lines, a life of
strenuous work is shown. When deep, smooth, and continuous--health,
wealth, and happiness.

In drawing-room palmistry, the palmist is often embarrassed and kept
from concentration of thought by the buzzing chatter and laughter of
friends and acquaintances, all of whom are eager to have their hands
read, and the majority of whom expect that a lightning glance is
sufficient to reveal every detail of their character and future.

Palms are thrust under his notice by smiling, optimistic young people,
each of whom believes implicitly that for her or him the future is a
land of honey and roses--a straight sunny path, wherein there are no
piercing thorns and sole-bruising flints.


GUILELESS AND GOOD

We all hold ourselves very dear; flaws in our natures, however serious
and detrimental to character, seem trifles light as air. We appear to
ourselves--especially when we are young--to be very good and guileless.
We are assured that all follies will be conquered, repented of, left far
behind us in the land of oblivion, long before old age catches us in the
hip and thigh. And the palmist will often find that those who clamor
most loudly for frank and impartial revelations are just those who are
wounded by a single word that jars their self-esteem or questions the
high price set upon their individual qualities.

For this reason he must go gently, speaking without flattery or undue
censure, and upon such occasions he would do well to keep his mind from
diving beneath the surface of the trivial pleasant prophecies expected
of him. He should never wound the susceptibilities of some nervous,
high-strung soul by prophesying ill-health, bereavement, or death.

The more serious side of the science can be dealt with only when the
exponent and subject are secure from prying eyes and listening ears, and
even then the palmist should be the very embodiment of tact, sympathy,
and discretion.

Should the subject really desire the probings of some past secret
misfortune, the palmist may voice his interpretation of the history
written in his hand, but, in a manner of humane and tender kindness,
making much of the lighter side, and endeavoring to encourage and help
by faith in a happier future.

To blurt out some past tragedy or foretell one before others is a wanton
cruelty of which the palmist should never be guilty. He should always
endeavor to put himself in the place of the subject, and even when the
latter is, as often happens to be the case, incredulous of his powers
and eager to show his ignorance, the palmist should not allow himself to
be stung to retort by revealing a jealously-guarded secret.

The physician, the clergyman, the lawyer are the recipients of pathetic
and strange confidences; the palmist will also discover many, and must
ever hold them as inviolably.

He must be a gentleman in the highest sense of the word--honorable,
chivalrous, humane; and, whenever the opportunity occurs, strong to
encourage the weak and console and comfort the men and women, both young
and old, whose hands reveal their heart-break, weariness, and sense of
failure.




CHAPTER LV

PHRENOLOGY


THE ESTATE “UNDER THE HAT”

PHRENOLOGY is that science which may be said to provide a chart or map
for the discovery of the treasures existing in the “estate under the
hat.” It is of Greek origin (_phren_, the mind; and _logos_, science),
and is closely allied to craniology (Gr.: _kranion-logos_,
skull-science).

The difference between these terms is as follows:--_Craniology_ is a
mere acquaintance with the skull. _Phrenology_ is a full and detailed
knowledge of its contents.

This study is not founded on superstition, and the phrenologist is
neither charlatan nor magician, for, just as a man’s mind may be
revealed by the contour of his features, the twitching or tightening of
his lips, a frowning or smoothing of the brows, so the physical
formation of his skull reveals the propensities, talents, virtues, and
weaknesses peculiar to his nature. The thin leather of a bulging purse
indicates an amount of coin; a closer observation demonstrates of what
this coin is composed--cents, dimes, or dollars--and in the same way the
skin of the skull bulges, and close study and knowledge of the locality
of its developments show the various qualities endowed.

The student must possess a chart (Fig. 1), and memorize it before he
essays to indicate character by means of phrenology, for its kingdoms
are as well defined as the counties on a map.

[Illustration: FIG. 1.--Phrenology chart.]

There are forty-two faculties or organs in all--some more prominent than
others, according to the disposition, temperament, education,
profession, and personal inclination of the individual.

  1.  Amativeness
  2.  Conjugal love
  3.  Parental love
  4.  Friendship
  5.  Inhabitiveness
  6.  Continuity
  7.  Vitativeness
  8.  Combativeness
  9.  Destructiveness
  10. Alimentiveness
  11. Acquisitiveness
  12. Secretiveness
  13. Cautiousness
  14. Approbativeness
  15. Self-esteem
  16. Firmness
  17. Conscientiousness
  18. Hope
  19. Spirituality
  20. Veneration
  21. Benevolence
  22. Constructiveness
  23. Ideality
  24. Sublimity
  25. Imitation
  26. Mirth
  27. Individuality
  28. Form
  29. Size
  30. Weight
  31. Color
  32. Order
  33. Calculation
  34. Locality
  35. Eventuality
  36. Time
  37. Tune
  38. Language
  39. Causality
  40. Comparison
  41. Human nature
  42. Suavity

These may be divided into six important classes:--

1. _The social region_, which includes--

  A. _Amativeness._--Normal--interest in and love for the opposite sex.
  Too prominent--material. Too small--coldness and indifference.

  B. _Conjugal affection._--Normal--constant and faithful love. Too
  prominent--jealous and selfish. Too small--fickle and inconstant
  fancy.

  C. _Parental love._--Normal--self-abnegating love for children. Too
  prominent--indiscreet monopolizing. Too small--absence of tenderness.

  D. _Friendship._--Normal--sociability, warm attachments. Too
  prominent--too exacting, infatuations. Too small--inability to make
  friends.

  E. _Inhabitiveness._--Normal--love of home and native land. Too
  prominent--intense dislike to travel. Too small--a desire for constant
  change of scenery.

  F. _Continuity._--Normal--the power of concentration. Too
  prominent--the prevalence of one idea, self-centered. Too small--lack
  of concentration.

2. _The selfish propensities_--

  A. _Vitativeness._--Normal--vitality, joy of living. Too
  prominent--extreme dread of illness and death. Too small--callous of
  calamity.

  B. _Combativeness._--Normal--courageous, antagonistic instincts. Too
  prominent--quarrelsome. Too small--want of mettle, cowardly.

  C. _Destructiveness._--Normal--hardness and durability. Too
  prominent--vindictive. Too small--lack of interest, inability to
  endure pain or misfortune.

  D. _Alimentiveness._--Normal--good and healthy appetite. Too
  prominent--gluttony, fastidiousness. Too small--want of appetite.

  E. _Acquisitiveness._--Normal--thrift and economy. Too
  prominent--avarice. Too small--extravagant, a spendthrift.

  F. _Secretiveness._--Normal--reserve, tact, discretion. Too
  prominent--deceit, intrigue, falsehood. Too small--indiscreet
  revelations, thoughtlessness.

  G. _Cautiousness._--Normal--apprehension, prudent care. Too
  prominent--timid, over-anxious. Too small--reckless, foolhardy.

3. _Self-controlling faculties_--

  A. _Approbativeness._--Normal--appreciation of public opinion,
  courtesy, manners, good breeding. Too prominent--ostentatious,
  “playing to the gallery,” undue love of adulation. Too small--ignoring
  of general opinions, unconventional.

  B. _Self-esteem._--Normal--individuality, personality, a proper sense
  of personal importance and ability. Too prominent--conceit, egoism,
  tyranny. Too small--sense of inability and incompetency.

  C. _Firmness._--Normal--will-power, assertion of self, determination,
  fortitude. Too prominent--overbearing, perverse, illogical. Too
  small--inability to concentrate or overcome.

4. _Moral sentiments_--

  A. _Conscientiousness._--Normal--high regard for honor and duty. Too
  prominent--morbid hypersensitiveness. Too small--want of principle.

  B. _Hope._--Normal--optimistic trust and buoyancy. Too
  prominent--foolish disregard of experience. Too small--an inclination
  to despair, sad and melancholy.

  C. _Spirituality._--Normal--trust, faith, religious, devout,
  reverential. Too prominent--fanaticism. Too small--cynicism.

  D. _Veneration._--Normal--chivalry towards the old, admiration for the
  great, modest, quiet demeanor. Too prominent--obsession. Too
  small--disrespectful, irreverent.

  E. _Benevolence._--Normal--philanthropic inclinations, humane,
  charitable, generous. Too prominent--imprudent giving, waste of
  sympathy. Too small--selfish blindness and indifference.

5. _Intellectual faculties_--

  A. _Individuality._--Normal--a desire for knowledge, respect and
  regard for the feelings of others. Too prominent--over-curious,
  spying. Too small--lack of humor.

  B. _Form._--Normal--ability to remember faces, shapes, and general
  appearance of buildings, &c. Too prominent--sensitiveness to want of
  beauty and contour. Too small--inability to observe shapes carefully.

  C. _Size._--Normal--the power of judging proportions at a glance. Too
  prominent--too much sense of comparison. Too small--incapable of
  judging length and breadth.

  D. _Weight._--Normal--mechanical and mathematical inclinations. Too
  prominent--great regard for the laws of balance and gravity. Too
  small--awkward movements, want of harmony.

  E. _Color._--Normal--the art of blending colors, delight in nature.
  Too prominent--hypersensitive of uncongenial environment; the clashing
  of colors is torture. Too small--a want of artistic sensibility,
  taste, and appreciation; perhaps color-blind.

  F. _Order._--Normal--ability to plan, to arrange, to discover the best
  method for doing business, &c. Too prominent--prim, fussy, fastidious,
  the mind obsessed by little things; extremely fretted by want of
  method in others. Too small--slovenly, chaotic, Bohemian; duties
  performed or left according to mood and inclination.

  G. _Calculation._--Normal--the power of mental arithmetic, the summing
  up of events. Too prominent--self-interest, any kind action done for
  the sake of some return, cold, distrustful. Too small--financial
  imprudence, inability to make accounts balance.

  H. _Locality._--Normal--swift sense of strange surroundings, an
  observation of streets and buildings. Too prominent--a passion for
  explorations. Too small--want of observation of new things.

  I. _Eventuality._--Normal--interest in present events. Too
  prominent--undue regard for trivial incidents. Too small--inability to
  remember recent events.

  J. _Time._--Normal--memory of periods and length of time, love of
  punctuality. Too prominent--inordinate importance attached to dates,
  &c. Too small--slackness in punctuality.

  K. _Tune._--Normal--sense of euphony in speech, harmony in music. Too
  prominent--passionate love of music. Too small--want of appreciation.

  L. _Language._--Normal--fluent and attractive speech. Too
  prominent--prosy, garrulous. Too small--inability to express thoughts
  clearly and concisely.

6. _Reasoning faculties_--

  A. _Causality._--Normal--power of fathoming and understanding what is
  read or heard. Too prominent--theoretical knowledge rather than
  practical. Too small--deficiency in arriving at independent
  conclusions.

  B. _Comparison._--Normal--acquiring of sound knowledge and discarding
  what is worthless; discriminating between what is true in art and
  literature and what is false. Too prominent--undue importance attached
  to words, carping criticism, invidious, harsh. Too small--credulous,
  easily imposed upon.

The student will at first find considerable difficulty in determining
the exact position of the different faculties. It is only by close study
of his chart, practice on human heads, and experience, that he will at
length achieve unerring ability to distinguish, blend, and separate the
different characters, inclinations, intellects, and emotions with which
the human mind is gifted.


BALD-PATED FRIENDS

In case the would-be phrenologist is not possessed of an amiable,
bald-headed relation, he should endeavor to ingratiate himself in the
favors of a hairless friend, for there is nothing so excellent for
practice as a thatchless skull. Indeed, he is fortunate who has a large
circle of bald-pated friends and acquaintances, for, even if he dare not
attempt to find out their qualities by the sense of touch, he may
achieve much by observation.

Women’s heads are the most difficult to examine, and never should the
student exhibit his art on the well-coiffured damsel. There deception
lies, for what seems to him an abnormal development of “bumps” will in
all probability be artificial pads used by the fair one to discipline
her tresses into fashion’s latest erection, to say nothing of hairpins
and many other mysteries which the mind of a man, be he ever so learned
in phrenology, can never hope to fathom.

The woman who is really curious to have her faculties read must consent
to unpin her locks, so that the hand of the phrenologist may come in
contact with her head; and he must possess a sensitive touch, which
quickly discerns the different developments of the skull.


PHRENOLOGIST--AND MAN!

Students of phrenology will be astonished to find what a great deal of
information may be gained by means of careful observation, when actual
investigation is impossible. No opportunity should be lost of studying
shape, poise, and balance of the human head. From the temples and brows
of the man occupying the same seat on an omnibus a great deal is to be
learnt, in spite of his headgear; the faculties 1, 2, 3, 5, 7, 9, 24,
25, 26, 27, 28, 29, 30, 32, 33, and 35 will probably protrude, and
demonstrate what degree of love of form, size, individuality,
eventuality, alimentiveness, destructiveness, vitativeness, conjugality,
and amativeness exist in his nature.

Churches, concert rooms, and theaters abound with opportunities for the
scrutiny of masculine heads, and upon each is engraved those abstract
qualities furnished by the memorized chart.

The phrenologist should take pains to keep his hands and nails perfectly
clean. He should bathe them between each experiment, as the natural
grease of the hair soils them, and no one likes to have his skull
touched by unclean fingers. It is essential for him to possess and
cultivate a buoyant disposition, which will tend to help and encourage
him, and not to condemn a subject for the weaknesses of character he
discovers.

Few ills have no cure. This is as true of mental inefficiency as of
physical ailments, and the prophecies of the humane phrenologist are set
in the major and not the minor key. Every individual, however seemingly
worthless or uninteresting, possesses some divine gift, which perhaps
lies dormant and neglected through his ignorance of its existence. Here
it is that the phrenologist is able to let a chink of light penetrate
the darkness, and a few kind, judicious words will do much to bring back
the latent self-respect to him who has despaired of being released from
the fetters of evil habits, intemperance, sloth, or indifference to the
liberty of wholesome well-being.

The motto of the student should be never to condemn. When he has once
reached the secret of identity, he should set himself to appeal and
rouse the dying spirit of manhood to a new resurrection of power and
achievement, for probably adverse and bitter circumstances, heredity,
and poverty have done much to batter down the higher nature and develop
the baser qualities of the man whose faculties he examines; and he can
only dimly imagine, but never fathom, the strength of the temptations
that warp the various molds in which the human mind is set.


THE HUMOROUS SIDE OF PHRENOLOGY

In drawing-room exhibitions, only the lighter side of phrenology should
be dealt with. A fund of humor and wit can be demonstrated here, so that
instruction is blended with amusement, and it is not unfitting to use
animals as illustrations of different qualities. For instance, the
refrain in the once-popular lyric, “But the cat came back,” clearly
testifies that this animal possessed the nodosity of inhabitiveness to a
marked degree. Not so the man of music-hall fame whose pathetic
pleading, “Please don’t take me home,” stirs our heartstrings most
potently, or “Bill Bailey,” the wanderer. The small dog that ogles a
larger comrade engaged with a bone, but who fears his mightier powers
too greatly to venture open attack, possesses “cupboard” affection
rather than amativeness.

The blinkered horse, were it granted speech, would doubtless demonstrate
the fact that it has cultivated the faculty of spirituality in no small
degree, for its sense of the unseen is remarkable.

The bull has only to kick up his heels and lower his horns at a red
parasol to vindicate his apt discernment of color. The manner in which
the watch-dog registers the shape of his enemy’s calves in his memory
is a truly astonishing sign of his sense of form and locality. The
serpent’s feline smile at the bird is eloquent of its sociability and
expectation; its glistening coils are the personification of blandness
and invitation to embrace. Stay-at-home oysters are famous for
domesticity. The fish swallowing the hooked worm illustrates a beautiful
trust and faith in the providential plans man culminates for his
welfare. In the hobbled ass, wandering over and over his patch of grass,
economy, adhesiveness, and a very praiseworthy amount of application are
shown.

It might be well for the ambitious phrenologist to study the skulls of
these and other animals, birds, and fishes, for in these the
unadulterated essences of virtues and vices and instinctive propensities
are discovered. The human head may be likened to a very rich pudding
composed of very different ingredients, flavorings, and strata of
coloring, and sugared with conventionalities and hypocrisies. The
animal, on the contrary, exhibits its true qualities as frankly as a
sirloin of raw beef suspended in a butcher’s window.




CHAPTER LVI

TELLING FORTUNES BY CARDS, DICE, DOMINOES, ETC.


WHAT THE FUTURE HAS IN STORE

THERE is no more amusing diversion for a frivolous half-hour’s
entertainment than that of fortune-telling by cards. Young or old enjoy
it, and with a ready tongue the combinations presented may be so varied
that quite surprisingly good predictions can be made.

Surround the whole business with as much mystery as possible. Insist
that all shuffling be done by the subject himself, and that cutting is
always carried out with the _left_ hand.

Learn the meanings of the cards by heart. This is not difficult, and by
doing so one is enabled to tell a fortune _quickly_: always a more
impressive proceeding than telling it card by card.

These are the generally accepted meanings of the cards:--


CLUBS

Ace of Clubs, _wealth and prosperity_. King of Clubs, _upright_,
_affectionate_. Queen of Clubs, _deeply in love_. Knave of Clubs,
_generous and sincere_. Ten of Clubs, _a fortune from an unexpected
quarter_. Nine of Clubs, _obstinacy_; _disputes with friends_. Eight of
Clubs, _a love of money_. Seven of Clubs, _fortune and great happiness_.
Six of Clubs, _a lucrative partnership_. Five of Clubs, _marriage with a
wealthy person_. Four of Clubs, _inconstancy_. Three of Clubs, _a second
or third marriage_. Two of Clubs, _opposition_.


SPADES

Ace of Spades, _a love affair_; _if reversed, a death_. King of Spades,
_an ambitious person_. Queen of Spades, _a treacherous friend_. Knave of
Spades, _indolent, but well-meaning_. Ten of Spades, _an unlucky card_.
Nine of Spades, _the worst card in the pack_; _sickness, or loss of
fortune_. Eight of Spades, _opposition from friends_. Seven of Spades,
_sorrow_. Six of Spades, _great fortune_. Five of Spades, _success_; _a
happy marriage_. Four of Spades, _illness_; _small loss of money_. Three
of Spades, _an unfortunate marriage_. Two of Spades, _a death_.


HEARTS

Ace of Hearts, _pleasure_; _if with Spades, quarreling_; _if with
Diamonds, news of an absent friend_; _if with Clubs, merry-making_. King
of Hearts, _nice, but hasty and passionate_. Queen of Hearts, _fair,
affectionate_. Knave of Hearts, _the subject’s dearest friend_. Ten of
Hearts, _the antidote of bad cards that lie near it, but confirming the
good_. Nine of Hearts, _wealth_; _this is also the wish card_. Eight of
Hearts, _feasting and merry-making_. Seven of Hearts, _fickle_. Six of
Hearts, _generous, easily imposed upon_. Five of Hearts, _waverer,
changeable_. Four of Hearts, _marriage late in life_. Three of Hearts,
_imprudent_; _hot-headed action, which has disastrous consequences_. Two
of Hearts, _extraordinary success and good fortune_.


DIAMONDS

Ace of Diamonds, _a letter; the card next to it will indicate its
nature_. King of Diamonds, _hot tempered_. Queen of Diamonds, _a
coquette_. Knave of Diamonds, _a selfish person_. Ten of Diamonds,
_money_. Nine of Diamonds, _a roving person_. Eight of Diamonds,
_marriage late in life_. Seven of Diamonds, _a gambler_. Six of
Diamonds, _early marriage_. Five of Diamonds, _friendship_. Four of
Diamonds, _unhappy marriage_. Three of Diamonds, _quarrels, lawsuits,
and disagreements_. Two of Diamonds, _a serious love affair_.

There are two effective ways of fortune-telling.

For the first, ask your subject to shuffle the cards very thoroughly and
to wish all the time. Then cut them into three piles with the left hand.
Should the wish card (the Nine of Hearts) be one of those cut, it is a
lucky omen.

Notice two other cards and their possible bearing on the wish. Now,
after lifting the cards and putting them together with the left hand,
proceed to divide them into piles in this fashion.

The first pile is to yourself. The second, to the house. The third, to
your wish. The fourth, what you do expect. The fifth, what you don’t
expect. The sixth, sure to come true. The seventh foretells the
happenings of to-night.

Arrange these piles, as you deal out the cards one by one, in a
semicircle. Then proceed to read them off by their meanings.

Another and rather more complicated method is to ask the person whose
fortune is being told which King he will be (if it is a woman, one would
naturally ask which Queen).

