第64章 Hereward Carrington(2)

Another important factor is this: A performer should always let any suggestion, right or wrong, soak well into the spectator's mind before attempting to change it. This is for two reasons. In the first place, if the suggestion is correct, if, e. g., the performer really DOES place an object in his left hand, and it is shortly found to have vanished from that hand, he is annoyed by hearing some one say that he was not really sure it was there in the first place, as "it was covered up so quickly." If, on the other hand, the suggestion given was a false one, if, e. g., the performer says he has placed an object in his left hand, when, in reality, he has not done so but has palmed it in the right, then it is still necessary to allow a certain time-interval to elapse between the performing of the action which apparently placed the object in the hand, and the showing of the hand empty, for this reason. If the hand into which the object is supposedly placed is IMMEDIATELY shown empty, the natural conclusion of the sitter is that the object was not in reality placed there at all, but was retained in the other hand, which would be the fact. If, however, the performer allowed some time to elapse, between the action of placing the object in that hand (supposedly) and the showing of the hand empty, he, meanwhile, keeping his eyes fixed on the hand, suggesting to the sitters that the object IS there, and in every way acting as if it WERE there, the idea will gradually gain a firm hold on the minds of the spectators that the object is there, in reality, and they are correspondingly surprised to find it ultimately vanished. It is just such a knowledge of "the way people's minds work," as a friend once said to me, which enables the conjurer to deceive the public; and it is precisely the same cast of mind that the medium possesses. He is, in fact, a good judge of human nature.

Another fact that must be borne in mind is that, when once a spectator has seen a movement made two or three times in the same manner, he frequently "sees" the performer make that movement on another occasion, when the performer had, in reality, only STARTED to make the movement, and suggested the rest. Thus, if the performer throws a ball up into the air two or three times in succession, and on the fourth occasion merely pretends to throw it up, really retaining it in the other hand, the great majority of the spectators will really "see" the ball ascend into the air on the fourth occasion, and will so state, on being asked. We here depend upon association and habit.[1]

[1] A very similar illusion is mentioned by Professor Hyslop, v.

Borderland of Psychical Research, Pp. 228-9, in which pellets were apparently placed in a box, really being palmed in the medium's hand.

Professor Jastrow summed up this portion of the psychology of deception very well when he said:[1]

[1] Fact and Fable in Psychology, pp. 124-5.

"He (the conjurer) must dissociate the natural factors of his habits, actually attending to one thing while seemingly attending to another; at the same time his eyes and his gestures and his 'patter' misdirect the attention to what is apparently the essential field of operation, but really only a blind to distract attention away from the true scene of action. The conjurer directs your attention to what he does not do; he does not do what he pretends to do; and to what he actually does, he is careful neither to appear to direct his own attention nor to arouse yours."

Prof. Max Dessoir, in a very fine article on "The Psychology of Conjuring," writes as follows: "By awakening interest in some unimportant detail, the conjurer concentrates that attention on some false point, or negatively, diverts it from the main object, and we all know the senses of an inattentive person are pretty dull. . . . When causing the disappearance of some object, the conjurer counts one, two, three; the object must really disappear before three, not at three, because, the attention of the public being diverted to three, they do not notice what happens at one and two. . . . A specially successful method of diversion is founded on the human craze for imitation. . . . The conjurer counts on this in many cases. He always looks in the direction where he wants the attention of the public, and does everything himself which he wants the public to do. . . . If the trick is in the left hand, the conjurer turns sharply to the person to his right, presuming correctly that the spectators will make the same movement, and will not notice what is going on in the left hand. . . .

Every sharp, short remark will, for a moment, at least, divert the eyes from the hands and direct them to the mouth, according to the above-mentioned law of imitation."

The successful conjurer has carefully studied beforehand every movement that is made--every word that is spoken--during a conjuring performance, and has seen that these all fit naturally into place, and help conceal the real workings of the trick. The right and left hands must be trained to operate independently, and without the need of looking at either. Many conjurers practice doing two separate things at the same time, one with either hand; and the ability to do this is essential. Above all, the performer must be full of conscious self-possession, and feel himself to be master of the situation, no less than to feel the ability to cope with any emergencies that may arise.