In this History of Magic I aim to give you an insight into the development of magic from the earliest times down through centuries to the present. No one has ever adequately covered this tremendous subject. It would take many volumes to write a complete history of magic. And yet I want to give you a fairly complete picture of the progress of magic down the ages.

It is a huge task to put together the knowledge the world has on magic. We have some information on magic in ancient times and some information on magic during the middle ages; but these records are scattered and incomplete, and were they all to be assembled they would fill ponderous volumes. What history has been recorded I have collected and I am giving to you the high spots in a concise form. I am tracing for you the various phases of magic to give you the background and importance of magic so that you may the better understand modern-day scientific magic.

Today I take up the subject of superstitions. I know you will be very much interested in this subject because it is one which we are all familiar with in every-day life. You know many people who still believe in these old superstitions -- and perhaps you, like so many others of us poor mortals, are just a little superstitious too.

Our modern day superstitions, of course, had their origin in ancient magic. From the beginning of things almost, down — down the long dim avenues of time have come these magical beliefs, closely intertwined with religion, with medicine, with social life.

Divination Foundation for Superstitions

The Art of Divination furnishes almost the complete background for the superstitions people believe in today. With primitive people these magical beliefs of divination are, of course, the very foundation of their lives. I told you in a previous lesson of the belief of some barbaric tribes in charms and incantations — and the belief of even civilized peoples like the Romans in augury and other forms of divination.

Magic in Savage Lands — Superstitions in Civilized

Strangely enough, these same beliefs are found today among savage tribes still as magical beliefs, and among civilized peoples as superstitions.

Shooting stars and comets are to the natives of barbaric tribes omens of disaster — and to the superstitious of our country, they signify death. The hawk's cry in the night portends the death of a child in far-away Australia; and the barking of a dog at night in front of a home to some of our people indicates death in that home.

Incantations — Modern Curse

Incantations to bring about certain acts are common among primitive peoples. Repeated utterance of a blessing or a curse was believed to bring about the desired good fortune for the person blessed or disaster to the accursed one. The modern curse is an outgrowth of this, and while it is no longer regarded as a means of vengeance and is really only an expression of anger, back of it still lies some of the element of the incantation from which the curse originated.

Charms — Mainstay of Sorcery

Charms, you know, are one of the mainstays of sorcery. There are two kinds of charms — one, amulets and talismans, which are gems or stones or other objects which are said to guard from harm the person who carries them about with him; the other, casts spells by pronouncing certain words with the use of some object.

Barbaric tribes still retain these beliefs in charms. There are sacred gems and stones which, according to these people, can bring sight to blind eyes, can give strength to the weak. When the sorcerer chants certain words with the aid of a stone or other object, he can overcome the influence of the "evil eye" and can make the sick well.

Charms Among Moderns

Today we find these same beliefs, though somewhat modified, among people of our own country. The superstition that the opal is an unlucky gem and that pearls signify tears is nothing but an outgrowth of the ancient belief in magic gems. You have known men to carry about with them charms of some kind — a coin that was found, a bit of quartz or flint, a rabbit's foot. These men may not really believe or may not admit that they believe in the working of these charms — nevertheless, they carry them to be "on the safe side." They want to be sure, in case there is something to these charms, that they won't be "caught unaware" if there is any evil floating around their vicinity, or that they won't be unprepared to attract good fortune. So firmly have these beliefs been imbedded in our minds that, even against our better judgment, we still halfway believe them.

The old magical belief that a loadstone or magnet, because it draws steel, will also draw out pain still exists. Many a peasant in Europe carries a magnet in his trousers' pocket to ease the pain of his rheumatism. And even more enlightened people will wear, with as great confidence in its effectiveness against rheumatism, a "galvanic belt," though any electrician will tell them that it has not the power to hurt or cure a fly.

Spells to Overcome Evil Influences

Spells cast over anyone work miraculous effects, according to the beliefs of the natives of uncivilized regions. The same spells that were cast over men thousands of years ago, no doubt, are still being exercised today. The use of sticks or strings or stones and the muttered chanting of the sorcerer to overcome evil influences has been passed on from generation to generation to the present.