After the wishing has been done as before, the fortune-teller lays out
the cards in rows--seven in a row.

To read the fortune the teller must start from the King or Queen chosen,
counting seven from him or her in every case.

The King or Queen of the same suit will always be the lover or
sweetheart of the one whose fortune is being told, and the Knave being
their thoughts, it is, of course, quite easy to discover their feelings.

It is rather a good plan to write the meanings of the cards on an old
pack. By using this a few times a rapid flow of ideas will much more
readily be induced. It might be mentioned that a too strict adherence to
rule is by no means either necessary or desirable in fortune-telling.
Tell what the combination of cards suggests to you--quite irrespective
of the exact meaning of each--and you will be infinitely more amusing
and obtain much greater fame as a wizard.

[Illustration: FIG. 1.--Cards dealt for fortune-telling: 1. to yourself;
2. to the house; 3. to your wish; 4. what you _do_ expect; 5. what you
don’t expect; 6. sure to come true; 7. to-night.]

A few predictions are shown by the accompanying diagrams. Fig. 1 depicts
the manner of dealing out the cards in sets of seven, and in what
respect each is to be read.

[Illustration: FIG. 2.--Cards foretelling a wish about a love
affair--leading to an early marriage.]

Fig. 2 shows three cards which might conceivably come together in any
one set. They would be read as foretelling the following:--You will get
a wish (Nine of Hearts), which is about a love affair (Ace of Spades),
and it will lead to an early marriage (Six of Diamonds).

Fig. 3 conveys the following:--You will get a letter (Ace of Diamonds)
about money (Ten of Diamonds). Your good fortune, however, will not
permit you to marry until late in life (Eight of Diamonds). The five
cards representing Fig. 4 tell that the subject’s dearest friend (Knave
of Hearts) will make the acquaintance of a flirt (Queen of Diamonds),
and will shortly after suffer illness or slight loss of money (Four of
Spades), but afterwards he will fall in love with a fair affectionate
woman (Queen of Hearts) and enjoy extraordinary success (Two of Hearts).

[Illustration: FIG. 3.--Foretelling the receipt of a letter about money,
but the good fortune will not permit the recipient to marry until late
in life.]

[Illustration: FIG. 4.--Reveals that the subject’s dearest friend will
make the acquaintance of a flirt, and will shortly suffer illness or
slight loss of money, but afterwards will fall in love with a fair
affectionate woman and enjoy extraordinary success.]


A THROW OF THE DICE

Although forecasting of the future from dice is one of the most ancient
methods of prediction, it is curiously enough almost unknown in modern
days. For this reason it is of special value to the home entertainer,
and will prove infinitely simpler than the cards, the meanings being
easier to learn as well as fewer in number.

First chalk a magic circle on the table, then obtain a small cup or box
to shake the dice in.

Three dice only should be used.

The person whose future is at stake must shake and cast the dice in the
circle. This, as in card fortune-telling, should be done with the left
hand.

Three tells you of an approaching accident; four, a rise in your
position; five, that you will make the acquaintance of one who will be a
friend; six, predicts loss; seven, a scandal; eight, a reproach--that
is not undeserved; nine, a wedding; ten, a christening; eleven, trouble
for one you love; twelve, an important letter; thirteen, tears;
fourteen, beware of an enemy; fifteen, good luck and happiness; sixteen,
a journey; seventeen, a water journey; three sixes, or eighteen points,
is a very good sign. It means great profit in business, or something the
person wishes for very much.


FORTUNE-TELLING BY DOMINOES

A fairly unique accomplishment is to reveal the future by the aid of
dominoes, and there is something sufficiently fascinating and mysterious
about this mode of revelation to fill the uninitiated with awe at the
powers of the exponent.

Each small oblong has its secret meaning by which some happening vital
to the subject is illustrated. It is a matter of little difficulty to
commit these to memory; and in this, as in other methods of divination,
the fundamental principle is that of comparison and calculation.

The dominoes used range from double-six to double-blank, and by these
are symbolized the various vicissitudes of fate likely to befall
mankind. The exponent places his paraphernalia upon the table, and,
having turned them with their black spots facing the surface, proceeds
to shuffle them. When this is done, the subject is requested to draw
three pieces, one at a time. Between the choice of each the dominoes are
shuffled.

The first supplies an impression; should it be drawn a second time, the
impression becomes a conviction. The third, however, may lessen or
wholly contradict its degree of importance, and this is where
calculation and comparison in blending the signs are essential to a
successful justification and interpretation of these symbols.

_Double-six_ is an emblem of matrimonial happiness and financial
prosperity.

_Six-five_ is almost equally fortunate. Perseverance and concentration
are rewarded by ultimate success.

_Six-four_ implies a comfortable income, and secures happiness in
marriage.

_Six-three_ demonstrates that fate smiles upon the love and marriage of
the subject.

_Six-two._--Prudence, hard work, and a certain amount of good luck, or
exposure and shame for any wrong-doing.

_Six-one_ promises two marriages to the young subject, the first of
which will not be as happy as the second. Should the subject be of
middle age, this domino foretells the speedy arrival of good things and
the fact that he or she will never be left lonely and uncared for.

_Six-blank_ is, alas, a sign of great trouble--sickness, death, or heavy
money losses.

_Double-five_ presages that all achievements will be rewarded with a
large amount of success, but inordinate wealth is not prophesied.

_Five-four_ is almost as unfortunate a draw as six-blank. Should a young
girl lift it, it means that her future husband will be poor and leave
her a widow. Further, he may be of extravagant disposition, in spite of
his poverty.

_Five-three_ indicates a tranquil and contented existence. Sufficient
money and matrimonial affection of moderate strength, the couple being
incapable of passionate devotion.

_Five-two_ conveys a warning that love and marriage are destined to an
unhappy termination.

_Five-one_ portends social popularity, but financial worries and losses.

_Five-blank_ is supposed to demonstrate egotistical and avaricious
characteristics, tendencies to swindling and intrigues, also a warning
to remain unmarried.

_Double-four._--The man who earns his livelihood by manual labor may
regard this domino as a sign of future security and prosperity, but to
him whose profession needs mental achievement it is rather disastrous.
Troubles and disappointments await him.

_Four-three._--Matrimony and moderate income.

_Four-two_ proclaims an early marriage and moderate income.

_Four-one._--Wealth or many friends.

_Four-blank._--A sure warning that single life will be the best and
happiest. It counsels that any secrets imparted to another will be
indiscreetly revealed.

_Double-three._--Enormous riches.

_Three-two_ foretells prosperity in matrimony, travels, and
speculations.

_Three-one._--Some danger and unhappiness. The necessity for acting with
extreme caution in all matters.

_Three-blank._--Domestic unhappiness--such as a quarrel or
incompatibility of temperament of husband and wife. The absence of
harmony in the home.

_Double-two_ promises average happiness and income.

_Two-one._--Two marriages, if the individual be a woman; financial
failures to a commercial man.

_Two-blank._--The intrigues of unscrupulous persons will meet with
temporary success. It also denotes poverty, and an indolent husband. The
individual will return safely from all journeys undertaken.

_Double-one._--An existence free from money worries; peace and constancy
in love and marriage.

_Double-blank_ seems to favor the deeds of unprincipled persons, and
foretells want of integrity in lover and husband.


FIGURED FUTURITY

That a certain amount of character and future may be revealed by means
of figures is a fact that may be tested for itself. The results achieved
by this method of divination are truly astonishing, and an ample reward
to the mathematician for his attempt to solve the riddle of human
nature.

Certain groups of figures stand for different qualities. Those given in
the table which follows are only a small portion of the whole, but they
are sufficient for the beginner. Each letter of the alphabet has its
accompanying digit, and each digit has its abstract conditions, thus:--

  A.   1. Passion, ambition, design.
  B.   2. Destruction, death.
  C.   3. Religion, destiny, the soul.
  D.   4. Solidity, sagacity, power.
  E.   5. The stars, happiness, graces, marriage.
  F.   6. Perfect labor.
  G.   7. Course of life, repose, liberty, success.
  H.   8. Justice, preservation.
  I.   9. Imperfection, grief, pain, expectation.
  J. 600. Perfection.
  K.  10. Success, reason, future happiness.
  L.  20. Austerity, sadness.
  M.  30. Fame, a wedding.
  N.  40. Fêtes, a wedding.
  O.  50. Pardon, liberty.
  P.  60. Widowhood.
  Q.  70. Science, the graces.
  R.  80. A cure.
  S.  90. Blindness, error, affliction.
  T. 100. Divine favor.
  U. 200. Irresolution.
  V. 700. Strength.
  W. (double V.), 1400. Perfection of strength.
  X. 300. Safety, belief, philosophy.
  Y. 400. Long and wearisome journey.
  Z. 500. Holiness.
     800. Empire.
     900. War, combats, struggles.

The first thing the exponent asks is the name of the subject. He writes
it on a slip of paper, and next to each letter its accompanying figure.
Supposing the name to be Dick James Smith, it should appear thus:--

  D  4     J 600     S  90
  I  9     A   1     M  30
  C  3     M  30     I   9
  K 10     E   5     T 100
           S  90     H   8

Now they are added separately thus:--

  Dick 26     James  726     Smith 237

Add the three totals together:--

        Dick   26
        James 726
        Smith 237
             ----
  Which makes 989
             ----

  900. War, combats, struggles.
   80. A cure.
    9. Imperfection, grief, pain, expectation.

The deduction being that Dick James Smith is endowed with a quarrelsome,
headstrong nature, optimism, and inefficient will-power, which are
destined to cause him great trouble, loss, and misery before they are
conquered.

Should the total of the names reach beyond 1390, the first digit must be
subtracted, as in the name:--

  _Johannah_    _Christine_    _Whiting_

     J 600         C   3        W 1,400
     O  50         H   8        H     8
     H   8         R  80        I     9
     A   1         I   9        T   100
     N  40         S  90        I     9
     N  40         T 100        N    40
     A   1         I   9        G     7
     H   8         N  40
                   E   5
     -----         -----        -------
       748           344          1,573
     -----         -----        -------

Total 2,665. Take away the first figure, leaves 665.

  600. Perfection.
   60. Widowhood.

5. The stars, happiness, graces, marriage, showing that Johannah
Christine Whiting’s life will be a mixture of joy and sorrow, the latter
borne by a courageous and tranquil spirit. Her integrity and
attractiveness of character will, no doubt, bring her much love and many
friends.

The fortune-teller who uses the cabalistic method of revealing Destiny’s
secrets should be extremely careful to attach the correct figures to the
letters contained in the names of the subject, otherwise it is quite
obvious that his delineation will be at fault. He should add the numbers
several times to make sure they are exact. If he has a good memory, he
will memorize the table of qualities, and a great aid to this is to
practice with it before him, manufacturing names, or taking those of
some well-known poet, author, statesman, or ecclesiastic.

His own name will doubtless reveal the fundamental truths of this
method, and the cognomens of well-known personages will show him the
distinguishing traits that have made them famous. For instance, take
_Florence Nightingale_:--

  F     6      N    40      _Florence_     209
  L    20      I     9      _Nightingale_  246
  O    50      G     7                     ---
  R    80      H     8                     455
  E     5      T   100                     ---
  N    40      I     9      400. Long and wearisome voyage.
  C     3      N    40       50. Pardon and liberty.
  E     5      G     7        5. The stars, happiness, graces.
               A     1
               L    20
               E     5
  ------       -------
     209           246
  ------       -------


DIVINATIONS BY TAROCS

Tarocs differ from the numeral cards used for bridge, whist, &c., in
several ways. A pack consists of seventy-eight cards, made up of
twenty-two emblematic pictures and fifty-six ordinary.

These latter are grouped into four suits of fourteen cards each:--four
_coat cards_--king, queen, chevalier, and valet; and ten _pip cards_,
numbering from 1 to 10.

The twenty-two emblematic cards are known as the _Major Arcana_, and are
divided into three groups of seven, which equal twenty-one cards. The
twenty-second stands for the highest point successful achievement may
reach. The _Major Arcana_ contains:--

_1st Division._

  1. The Juggler         emblematic of the male inquirer.
  2. The High Priestess      „       „     woman inquirer.
  3. The Empress             „       „     action, initiative.
  4. The Emperor             „       „     will.
  5. The Pope                „       „     inspiration.
  6. Lovers                  „       „     love.
  7. The Chariot             „       „     triumph, providential protection.

_2nd Division._

  1. Justice               emblematic of justice.
  2. The Hermit                „       „  prudence.
  3. The Wheel of Fortune      „       „  destiny.
  4. Strength                  „       „  fortitude, courage.
  5. The Hanged Man            „       „  trial and sacrifice.
  6. Death                     „       „  bereavement.
  7. Temperance                „       „  temperance.

_3rd Division._

  1. The Devil             emblematic of immense force or illness.
  2. The Struck Tower          „       „ ruin and deception.
  3. The Stars                 „       „ hope.
  4. The Moon                  „       „ hidden dangers, enemies.
  5. The Sun                   „       „ material happiness, marriage.
  6. Judgment                  „       „ change of circumstances.
  7. The Foolish Man           „       „ inconsiderate actions.

The remaining card, No. 22, which belongs to this division, is

  The Universe, emblematic of success.

The _Minor Arcana_, divided into two groups of four, corresponding to
the suits of ordinary playing cards:--

  Scepters relate to diamonds,  interpreted as enterprise.
  Cups       „       hearts,        „       „  love.
  Swords     „       spades,        „       „  misfortune.
  Pentacles  „       clubs,         „       „  interest.

The four _coat cards_ stand for different conditions of existence:--

  King,      emblematic of man.        Divine world (spirituality).
  Queen,         „      „  woman.      Human world (vitality).
  Chevalier,     „      „  youth.      Material world (materiality).
  Valet,         „      „  childhood.  Transition stage (life in growth).

The remaining cards of these suits (1 to 10) are important according to
their relation to the _coat cards_ and their numerical value. These are
divided into four groups:--

  (1) 1, 2, 3 of each suit appertain to man--abstract qualities,
  creation, and enterprise.

  (2) 4, 5, 6 of each suit represent woman--opposition, reflection, and
  negation.

  (3) 7, 8, 9 of each suit represent youth and materialism.

  (4) The four tens of each suit represent the stage of transition.

In order to tell fortunes by means of tarocs, the manipulator must be
perfectly conversant with the design, class, and interpretation of each
card.


PROCESS OF DIVINATION

The complete pack is used. Shuffle and cut into three parts, each
composed of twenty-six cards, thus:--

  26      26      26

Take the _central_ pack, and place on the _right_.

The inquirer shuffles the two remaining packs, which equal fifty-two.
These are dealt out in a similar fashion--three groups of seventeen
cards, thus:--

  17      17      17

Again remove _central_ pack to the _right_.

Deal out the remaining packs, which equal thirty-four, in three groups
of eleven, thus:--

  11      11      11

It will be seen that seventy-eight cards divide equally in the first
deal.

In the second deal, however, only fifty-one cards are used, so that
there is one over. This card is shuffled with the third deal.

Two cards are now over, and these are placed as discards, until the
central pack of the last deal of eleven is put on the right, when they
are shuffled with the remaining twenty-two discards. The cards will now
be as follows:--

  26      17      11

Discards = twenty-four, making in all seventy-eight. They are next
placed beneath each other in sequence, thus:--

  =A. 26=, emblematic of the supernatural, spiritual.
   ┏━━━┓
   ┗━━━┛
  =B. 17=,     „      „      thoughts and calling of the individual.
   ┏━━━┓
   ┗━━━┛
  =C. 11=,     „      „      physical and material.
   ┏━━━┓
   ┗━━━┛

The tarocs of pack A, B, and C are now lifted separately, and placed on
the table from left to right in rows. Each taroc has its meaning, and
from its relation to its fellows the manipulator is able to present a
brief sketch of character, inclination, and futurity.

Another simple method is to shuffle all the cards and request the
inquirer to cut. The manipulator then proceeds to draw the first
seventeen tarocs, uncovering only the eighteenth and last card of the
pack. These two cards create what degree of sympathy is shared between
himself and his client, the keynote being given by the symbolic meaning
attached to the card. The seventeen cards are now revealed from left to
right, their interpretation being given separately. In order to reach a
proper signification, they are then compared as follows:--

  The first with the seventeenth.
  The second with the sixteenth.
  The third with the fifteenth,

and so on, each process increasing or taking from the first
manifestation.




CHAPTER LVII

GRAPHOLOGY


CHARACTER FROM HANDWRITING

MORE or less consciously, _every one_ is a reader of handwriting! If we
have not devoted thought and study to the subject, we merely gather a
vaguely favorable, or unfavorable, impression from the first letter
written to us by a new acquaintance, and store it up with the other
impressions we have already gleaned from their personality.

When, however, time and thought are given to the fascinating cult of
Graphology, it will be found to reward its students, by letting a
thousand little sidelights on to character--and if the most “proper
study of mankind is man,” then assuredly is Graphology a most helpful
adjunct to that end.

One must crawl before one can walk, and learn the alphabet before one
can master a language, therefore an impulsive learner must not grow
disgusted because his laborious reading of a handwriting is disjointed,
and may be obviously unlike the writer. By the time he can read a
character from a letter, _without gathering a word of that letter’s
sense_--which is what every graphologist worthy the name can, and _does_
do--he will have come to see how one sign outweighs or counterbalances
another, and so learn to read a human character from a sheet of paper
and the more or less erratic tracings of a pen.

As a home entertainment, any amount of fun is to be got out of it. One
unfailing source of amusement is to notice how all are willing vaguely
to accept the ownership of every failing save the one you ascribe to
them.

The jealous girl is “perfectly horrid,” she knows. But she certainly
“isn’t jealous.” The lazy man is “bad tempered, perhaps,” but “no one
could call him indolent.”

Friends and relations will, however, be ready to assure you of the
correctness of your delineation.

The first thing to notice when studying character from handwriting, is
the _direction_ of a hand. Is it even, upward, or tending to meander
down the page? The even hand suggests honesty, conscientiousness, and a
calm, well-balanced nature. The upward hand tells of will power and
ambition, cheerfulness and energy. The hand that slopes downward tells
of a timid and weak nature, depression and melancholy. It must always be
remembered, however, that temporary ill-health, and even a temporary
wave of depression, will frequently alter the direction of a hand.

Sometimes a beginner is puzzled by the varying direction--now upward,
now downward--of a hand; generally this betokens a mind struggling at
the time with adverse circumstances or ill-health.

Capital letters and terminals are both important. The more clearly
formed and beautiful the letter, the more refined and artistic the
nature.

The graphologist picks out certain letters as being especially
important--_M_, _A_, _L_, and _D_ in the capital letters. The small _d_
and _e_ in terminal letters are certainly the most important.


THE PRINCIPAL LETTERS

Taken in alphabetical order, the following are the principal letters to
study:--

_A._ Well made, and simple in outline, indicates refinement, gentleness,
intelligence, perhaps poetic feelings. Flourishes are always bad, and
tell of pretension and egotism. If a small _a_ is unjoined--open-mouthed
as it were--the subject is something of a gossip. This also applies to
the small _o_.

[Illustration: Artistic--refined--loves poetry.]

[Illustration: Selfish and egotistical.]

_B._ This is a letter that frequently tells of ostentation and kindred
failings. If the small _b_ is well looped, look for an affectionate
nature.

_C._ A well-rounded _C_ shows a kindly, perhaps indolent nature. A curly
tail suggests selfishness and egotism.

_D._ The small _d_ is very truth-telling. A small _d_ united to the
letter following shows a good sequence of ideas. Too much flourish tells
of an ill-balanced imagination.

_E._ The capital letter shows egotism, even as the letter _C_ does, in
the curled back tail. A long tail to the small _e_ tells of imagination,
good-nature, ardor; if exaggerated, carelessness.

_M_ is the next really important letter--in some respects _the_ most
important. The first high loop means ambition, pride, discontent. A big
flourish to the termination shows egotism; a moderate one force of
character.

_T_, or rather the particular method of crossing the _T_, is always of
immense interest to the graphologist. Energy, strength of will, temper,
perseverance, obstinacy, may all be shown or found to be lacking. The
thickly crossed _T_ indicates energy; the little hook back at the end,
perseverance; a thick abrupt ending, temper. Impulsive people cross
their _T_’s high. Those who make long bars are energetic and quick in
thinking.

[Illustration: Egotist.]

[Illustration: Force of character.]

