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Treatise on Modern Magic. Professor Hoffmann
Читать онлайн.Название Treatise on Modern Magic
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isbn 4064066395384
Автор произведения Professor Hoffmann
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Second Method.—Proceed as above, but instead of opening the pack to get sight of the card, bring it secretly to the bottom by the pass, and offer the cards to be shuffled, holding them at the upper end between the thumb and first and second finger of the right hand, and slanting from you at an angle of 45°, as in Fig. 15. As the faces are towards you, you have a full view of the card. Even if it should suggest itself to the audience that you are able to see the bottom card, as they are not aware that the chosen card is now in that position, there is nothing to excite their suspicion.
You may, by way of variety, instead of offering the cards to be shuffled, hold them in the right hand, and make the single-handed “ruffle” above described, at the same time turning their faces slightly towards yourself. You may effect the same object, even more simply, by the mere act of passing the pack from the one hand to the other, keeping the bottom card turned inwards as above.
Fig. 23.
To “Slip” a Card.—Hold the pack in the left hand having first slightly moistened the fingers, which should rest upon the back of the cards. Open the pack bookwise, at an angle of about 45°, holding the upper packet lengthways between the thumb and second finger of the right hand. Draw this upper packet smartly upwards to a distance of two or three inches from the lower packet. (See Fig. 23.) The top card of the upper packet, being held back by the pressure of the fingers upon it, will not move upwards with the rest of the packet; but immediately the remaining cards are clear, will fold itself down on the top of the lower packet. If the top card of the lower packet be examined before and after the slip, the card will appear to have changed, the fact being that the original top card becomes the second after the slip, the slipped card covering it.
Fig. 24. Fig. 25.
To Draw Back a Card. (Glisser la carte.)—The performer shows the bottom card, then dropping the pack into a horizontal position, face downwards, he draws out, with the thumb and second finger of the other hand, apparently that card, but really the next above it. This is effected as follows:—Hold the pack upright in the left hand between the first finger and thumb, the back of the cards towards the palm, and the thumb and finger about the middle of each side of the pack. Let the third finger, which should be previously moistened, rest on the face of the cards. (See Fig. 24.) You will find that in this position, by moving the third finger, you can draw back the bottom card about an inch below the remaining cards, and thereby leave exposed a corresponding portion of the next card. (See Fig. 25.) This is the whole mechanism of the operation. You must, of course, take care, after showing the bottom card, to turn the pack downward before you slide back that card in order to draw the next card in its place.
Fig. 26.
To “Turn Over” the Pack.—There are certain tricks (as, for instance, where you have undertaken to produce a given card at a particular number in the pack) for which it is necessary to deal a certain number of cards from the top, and then (without the spectator’s knowledge) to continue the deal from the opposite end of the pack. As a necessary preliminary, you must “face” the cards—i.e., bring the upper and lower portions face to face. This you have already been taught to do by means of the pass. Whichever way the pack is turned, it will now, of course, show backs only. Take the pack flat in the left hand, the fingers clipping it rather tightly, but without the aid of the thumb. Pass the thumb underneath, and with the ball of the thumb press the pack smartly upwards (see Fig. 26), when it will describe a semi-revolution on its longer axis, the lower face of the pack being thereby brought uppermost. If performed with the hand at rest, the movement is very perceptible; but if you at the same time make a semi-circular sweep of the hand and arm from left to right, the smaller movement of the pack in the hand is much less likely to attract notice.
To Spring the Cards from one Hand to the Other.—This is a mere flourish, and belongs rather to the art of the juggler than to that of the magician; but it is so frequently exhibited by conjurors that a work on magic would hardly be complete without some notice of it. The cards are held in the right hand, between the tips of the second and third finger at the top, and the thumb at the bottom. If the thumb and fingers are now brought slowly nearer together, so as to bend the cards slightly, they will one by one, in quick succession (beginning with the bottom card) spring away from the pack; and if the pressure be continued, the whole of the cards will spring away one after the other in this manner. If the left hand be held at ten or twelve inches distance from the right, with the fingers slightly bent, the released cards will be shot into the left hand, which, as the last cards reach it, should be rapidly brought palm to palm with the right, and square up the pack to repeat the process. By giving the body a quick half turn to the right as the cards are sprung from one hand to the other, you may make the hands (and with them the moving cards) describe an arc of about two feet, and so deceive the eye of the spectator into the belief that the hands are that distance apart, though in reality, as they both move together in the same direction, they retain throughout their original relative distance of ten or twelve inches.
To Throw a Card.—This sleight also belongs rather to the ornamental than to the practical part of conjuring, but it is by no means to be despised. It is a decided addition to a card trick for the performer to be able to say, “You observe, ladies and gentlemen, that the cards I use are all of a perfectly ordinary character,” and by way of offering them for examination, to send half-a-dozen in succession flying into the remotest corners of the hall or theatre.
Fig. 27.
The card should be held lightly between the first and second fingers, in the position shown in Fig. 27. The hand should be curved inward toward the wrist, and then straightened with a sudden jerk, the arm being at the same time shot sharply forward. The effect of this movement is that the card, as it leaves the hand, revolves in the plane of its surface in the direction indicated by the dotted line, and during the rest of its course maintains such revolution. This spinning motion gives the flight of the card a strength and directness which it would seem impossible to impart to so small and light an object.
A skilled performer will propel cards in this way to a distance of sixty or eighty feet, each card travelling with the precision, and well-nigh the speed, of an arrow shot from a bow. The movement, though perfectly simple in theory, is by no means easy to acquire in practice. Indeed, we know no sleight which, as a rule, gives more trouble at the outset; but, after a certain amount of labour with little or no result, the student suddenly acquires the desired knack, and thenceforward finds no difficulty in the matter.
The Bridge.—The object of the bridge is to enable the performer, with ease and certainty, to cut or otherwise divide the pack at a given card. It is made as follows: Holding the cards in the left hand, with the thumb across the pack, the performer covers them for an instant with his right hand, as if about to make the pass. Grasping the pack between the thumb and second finger of this hand, he bends the whole of the cards slightly inwards over the first finger of the left hand, immediately afterwards bending the upper or outward portion of the pack backwards in the opposite direction. The effect of the double movement is that the two halves of the pack are bent in a double concave form, thus )(, though in a much less degree. If the cards be now cut, the concave portions, instead of being, as at first, back to back, will be face to face, thus (), leaving in the centre of the pack an elliptical opening, of a maximum width of about an eighth of an inch. This slight hiatus in the middle will generally cause a person who is invited to cut to do so at that particular point, and will in any case enable the performer either to cut or to make the pass at that point with the greatest ease. The cases in which the bridge may be employed with advantage will be more particularly indicated when we come to practically apply the processes already described, but