I remember witnessing the casting of a spell about fifteen years ago. The child of a family I knew was ill and was believed by her mother to have come under the "evil eye." The child's grandmother took a number of broom straws, crossed them in her hands in a certain way, and pronounced some words. It was believed that this made the child well. Another time this same child became ill again and it was believed that the child had been frightened by something and that caused the illness. The grandmother, this time, melted a small quantity of lead in a pan and poured it into cold water. The lead solidified into a shape that resembled a dog and the conclusion was drawn that the child had been frightened by a dog. The grandmother, of course, was not regarded as having supernatural powers, but was believed by the superstitious neighbors to "know how" to cast the spells.

Some Common Superstitions

The derivation of many of our present-day superstitions has been lost. One generation learned them from another, and so they have been passed down through the centuries. It is small wonder that some of them have changed somewhat from their original forms and the explanation for many has been completely lost. The superstitions still live in spite of the fact that their association with the things they are believed to influence is very vague.

Take spilling salt, for example. This is a sign of a quarrel when it is done at the table. The connection of salt with a quarrel has been lost, but the superstition still lives; and you have, no doubt, seen many people throw salt over their left shoulders to break the evil influence of spilling salt.

The origin of the misfortune connected with the number 13 and its heightened ill effects when it is Friday the 13th is no longer known to us, yet this superstition holds the belief of many people.

Why the horseshoe is a charm which brings good luck is unknown. The use of the horseshoe as a charm is evidently of more recent beginning than some of the other superstitions as, of course, horses were not shod in primitive times.

There are many, many other beliefs which I could discuss with you, but space will not permit and I must wait until the next lesson to continue with my absorbing work of delving into the dark recesses of magic's past.

REVIEW OF PRINCIPLES Lessons 1, 2, 3

The History of Magic, I know, must have been very interesting to you. It gives you a bird's-eye view of the development of Magic from ancient to modern times, it gives you an understanding of the two branches of Magic — Sleight of Hand and Necromancy and Divination.

Now read over again my section on Magic as a Science in Lesson 1. You can't read this too many times. I want you to get the spirit of it and the big idea back of it into your mind so well that it becomes a part of you.

I hope you are maintaining the Professional Attitude in your studying. Don't ever let down on your studies and be satisfied with amateur ability, but keep your determination that you will gain professional skill.

Remember to concentrate on every detail, for as I told you, the simplest details are often the most important.

You must by this time have the ability to hold your hands in a natural position. Don't let it go at that. Keep this constantly in mind and watch for any awkwardness.

To summarize the three lessons, I will list for you the fundamental things, which we studied, upon which the whole Art of Magic and every trick depend. Review my discussion of these principles. Do not be satisfied with any less than a complete understanding of them for they are vital. Then go through the tricks of the three lessons again with the following in mind:

1 - Naturalness of Hands

2 - Angle of Visibility

3 - Good Presentation of Patter

4 - Power of Suggestion

5 - Credulity of People

6 - Art of Misdirection

7 - Finger Palming

8 - Thumb Tip Manipulation

Now just think of these eight important elements in the presentation of your tricks. The ordinary magician does not give some of these things a thought. He probably uses them unconsciously, but not with the understanding which comes from conscious knowledge of the scientific aspect of magic. He would not know what you were talking about if you asked him what part the Power of Suggestion plays in magic. Therein lies the difference between the ordinary magician and the kind of magician you will be when you have completed this course. Therein lies the difference between the ordinary magician and you as the scientific magician you will become because you are studying this magic course, which has been written from the scientific standpoint.

LESSON 4

This week we take up another branch of conjuring in which you work with TORN AND RESTORED PAPER effects. It enables you apparently to destroy a piece of paper and then to restore it to its original condition.

Practice every move carefully before the mirror and do not try to perform the tricks until you have mastered them.

These are beautiful effects and will help make a reputation for you. They are excellent for performance at a club or on the stage.

1. CHINESE PAPER MYSTERY

Many years ago a famous Chinese magician, Ching Ling Foo, came to this country. His oriental mysteries were so cleverly performed that even magicians were baffled at the methods he used to obtain his effects. 

Prominent on his program was an effect in which he showed a piece of tissue paper, tore it up, and restored it again. When I was a boy, I heard of the wonderful mysteries of this clever mystifier and was particularly impressed with the torn and restored paper effect. I set about to find a method by which the effect could be duplicated. The result was the one I am giving you first in this lesson.