[Illustration: Quick-tempered, willful and persevering.]

Wide spacing between lines suggests extravagant tastes; accompanied by
rounded terminals to the letters, good-nature and generosity.

Short tails and a tendency to make as much as possible out of a sheet of
paper, show the opposite characteristic.


MISLEADING SIGNS

It cannot be too emphatically impressed on the beginner, that it is
fatal to judge from one sign alone. Study them all ere you commit
yourself to an opinion; above all, study the signature.

A specimen for delineation should always consist of about six lines,
_not_ of copied matter. It must be written on unlined paper, and have
the writer’s usual signature attached.

Never attempt to gather anything from an envelope, as one is so often
asked to do. Like copied matter, or indeed anything written specially to
order, it is hopelessly misleading.

Flourishes always show a certain vulgarity of mind. A small and graceful
one after the signature--particularly in the case of a woman--is,
however, quite pardonable, and is indicative merely of love of praise
and appreciation. Thick and heavy marks of punctuation are one of the
signs of a passionate nature. Caution and careful attention to detail
are shown by stops between initials and after the signature, the careful
crossing of _T_’s and dotting of _I_’s. Frank, impulsive natures seldom,
if ever, close their _A_’s and _O_’s.

[Illustration: Benevolent--kind-hearted, very refined, a poor one at
keeping a secret, devoted to those she loves.]

Tender-hearted people invariably slope their writing, and make long
tails and loops. The critic divides his letters. The orator and writer
invariably join theirs, and carry them on from word to word, even as the
sequence of their thoughts follows on.

[Illustration: Suggests an affectionate nature--one who would be greatly
influenced by his friends! Critical--rather impulsive; a good worker at
things he likes. Loves beauty and can keep his own counsel.]

As a general rule, the more charmingly clear the handwriting, the more
straightforward and cultivated the person. _Eccentricity_, however,
naturally mars many of the cleverest hands.

It will perhaps simplify matters for the student, if a list is compiled
of the principal human virtues and failings, and the means of
discovering them by the handwriting, described:--

_Ambition._--This is shown in the upward tendency of the hand. Should
will power be lacking, expect discontent.

_Business._--A businesslike person is always to be recognized by the
care of such details as stops, spacing, crossing of _T_’s, the general
air of law and order in the hand. Look for perseverance and will power
to insure success.

[Illustration: Diplomatic, lacking in will power, possessing extravagant
tastes, greatly influenced by the opposite sex.]

_Brutality._--Thick, heavy, ungraceful handwriting, impulsive and
lacking in intelligence.

_Candor._--Clear, well-spaced lines and open rounded letters. Well and
firmly crossed _T_’s.

_Caution._--See _Business_.

_Coldness._--Upright hand, closed up letters, no graceful “loop.”

_Criticism._--This is often found allied to a good sequence of ideas.
The separated letters of criticism and the carried on _T_ crosses, &c.,
betray the quick thinker.

_Deceit._--This is always indicated by the screwed-up, badly-formed
letters, that run into one another; lines uneven, and words that trail
off into a mere scrawl.

_Determination_ is shown by the firmly crossed _T_, and the general
firmness of the whole handwriting.

_Eccentricity._--Always betrays itself in a weird signature. Economy,
short tails; careful hand, short terminals.

_Egotism._--Look for a flourish--for the curl back in capital _C_’s and
_E_’s; for the curled back small _d_.

_Extravagance._--Wide margins and spacing, a rounded, rather flourishing
hand; few stops; generally somewhat thick. Compare other signs.

_Fun._--The love of fun is usually indicated by quaintly-rounded
terminals and oddly shaped, and often rather illegible capitals.

_Generosity._--Curled up terminals, bounded hand, _M_’s and _N_’s
written like _U_’s.

_Honor._--Even handwriting; might almost have been written over lines.
_See_ Candor; and for honesty also.

_Imagination._--Good capitals; small _d_’s joined to following letter
bear a hurried look; flying crosses to _T_’s.

_Indolence._--Bounded hand; short terminals.

_Intelligence._--Shown by the small attractive hand; clear and firm good
capitals.

_Jealousy._--A weak hand; sloping, long-looped, flyaway _T_’s; egotistic
_C_’s.

_Loyalty._--Of course you cannot expect to find much character in
handwriting until the age of seventeen or so, but the lad who is loyal
to his friends and his sense of duty--the typical Boy Scout’s hand, for
example--will ever be found firm and boldly ascending the sheet.

_Melancholy._--Downward tendency, not only to lines but even words.

_Music._--Look for imagination, tenderness, and refinement.

_Neatness._--Easily to be seen.

_Obstinacy._--Heavy; crushed down as it were on an imaginary line;
thick.

_Originality._--Imagination marked; unique capitals and flourishes.

_Pride._--The exaggerated first loop to the _M_.

[Illustration: Possesses good sequence of ideas; clever, vivacious,
good-natured and devoted.]

_Perseverance._--Clear running hand; well crossed _T_’s, with little
hook to end their crossing.

_Selfishness._--Upright hand, generally heavy.

_Sensitiveness._--A very sloped, rather weak, and long-looped hand.

_Temper._--Thickly crossed, flying _T_’s; uneven and rather angular
handwriting.

_Truth._--See _Candor_.

_Vanity._--Look for flourish beneath signature.

_Will Power._--Straight thick little bar under signature; thickly
crossed _T_’s; purposeful-looking hand; no return to tails of _G_’s and
_Y_’s.

In conclusion, one might truthfully say that the more closely one
studies the handwriting of one’s friends, the more converted must one
become to the belief in Graphology. Go slowly. Compare carefully.
Remember always that human beings inevitably suffer from the faults of
their qualities, therefore search and you will be rewarded by the
enthusiasm of those to whom you give your delineations.

[Illustration: Very intelligent, quick-tempered, imaginative, impulsive,
very refined, generous, yet knows the value of money.]




CHAPTER LVIII

A SUCCESSFUL CHILDREN’S PARTY


A WORD TO GROWN-UPS

IT is undoubtedly one of the hardest tasks imaginable to give a
successful children’s party, and the reasons that militate against
success are legion.

In the first place children are the keenest of critics; secondly, that
which interests a mite of three will bring boredom unmitigated to the
“fellow of ten,” while the maiden of twelve and the “man” of fifteen
have very strong views of their own on the subject of amusements.

A children’s party, then, is not an undertaking to be approached
lightly. It is of course an easy matter to hire the services of a
ventriloquist or a conjurer or some public entertainer for the
afternoon, and leave the rest to luck, yet how many hostesses have come
to grief on the rocks of such an enterprise.

And let it be remembered that it is an absolute impossibility to provide
an entertainment that will appeal equally to children ranging from three
to fifteen. Only a section will appreciate the show. Far better to let
the youngsters be their own entertainers.

It may of course be presumed that no one will dream of giving a
children’s party who is the occupant of a very small house. Twenty
children want more room than fifty adults. This is a truism that cannot
be too strongly emphasized.

Having fixed upon the date for your party and having sent out the
invitations, you will, wise general that you are, take complete stock of
your field of campaign, and make up your mind that at least four rooms
will have to be more or less gutted to receive the host of youthful
invaders you are about to summon forth.

Let it be supposed that you have in your house three sitting-rooms. The
dining-room will be the refreshment room, the parlor, stripped of all
breakables and needless accessories, for the older children to play in,
the morning room to be converted into a dressing-room. Upstairs it will
be as well to transform a bedroom into a play-room for the tiny tots and
their nurses.

There is one fatal mistake that hostesses are sometimes guilty of in
giving a children’s party,--they ask their guests to come too early and
send them away too late. The secret of success with children lies in the
one hackneyed sentence: “Enough is as good as a feast.” Children are
easily tired, and they can crowd into three hours as much healthy
enjoyment as would certainly not be the case were another hour to be
given them. If your young guests leave you with regret you do not want
any more thanks; if they fly to get their coats and hats, all your
labors, no matter how sincere and arduous they may have been, will have
been spent in vain.

From four till seven P.M. will be found quite long enough, with tea at
half-past four. Here again lies another fatal pitfall. _Avoid
kickshaws!_--digestion-ruining cream cakes and jam puffs particularly.
Bread and butter, chocolate biscuits, plain cakes, and sponge cakes
produce no ill effects. Such advice as this may provoke a scornful laugh
from the would-be hostess who reads these lines. “Teach me how to feed
children!” I hear her say. “What presumption!” Yet it is homely advice
that is the most useful, the most disregarded when all is said and done.


TEA TIME

Half-past four will be found a good time for tea. Soon after five the
healthiest hunger will have been appeased, and then, having “let
digestion wait on appetite,” marshal your guests into the drawing-room
and allow them to “fall to” to amuse themselves.

Let the revels be of the simplest. If there is one game children love
more than another it is Musical Chairs, and as there cannot be a person
living, who does not know that historic pastime, there will be no need
to describe it in detail.

However, among your young guests you will be sure to find one or two
boys who do not care to play the game, yet who can be made exceedingly
useful in another way as “umpires.” Most boys of fourteen or fifteen
have a great sense of honor when games are under consideration; let two
boys, then, be the arbiters of the sport--let them decide whether, when
the music stopped, Tommy found a seat before Johnny, or whether Billy
was too rough when he pushed Mary aside and took the seat that should
have been hers. You will have no need to grumble at the impartiality or
the reverse of the young umpires.

After Musical Chairs, what better than Blind Man’s Buff, a game that
never stales, made more exciting if “Buff,” after having caught a
victim, fails to identify his prey, and must therefore pay a forfeit to
be chosen by his captive? Children love forfeits.

Hissing and Clapping, Dumb Crambo, Acting Proverbs--there is no end to
the games that children love. And let them choose their own. You will
add a thousandfold to the success of your party if you allow your guests
to please themselves, and by so doing you will give yourself far more
pleasure than would be the case if you “fussed about” arranging,
directing, ordering. Children love responsibility as much as
“grown-ups.”

Above all, remember that “Boys will be boys.” It is only with the
greatest tact that you will be able to eliminate the boisterous element,
which will crop up now and again in the best regulated parties. If you
can enlist in your services some jolly bachelor who loves children, and
who can romp with them as a child, you will have solved the problem of
keeping down the rowdy element. A man of this stamp can work wonders
with an obstreperous youngster, can smooth out the creases in your
handiwork, can keep things at concert pitch, and if at the end of the
party he is a worn-out and exhausted wreck--being who he is, he won’t
mind.

So seven o’clock comes. The time for farewells has arrived. Wraps and
coats must be put on, and the little ones, flushed, excited, happy, are
dispatched to their various homes.

“Thank you so much, it has been fun.” “We’ve had a ripping time, thank
you.” “It’s been splendid.” Such thanks as these will repay you for
three hours of babel and pandemonium, for all the forethought and tact
you have brought to bear on a by no means too easy task.




CHAPTER LIX

PARLOR GAMES


FOR CHRISTMAS PARTIES

AT Christmas parties, at which guests of all ages are found, it is
sometimes a perplexing riddle to the hostess to know how to entertain
them all. Musical items which may delight the older members of the
company may only serve to render younger folk restless and dull, and
dancing is not always possible in rooms of limited size. Moreover, there
are still many young folk who are unable to set their feet nimbly to
waltz and two-step, and would much prefer a romp to whirling round in
time to a measure.

Self-consciousness and shyness are usually very evident when the party
enters the drawing-room, and this coating of ice, if not thawed quickly,
will rapidly freeze into impenetrable restraint and gloom. At such times
a good game, quickly organized, is invaluable. The rules should be
explained by the hostess in so simple a manner that the youngest person
present can follow them, and everything necessary should be arranged
beforehand to avoid awkward delays and pauses.


THE CLOTHES-PIN GAME

The players are formed into two lines a few feet apart; at the top and
bottom of the lines are two tables upon which as many pins as there are
players are placed, and exactly divided into two heaps. The hands of all
are crossed at the wrists. The first players of each line use the second
player’s right hand to pick up a pin. The latter in the same way passes
it to the next player, and in this manner it goes through the lines to
the table at the end, upon which the last players place it. Meanwhile,
of course, the first players are sending other pins down the rows.

The line that succeeds in removing all the pins in the heap from one
table to the other in the shortest time wins the game. The fun lies in
the awkward manipulation of one’s neighbor’s hand. Should a pin be
dropped in the process, it must be picked up by the umpire and returned
to the top table, and throughout the game the wrists must be kept
crossed.


PROVERBS

One of the party retires while the rest decide upon a well-known
proverb. When he returns, he stands in the center of a semicircle. Some
one taps three times with a stick, and at the third tap each player
shouts one word of the proverb loudly and simultaneously. This is
repeated three times, and it is amazing how difficult it is to
distinguish even the most well-known proverb in the uproar.

Should one word give the key to the player not in the secret, the
individual who speaks it takes his place. For instance, in the proverb,
“All is not gold that glitters,” it may happen that the word “glitters”
provides the keynote. Therefore, he or she who speaks it takes the place
of the one who guesses.

The proverb must contain as many words as there are players, and each
shouts only the one word allotted to him.


THE GAME OF SHADOWS

A white sheet is stretched against the wall, with a lamp immediately
before it. All other lights are extinguished. One of the company sits on
a chair or stool with eyes fixed on the sheet. Behind him the company
files noiselessly, the while he endeavors to identify them by means of
the shadows silhouetted on the screen.

Simple disguises are allowable and increase the fun. For example, a boy
may don a girl’s hat, a girl a boy’s; or a skirt or shawl may be draped
over a boy’s suit, thus concealing the wearer’s identity. The one whose
shadow betrays her takes the place of the player who identifies her.


GARDENERS

Two rows, headed by a chosen captain, face each other. In turn they fire
at each other the names of vegetable, flowers, or fruit, beginning with
the letter A, and using in turn the other letters of the
alphabet--asparagus, artichokes, apples, &c.

The players on each side set their wits to work to aid their captain
when he shows signs of faltering. They are not allowed to speak aloud,
their promptings being given in whispers, and this is where the fun
comes in, for, when one is excited and eager to give a word, it is very
difficult to remember to whisper, especially when placed at the tail of
the line.

When a gardener and his side pause to remember a word the opposite side
counts twenty slowly; if at the end of that time their opponents still
fail they forfeit a man. The game goes on until one captain has secured
all his adversaries’ followers. Should any one except the leaders speak
aloud, he or she is obliged to cross to the other party.

When a captain surrenders he is obliged to go to the end of the line,
and the next man takes his place and responsibilities. Wild flowers or
plants are not allowed.


TIDINGS

Each player adopts some trade or profession. One member reads out the
social gossip from a daily paper. When he pauses and points at one of
the rest, that one must reply quickly some sentence regarding his
calling or the stock he sells, for instance--

_Reader._--The ball that took place at the residence of the Hon. Mrs.
Mortimer last evening was distinguished by the presence of the
President.

A number of débutantes were present, the majority of whom were dressed
in--Here the reader glances at the carpenter, who answers, “Shavings.”

_Reader_--“Their headgear consisted of (glances at the fruiterer)--

_Fruiterer_--“Pine-apples.”

_Reader_--“Their jewels were necklaces (glances at the ironmonger)--

_Ironmonger_--“Of nails.”

_Reader_--“The dancing took place in--

_Tobacconist_--“A cigar box.”

_Reader_--“The walls of which were richly decorated with--

_Lawyer_--“Red tape.”

_Reader_--“The band was composed of forty instruments all--

_Doctor_--“Medicine bottles.”

_Reader_--“The President’s first partner was--

_Fishmonger_--“A codfish.”

_Reader_--“Who was most becomingly clad in--

_Druggist_--“Silver scales.”

_Reader_--“Her bouquet was composed of--

_Dry Goods Merchant_--“Spools of cotton.”

_Reader_--“And her tiny feet were cased in--

_Mason_--“Bricks.”

_Reader_--“Her dancing was as light as--

_Plumber_--“A gas escape.”

_Reader_--“And her charming smiles showed to view a perfect set of--

_Bootmaker_--“Black heels.”

It can be imagined from this example the merriment and laughter similar
answers evoke.


THE LAWYER

The party is divided into two rows, through which walks the lawyer. He
asks a number of questions, and the answers may contain any words except
“yes,” “no,” “white,” “black.”

The person to whom he puts his query does not reply, but the one
immediately opposite does.

The lawyer exchanges places with the one who makes the first mistake.

_An Example_

_Lawyer_ (pointing to Mary)--“Your hair is very long; is it your own?”

_Tom_ opposite bawls “false.”

_To Jessie_--“Do these pretty boots pinch your feet?”

_Jack_--“Of course, they are two sizes too small.”

_To John_--“Did you use your razor this morning?”

_Jane_--“He hasn’t any hair to cut.”

_To Timothy_--“Is your nurse waiting to put you to bed?”

_Elsie_--“Naturally--he goes to bed at seven.”

_To Dick_--“What would you like on your next birthday?”

_Ethel_--“A rattle.”

_To James_--“What is your favorite pastime?”

_Alice_--“Putting dolly to bed.”

_To Freda_--“What is the color of your face?”

_Andrew_ (afraid to say “white” for fear of forfeit)--“Green.”


CABBAGES

Any number of players can take part in this game. They kneel in a circle
on the floor with fingers stretched out before them and thumbs tucked
in.

The game is started by the leader’s query to her neighbor: “Can you play
cabbages?”

As the latter has not been initiated into the mysteries of the game, she
at once replies--

“No.”

The question is asked by each player, and is always answered in the
negative until the circle is completed, when the leader again queries:

“Can you play cabbages?”

Neighbor--“No.”

_Leader_ (suddenly)--“Then why on earth are we sitting here?”

The blank expressions which result in this query are ludicrous in the
extreme, and are followed by bursts of merriment.


THE LOVER’S COMING

All the members of the party save one are massed together at the end of
the room. The leader walks close to them, and throws a light rubber ball
towards any person she likes.

The person must be prepared to catch the ball. As the leader throws it,
she accompanies the action with these words, “My lover comes thus”--the
ball is tossed in a way to illustrate the manner of the supposed lover.
The thrower terminates her sentence by a letter of the alphabet. The one
to whom the ball is thrown has to provide an adjective beginning with
the given letter as she catches the ball--thus:

_Leader_--“My lover comes g”--(throws ball).

_Catcher_--“Gayly”--(tosses ball back).

_Leader_--“My lover comes h.”

_Catcher_--“Hopping.”

_Leader_--“My lover comes o.”

_Catcher_--“One-eyed.”

_Leader_--“My lover comes s.”

_Catcher_--“Smirking.”

Excitement is caused by the difficulty in producing a word at a moment’s
notice, and being ready to catch the ball at the same time.


TELEGRAMS

Each player is provided with paper and pencil, upon which any twelve
letters are written, with sufficient space left between for words.

The leader gives a topic, such as a wedding, accident, invitation, &c. A
watch is placed on the table, and from ten to fifteen minutes given,
during which each player concocts a telegram from the letters supplied
by his left-hand neighbor.

At a signal, the telegrams are thrust under a hat, and read out in turn
by the leader.

_Example 1._--Topic: a sensational robbery.

  S.    B.    O.    B.
  H.    M.    J.    P.
  K.    I.    P.    H.

From these letters may be devised the following telegram:-- “Serious
burglary; one box hairpins missing. Jane prostrate; kindly inform
police--Henry.”

_Example 2._--Topic: a catastrophe.

  C.    A.    S.    D.
  P.    B.    C.    A.
  B.    Q.    D.    W.

“Cat ate Sunday dinner. Please bring cheese and bread; quite
distracted--Wifie.”

The funnier the telegram, the greater the laughter when it is read out.


THE FAN FIGHT

The players divide into two lines. A piece of tape is stretched across
the room, and before every two players a feather is placed. Each player
possesses a Japanese fan, and the object is to lift the feather and waft
it on to a stretch of newspaper, which marks the opponents’ den.

The dens are guarded by goal-keepers, also armed with fans, and their
business is a lively one.

Feathers must not be blown, or pushed with the hand, as happens
sometimes when the excitement of the game makes one forgetful of all
else but the threatening direction the feather is taking. Only the fan
is to be used.

The feathers should be of different colors. When one of a side succeeds
in driving a feather into the opposite den, he and his adversary retire
from the game, but naturally they share the prevailing excitement and
watch every movement of their respective sides, cheering and encouraging
them to win.

When the feathers belonging to one side are all captured in a den, the
other side is conqueror.


PANAMA CANAL

One of the company is chosen as director, and addresses the company in
some such way as this:--

“Ladies and Gentlemen,--It having been discovered by the director of the
Panama Canal Company that the water of the canal is often disturbed to a
dangerous degree by means of the passionate sighs and turbulent emotions
of the passengers cruising upon it, they have decided that a
penitentiary tax shall be levied upon all ships containing lovers, and
that, for every kiss given, toll shall be exacted.”

The company now pass slowly before the director, who asks each questions
as to the name, destination, cargo, number and description of
passengers, and any other questions relating to vessels which may occur
to him.

No answer must contain the letter K, for this being the initial letter
of “kiss” is forbidden, and the person who uses it is obliged to pay any
forfeit demanded by the captain.

A few questions and answers might run like this:--

Captain to passing figure--

“What have you in your ship?”

“Tomatoes.”

“Where do you hail from?”

“Liverpool.”

“To which port are you sailing?”

“Boston.”

“Have you any girls on board,” &c. &c.

Of course, the captain’s aim is to force “the ships” to introduce the
letter K in their answers.


THE LONGEST LINE

This is a good competitive game. Men and boys should stand with their
feet on a chalked line. Each must stoop down to a half-sitting position,
and with the left hand resting on the knee and the right hand inserted
beneath the right leg, draw a line as long as possible without rising or
using the left hand.


MUSICAL BUFF

Station a person in each corner of the apartment. Then blindfold one of
the party, and lead him to the center.

The master of the ceremonies points to each of the four in succession,
and each says in a clear separate tone the word “Come.”

When the word has been said by each in turn, the blind man endeavors to
find his way towards the person who spoke first.


MAGIC HIEROGLYPHICS

For this seemingly mysterious achievement a confederate is required. He
must know that--

  A is shown by one tap, because it is the first vowel.
  E       „     two taps,    „        „     second vowel.
  I       „     three taps,  „        „     third vowel.
  O       „     four taps,   „        „     fourth vowel.
  U       „     five taps,   „        „     fifth vowel.

Consonants are revealed by means of sentences, which the wizard speaks
in a natural and unostentatious manner.

The confederate is banished from the room while the party decide upon
the word he shall be called upon to guess. Monosyllables are preferable.

When he returns the wizard is armed with a wand, by means of which he
proceeds to make imaginary pictures on the carpet.

Supposing the word to be _orange_. He begins with four taps, and the
confederate, who is all attention, knows that the word begins with the
fourth vowel, O.

The wizard, flourishing his wand, remarks with extreme innocence:

“Rather fatiguing work, as you perceive.”

The confederate says to himself R.

One tap is the next sound for A.

And some sentence such as--

“No one can imagine the mental strain,” supplies the letter N to his
alert companion.

The wizard’s query, voiced in a mocking tone,

“Getting near it?” supplies the letter G.

A few more imaginary pictures, and two taps, which represent letter E,
and the confederate with an air of profound relief wipes his brow and
declares confidently that the word is _orange_.

_Result._--The company applaud loudly, and is thoroughly mystified.


THE AUCTION GAME

This is a most fascinating resource for a wet wintry afternoon, and its
preparations are interesting enough to keep a whole houseful of young
folk occupied and amused. A large piece of cardboard is cut into
twenty-five squares, and on each is pasted a picture of some article
taken from advertisements in old newspapers, magazines, or catalogues.
The pictures are numbered, and on the back a price in keeping with the
article is written.

The more variety there is among the stock for sale the better. It may
contain anything from a thoroughbred Persian to a set of ninepins, and
the prices may be copied from the catalogues, &c.

When this is done, a mint of paper or cardboard money is manufactured.
The range of coin corresponds to the prices of the articles. Should the
most expensive of these be marked $500, the paper money must include
that amount. Upon each disc of cardboard is written its value.

The guests having arrived, the capital is divided among them in equal
portions. If there has been no time to manufacture the coin, imitation
money can be purchased quite cheaply, and this lends a greater reality
to the game.

The first thing is to secure an auctioneer amongst the party, who
possesses a ready flow of language, and is not troubled by shyness. An
amiable uncle, or other grown-up relative, will do capitally.

The auctioneer stands on a chair or stool, and cries out the article
before him, treating it as if it were real.

He is provided with a hammer, and the company begin an eager bidding for
the thing that takes their fancy.

The players, as may be expected, are as anxious as people in a real
auction to obtain what they covet at the lowest price possible.

Should a member offer more than he is able to pay, and succeed in being
the last to name the highest price, he pays a forfeit of ten cents to
each of the other buyers, and the article is again placed on the
auctioneer’s table.

The winner is the individual who has got the best value for his money,
and has the most capital in hand by the time the twenty-five articles
are sold.

It is a good plan to offer prizes--a good one for the discreet and
careful buyer, and a “booby” for the poor foolish spendthrift, who has
nothing to show at the end of the game.

Excitement and eagerness are increased by the cry of the auctioneer,
“Going, going, gone!” and the beat of his hammer.

If he is able to introduce funny narratives concerning the articles into
his harangue, so much the better.

For instance, a pair of boots, fashioned from the corpse of the King of
Prussia’s pet calf, and the black kid gloves which King Charles II. wore
at the funeral of his great-aunt; the mouse-trap that once held prisoner
a rodent of aristocratic lineage and purple blood; the ash-tray, into
which the burnt cigar of Peter the Great is supposed to have fallen--all
should go at a high price.


THE WHISTLE

Another excellent game is played in the following manner.

One of the company is blindfolded, and a long ribbon, through which is
threaded a whistle, is pinned to his back, and he is told that he must
catch the blower and discover the whistle.

Of course, he has no idea that it is on his own person.

He is swung into the center of the room, and his playmates make
surreptitious dives at the whistle and raise it to their lips, taking
care not to stretch the ribbon so that he will feel the tug.

Perfect silence should be maintained by those eddying round him; they
move on tip-toe, with bated breath, but now and then sounds of stifled
laughter are heard.

The “blind” man seeks high and low for the possessor of the whistle, his
ears strained to catch the direction of the sound. He may succeed in
embracing a youth or damsel, but his search round her neck, waist, or in
her fingers for the missing whistle is futile.

It will be long ere he guesses the secret, if he ever does, and the
delight of young and old at his expense is hilarious.


THE BLIND BROTHERS

All who are unfamiliar with this mysterious game are banished from the
room and brought in separately.

The master of ceremonies blandly invites each to be seated on one of two
chairs placed back to back and touching each other; the other chair is
occupied by one of the initiated in the performance. A sheet is thrown
over the couple, and round them circle those of the guests who are aware
of what is to happen.

One of the two blind men, the confederate, is secretly armed with a
light roll of paper.

To the strains of the pianoforte, the other players march round.
Suddenly the individual who has been brought in feels a light tap on his
head; he should at once cry out to his companion--

“Brother, I’m balked.”

The confederate immediately replies, “Who balked you?”

The other tries vainly to guess.

Presently his companion bangs his own head, and wails in distress--

“Brother, I’m balked,” and the other replies--

“Who balked you?”

It is long before the guileless brother guesses that the assault comes
from the arm of his relative lifted out of the sheet.

Should he fail to do so in a given time, another victim is called in to
take his place; he joins the circle moving round the chairs, and sees
for himself the manner in which the poor unsuspecting “brother” is
deceived.


THE POETS’ CORNER

This is an excellent and ingenious pastime for young men and women who
have outgrown the old-world games of “Hunt the Slipper” and “Hide and
Seek.”

The “poets” are each given a slip of paper and pencil, at the head of
which they write any question they like. When this is written, the
papers are folded, so that the sentence is concealed, and passed on to
the left-hand neighbor, who, without looking at the question, writes any
word she likes beneath so long as it is a noun. This is again concealed,
and passed to a third party, who must compose a rhythm or stanza, which
includes both question and noun. As these have no relation to each
other, some ingenuity is needed to link the two in a verse.

For example, suppose the question given is as follows:--

_Question_--What is the time?

_Noun_--Chair.

_Verse._

  “_What is the time?_” Grandfather asks,
   This is one of the pleasant tasks
   He sets the children from his _chair_.
   And round eyes at the timepiece stare.
   Little Alice reads the time--
   The old clock helps her, and chimes out nine.

Or--

_Question_--What is your age?

_Noun_--Cigar.

_Verse._

  Cigar, cigar,
  What is your age?
  Wrinkled and brown,
  Reserved as a sage.
  Till you rest on my lip,
  And the light is set
  To your tip.
  What is your age?
  Your eye glows bright
  With the spark of youth.
  Come, answer with truth!
  The cigar replies,
  Time flies,
  An hour perchance
  I may live,
  The ashes show
  The span of my age.
  I am calm philosopher,
  Thoughtful sage.


JACK’S GOING STRONG

“Jack” is a piece of firewood, held in the flames until its tip glows.
It is then passed from hand to hand among the players. Each says, as he
receives the smoldering torch, “Jack’s going strong.” The aim is to get
rid of “Jack” before the spark dies. The player, who is obliged to own
that “Jack is dead,” is compelled to pay a forfeit.

“Jack” should be a long stick, held out at arm’s length, so that, if he
falls by accident, he will not burn holes in party dresses. The floor
should be without a carpet. There is much fun and excitement to be
gleaned from this simple game, as no one wishes to have “Jack’s” corpse
on their hands.


NAME DIVINATIONS

This is a clever puzzle game, which seems to the beholder to be steeped
in magic and mystery. In order to discover the name or birthplace of a
person, the following table of five columns is necessary:--

  (1)    (2)    (3)    (4)    (5)
   A      B      D      H      P
   C      C      E      I      Q
   E      F      F      J      R
   G      G      G      K      S
   I      J      L      L      T
   K      K      M      M      U
   M      N      N      N      V
   O      O      O      O      W
   Q      R      T      X      X
   S      S      U      Z      Y
   U      V      V      Y      Z
   W      W      W
   Y      Z

The manipulator shows the table to the individual whose name he wishes
to discover, asking him to point out the column or columns that contain
the initial letter. A glance at the table will show that if it is in
only one column it must be the top letter. Should it be found to be in
more than one, it is discovered by adding the first letters of the
columns in which it is stated to be, the sum supplying the alphabetical
position of the letter. For example, take the name _Elizabeth_.

Elizabeth glances at the table and looks for the columns in which her
initial letter occurs. It is obvious that she must be careful not to
overlook its repetition. She informs you that it is to be found in
columns 1 and 3. Now, the columns mentioned are topped by the letters A
and D, which are the first and fourth letters of the alphabet. Add these
together and you get 5. _E is the fifth letter._ In case you forget it,
write it on a slip of paper. The next letter, Elizabeth informs you,
occurs in columns 3 and 4. These are headed by D and H = 4 + 8 = 12.
_The twelfth letter is L._ Columns 1 and 4 contain I, headed by A and H
= 1 + 8 = 9. _The ninth letter is I._ Z is found in columns 2 and 4 and
5, headed by B, H and P = 2 + 8 + 16 = 26. _The twenty-sixth letter is
Z._ The next letter exists only in column No. 1, therefore it is A. The
next letter exists only in column No. 2, therefore it is B. The next
letter exists only in columns 1 and 3. The top letters of these, A and D
= 1 + 4 = 5. _The fifth letter is E._

T is found in columns 3 and 5. Top letters D and P = 4 + 16 = 20. The
twentieth letter is T.

H occurs in column 4, therefore it is the top letter, H.

Result--Elizabeth.


WIZARD PHOTOGRAPHY

The wizard, who possesses a confederate, is banished from the room.
During his absence the latter produces a piece of paper, and declares
his intention of taking a photograph of any individual among the company
upon it, in such a manner that it shall be visible to the wizard alone,
who, upon examining it closely, will call out the name of the original.

Naturally every one considers that this must be quite an impossible
proceeding, and for that reason every one becomes very curious and
watchful, making up his mind to discover the trick.

The confederate fixes upon one of the company, poses her to his
satisfaction, tells her not to look grave, &c., just as professional
photographers do, and when she is quite ready and gazing at the sheet of
paper, which is held out in the manipulator’s left hand, he passes his
right over it, snaps his fingers, and tells her that the wonder is
accomplished.

He hastens to wrap the “plate” in his handkerchief, and, calling in the
wizard, hands it to him, retiring to a seat where the latter can observe
him without appearing to do so. The wizard, looking very mysterious and
wise, bids the company maintain an unbroken silence, while he unwraps
and examines the “plate.”

His confederate, meanwhile, imitates as nearly as possible the position
of the original of the photograph.

Should she cross her feet, toss back her hair, rest her chin on her
hand, or perform any other trivial action, the confederate does the
same, quite naturally so as not to rouse any suspicion or notice. All
attention being concentrated on the wizard, his actions will not be
observed by any one save the manipulator, who is led by the position he
assumes to guess the individual whose likeness on the “plate” is
supposed to be visible to him alone.

Few would realize, until they try the game, the wonder and admiration of
the guests, for the wizard who successfully achieves his purpose, and
the means employed, are seldom, if ever, discovered.


THE MISSING RING

A plain curtain ring is threaded through a piece of tape or ribbon,
knotted at the ends. The guests form a circle round a central figure.
The ring is passed swiftly along through hands gripping the tape, while
the master of ceremonies counts one, two.

At three, all fists must be threaded by the tape and perfectly
motionless, and the man in the center, who is permitted to observe the
circuit of the ring, is called upon to say which person has possession
of it. Should he guess rightly, he changes places with the individual.


APPLES AND NUTS

Mix a number of hazel nuts and apples together on a table removed from
the wall; hand a teaspoon and table knife to each of the guests. Bid
them, at a given signal, move to the table, with the knife in the right
hand, the spoon in the left, and scoop up one apple and one nut. This is
no easy matter on a smooth surface, for the probability is that the
fruit and nuts will roll to the floor.

When they are secured they must be conveyed to a dish at the other end
of the room. He who performs this feat successfully the most times wins,
and the apples and nuts are awarded him as a prize.


AMIABLE DOG

The party is divided into two lines. The first player begins by saying,
“Our little dog is amiable.” The first player on the opposite side must
answer quickly with another adjective beginning with the same letter
thus, “Our little dog is artful.” Meanwhile, the first player counts
ten. If in that time his opponent fails to respond he is obliged to go
over to the opposite rank. Other letters of the alphabet may be used.
The side that gains all the “men” wins.




CHAPTER LX

PARLOR TRICKS AND PUZZLES


TANGRAMS

ONE of the oldest and most fascinating puzzles comes, like so many
quaint things, from the Far East where, over four thousand years ago, a
learned Chinaman named Tan made the invention which forty centuries have
been unable to improve or alter. Worthy of a civilization that invented
Chess, Tan’s puzzle has lived on unchanged through the ages, affording
amusement and thought to men of such ability as Napoleon, who, during
his exile on St. Helena, used to spend hour after hour with the little
black geometric figures.

[Illustration: FIG. 1.--Showing dotted lines marked off for black pieces
in tangram puzzle.]

[Illustration: FIG. 2.--Showing square dissected and numbered for
tangrams.]

Take a perfect square of stiff cardboard of any size, say five inches,
and see that the angles and sides are true. Now, very carefully mark it
off according to the dotted lines in Fig. 1, which may be explained
thus. ABCD is the square. Rule a line from B to C, and mark off M and H
halfway between B and D and C and D respectively, and join M and H. Find
G the midpoint of MH and join AG. Mark K and F, midpoints of CE and EB
respectively, and join KH and FG. Having thus marked out the card, take
a very sharp knife and cut the cardboard along the dotted line. You will
then have the seven pieces as shown in Fig. 2, which are numbered for
convenience sake. Having colored these pieces dead black with India ink
on both sides, you are ready to start the great Tangram Puzzle.

[Illustration: FIG. 3.--Showing original Tan presenting puzzle to his
wife.]

[Illustration: FIG. 3_a_.--Showing how Tan can be fitted together.]

All these seven pieces must be fitted against each other, never
overlapping, in order to make the figures of men, beasts, houses, or the
like.

Take for example Fig. 3, which shows the original Tan presenting the
puzzle. Fig. 3_a_ shows how the good gentleman can be fitted together,
as the numbers designate which pieces are to be placed against each
other.

[Illustration: FIG. 4.--Showing pieces fitted together to represent
figure in cocked hat.]

[Illustration: FIG. 4_a_.--Showing how pieces are placed for figure in
cocked hat.]

[Illustration: FIG. 5.--Representation of depressed cat.]

[Illustration: FIG. 5_a_.--Showing construction of pieces for
representation of depressed cat.]

[Illustration: FIG. 6.--Lady holding her skirts high.]

[Illustration: FIG. 6_a_.--Showing pieces fitted for representation of
lady holding up her skirts.]

The individual in the cocked hat who appears in Figs. 4 and 4_a_, is
another example of how the pieces are to be put together; similarly the
depressed cat in Figs. 5 and 5_a_, or the lady in Figs. 6 and 6_a_, who
is holding her skirts up so high as she crosses the street. Figs. 6_b_
and 6_c_ show a gentleman apparently tired of life.

These seven pieces can be so disposed as to make hundreds of figures,
giving scope for boundless ingenuity and skill.

A good winter evening competition can be arranged by making several sets
of Tangram pieces, and distributing one set to each member of the party.
The name of some familiar object should then be announced (for
example--horse--cat--washerwoman), two minutes being allowed for
construction, and points given to the best Tangram.

[Illustration: FIG. 6_b_.--The gentleman tired of life.]

[Illustration: FIG. 6_c_.--Showing means whereby depressed gentleman is
represented.]

A variation can be introduced by taking a well-known nursery rhyme or
fairy tale, and asking each person to make a Tangram to represent a
different subject in the tale. Supposing “The Farmer’s Boy” to be the
rhyme, one person would make the figure of that youth, to another would
fall the horse, to a third the dog, and so on. As in the former case a
prize might be awarded to the most successful manipulator of the little
black pieces.


A SCISSOR TRICK

Ask one of the ladies, who naturally knows all about scissors, to do the
following trick. Holding the hands with palms upward, hang a pair of
scissors on the little fingers, as shown in Fig. 7. The fingers should
then be slightly bent so that the scissors stick upright as in Fig. 8;
next ask her to turn the hands round rapidly back to back when the
scissors will make a complete revolution, and should finally point
upward again. But it is just at this point that the trick comes in, for
the fair lady will find that instead of the scissors pointing up to the
ceiling, they are directed down to the floor! (Fig. 9.)

[Illustration: FIG. 7.--How to hold the scissors.]

[Illustration: FIG. 8.--Showing fingers slightly bent and scissors
sticking upright.]

[Illustration: FIG. 9.--Position of scissors after complete revolution.]

This is the occasion for you to show how really clever you are, and by
bearing the following hints in mind it will prove a very easy matter.

When the hands are in the position of Fig. 8, take care that the rings
of the scissors are passed over the last joints of the little fingers
only, so that a complete revolution can take place between the palms of
the hands and the fingers themselves. To bring the scissors upright will
then follow in the natural course of events.


BLOWING THROUGH A BOTTLE

Can you blow hard enough to make your breath pass right through a thick
glass bottle? The majority of people will say “No,” and dare you to
perform the task. It is really very easy.

Take a large round bottle or jam jar, and place a lighted candle behind
it, as in Fig. 10. Now stand so that the bottle or jar is interposed
between yourself and the light, and blow. The flame will be extinguished
at once!

There is scarcely need to tell your surprised friends that the shape of
the bottle has really caused your breath to follow the curve of the two
sides, unite at the back, and blow out the light.

[Illustration: FIG. 10.--How the candle flame is extinguished.]


A SAFE BET

Lay a dime, or a dollar if you feel so inclined, upon the palm of your
hand, and promise to give it to whoever can brush it off with an
ordinary clothes brush, as shown in Fig. 11. The only condition you need
make is that they shall brush towards the tips of the fingers and not to
one side.

You need have no fear of the result, and can feel quite assured that
your money is as safe as if it were in your own pocket. Whatever the
explanation may be, the fact remains that no amount of brushing will
move the coin the hundredth part of an inch on your open palm.

[Illustration: FIG. 11.--The position of coin in palm.]


DO NOT TOUCH THE COIN

Place a dime upon a polished table and ask one of your friends to pick
it up without touching either the coin or the table.

[Illustration: FIG. 12.--Showing how coin is removed from table.]

A glance at Fig. 12 shows how the trick is done. Slightly curve your
hand so that it almost touches the table, and blow steadily upon the
table at a distance of about five or six inches. The force of your
breath passing beneath the coin will carry it into your hand.