This effect has puzzled many, many audiences, and with it I have fooled many magicians too. I have since learned that what was an original method to me was very similar to that used by Ching Ling Foo.

EFFECT:

A sheet of colored tissue paper, about 3 1/2 inches by 15 inches, is shown on both sides. Performer rolls sleeves to elbows and shows hands

empty. The paper is now torn into a number of pieces, which in turn are rolled into a ball. Attention is called to the fact THAT THE BALL OF PAPER NEVER LEAVES THE SIGHT OF THE AUDIENCE. The performer opens the ball of paper, however, and it is found to be fully restored. It is again shown on both sides and hands are shown empty, fingers wide apart.

PARAPHERNALIA:

Two pieces of heavy dark-colored tissue paper, about 3 1/2 inches by 15 inches in size. Pieces of paper must be exactly the same size.

The more nearly opaque the paper is, the better. A purple or dark green paper is safest. A few years ago good tissue paper was easy to get, but since the war, the quality has been poor. For this reason the effect has had to be modified sometimes by painting Chinese figures on the tissue to be used. Experimenting will soon tell you whether it is necessary to daub figures on the tissue or not.

CAUTION:

In trying a tissue that is new to you, examine it carefully when you have ball in place (as explained later). Can you see ball from other side because of transparency of paper? Does it give a black shadow effect? If it is noticeable at all, you will have to remedy it by painting Chinese figures on paper (as in illustration).

Use three Chinese characters or letters as shown, one coming in front of place where ball will be. If black paint or water color is used, you will find that the design will readily shield a ball behind it. The designs, of course, are painted on the opposite side of the paper from where the ball is. The two papers must be painted alike so that the first piece will look like the second. The audience thinks you use only ONE piece of paper.

BEWARE OF ANY LIGHT BEHIND YOU. LIGHT MUST STRIKE FRONT OF PAPER. If you cannot avoid rear lighting, then be sure your Chinese figures are big and heavy enough to conceal ball when light comes through paper.

SECRET AND PATTER:

To prepare: Lay one strip of paper on a table. About 1-3/8 inches from the left end, place a drop of glue. Place the other strip on top of the first and press paper at glue area so that the two strips will stick together. Let glue dry (See illustrations on next page).

Starting at the right end, fold top strip in one-inch folds up to glue. Double the fold. Fold over top, then bottom to center, then left end of strip to form a tight ball. It must be folded tight so that the ball will not undo itself.

The result is a strip of paper with a ball of paper glued onto it. Fold up strip and place in your pocket. You are ready to begin effect.

"Some time ago a great Chinese magician came to this country -- Ching Ling Foo. He was a master mystifier. Even magicians were baffled by his cleverness. I shall never forget the first time I saw him back in the year 1849 (or you can give any other year before you were born). I remember how after he rolled up his sleeves (roll sleeves up), he reached into his pocket and took out a piece of tissue paper about this size (reach into pocket and take out prepared tissue), which he would unfold."

Unfold tissue so that ball comes to rear and is concealed from the audience. At no time should audience get a glance at ball.

Hold paper so that audience can get a good view of hands and see most of the unprepared side of paper.

They can see all of paper if you shift your fingers slightly.

"He said this was Chinese paper, and so that you might see the point, he had a Chinese character placed on each corner. (Call attention to the corners). Then he would say, 'You see my right hand'."

Hold paper with left hand and show right hand slowly and carefully, fingers wide apart.

"And you see my left hand..."

Transfer paper to right hand and show left hand, fingers wide apart.

"And the paper -- peculiar paper, because it has a side on this side and a side on the other side."

Hold paper in left hand, thumb covering ball. In calling attention to side of paper which left fingers are on, give paper a quick downward stroke with tips of right fingers, front of hand towards audience.

Then turn paper over, thumb of left hand concealing ball. Again give quick stroke with back of right hand. This quick movement tends to overcome close scrutiny of upper part of paper where ball is concealed with left thumb. Turn paper back to original position, ball at rear. Hold paper up again by tips of fingers and thumbs of both hands so that audience can see insides of hands and almost all of paper. ALL OF THIS IS DONE TO CONVINCE AUDIENCE THE YOU USE ONLY ONE SHEET OF TISSUE PAPER AND THAT YOU HAVE NOTHING ELSE IN YOUR HANDS.