QUIS SEPARABIT?

If there happen to be a newly-married couple amongst your friends, the
following little trick may cause them a blush of happiness.

Get them to fold their hands, as shown in Fig. 13, in such a way that
the wedding-ring finger of the left hand, and the corresponding finger
of the right hand, are doubled inwards as far as the second joint, and
the knuckles of those joints press firmly against each other.

[Illustration: FIG. 13.--Hands folded.]

[Illustration: FIG. 14.--Thumbs separated.]

Now, tell them to separate their two thumbs, as in Fig. 14, while you
say, “Parents and children may be separated!” Then let them do the same
with the two forefingers, remarking, “Brothers and sisters may be
separated!” The same performance may be repeated with the two little
fingers, and you remark, “Even lovers may be separated!” Finally, let
them try to separate the two middle fingers, when they will find they
cannot get them apart. Whereupon you state emphatically, “But husband
and wife can never be divided!”

[Illustration: FIG. 15.--Paper being drawn through arm to electrify it.]


STICK NO BILLS

Take a piece of coarse brown paper, the coarser the better, and warm it
steadily before the fire. Now draw it rapidly a dozen times between your
arm and your body, as in Fig. 15, so that it receives a good friction
upon each side. Now press the paper against the wall, and you will find
that it remains as firmly stuck as though a whole pot of the best paste
had been used for the purpose.


A MIGHTY VOICE

A prophet is never without honor but in his own country, and few of your
acquaintances will believe you to be such a wonderful person that with a
single shout you can break a glass. Yet it is very easy to convince
them.

Take an ordinary wine-glass, and hold it by its foot firmly to the
table. Make the glass ring with a touch of the finger (it will probably
sound a rather low note). While the glass is yet tingling, raise it
rapidly to your mouth, and shout the same note that it rang full into
the bowl with all your force. The chances are ten to one that the glass
will shiver to pieces.

The reason of this phenomenon is the vibrations caused by the tingling
are so suddenly increased by the strength of your voice that the glass
is unable to bear the strain, and therefore breaks.


A GENUINE MATCH

It is surprising how universal is the law of love! Even two plain pieces
of wood are unable to resist the impulses of the great passion.

Take out the bottom of a match-box, and split it into two pieces. Double
over the ends at about a quarter of the way up, as in Fig. 16. On one
piece make the rough sketch of a girl, and upon the other a similar
drawing of a man, and then place the pieces together, as shown in the
illustration.

[Illustration: FIG. 16.--Drawings in position.]

If you pour a few drops of water over the joints of the two pieces of
wood, you will find that the two figures slowly and surely rise up to
meet each other, and will eventually press their two faces closely in a
long kiss. They may be some time about it, but then pleasures delayed
are always doubly enjoyable!


THE DYING FISH

Cut a piece of deal into a prism about four inches long, and color two
of the sides black or dark blue, painting the remaining side white.
Sharpen one end into a small triangular point, and paint two eyes and a
mouth thereon, so that the completed figure appears as in Fig. 17.

Now, if you put this in a basin of water very heavily salted, you will
find that the fish floats quite naturally, as in Fig. 18, whilst if you
place him in a basin of plain fresh water, he will immediately turn on
his back and float dead, with the white side uppermost, as in Fig.
18_a_.

[Illustration: FIG. 17.--Completed figure of fish.]

[Illustration: FIG. 18.--“Dead” fish floating.]

[Illustration: FIG. 18_a_.--Fish on his back.]

This is caused by the greater density of the salt water acting upon the
prism.

[Illustration: FIG. 19.--Showing egg hanging on wire.]


NEW-LAID EGGS

Here is a very handy method of discovering whether an egg is fresh or
not.

Pass an elastic band around the egg, and hang it upon a wire, as shown
in Fig. 19. Twist the egg and band round several times, and then release
it, when the band will rapidly untwist with the egg. If the latter be
quite fresh, it will stop almost immediately, but if it happens to be
rather older than is desirable, it will twist and untwist, reversing
several times before it finally comes to rest. This applies to eggs
which have been boiled--indeed to any egg that is “set.”


A WILL-POWER TEST

This is scarcely a trick, as it really serves to prove which of two
persons has the stronger will-power.

Place a door-key between the pages in the middle of a book in such a way
that the handle projects an inch or two, as in Fig. 20. Pass a piece of
string round the book, and draw into a tight knot, so that the key is
held firmly in its place.

Now, let the persons who desire to test the strength of their wills
support the book by the ring of the key resting on their extended
forefingers, as in the illustration. If one person wills the book to
turn from right to left, and the other wills it to turn in the opposite
direction, it will be found that the book obeys whichever party is
possessed of the stronger will.

[Illustration: FIG. 20.--A will-power trick.]

There is yet another way of testing this strange example of personal
magnetism.

Let one of the parties (preferably he of the stronger will) think of
some name, Mary, for instance. Informing nobody else of the name he has
chosen, let him repeat the alphabet very slowly, when it will be found
that, as he arrives at the first letter, M, the book will give a slight
turn, and will behave in a similar way for all the other letters of the
name. If both parties know the name, the book will turn much more
readily, as a result of the united forces of their wills.

[Illustration: FIG. 21.--The magic repeater.]


THE MAGIC REPEATER

This is an interesting example of some strange agency at work amongst
us.

Make a running noose at the end of a piece of fine thread, and pass it
securely round a quarter, as shown in Fig. 21. Taking care that the
thread passes over the tip of the thumb, support the thread from your
hand, in the manner shown in the illustration, in such a way that the
quarter is hanging within a wine-glass or tumbler. Take care also to
keep the hand perfectly steady, and await results.

For a few seconds the quarter will oscillate, but it will soon become
quite still. Then, actuated by no motion of your hand, it will begin to
swing to and fro like a pendulum, and will finally strike one of the
sides of the glass.

Counting the number of times it thus makes the glass ring, you will find
that the number corresponds exactly with the nearest hour to the time of
day. For instance, at 11:20 there would be eleven rings, whilst at a
quarter to twelve there would be twelve.

The cause of this phenomenon can be left to scientists to decide.

[Illustration: FIG. 22.--The obliging banana.]


THE OBLIGING BANANA

It is rare that one can get a fruit so obliging as to peel itself, but
upon certain occasions a banana will put itself out of the way to render
this favor.

Cut off one end of a banana, and with a knife just start ripping up the
skin on the four sides in the usual manner.

Now take an empty bottle, put some methylated spirit inside, and drop a
lighted match to ignite the spirits. As soon as the flame has died out,
place the prepared end of the banana in the mouth of the bottle, and you
will find that the banana is slowly drawn inside, peeling off its skin
as the fruit disappears (Fig. 22).

The reason for this condescension on the part of the banana is simple.
As soon as the bottle begins to cool from the heat of the flames, the
air is contracted inside, a vacuum is caused, and the fruit is sucked
into the bottle.

The same trick can be performed with a water bottle and a shelled
hard-boiled egg.


THE SMOKER’S FANCY

Although most ardent smokers will admit there is little pleasure in
smoking in the dark, there are few who will not be surprised at the
following trick.

Induce a cigarette devotee to have his eyes bandaged, and make him
moisten the ends of two cigarettes. Having lighted one of them, allow
the victim to have a few whiffs and then take it out of his mouth and
replace it by the unlighted cigarette. Continue changing the cigarettes
in this manner for a few minutes, and you will presently find that he is
quite unable to tell which he has in his mouth, and is quite at a loss
to know whether he is puffing away at the lighted “cig.” or not.

[Illustration: FIG. 23.--The mysterious bands--first stage.]


THE MYSTERIOUS BANDS

Take a full sheet of a large newspaper, _e.g._ the first and last pages
(which make one sheet) of a paper like the _New York Times_, and cut
three straight strips (a, b, c) about three inches wide, as shown in
Fig. 23. Now join the ends of these strips in the following manner in
order to make three loops.

In the strip a bend round D, and paste it on to the under side of E.

Make a loop of b in a similar manner, but giving the strip a half turn,
and pasting the under side of F to the under side of G.

In the third strip this twist is replaced by a full turn of the paper,
so that H is pasted on the under side of N, as in the first instance.

When making these bands it will be quite easy to conceal from the
spectators the twists you have given to the paper; and, indeed, the
success of the trick depends upon this part of your preparation not
being observed.

Now comes the exhibition of the trick. Cut each of the loops into two,
in the direction of the dotted lines in Fig. 24, when the following
astonishing result will be obtained.

The band a will be cut into two equal loops, as in Fig. 24_a_, the loop
b will turn into one large loop twice the size of the original as in
Fig. 24_b_, whilst the loop C will be transformed into two links of a
chain, as in Fig. 24_c_.

[Illustration: FIG. 24.--Showing where to cut loops of paper.]

[Illustration: FIG. 24_a_.--Band cut into equal loops.]

[Illustration: FIG. 24_b_.--Showing large loop twice the size of
original.]

[Illustration: FIG. 24_c_.--Showing loop C transformed into two links of
a chain.]

It need hardly be remarked that the twists given to the original bands
are responsible for this strange result.


SOLD AGAIN

Get some one to take a nickel out of his pocket, and, without showing it
to you, ascertain the date of the coin, and then turn it face upwards on
the palm of his hand. You will now remark that “you can tell the date.”

Appear to scrutinize the coin very attentively, and then, with the
utmost importance, tell the owner of the penny the actual day of the
month, and smile complacently at his indignation.


SIMPLE SUBTRACTION

If you have fifteen matches and remove six, how can you obtain a
remainder of ten?

[Illustration: FIG. 25.--Showing first arrangement of matches.]

Arrange the matches as in Figs. 25 _a_, _b_, and _c_, and ask a friend
the above-mentioned question.

When he gives it up, remove the six matches marked A, B, C, D, E, and F,
and you will have the result shown in Fig. 26.

[Illustration: FIG. 26.--Showing result when six matches have been
removed.]


A TRICKY STRING PUZZLE

Take a piece of string about a yard long and tie the ends together,
making a loop. Passing this loop through the ring of a key, hang it upon
the extended thumbs of a friend, as in Fig. 27. The strings are crossed.
The trick is to remove the key without taking the string from the other
person’s thumbs.

[Illustration: FIG. 27.--Showing string upon extended thumbs.]

[Illustration: FIG. 28.--Second stage of string trick.]

[Illustration: FIG. 29.--Showing mode of freeing key from string.]

To understand the diagrams it will be necessary to remember the
following explanations of the letters used in Fig. 28.

A and B are the hands of the person just described whose thumbs bear the
string.

C and D are your own hands, left and right respectively.

E is the hand of a third person who holds the key.

F and G are the two sides of the loop.

Begin by catching the string F on your little finger of C and G on the
little finger of D, as in Fig. 28. Now transfer the string from the
little finger of C to the thumb of B, and thus free your hand C.

Between the forefinger and thumb of B you must take the string G between
the key and A.

Now catch this part you have taken round the thumb of B, slip the
string from the little finger of D, and when E pulls the key, it will
come quite free from the string (Fig. 29).


A SURE EYE

Stick a sharply-pointed knife, preferably with a heavy handle, into the
lintel of the door, or into a wooden beam upon the ceiling. Then ask for
some one with a sure eye to mark the exact spot on the floor by putting
a cent upon it, where the knife will drop when displaced.

This is easily done in the following manner. Take care that the knife is
very lightly stuck into the wood, so that it will fall at the slightest
touch.

Fill a glass with water, and raising it to the knife immerse the handle
to the height of an inch or so. Then watch where the drop of water,
which will fall when you remove the glass, strikes the ground, place the
cent upon the spot, and you will find that the knife will fall upon that
identical place.


“THAT IS THE MAN”

Fold a piece of paper into four, and cut a pointer out of it, as shown
in Fig. 30. Now run a needle through a cork and balance the pointer on
its tip, as shown. Place an inverted tumbler over the whole contrivance
(Fig. 30_a_).

[Illustration: FIG. 30.--The paper pointer.]

[Illustration: FIG. 30_a_.--Pointer mounted on cork.]

By rubbing the outside of the tumbler with a piece of rag, or even a
handkerchief, you can make the pointer turn in whatever direction you
desire, as it will swing round to whatever portion of the glass you
happen to rub.

Announce that you will make it point to Mr. Jones. If you then rub the
glass on the side nearest to that gentleman, the paper needle will swing
round and point directly to him.

By rubbing the handkerchief rapidly round and round the glass the needle
will be made to revolve with considerable speed, to the great delight of
the younger members of the party.


NEEDLE-THREADING EXTRAORDINARY

Thread a No. 6 needle with a couple of yards of fairly coarse cotton or
thread, and draw them through until the two ends are of equal length.

Now pass the point of the needle right through the two strands, as in
Fig. 31, and continue pulling the needle as in Fig. 31_a_ until the
threads have passed through each other and appear a continuous piece, as
in Fig. 31_b_. This should have been done before showing the trick to
the company. As there will be no knot, it is highly improbable that any
one will notice a peculiarity in the thread.

[Illustration: FIG. 31.--Needle-threading--first stage.]

[Illustration: FIG. 31_a_.--Thread passing through itself.]

[Illustration: FIG. 31_b_.--Showing thread as a continuous piece.]

You then state that, without looking at the needle, you will thread it
with as many strands of cotton as it will hold. Proceed in the following
way.

Holding the needle with the point upwards beneath the table, out of
sight of yourself and the others, catch one of the threads at a point
between the eye of the needle and the point where they pass through each
other, as in Fig. 32, and pull that steadily downwards.

[Illustration: FIG. 32.--Showing point where thread is pulled steadily
downwards.]

[Illustration: FIG. 33.--Result of thread passed through eye of needle.]

[Illustration: FIG. 33_a_.--Threaded needle complete.]

By doing this the invisible knot is passed through the eye, carrying
with it two strands, and by continuing this action the knot is passed
several times, until eventually a result similar to that shown in Fig.
33 appears.

Drawing the knot to the bottom of this series of loops, you can then cut
off all the ends as well as the knot, and present the threaded needle to
your friends as it appears in Fig. 33_a_.


THE MAGICIAN’S BITE

Take an ordinary piece of string or thread, and offer to cut it in two
if somebody present will guarantee to join it into one piece again
without any knot. You may announce at the same time that by wizardry you
are able yourself to do this by a simple bite of the teeth.

[Illustration: FIG. 34.--Showing string passed round hands.]

[Illustration: FIG. 34_a_.--Showing ends of string looped together.]

The trick is done in this way. Appear to pass the string round the hands
twice, as in Fig. 34, whereas by a deft movement, which can be acquired
with a little practice, you really loop the two ends round each other,
as in Fig. 34_a_. Holding the point where they cross each other between
the finger and thumb (see H, Fig. 35), you request some person to cut
the two ends at G, promising to join these ends with your mysterious
bite.

[Illustration: FIG. 35.--Showing point where to cut string.]

Place the string in both hands into your mouth, and whilst making a
mumbling movement, contrive to catch the short doubled piece, G, H, in
your teeth and retain it there, whilst extending your hands to the
company you show a whole piece of thread, as in Fig. 36. The little
piece which you have kept between your teeth can be easily removed
without exciting suspicion, and there are few people critical enough to
measure the string and find there is a piece missing.

[Illustration: FIG. 36.--Showing whole piece of thread.]


A TRICK IN THE SUNSHINE

This trick can only be done on a sunny day, for a reason which will be
very evident to those who try it.

Obtain a clear glass bottle, in the cork of which stick a hooked pin. By
means of a piece of thread hang a small weight from this pin within the
bottle, as in Fig. 37, and then request some one to cut the cord without
drawing the cork.

[Illustration: FIG. 37.--Sun’s rays focused on weighted thread.]

All that is necessary to do this is a magnifying glass which is placed
between the bottle and the sun at the right distance to focus the rays
of the latter upon the cord. In a few seconds the heat of the
converging rays will burn through the thread, and the weight will fall
to the bottom of the bottle. In the same way you can


LIGHT A CIGARETTE WITHOUT MATCHES

Concentrate the rays of the sun upon the end of the cigarette, and draw
in the ordinary way (if you are old enough to smoke), when the cigarette
will rapidly be ignited.


ANOTHER STRING TRICK

Stick a penknife into a post or tree, or other strong upright of wood,
and pass a piece of string behind the post and above the knife, as in
Fig. 38. Bring the end C round the post and pass B over it. Bring C
round again and cross it over the knife, and B round the knife over C,
as in Fig. 38_a_. Pass the ends round the post again, always remembering
that B must be over C, and then tie the two ends in a knot, as in Fig.
39.

[Illustration: FIG. 38.--Knife and string trick--first stage.]

[Illustration: FIG. 38_a_.--Knife and string trick--second stage.]

[Illustration: FIG. 39.--Knife and string trick--third stage.]

By removing the knife from the post, you will now find that the whole
loop comes away intact, having never really been passed round the post
at all.


TRY THIS!

A candle can be lighted without approaching the match to the wick in
this way.

Light a candle in the ordinary manner, and take care that the wick is
fairly long and burns brightly. Blow it out suddenly, and by applying a
lighted match to the smoke at the height of an inch or two, the candle
will instantly relight without your having to put the match to the wick.


A STEADY HAND

If any of your friends boast of a steady hand, you can easily give their
pride a fall by wagering that not one of them can move a glass of water
from one table to another without spilling every drop it contains.

Fill a tumbler with water to the very brim. Place a piece of perfectly
flat, stout paper on the top of it, as shown in Fig. 40, and the palm of
the hand on the top of that. Now turn the glass upside down very quickly
and carefully, and place it upon a flat part of the table, having done
which slide the piece of paper from beneath it. As the air cannot enter
none of the water escapes, but it will be absolutely impossible to move
the glass without spilling the water.

[Illustration: FIG. 40.--A water trick.]




CHAPTER LXI

“HOW WOULD YOU----?”


PUZZLES THAT PLEASE

HISTORY records that the blind poet Homer lost his reason in a vain
endeavor to solve a riddle, and from his days until these present times
much care and thought have been expended in the invention of puzzles
both difficult and simple. It is the object of this chapter to present
the reader with a few simple ones.

Two easy and yet fascinating puzzles can be worked with an ordinary
checker-board.


1. THE TRAVELING CHECKER

Place a checker upon a square near the center of the board, as in Fig.
1. In how few moves can you make it traverse every square in the board
and return to its starting-point?

[Illustration: FIG. 1.--The traveling checker.]

[Illustration: FIG. 2.--Joining the rings.]


2. ANOTHER CHECKER PUZZLE

Place sixteen men on a checker-board in such a manner that no three men
shall be in a line, either horizontally or perpendicularly.


3. JOINING THE RINGS

Nine rings are connected by six straight lines, as shown in Fig. 2.
Connect these same nine rings by four straight lines.


4. THE TEN ROWS

This is a puzzle with nine checkers or counters. Dispose these counters
in such a manner that ten rows are formed with three men in each row.

[Illustration: FIG. 3.--The cabalistic sign.]


5. THE CABALISTIC SIGN

Fig. 3 shows a piece of paper cut into a famous cabalistic sign. How can
you divide it into four pieces which, placed together, shall form a
square?


6. THE DANGEROUS ANARCHISTS

Once upon a time there were eight anarchists confined in separate cells
connected by the system of passages shown in Fig. 4. The prisoners, each
of whom had his own number, occupied cells in the order shown.

One day the governor of the jail decided that his prisoners should be
transferred from one cell to another in order that their numbers should
run consecutively from left to right. Accordingly he gave orders for
this to be done, but at the same time directed his warders that on no
account were any two prisoners to meet, either in the passages or cells.
As there was only one vacant cell at their disposal, how did the warders
work this maneuver successfully?

[Illustration: FIG. 4.--The dangerous anarchists.]

You will find the best way to solve this problem is to draw a plan
similar to that shown in Fig. 4, and place eight numbered counters in
the respective cells.


7. CATCHING THE DONKEY

A man once wanted to saddle a donkey, and proceeded, bridle in hand, to
the field where Ned was feeding.

Let Fig. 5 represent the field, which the man entered by the gate at 63,
whilst the ass was standing in the opposite corner at 2.

Now you can move either the man or the donkey to any number in the
straight line, but neither must cross or rest upon a line covered by the
other. For instance, if the donkey be at 2, the man can move to 62, 61,
59, 36, or 13; but he cannot go to either 60 or to 5, for then the
donkey would gallop up and let fly with his heels. Ned, on the other
hand, can go to 6, 28, 51, 3, or 4, but if he were to go to 60 or 5 the
man at 63 would catch him at once.

[Illustration: FIG. 5.--Catching the donkey.]

Giving the donkey the first move, how soon can you place the man in such
a position that the ass is cornered and cannot escape being bridled?


8. LIKE TO LIKE

[Illustration: FIG. 6.--“Like to like.”]

Four black and four white counters are placed alternately in a row of
ten divisions, shown in Fig. 6. By moving two at a time, how can you
arrange all the blacks and all the whites together in four moves?


9. THE BROKEN CHAIN

A lady once took to a jeweler a gold chain, broken into five pieces of
three links each (Fig. 7). She asked him to repair the chain, agreeing
to pay 25 cents for each link that he had to break and weld in order to
restore the chain to its original length.

The following day she sent her maid for the chain with 75 cents. If you
had been the jeweler, how would you have mended this chain of five
pieces by breaking only three links?

[Illustration: FIG. 7.--The broken chain.]


10. THE DIAMOND CROSS

The same lady wished to have a diamond cross reset, and pleased with the
intelligence shown by the jeweler, she decided to give him the work.

[Illustration: FIG. 8.--The diamond cross.]

But she was determined to give him no opportunity of cheating her, so
she counted the stones from top to bottom (Fig. 8), and found there were
nine. She then counted them from the bottom to the extremity of each arm
of the cross, and found that they also numbered nine. Having noted these
figures, she sent the cross to be reset.

But the jeweler was a crafty man, and knowing how she had reckoned the
diamonds, he stole two, and having reset the remainder, he returned the
finished piece of work.

When she received her cross, the lady thought it looked rather
different, and counted the stones according to her former plan. The
numbers were exact! So she paid the jeweler, who went off smiling.

How had he managed the theft?


11. THE QUARRELSOME RAILWAYS

Five competing railway companies decided to place termini in a certain
small town. But land was dear; and after much negotiation they were able
to secure sites only as shown in Fig. 9.

But none of the companies would grant any of its competitors running
powers over its lines, and as the municipal authorities decided that all
five lines should enter the city side by side, the engineers found
themselves confronted with the following problem:--How is each line to
reach its destination, without crossing any of its competitor’s tracks?

How would you extricate them from this dilemma?

[Illustration: FIG. 9.--The quarrelsome railways.]


12. ANOTHER RAILWAY PROBLEM

This problem is shown in Fig. 10. In the railway A, B, C there are two
sidings, A, D and C, E; which meet at F. At this latter place there is
only sufficient space to contain one car of the size of G or H, and
there is no room for the engine, I. Consequently, if this engine is sent
up either of the sidings it must return by the same tracks.

[Illustration: FIG. 10.--The second railway problem.]

The point to be discovered is: How can the engine, I, transpose the two
cars G and H, by simply using the rails shown in the illustration?


13. THE MITER

Study Fig. 11 closely, and think how you can divide a piece of paper
thus shaped into four similar parts.

[Illustration: FIG. 11.--The miter.]


SOLUTIONS


1. _The Traveling Checker_

You cannot make the checker traverse all the squares in less than
sixteen moves, as shown in Fig. 12.

[Illustration: FIG. 12.--Solution to traveling checker.]

[Illustration: FIG. 13.--Solution to second checker puzzle.]


2. _Another Checker Puzzle_

The way to place the sixteen pieces so that no three are in a line in
any direction, can be seen from Fig. 13.


3. _The Rings Joined_

The nine rings can be joined by four lines, as shown in Fig. 14.

[Illustration: FIG. 14.--The joined rings.]


4. _The Ten Rows_

The complicated geometrical figure shown in Fig. 15 shows the ten rows
formed with nine counters.


5. _The Cabalistic Sign_

By making the two cuts shown in Fig. 16, the piece of paper will be
divided into four parts that will fit together into a square.

[Illustration: FIG. 15.--The ten rows.]

[Illustration: FIG. 16.--Solution to cabalistic sign puzzle.]


6. _The Dangerous Anarchists_

The simplest method of rearranging the prisoners was as follows (as
there was only one vacant cell at any time the numbers designate which
prisoner was moved therein)--1, 2, 3, 1, 2, 6, 5, 3, 1, 2, 6, 5, 3, 1,
2, 4, 8, 7, 1, 2, 4, 8, 7, 4, 5, 6.


7. _Catching the Donkey_

According to the rules of the game, the donkey moves first, and the
following is one of the shortest methods by which the man can catch him.
It will doubtless amuse you to find other, and probably quicker ways of
cornering Ned.

  Donkey to  3
  Man    „  36
  Don.   „  21
  Man    „  30
  Don.   „   3
  Man    „   8
  Don.   „   4
  Man    „   7
  Don.   „   5
  Man    „  12

When the man has driven the ass into the corner at 5, of course there is
no more chance of escape, and Ned has to submit to the bridle with
resignation.


8. _Like to Like_

Moving two men at a time, the four moves are:--

  2 and 3 moved to spaces 9 and 10
  5  „  6    „       „    2  „   3
  8  „  9    „       „    5  „   6
  1  „  2    „       „    8  „   9

The counters will then appear as in Fig. 17.

[Illustration: FIG. 17.--Solution to “Like to like” puzzle.]


9. _The Broken Chain_

To repair the chain the jeweler had recourse to a very simple device.
Breaking the three links of one of the pieces he used them to join the
remaining four pieces, thus restoring it to the original length.


10. _The Diamond Cross_

The owner of the diamond cross thought she had been very clever in
counting the stones as she did, but her cunning overreached itself, for
the jeweler had only to remove the diamonds of the extremities of the
cross-piece, and shift this latter up one point, as in Fig. 18, to make
his theft almost unnoticeable. You will find the diamonds count nine,
even though two stones have been removed.

[Illustration: FIG. 18.--Solution to diamond cross puzzle.]

[Illustration: FIG. 19.--Solution to the quarrelsome railways puzzle.]

[Illustration: FIG. 20.--Solution to miter puzzle.]


11. _The Quarrelsome Railways_

After much surveying and discussion, the railways laid their lines as
shown in Fig. 19.


12. _The Other Railway Problem_

The following is the simplest method by which the engine could transpose
the cars G, H.

I pushes G into F, and returns and pushes H up to G. The two cars are
then coupled together, drawn down to C and pushed over to A. G is then
uncoupled, and I takes H back to F and leaves it there. I then returns
to G, pulls it back to E and leaves it there. I then returns to H by way
of C, and draws it down to D, thus completing the task.


13. _The Miter_

A glance at Fig. 20 will show how the miter can be divided into four
similar parts.




CHAPTER LXII

SOME OPTICAL ILLUSIONS


WHEN SEEING EYES ARE BLIND

“BUT, I tell you, I saw it; surely I can trust my own eyes!”

How often have we heard this uttered as a conclusive proof of some
friend’s statement!

And really at first it would seem to be an assertion admitting of no
further question, were it not for the fact that we know our eyes are no
more infallible than anything else in this world, and are quite as
liable to make mistakes as are our memories.

It is true that eyes are good and faithful servants, fit to be trusted
in ninety-nine cases out of a hundred, but like all good and faithful
servants there is that hundredth case when their judgment goes
wandering, and when they leap to rash conclusions, carried away by
deceptive appearances.

Strange as it may seem, upon certain occasions, the best eyes are
actually blind! If you shut one eye and hold the page with Fig. 1 at
arm’s length, you will be able to see both the spots A and B. Now look
steadily at A, and you will still see B quite plainly, but if you
gradually draw the book nearer to your eye, a certain point will be
reached when B becomes invisible, although if you continue to make the
book approach your face B will spring into view once more. In other
words, at the moment when you could no longer see B your blind spot had
been directed towards it, and of course saw nothing.

[Illustration: FIG. 1.--When two are one.]

[Illustration: FIG. 2.--Section of the eye.]

No doubt you would like to know where this blind spot is, and why our
eyes should possess such a thing. Fig. 2 shows the section of an eye
which can be explained in very simple terms. The thick black line A is a
sheet of nerves which entirely envelops three-quarters of the eye, and
meeting in a point at E passes upwards into the brain, where it records
what the eye has seen. The light enters between the points C C, the
iris, and striking through the lens B throws all objects within the
scope of vision upon what is called the retina or screen, D. Now this
screen is furnished with millions of little nerves, each one of which
records on the large nerve A whatever is thrown upon it, and all these
records are gathered together by A and passed up to the brain.

But at the spot E, where these big nerves are collected together, the
retina, as you notice, is pointed, and gives no record of what is thrown
upon it. So, you see, when any object happens to come into such a
position with the eye that its image is cast upon the point E of the
retina, we have no record sent to the brain--in other words, we cannot
see it.

But the eye is not only blind in one point; it is very apt to be
deceived by appearances, and to make all kinds of mistakes in
consequence. Take Fig. 3 for instance. Would you not say that B D is
shorter than A C? Yet if you measure them you will find they are the
same length. Or in Fig. 4, A B is surely longer than C D. They are
identical. Or take Fig. 5, A is clearly farther from B than C is from B,
and yet A B and B C are of the same length.

[Illustration: FIG. 3.--Is A C longer than B D?]

The truth is that your eye is so confused by these different lines that
it is wholly unable to form any clear estimate of how great the
distances really are. This is shown even more clearly in Fig. 6
(technically known as Zollner’s lines), where you see A B and C D, which
have every appearance of being about to meet shortly in the direction
of A C. Now if you will measure the distances between B D and A C you
will find that the lines are exactly parallel, but the eye has been so
deceived by the little cross lines running in different directions, that
it seems incredible the two thick lines are not inclined towards one
another at quite a considerable angle.

[Illustration: FIG. 4.--Which is longer--A B or C D?]

[Illustration: FIG. 5.--The distance from A to B is the same as B to C.]

[Illustration: FIG. 6.--Zollner’s lines.]


HILLS THAT DON’T RISE

Should it ever happen that you go cycling in France, you will find this
deception practiced upon your eyes all day long. The roads in that
country are very straight, and are bordered upon either side by tall
trees, so that from wherever you stand a long avenue stretches before
you to a point where the trees seem to merge into one another, as
parallel lines invariably appear to do. But flat as the country may be,
you will always find yourself confronted with a gentle incline, as it
seems, very slight but none the less perceptible. You brace for a long
and steady climb, yet somehow, as you cover the ground, the hill seems
always before you and yet there is no noticeable ascent. The reason is
simple. There _is_ no ascent. The borders of trees, like the little
lines in Fig. 6, deceive the eyes in a similar way until it is almost
impossible to believe that the hill is merely an optical illusion, and
that the road is flat as the proverbial pancake.

There is another trick the eye is very fond of playing us. A straight
line, held on a level with the eye appears very much shorter than it
really is. Look at Fig. 7, which appears to represent a number of pins
lying with their points towards you. Now lift the book to the level of
the eyes, close the right one, and they will appear to be sticking
upright in the page.

What a jumble of lines there is in Fig. 8, something like a spider’s
web, and one can make nothing out of it. But lift the book up, as in the
last example, and close one eye--the letters are plain enough, are they
not? You have played a trick on your own eye, and made its habit of
shortening lines serve to interpret a message that would otherwise be
unintelligible.

[Illustration: FIG. 7.--The standing pins.]

[Illustration: FIG. 8.--“Yes or no?”]


THE STARS DON’T TWINKLE

Every cloudless night the eyes make a mistake that we can easily
discover, but which we are totally unable to remedy.

Of course you have looked up to the sky thousands of times and seen the
stars twinkling. Not only that, but if the night is clear you can see
they are stellate, or star-shaped, like the starfish which is named
after them. You can see both of these things, and yet the strange fact
is that neither of them is true!

The stars do not twinkle at all, and they are not stellate. The
twinkling is the result of the intervening atmosphere, and not the fault
of our eyes; but the second error can be easily brought home to our
untrustworthy organs of vision by the following experiment.

[Illustration: FIG. 9.--The illusion of the stars.]

Take a piece of tinfoil and prick a small hole with the point of a pin.
Now when it is dark put a candle behind the tinfoil in such a way that
the light comes through the tiny hole. Hold the tinfoil about ten inches
from your face, and the hole will appear irregular. If you bring it
nearer, it will lose even the least resemblance to a hole and appear as
a star! Of course you know perfectly well that it is round, but your
eyes have deceived you once more in the same way that they deceive you
every starlight night, and the little hole looks something like Fig.
9--varying slightly with each individual observer. This deception, or to
put it charitably, this mistake of the eyes, is given the very
high-sounding name of “irregular astigmatism,” but for all that it is an
illusion pure and simple.

Like many well-trained servants, the eyes are quite at a loss if
anything contrary to the usual routine is presented to them. They know
perfectly well the laws of perspective,--how in the ordinary course of
nature these laws are never broken by a hairbreadth. They are therefore
accustomed to judge in the fraction of an instant the size of an object
by its apparent distance away. That this is the result of practice can
be easily seen from the fact that very young creatures--human and
otherwise--have no idea of the relative distances of objects, and strain
to touch a distant gas-light, or, like a young calf, rush headlong into
a neighboring wall which their green young fancy deludes them into
thinking is really some distance away. But as we grow older we learn
many things, and perspective amongst others.


THE DWARF, THE MAN, AND THE GIANT

Now if we make a drawing such as Fig. 10, which represents three men
walking down a passage, our eyes know quite well that if all these men
were of the same size, Mr. Jones in front would appear smaller than Mr.
Smith behind him. And Mr. Smith in his turn would appear smaller than
Brown who closes the procession.

Yet in our illustration Jones appears a veritable giant, towering above
Smith and making Brown appear a mere pigmy. If you measure them, you
will find they are all three the same size.

The reason of the deception is this. The lines showing the passage
disappearing into the far distance immediately suggest to the eye the
correct perspective, and, knowing the laws of that perspective, the eye
is perfectly convinced that if all three were the same size, Brown in
the rear would appear proportionately bigger than Jones. As he does not
do so, the eye immediately leaps to the conclusion that he must be very
much smaller. It therefore telegraphs to the brain that Brown is a
dwarf, following in the tracks of an ordinary man and a giant!

[Illustration: FIG. 10.--The dwarf, the man, and the giant.]


COLOR ILLUSIONS

Most of us know the result of turning a series of circles (as in Fig.
11) horizontally with the eye. The circles appear to revolve rapidly
round their center, and in different directions. This is solely because
the eyes become confused, giving one more proof, were it needed, that
they are no more infallible than anything else on this wide earth.

Some very interesting experiments in color illusions can be made. So
cunning is the deception played upon us by our eyes, it is extremely
difficult to believe that some of the tints we see in the experiments
are but imaginary.

[Illustration: FIG. 11.--Revolving circles.]

[Illustration: FIG. 12.--The color top.]

In Fig. 12 you see a top which can be constructed of cardboard in this
way. Take a postcard and cut a circle, upon which you draw a diameter as
A B. Black the part A C B with India ink, and divide the other half into
four equal portions by lightly penciling the radii G E, G D, and G F.
Now, still using your India ink, make arcs in these four divisions in
the same way as is shown in the figure.

[Illustration: FIG. 13.--To make black print red.]

Having done this carefully and rubbed out the pencil radii when the ink
has dried, put a pin through the center G from the back, so that the
card can easily revolve whilst the pin-head prevents it from falling
off. Your color top is now ready. Make it turn rapidly upon the pin;
look closely at the card and what do you see? The inner circles become
red and the outer ones blue! And yet you know perfectly well that the
only colors really upon the card are black and white!

You can make another top, after a similar fashion. Cut your postcard as
before, making one half of it black. Now, out of the white side, cut a
segment with an angle of 45 degrees, leaving a little piece near the
center as shown in Fig. 13. This piece you have left has nothing to do
with the effect, but is simply to make the top revolve better.

Take an ordinary book, of which the printing is presumably black, and
revolve the top upon the pin at the rate of about five turns a second (a
sharp twitch with the finger will do this perfectly well). If you look
at the printing now you will find the letters are colored red, as though
the book had been printed in red ink!

In both these experiments the alternation of black and white has not
only confused the eye, but has deceived it into seeing colors which do
not really exist.

So we have shown very conclusively that the old proverb, “all is not
gold that glitters,” can be applied to even the plainest of black and
white; and, as the poet remarks, “things are not what they seem.”

Therefore, when people wish to impress you with the evidence of their
own eyes and clinch an argument by stating that they saw such and such a
thing and cannot be wrong, show some of these optical illusions and
demand a better proof of what they affirm, very courteously assuring the
dogmatist that the best of eyes are liable to make mistakes.




CHAPTER LXIII

CIPHERS AND CRYPTOGRAMS


SUCCESSFUL SYSTEMS OF SECRET WRITING

FROM the earliest times secret writing has been considered no less an
art than a necessity. Innumerable have been the systems invented and the
means employed to insure the secrecy of messages and instructions. Yet
in the passage of time by far the greater number of these methods of
cipher has become obsolete and practically useless, failing in most
cases to comply with the three great necessities which Bacon declared to
be indispensable to all ciphers and cryptograms: (1) Easy of reading and
writing; (2) difficult of solution; and (3) void of suspicion.

Ciphers may be generally divided into two branches--code ciphers and
letter ciphers. The first of these terms refers to systems so arranged
that one group of characters represents several words or sentences,
whilst the other term designates those cryptograms where each letter in
every word has its corresponding symbol.

As letter ciphers are the more usual, and certainly the handier of the
two classes, examples are given of some systems which have been
successfully used at different times and for different purposes.

The simplest of all methods, and, for that matter, the easiest to be
detected, consists in having an arbitrary list of numbers, one of which
shall represent each letter in the alphabet--_e.g._, A appears as 4, B
as 8, C as 12, &c.

This plan can be varied by substituting letters for the numbers, and
having each letter of the alphabet represented by another
letter--_e.g._, A being substituted by G, B by L, C by Q, and so on; but
the disadvantages attending these very simple ciphers are so great that
for a message of any real importance the system is useless.

In the same way the expedient of reversing the alphabet and making A
represented by Z, B by Y, C by X, is too simple and generally known to
require further description.

One of the easiest and earliest ciphers is shown in Fig. 1. This is
written in the following manner: The “bounding” lines in which the
desired letters are contained are drawn and the position of the letter
in them indicated by a dot. Taking, for example, Fig. 1, A would be one
dot, B two, and C three dots inscribed inside the two lines forming the
angle. Thus the word CIPHER would be written

        ───┐  ┌───┐  ───┐  ───┐  ┌───┐
  •••│  •••│  │ • │  • •│  • •│  │•••│
  ───┘                     ───┘       .

At this point it might be remarked that in all the examples here given
the letters are arranged in their simplest order--that of alphabetical
sequence; whereas, for practical purposes, they can be arranged in any
form desired, the more complicated the better. To illustrate this Fig. 2
shows another arrangement of the letters, by using which the same word
would appear

  ┌───┐  ┌───        ───┐        ┌───┐
  │ • │  │ •   │• •   • │  │ •   │•••│
         └───  └───  ───┘  └───  └───┘.

   A B C | J K L | S T U
  -------+-------+-------
   D E F | M N O | V W X
  -------+-------+-------
   G H I | P Q R |  Y Z

FIG. 1.--One of the earliest ciphers.

   d j v | a o w | e p u
  -------+-------+-------
   h l s | b m r |  i y
  -------+-------+-------
   g k t | c q x | f n z

FIG. 2.--Another arrangement of cipher shown in Fig. 1.

An example of another simple cipher created merely by the transposition
of letters is shown in Fig. 3, which can be read by taking the first
letter of the first line, the last letter of the last line, the last
letter of the first line, and the first letter of the last, then the
last letter of the first line, the penultimate letter of the last, and
so on. When the letters in Fig. 3 are properly transposed they will be
found to read “A very simple cipher.”

  a y p e i e
     c e p
     h r i
   r m l s v

FIG. 3.--Transposition of letters cipher.

Lord Bacon invented a cipher composed of two letters only, which,
although confusing to the uninitiated, is somewhat too cumbersome for
any general use. Supposing the two letters decided upon to be A and B,
they are grouped into series of five and employed in the following
manner: The first letter in the alphabet, A, is represented by AAAAA, B
becomes AAAAB, C appears as AAABA, D as AABAA. Using this combination,
the same word “cipher” would be written AAABA, BBAAA, BBBBB, AABBA,
ABAAA, BBBAB.

Amongst the easy ciphers must be mentioned that shown in Fig. 4, which
is used thus: In the center block of small type you find the letters of
the word you wish to write in cipher. Suppose it to be TO-MORROW. Now in
the vertical column at the side you find that the letter on a line with
“t” is A, whilst the letter at the top of the vertical column is G.
Therefore the cipher letters for “t” are AG. The next letter, “o,” is on
a line with B and under E, so the cipher letters are BE. In a similar
way “m” becomes CD, and, proceeding with the remaining letters in the
same fashion, we obtain the whole word written in cipher thus: AG, BE,
CD, BE, BF, BF, BE, CG.

  +---+---+---+---+---+---+---+---+---+
  |   | A | B | C | D | E | F | G | H |
  +---+---+---+---+---+---+---+---+---+
  | A | a | d | g | k | n | q | t | x |
  | B | b | e | h | l | o | r |uv | y |
  | C | c | f |ij | m | p | s | w | z |
  +---+---+---+---+---+---+---+---+---+

FIG. 4.--The “two-letter” cipher.

      +---+---+---+---+---+
      | 1 | 2 | 3 | 4 | 5 |
  +---+---+---+---+---+---+
  | 1 | a | b | c | d | e |
  +---+---+---+---+---+---+
  | 2 | f | g | h | i | j |
  +---+---+---+---+---+---+
  | 3 | k | l | m | n | o |
  +---+---+---+---+---+---+
  | 4 | p | q | r | s | t |
  +---+---+---+---+---+---+
  | 5 |uv | w | x | y | z |
  +---+---+---+---+---+---+

FIG. 5.--The Nihilist code.


RUSSIAN NIHILIST CODE

An adaptation of the last-mentioned system is shown in Fig. 5, where the
letters at the side and top are replaced by numerals. This method is
very much in use amongst the Russian Nihilists, who would therefore
write the sentence “Plot discovered” as follows: 41, 32, 35, 45; 14, 24,
44, 13, 35, 51, 15, 43, 15, 14.

This, again, can be very much complicated by multiplying each number by
the position held by the letter in the word. Thus in the sentence just
put into cipher, P is the first letter in the word “plot,” L is the
second, O the third, T the fourth, whilst in the next word D is the
first, I the second, &c. You therefore multiply the ciphers in the first
word by 1, 2, 3, 4 respectively, and deal similarly with those of the
second word. The sentence thus treated would appear--41, 64, 105, 180;
14, 48, 132, 52, 175, 306, 105, 344, 135, 140.

To read this the system must be reversed, and each number divided by its
position in the word.

[Illustration: FIG. 6.--A musical cipher.]

A useful form of musical cipher is shown in Fig. 6, which explains
itself. In using this system it is usual to separate the different words
by dividing the notes into bars, as can be seen from a glance at Fig. 7.
Here it will be noticed that only crotchets and minims are used for
ciphers, whilst the other notes introduced have no significance, only
serving the purpose of confusing whoever has sufficient curiosity to pry
into the message. Therefore, discordant as the passage may sound to the
wrong person, it probably makes very sweet music to whoever has ears and
eyes to understand its meaning.

[Illustration: FIG. 7.--A musical appointment.]

Before proceeding to more complicated ciphers, that known as the
fractional may be mentioned. This is a very simple method, and easily
learned. The letters of the alphabet are divided into groups of five as
shown in Fig. 8, each group being marked successively up to five, and
each letter in the group treated in the same way. The numerator is used
to designate the group to which the letter belongs, whilst the
denominator shows the individual letter in that group.

      1          2          3          4           5
  ---------  ---------  ---------  ---------  -----------
  a b c d e  f g h i j  k l m n o  p q r s t  u v w x y z
  1 2 3 4 5  1 2 3 4 5  1 2 3 4 5  1 2 3 4 5   1  2 3 4 5

FIG. 8.--The fractional cipher.

Adopting this method the word CIPHER therefore appears as in Fig. 9. As
numerals above 5 do not appear in this cipher any more than does the
figure 0, they can be added at will to complicate the appearance of the
cryptogram, as shown in Fig. 10, where the same word is shown with the
addition of meaningless numerals.

  1 2 4 2 1 4
  - - - - - -
  3 4 1 3 5 3

FIG. 9.--The word “cipher.”

  10 29 43 28 10 47
  -- -- -- -- -- --
  38 40 16 39 56 39

FIG. 10.--Complicated fractional cipher.


THE SPHINX

Now to turn to more scientifically constructed ciphers, such as have
been employed by various Governments in correspondence with their
ambassadors and secret servants.

The Sphinx Cipher, shown in Fig. 11, is based upon a key-word of six or
seven letters, previously arranged by the parties concerned A
key-alphabet is written in full at the top of the plan, and against each
letter of the key-word a complete alphabet is written as shown in the
figure.

  +---+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
  |   |A|B|C|D|E|F|G|H|I|J|K|L|M|N|O|P|Q|R|S|T|U|V|W|X|Y|Z|
  +---+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
  | B |b|c|d|e|f|g|h|i|j|k|l|m|n|o|p|q|r|s|t|u|v|w|x|y|z|a|
  +---+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
  | A |c|d|e|f|g|h|i|j|k|l|m|n|o|p|q|r|s|t|u|v|w|x|y|z|a|b|
  +---+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
  | L |d|e|f|g|h|i|j|k|l|m|n|o|p|q|r|s|t|u|v|w|x|y|z|a|b|c|
  +---+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
  | F |e|f|g|h|i|j|k|l|m|n|o|p|q|r|s|t|u|v|w|x|y|z|a|b|c|d|
  +---+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
  | O |f|g|h|i|j|k|l|m|n|o|p|q|r|s|t|u|v|w|x|y|z|a|b|c|d|e|
  +---+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
  | U |g|h|i|j|k|l|m|n|o|p|q|r|s|t|u|v|w|x|y|z|a|b|c|d|e|f|
  +---+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
  | R |h|i|j|k|l|m|n|o|p|q|r|s|t|u|v|w|x|y|z|a|b|c|d|e|f|g|
  +---+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+

FIG. 11.--A Government cipher, called the “Sphinx.”

Suppose that the key-word chosen is BALFOUR, and that the message to be
sent is WAR DECLARED LEAVE NOW, the key-word is then applied to the
message thus:--

  WAR DECLARED LEAVE NOW.
  BAL FOURBALF OURBA LFO.

You then find in the top row the first letter of your message, which is
W, and you see that the letter on a line with B and under W is X, which
will be the first letter of your cipher. You then find A above and A by
the side, which will give you C. You then find R above, and in the L
horizontal column is its equivalent U. Proceeding thus with your message
you arrive at the cipher, which reads: XCU HJISBTHH QKHWG QSB.

To read this it is only necessary to write the key-word under the cipher
and reverse the proceeding.

An ingenious cipher, used by the War Office of a well-known Continental
Power, is partially shown in Fig. 12.

On two adjacent sides of a square entire alphabets are written,
commencing at any letter (in the figure they begin at K in one and S in
the other). Against each letter of the perpendicular alphabet the
entire twenty-six letters are written horizontally, beginning with A and
continuing in order. Leaving the first of these horizontal alphabets
simple, against the remaining twenty-five, small alphabets are written
as you will see in the figure, which shows the plain alphabets and five
letters so treated.

  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  |   |K |L |M |N |O |P |Q |R |S |T |U |V |W |
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  | S |A |B |C |D |E |F |G |H |I |J |K |L |M |
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  | T |Aa|Ba|Ca|Da|Ea|Fa|Ga|Ha|Ia|Ja|Ka|La|Ma|
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  | U |Ab|Bb|Cb|Db|Eb|Fb|Gb|Hb|Ib|Jb|Kb|Lb|Mb|
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  | V |Ac|Bc|Cc|Dc|Ec|Fc|Gc|Hc|Ic|Jc|Kc|Lc|Mc|
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  | W |Ad|Bd|Cd|Dd|Ed|Fd|Gd|Hd|Id|Jd|Kd|Ld|Md|
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  | X |Ae|Be|Ce|De|Ee|Fe|Ge|He|Ie|Je|Ke|Le|Me|
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+

  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  |   |X |Y |Z |A |B |C |D |E |F |G |H |I |J |
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  | S |N |O |P |Q |R |S |T |U |V |W |X |Y |Z |
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  | T |Na|Oa|Pa|Qa|Ra|Sa|Ta|Ua|Va|Wa|Xa|Ya|Za|
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  | U |Nb|Ob|Pb|Qb|Rb|Sb|Tb|Ub|Vb|Wb|Xb|Yb|Zb|
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  | V |Nc|Oc|Pc|Qc|Rc|Sc|Tc|Uc|Vc|Wc|Xc|Yc|Zc|
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  | W |Nd|Od|Pd|Qd|Rd|Sd|Td|Ud|Vd|Wd|Xd|Yd|Zd|
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+
  | X |Ne|Oe|Pe|Qe|Re|Se|Te|Ue|Ve|We|Xe|Ye|Ze|
  +---+--+--+--+--+--+--+--+--+--+--+--+--+--+

FIG. 12.--Another Government cipher--still in use.

The cipher is used in this way. The letters in each word of the message
are divided into couples. These couples are found in the doubled
alphabets in the center of the cipher scheme, and the key letters at the
side and top show the actual cipher equivalent.

Suppose it is desired to put into this cipher the words CABLE CODE.
Dividing the letters into couples CA, BL, E. CO, DE are obtained.
Finding the combination CA it is simple to ascertain that the index
letters are TM, which is therefore the cipher. BL is EL, whilst the
remaining letter E from the top alphabet is found to be SO. Treating the
word CODE in the same way the ciphers prove to be HM, XN, and therefore
the message is transmitted thus: TMELSO HMXN.

So far an idea has been given of the systems of cipher from the simplest
methods to the most complicated of political cryptograms. Although the
actual details are necessarily hidden, it may be assumed as a positive
fact that the most secret political ciphers now in use by civilized
Governments are but adaptations of one or other of the methods
described.




CHAPTER LXIV

SECRET SIGNS


FRIEND FROM FOE

IN a condition of affairs where every man’s hand was against his
neighbor’s, the necessity of being able to tell friend from foe was more
urgent than in these peaceable times.

When plotting was rife upon every hand, and one man possibly held the
lives of many confederates in his power, knowing that an incautious word
of his might doom them all to punishment and probably death, it became
of paramount importance to have some means of discerning allies from
enemies.

Obviously the means of finding out such important information must be
such as to awaken no suspicion in the event of a mistake, whilst on the
other hand there should be no possibility of a stranger inadvertently
obtaining possession of the secret.

From earliest times the formation of Secret Societies has necessitated
the invention of Secret Signs, and in nine cases out of ten, it may be
said, the extinction of the societies from one cause or another has
resulted in the loss of their secret signs of recognition.

There are, however, even now, several Societies or Fraternities whose
members are possessed of certain signs whereby they can know each other,
and in several cases they claim lineal descent from some of the old
fraternities whose origins are lost in antiquity.

However, now that universal liberty, especially in this country, has
abolished the necessity for concealment, secret political societies have
disappeared, and with them their complicated systems of signs, tokens,
and pass-words.

In certain colleges and schools societies still exist, and as a secret
bond is held by many to be a very effective link in the dearest of
friendships, below are given a few suggestions to enable you to invent
some secret signs which shall be a tie between yourself and such friends
as you may consider worthy of initiation into their meanings.

Like verbs, secret signs may be roughly classed into active and passive.
Active signs are those which are given by movements of the limbs or
contortions of the face, whilst passive signs are connected entirely
with the disposal of parts of the clothing or the wearing of various
objects attached to the person.

Amongst active signs, the readiest in execution are those performed by
the hands in view of the person, whose attention it is desired to
attract, _e.g._, the signs can be given at the moment of shaking hands,
where such a ceremony is observed.


“SHAKES” AND “PASSES”

In this latter case a very good “shake” can be obtained by pressing the
thumb firmly against the back of the hand, as shown in Fig. 1. This will
arouse no suspicion in anybody ignorant of the meaning, though, if
reciprocated, it forms an excellent sign of recognition.

[Illustration: FIG. 1.--A handshake sign.]

[Illustration: FIG. 2.--An eyebrow sign.]

The variety of passes that can be executed with different meanings is
astonishing. Yet it should be remembered that, although outsiders may
not know what you are saying, it will always be apparent that “something
is up,” and a very undesirable curiosity will be awakened.

On the other hand, there are many little actions, unnoticeable in
themselves, which may have a great meaning to those “in the know.”

A simple stroking of the eyebrows (Fig. 2) is to all appearances a
harmless movement, but in the secret signs of a well-known society it
meant that treachery was in the air, and every person in the room would
have to be watched.

In a certain Italian Society, clasping the forehead with the left hand
as though in extreme weariness (Fig. 3) implied: “Be cautious, you are
being watched.” A similar action with the right hand meant: “We are
known, make your escape as best you can; leave me alone.”

In the same society, when a member found himself in a mixed assembly,
and desired to ascertain who amongst the guests belonged to his
fraternity, he would stroke his left cheek thoughtfully with extended
first and second fingers, as in Fig. 4.

[Illustration: FIG. 3.--The sign of an Italian secret society.]

[Illustration: FIG. 4.--The “cheek” sign of an Italian secret society.]

The brethren of a very respectable society, which still flourishes, are
generally credited with knowing each other by a peculiar flourish of the
hand when removing the hat, in a somewhat similar manner to that shown
in Fig. 5. Others make the ceremony of blowing the nose of like
importance.

[Illustration: FIG. 5.--The hat flourish.]

There used to be a famous Italian Secret Society divided into several
classes or degrees, each of which had its own especial sign. For the
first three degrees these signs were as follows:--

1st. The right hand is raised to the shoulder, and then passed slowly
down across the body to the left knee.

2nd. The right hand is placed upon the left shoulder, then drawn slowly
down the left arm until it reaches the hand. Thus clasped they are
raised to the breast.

3rd. The right hand is clasped, the thumb and little finger extended.
The former is placed against the lips, whilst the latter touches the
breast.

Those who desire to invent secret signs should avoid all those dependent
upon an unnecessary action, like the hat-flourish. It is more
satisfactory to apply the secret to some everyday action which, from its
very unobtrusiveness, will attract the attention of no stranger.

Members of certain religious secret societies to this day distinguish
one another by a peculiar style of cross, worn as a pendant from the
watch-chain, whilst a pass-word is current amongst them to enable them
to test those whom they meet wearing the symbol.

The use of flowers in the button-hole is a very common method of
attracting recognition, whilst a development of the same idea is seen in
the wearing of different colored neckties or ribbons, which in a crowd
will pass unnoticed save by those whose attention is desired. Yet to
both of these systems a certain danger is attached, for there is always
the chance of some unsuspecting person quite inadvertently wearing the
same flowers or colors.

Every one has heard of the language of flowers, but it is surprising to
what an extent this can be carried by enterprising young ladies with a
good collection in the garden or green house.

It has been frequently proved that some safeguard is a necessary
addition to the sign, and this safeguard usually takes the form of a
pass-word. Repeated after the sign has been given, this word serves to
show that the secret sign was neither given by accident nor picked up
through curiosity.


PASS-WORDS

Pass-words, and the methods of giving them, vary considerably. The word,
which must of course be known to all duly intrusted with the secret,
should be of two syllables.

One party called A says the first syllable, and the other person B
repeats the second, then saying the whole word. Supposing the pass-word
chosen be Oxford, A would make some remark introducing the word Ox,
whilst B, replying in a similar vein, would mention the last syllable
“ford” and conclude by repeating the whole word. With this system it is
almost impossible for an outsider to palm himself off as one of the
elect, even if he has become acquainted with all the signs of the
society.

It is a well-known fact that gypsies have a concerted plan of signals
which are employed to show members of the party the direction taken by
their leaders.


THE “PATTERAN”

The “patteran,” as it is called, is made in various ways. A piece of rag
fluttering from some bush near a cross-road, is a favorite signal,
whilst small twigs or leaves strewn in a particular direction, have a
somewhat similar meaning.

Tramps and vagrants of all kinds have a series of signs, which they
chalk upon the walls of the various houses at which they call, serving
to inform their brethren of the treatment received at the hands of the
occupiers.

By this method a rude cross will usually describe the rather chilling
welcome offered them by an irate householder, whilst a rough sketch of a
loaf of bread shows that the inmates are sufficiently sympathetic to
dispense with a portion of “the staff of life.” On the other hand, an
upraised leg with a boot upon its foot tells a tale which need not be
further enlarged upon.

As to the various modes of recognition that can be produced by whistles
and cries of all kinds, they are too familiar to require description in
these pages.




CHAPTER LXV

GAMES AND AMUSEMENTS FOR THE BLIND


THE WONDERFUL SENSE OF TOUCH

IT cannot fail to strike those of us who are blessed with the use of our
eyes how extremely fortunate it is that our blind friends need not be
debarred from many of our games. Being deprived of their sight, their
sense of touch is developed to such an incredible extent that in the
playing of many games their fingers prove of the same use to them as our
eyes do to us.

Practically all games for the blind can be purchased at very moderate
cost, yet as they can be quite easily made at home the following hints
are offered in the hope that they will prove of use, and help some of
our readers to entertain a friend less fortunate than themselves.


CARDS

An ordinary pack of cards can be very simply adapted to the use of the
blind.

[Illustration: FIG. 1.--Pin pricks showing value and suit of card.]

[Illustration: FIG. 2.--Distinguishing marks for suits and color
respectively.]

By means of a large pin, the designation and value of a card can be
pricked on the back, so that the upraised holes are perceptible to
touch. These values and denominations should be pricked in the corner
where the small designation of the value of a card is always to be
found, as in Fig. 1.

In Figs. 2 and 3 are shown the marks which should be pricked. These are
in the Braille alphabet, now universally understood by the blind, and
read by them with the same ease as we read printing.

[Illustration: FIG. 3.--Values to precede the signs for suits.]

[Illustration: FIG. 4.--Cards prepared for Patience.]

In Whist or Bridge, each person, as he plays his card, states what it
is, King of Hearts, and so on, as this saves feeling the cards after
they have been laid on the table.

A very suitable game, calculated to amuse the player for hours, is
Patience, under all its forms. For this the cards must be prepared
somewhat differently, as in many games the first thing to be
distinguished is the color.

The handiest plan is to mark a B or an R for Black or Red, in Braille
characters immediately before, or underneath the denomination. A glance
at Fig. 4 will serve to show what is meant.

With the cards thus marked, any game of Patience can be played as easily
by a blind person as by an ordinary player.


CHECKERS

An ordinary Checker Board can be adapted for the use of the blind with
very little trouble and no expense.

Cut thirty-two squares of thick cardboard, each square identical in size
with the black squares on the Checker Board. Upon each of the black
spaces one of these pieces of card should be glued, so that when
complete the board is composed of sunk and raised instead of colored
squares.

For the convenience of any ordinary person who may be playing with a
blind opponent, the cardboard squares should be colored black with India
ink.

The checkers usually purchased have a molding on both top and bottom. It
will simplify matters considerably if you can buy a set with one side
only molded. By using the white men with the molding uppermost and the
black men reversed, as in Fig. 5, the difference will be sufficient to
enable the blind person to distinguish by touch.

[Illustration: FIG. 5.--Molded (white) and plain (black) draughts for
the blind.]

The same result can be obtained by glueing discs of cardboard or stiff
paper, upon one side of each man, of one of the sets.


HALMA

The preparation of a Halma board is very similar to that of a checker
board. Having raised the alternate squares with cardboard, the “Homes”
at each corner should be further raised by glueing a piece of cardboard
over all the spaces, and then raising the alternate squares upon this
base, as in Figs. 6 and 6_a_.

[Illustration: FIG. 6.--Section of Halma board showing “Home.”]

In the center of each square a nail should be driven from the back of
the board, with the end cut off and point filed to smoothness. These
nails should project from the face of the board about half an inch. The
ordinary Halma men have a hole on the under side, which enables you to
place them upon the upraised points, where they will be held firmly.

[Illustration: FIG. 6_a_.--Plan of raised corner.]

It will now be necessary to make some alteration in the men, to
distinguish the colors. In Fig. 7 an idea of how this may be done is
given. The Yellow men are left untouched, Black have their heads cut
right off, Red have one half of the head cut away, while the Green have
the head sharpened to a point.

[Illustration: FIG. 7.--Color distinctions for Halma men.]


DOMINOES

Owing to their construction, Dominoes really need no alteration to make
them suitable for the blind, but care should be taken when purchasing
to see that the pips are cut deep into the ivory, so that the player can
tell at a touch how many there are in the piece before him.


CHESS

This is one of the games in which the blind frequently excel, and in
consequence it is a general favorite. The undivided attention they are
able to give, and the natural acuteness which their affliction usually
brings to such a pitch of excellence, serves them in good stead when
playing “the king of games.”

The board should be prepared as in the case of checkers, _with the
exception that points should be made from the back_, in the manner
described in connection with the Halma board.

The different men are, of course, by their construction, easily
distinguishable from one another, but it will assist matters very
materially if a set is used in which the men differ considerably in
shape and size.

In the center of each piece a hole must be bored in the base, large
enough to allow the man to be placed, and removed from one pin to
another with ease. For this reason wooden chess men are preferable.

The question of distinguishing the colors has been solved in various
ways. In some cases the tops of the men of one color have been halved,
as shown in Fig. 8, and this has proved a very satisfactory arrangement.

[Illustration: FIG. 8.--Color distinctions for Chess men.]

Others have used the black men of one set and the white men of another,
but this plan is hardly to be recommended, owing to the similarity
prevailing between all chess men.

The following method seems to be as good as any, and has the advantage
of being easily contrived. Drive a pin firmly into the heads of one set
of men (say the black), and either leave plain, or make a little knob of
sealing-wax around the pinhead. This will render the different colors
perfectly distinguishable to the blind player.


ROUND GAMES

In the majority of round games the blind are able to take an active
part, but this depends very much upon the individual concerned. As a
general rule rough games should be avoided, especially if the space for
playing be limited.

[Illustration: FIG. 9.--The Braille Alphabet.]

Games in which a certain amount of writing is requisite are rarely
suitable, although here again it must be a matter solely dependent upon
the person concerned.

At spelling and guessing games the cleverest seeing player must look to
his or her laurels, for the blind are very quick-witted in such
contests, and frequently have the answer ready while others are still
repeating the question.

As a matter of interest as well as of use, the blind alphabet of the
Braille system is shown in Fig. 9, and by this means letters and notes
can be written, which will be perfectly intelligible to a blind person.
In pricking the characters through a paper, it should be remembered that
the points must be reversed, and the letters begun from right to left,
as the blind person will read from the other side, where the pin-pricked
holes will have raised little points of paper.




INDEX


  BLIND, games for, 538
    Alphabet, the Braille, 543
    Cards, 539
    Checkers, 540
    Chess, 542
    Color distinction for Chess men, 542
    Color distinction for Halma men, 541
    Dominoes, 541
    Halma, 540
    Patience cards, preparation of, 540

  Bunkum entertainments, 127
    Ghost, a home-made, 138
    Lectures, Bunkum, 135
    Maids of Lee, three old, 133
    Thought-reading, 130
    Trick shooting, 137
    Ventriloquism, fake, 131


  CARTOONS and “fake” sketching, 263
    Drawing-board for, 263
    Easel for, 263
    Figured faces, 267
    Leading characteristics of, 264
    Reversible scenes, 270
    Simultaneous drawing of, 266
    Smoke pictures, 269
    Subjects for, 264

  Charades, 76
    Scenery and “props” for, 76-82

  Children’s party, 477

  Ciphers and Cryptograms, 527
    Appointment, a musical, 530
    Cipher, an early, 528
    Cipher, the fractional, 530
    Cipher, complicated fractional, 530
    Cipher, Government, 531
    Cipher, a musical, 530
    Cipher, “two letter,” 532
    Code, the Nihilist, 529
    Letters, “transposed,” 528
    Lines, “bounding,” 527
    “Sphinx,” the, 531
    Writing, secret, 527

  Circus, home, 367
    Ball-balancing, 376
    Barricade and ring entrance for, 367
    Barricade, construction of, 368
    Cards, trick, 376
    Circus horses, how to make, 368
    Conjuring entertainment, a mock, 372
    Decorations for, 369
    Dog, performing, 377
    Horses for, 368
    Indian sack trick, the, 374
    Juggling, trick, 375
    Plates for spinning, how to make, 376
    Target for trick shooting, 373
    Tilting scene, 370

  Clairvoyance, 426
    Character, keys to, 427
    Crystal-gazing, 429
    Crystal, use of, 430
    Kingdoms, the three, 431
    Magnetism, power of, 428
    Sense, the sixth, 431
    Simple manifestation, 430
    Sphere, the mental, 433
    Visions, to create, 431

  Clog dancing, 244
    Clogs suitable for, 244
    Double shuffle, the, 247
    Single shuffle, the, 246
    Slide, the, 248
    Standing position for, 245
    Variations of double shuffle for, 247

  Conjuring, 158
    Dissolving coin, the, 163
    Magic dye-works, the, 160
    “Patter,” 162
    Servante, the, 158
    Table for, 158
    Wand, the magic, 159
    Watch and target trick, 165


  DISSOLVING views, 396
    Apparatus for, 396
    Apparatus for lighting, 398
    Exhibiting, 399


  ELECTRICAL effects, some, 285
    Arc lamp, principle of, 289
    Battery of cells, how to make, 286
    Battery of cells, tray for, 287
    Compass test, the, 288
    Decomposing water by electricity, 293
    Electrical weathercock, an, 290
    Electro-plating, 294
    Electrotyping, 294
    Force, magnetic lines of, 289
    Granulating zinc. 287
    Primitive electro-motor, a, 291
    Spark-producing, 288
    Warming water by electricity, 293

  Experiments, chemical, 312
    Chlorine, with, 313-314
    Electric fire, 315
    Freezing flask of ammonia to wood, 318
    Hydrogen, preparation of, 316
    Musical flame, a, 317
    Niter paper, 314
    Novel fountain, a, 319
    Soap bubble, to explode a, 317
    Sodium or potassium, with, 315
    Water’s affection for ammonia, 318

  Experiments, electrical, 272
    Discharger, the, 278
    Dynamic electricity, 272
    Electrophorus, the, 277
    Electrostatic motor, an, 282
    Faraday’s bell chimes, 284
    Frictional machine, for producing electric charges, 283
    Gold leaf electroscope, how to make, 276
    Leyden jars, how to make, 276
    Positive and negative electricity, 280
    Special apparatus for, 275
    Static electricity, 272
    Swinging mannikin, the, 281

  Experiments, more, 329
    Carbonic acid gas, 338
    Coin, a disappearing, 333
    Electrified balloons, 335
    Electrified paper, 334
    Exploding flour, 335
    Flying coin, the, 330
    Gas-making, 337
    Lamp-glass, a cigarette-smoking, 331
    Mirror, a novel, 333
    Refractory cork, the, 329
    Water swinging, 332

  Experiments, odd, 320
    Glass-cutting, 327
    Illusion, an optical, 321
    Pyrometer, the, 325
    Revolving man, the, 322
    Wall, mysterious writing on, 320

  Experiments, scientific, 297
    Bottle cannon, the, 310
    Changing water into wine, 300
    Electric fountain, an, 309
    Eruption of Vesuvius, the, 301
    Floating pins, the, 304
    Glass-emptier, a novel, 307
    Glass raising, 305
    Glass raising, extraordinary, 306
    Match trick, a, 298
    Peculiar candlestick, a, 302
    Swimming paper fish, the, 303
    Syphon, 308
    Tricolor glass, the, 299
    Vacuum, creating a, 305


  FIREWORKS, indoor, 400
    Designs for, 401
    Firework boxers, the, 403
    Frame and side wings for, 400
    Revolving wheel for, 401
    Views, changing, 403

  Fortune-telling, 452
    Arcana, Major, 461
    Arcana, Minor, 462
    Cards, by, 452-455
    Dice, by, 455
    Dominoes, by, 456-457
    Futurity, figured, 458
    Tarocs, divinations by, 461


  GRAPHOLOGY, 465
    Character by handwriting, 466-471
    Signs of, 466-467


  HANDBELL-RINGING, 105
    Bell-ringing companies, 106
    Flourishing with, 108

  Handkerchief manipulation, 169
    Bow, the double, 170
    Knot, the disappearing, 172
    Knot, a flick, 172
    Knot, the one-hand, 169
    Knot, the wrist, 169
    Knots, the instantaneous, 171

  Hypnotism, 416
    Auto-suggestion, 422
    Gaze, the, 416
    Hands, motion of, 419
    Hypnosis, to induce, 416
    Hypnotizer, 422
    Hypnotist, 422
    Method, the mental, 416
    Method, the physiological, 416
    Self-hypnosis, 422
    Subject awakening, 424
    Test, a sure, 417
    Timing experiments, 424
    “Under-sleep,” 416


  ILLUSIONS, ghost, 183
    Coffin trick, the, 186
    Frauds, mirror, 183
    Ghost producing, stage for, 184
    Nymph, the sea, 186
    Paris, 185
    Plan of room for, 188
    Reflection, principle of, applied to ghost illusions, 183

  Illusions, optical, 519
    Black print red, how to make, 526
    Color top, the, 525
    Dwarf, the man, and the giant, 524
    Hills that don’t rise, 522
    Pins, the standing, 522
    Zollner’s lines, 521

  Illusions, stage, 189
    Cupboard, the magic, 189
    Disappearing princess, the, 199
    Floating lady, the, 194
    Indian basket trick, the, 197
    Mandarin’s head, the 191
    Mesmerism, Houdin’s, 195
    Queen Mary illusion, the, 193
    Reflection, principle of, for stage illusions, 189

  Impersonations, 41
    Rehearsing, 42
    Stage table for, 44


  JUGGLING, 225
    Double inside fall, the, 228
    Double over fountain, the, 231
    Double vertical fall, the, 228
    Falls from right to left, 227
    Horizontal pass, 227
    Inside and outside falls, 227
    Parallel fall, the, 226
    Shower, the, 230
    Triple shower, the, 230
    Triple over pass, the, 229
    Triple pass, the, 229
    Vertical fall, 225


  MAKE-UP, 26
    Adhesia, 29
    Crêpe hair, 29
    Grease-paints, 26
    High lights, 27
    Juvenile, 29
    Liners, 28
    Lining, 26
    Lining paint, 27
    Lip-rouge, 30
    Low lights, 28
    Mustache-making, 33
    Nose putty, 32
    Old age, 31
    Removal of, 33
    Wig, measuring for, 32
    Wig, mid-gray, 31
    Wig-paste, 26

  Marionettes, 354
    Curtains, arrangement for drawing, 356.
    Curtain, movable, 356
    Figures, home-made, 358
    Interior decoration for, 357
    Puppets, the working of, 357
    Stage, construction of, 355
    Stage for, 354
    Stage, plan of, 354

  Marionettes, living, 363
    Black cloth arrangement for, 364
    Effects, comical, 365
    Stage for, 363
    Stage, sectional view of, 364

  Minstrelsy, 56
    End-men, 56
    Interlocutor, 56
    Make-up, minstrel’s, 57
    Negro minstrel troupe, seating arrangements for, 56
    Nigger black, 57
    Programmes, 60-61
    Songs and gags, 59
    Speeches, stump, 59, 65
    Wig, end-man’s, 57
    Wig, interlocutor and sentimentalist’s, 57

  Musical glasses, 101
    Harmonica, 101

  Musical sketches, 86
    Accompaniment, 89
    After-dinner stories, 86-87
    Burlesque, 91
    Dual art, the, 89
    Self-accompaniment, 88

  Mysteries, black stage, 174
    Assistant for, 175
    Barrel, the floating, 179
    Dimensions of, 177
    Head, the floating, 174
    Lighting, 178
    Vanishing man, the, 181

  Mystery, room of, 201
    Electric bells for, 207
    Ghostly sounds, apparatus for producing, 205
    Haunted house, how to make a, 201
    Magnet, use of, for mysterious tongue, 209
    Mysterious hatstand, the, 206
    Plan of, 206
    Potato trick, the, 209


  PALMISTRY, 437
    Characteristics, distinguishing, 437
    Hands, 437
    Hands, proportion of, 437
    Hands, quality of, 437-438
    Hands, shape of, 437-438
    Hands, texture of, 437
    “Mounts” and their signs, 438-439
    Palm, principal lines of, 441-443
    Phalanges, the, 440

  Papergraphy, 220

  Parlor games, 475
    Apples and nuts, 488
    Auction, the, 482
    Brothers, the blind, 484
    Buff, musical, 481
    Cabbages, 478
    Coming, the lover’s, 479
    Dog, the amiable, 489
    Fan fight, the, 480
    Gardeners, 476
    Hieroglyphics, magic, 481
    Jack’s going strong, 486
    Lawyer, the, 478
    Line, the longest, 481
    Name divinations, 486
    Panama Canal, 480
    Poets’ corner, the, 485
    Proverbs, 476
    Ring, the missing, 488
    Shadows, game of, 476
    Telegrams, 479
    Tidings, 477
    Whistle, the, 483
    Wizard photography, 487

  Peep-show, 378
    Candle stand and roof protector for, 380
    Lighting of, 380
    Scenes for, 380
    Scene-raising apparatus for, 380-381
    Stage front for, 379

  Peep-show, mechanical, 383
    Scene, a double-barreled, 384
    Wings, revolving, 385

  Phonograph, 97
    Programme for, 99
    Programme, a Sunday, 100
    Records, 97
    Songs, humorous, 97

  Photo pastimes, 341
    Blue print paper, 346
    One person in two places, 349
    “Photo-chemical,” 344
    Photography, meaning of, 341
    Photography, spirit, 350
    Photos, fireside, 343
    Pictures, imitations of crayon, 352
    Portrait effects, 352
    Printing double, 353
    Printing triple, 353
    “Stops,” 342
    White light, constituents of, 347

  Phrenology, 445
    Chart, phrenology, 445
    Craniology, 445
    Side, the humorous, 450

  Plate-spinning, 233
    Balancing, 236
    Plate waltzing, 238
    Prepared plates for, 235
    Spinning wand for, 233
    Table prepared for, 238

  Punch and Judy show, 387
    Figures, working the, 392
    Framework for, 387
    Ghost, how to make, 393
    Packing up, 389
    Puppets, how to make, 390
    Scenery for, 389
    Stage for, 388
    Squeaker, the, 395

  Puzzles, 510
    Anarchists, the dangerous, 511
    Chain, the broken, 513
    Checker, the traveling, 510
    Diamond cross, the, 513
    Donkey, catching, 512
    Like to like, 512
    Miter, the, 514
    Railway problem, 514
    Railways, the quarrelsome, 513
    Rings, joining the, 510
    Rows, the ten, 511
    Solutions to, 515-518


  QUICK-CHANGE, 34
    Cues, 38
    Curtain-raiser, 36
    Dressers, 37
    Entrances and exits, 36, 38
    Scenery for, 36
    Sketch for, 39
    Transformations, one-piece, 39


  RECITALS, 116
    Attitude for, 116
    Gesture, 119


  SECOND-SIGHT, mechanical, 211
    Codes for, 211-219

  Secret Signs, 533
    “Cheek,” the, 535
    “Eyebrow,” the, 534
    Handshake, the, 534
    Hat flourish, the, 535
    Italian secret society, an, 535
    Pass-words, 536
    “Patteran,” the, 536

  Shadow drawings, 271

  Shadow shows, puppet, 256
    Plays for, 261
    Puppets, how to make, 257
    Puppets, manipulation of, 259
    Screen for, 256
    Stage for, 256

  Shadows, figure, 253
    Arrangement of screen for, 254

  Shadows, hand, 250
    Light for, 250
    Pictures, how to make, 251
    Screen for, 250

  Singing, 111
    Accompanist, value of, 113
    Breathing, 111
    Pronunciation, clear, 111
    Rehearsing, 114
    Songs, modern, 112
    Voice production, 111

  Suggestions in black, 62
    Banjo, 62
    Bones, how to play, 62, 63
    Jokes, 63
    Music for minstrelsy, 66


  TABLEAUX, 68
    Lighting arrangement for, 71
    “Props” for, 74
    Staging for, 71

  Table-turning, 434
    Medium, the, 435
    Medium, to discover, 436
    Power, magnetic, 435
    “Unbeliever,” to discover, 435

  Telegraphy, 410
    Alphabet, Morse, 415
    Framework for, 411
    Galvanometer, a, 410
    Keyboard, the, 413
    Message, transmitting, 414
    Needle, magnetized, 412
    Pointer, the, 412
    Receiver, how to make, 410
    Testing, 413
    Transmitter, how to make, 410

  Telephone, 405
    Bar-magnets for, 406
    Bar-magnets, testing, 406
    Battery with connection, 407
    Magnets, cases for, 406
    Microphone, 408
    Microphone, connection with, 409
    Microphone experiment, 409
    Mouthpieces, how to make, 406
    Receivers, 405-406

  Theatricals, 11
    Back-cloth for, 21
    Fire for stage, 19
    Fireplace for, 19
    “Flats” for, 14-15
    Footlights, the, 13
    Gesture for, 23
    Graining, 21
    Make-up for, 24
    Plays for, 22
    Potzentausend, play of, 22-24
    Prompter for, 23
    Proscenium, the, 21
    Scenery for, 13-14
    Scene-painting, 21
    Stage for, 12-13
    Stage door, the, 15-18
    Stage-manager, 25
    Stage porch, the, 18
    Stage sideboard, 20
    Stage trees for, 14
    Stage windows, 15
    Wigs for, 22

  Tight-rope, the, 240
    “Backward spring,” the, 243
    “Backward walk,” the, 243
    Balancing pole, the, 241
    Fixing bars for, 240
    “Forward spring,” the, 243
    “Forward walk,” the, 242
    Trick balancing on, 240

  Tricks and puzzles, parlor, 490
    Banana, the obliging, 500
    Bands, the mysterious, 501
    Bite, the magician’s, 506
    Bottle, to blow through, 494
    Fish, dying, 498
    Needle-threading extraordinary, 505
    Repeater, the magic, 499
    Scissor trick, 494
    Smoker’s fancy, 501
    String puzzle, 503
    Sunshine trick, 507
    Tangrams, 490
    Will-power test, 499


  UNIVERSAL hat, 50
    Chapeaugraphy, 50


  VAMPING, 92
    Vamping chords and relative changes, 93-96

  Ventriloquism, 140
    Breathing for, 143
    Dialogue, ventriloquial, 150
    “Distant,” 145, 151
    Figures, ventriloquial, 148
    Figure manipulation, ventriloquial, 149
    “Grunt” voice, 146
    Imitations, ventriloquial, 154
    “Near,” 144
    Speaking with still lips, 144
    “Theek” voice, 147


  WHISTLING, 123
    Solos, 125


THE END




  Transcriber’s Notes


  The language used in the source document has been retained (including
  inconsistent, archaic and unusual spelling, hyphenation and
  capitalisation), except as mentioned below. In particular, non-English
  words and phrases have not been corrected unless mentioned under
  “Changes made”.

  The (minor) deviations in spelling in the Index compared to the text
  have not been standardised.

  Depending on the hard- and software used and their settings, not all
  elements may display as intended.

  Discrepancies between illustrations and their descriptions (e.g., Fig.
  1B in Chapter L) have not been rectified unless listed below. Items
  that cannot work as described (e.g. the rotating target in Chapter XX)
  have not been corrected or explicitly noted. Possibly offensive
  language (e.g. in the minstrel entertainment) and dangerous activities
  (as the experiments with hydrogen and chlorine gas) have been included
  in this transcription without further explicit warning.

  Page 119, the David: as printed in the source document.

  Page 184, The space, D, G, is also invisible: possibly an error for
  The space, D, C, is also invisible.

  Page 216, The code for playing cards ...: the intended meaning of the
  suits (clubs and spades) given and the explanation (well and very
  well) in the text contradict each other.

  Page 295, various combinations of wines and liquids: as printed in the
  source document. Possibly an error for wires and liquids.

  Page 458: It is not clear why One-blank is not listed.


  Changes made

  The (single) footnote has been moved to the end of the chapter.

  Some minor obvious typographical and punctuation errors and misprints
  have been corrected silently.

  Page 65: emotional parts of thumping changed to emotional parts or
  thumping.

  Page 214: closing bracket added after the last two responses by the
  professor.

  Page 257: The complete illustration consisting of Figs. 10-12 has been
  flipped horizontally, as have the individual figures.

  Page 295: ‘the coil has been mentioned’ changed to ‘the coin has been
  mentioned’.

  Page 438: reference to Fig. 2 changed to reference to Fig. 3.

  Page 475: CHAPTER LVIX changed to CHAPTER LIX.