"Then he would tear the paper into a number of small pieces."

Hold paper with left hand and tear with right hand, placing each piece as torn in front of the piece with ball on it.

After you have torn the paper to the end, tear through the pieces all together, taking care not to disturb paper within a half inch of ball. One tear with all the pieces is enough.

"Which he would roll into a small ball, his idea being that the smaller he rolled it, the littler it would become."

Push the paper forward and work into a ball. The piece on which ball is attached acts as a wrapper for the other pieces. You now hold two balls of paper, held together with the bit of glue.

To the audience it looks as if you hold ONLY ONE BALL. Balls should be held one in front of the other. Hold ball so that hands can be freely shown empty and ball ALWAYS IN FULL VIEW. Never wholly cover it.

"He also called particular attention to the fact that the ball of paper never leaves one's sight. You can see the paper at all times. Then came those mysterious words, 'Al - de - be - ron - ti - co - fos - fic - a - form - i - o van - der - spink - en - toot - le - heimer - chee - lee -bal - e - wong - wa', and then he blew on the paper twice.

(Blow twice on paper). That was enough to make it happen. He opened the ball and unrolled it."

During this talk, turn balls around in hand so that ball of torn pieces comes to rear. Open up the ball of whole paper. This will conceal the torn pieces. Holding paper securely with left hand, thumb over ball, unroll paper with right hand. You will have no trouble doing this if you will open ball so that it brings paper to position as shown in first illustration at left. Unroll until paper can be shown in its entirety. Then hold it with tips of fingers and thumbs at each end, so that hands are shown empty and paper can be seen.

"And the paper came out just as it was in the first place. Again he would say. 'My right hand - my left hand - and the paper - a side on this side and a side on the other side'."

In saying this, show paper and hands as you did at beginning of the trick — always careful to conceal ball with thumb of left hand. As a finish, roll up paper and place in pocket, or else hold in readiness for next effect.

"There is one regret, however, about this experiment — and that is, I have never been able to find out how he did it."

2. WINTERTIME IN CHINA

This may be performed as a continuation of the effect just described, or it may be worked as a separate effect.

EFFECT:

After performer has done the torn and restored paper experiment, he again tears the paper into a number of pieces and places same in an empty glass tumbler. From another tumbler or pitcher he pours enough water into the glass to cover the torn pieces of paper. When the paper is well saturated, he reaches into glass, takes out the paper, and squeezes it tightly in his right hand to allow much of the water to run out. Performer then reaches for a fan and fans the wet paper. The paper then suddenly becomes dry and flies from the fingers like falling snow flakes.

PARAPHERNALIA:

1--A strip of tissue about 3 1/2 inches by 15 inches -- this may be tissue left over from Chinese torn and restored paper effect.

2--Another duplicate strip which has been torn or cut into small confetti-like pieces.

3--A tissue paper envelope same color as strip. Size, 1 3/8 inches by 1 3/4 inches. 4--A small Japanese or Chinese fan.

5--A hat.

6--Two glass tumblers. One empty, one three-quarters full of water.

SECRET AND PATTER:

To prepare: Make an envelope of tissue paper in this way: Cut a 3 1/4 inch square piece of tissue into a pattern like the illustration. Then fold over and paste to make envelope, bottom closed and top open.

Take a sheet of tissue paper 3 1/2 inches by 15 inches and tear or cut into small confetti-like pieces. Stuff these pieces into the little envelope and paste top flap down.

Open fan. On the back, paste the end of a small strip of tissue paper, about 2 1/2 inches long by 1/8 to 1/4 inch wide. On the other end of strip, paste the bag or envelope containing torn tissue.

Now lay the fan on a hat so that envelope hangs down into hat.

Leave fan slightly open so that it screens envelope from audience.

Of course, audience is not aware that such a prepared envelope exists.

Have hat with fan so arranged ready on a table at your left. Near it have two glasses — one empty and one containing water. You are now ready.

Let us assume that you have just finished the torn and restored paper effect and have paper in your hand. You can begin something like this:

"Next I want to present a little play in one act, entitled 'Wintertime in China.' It is a very sad play and a tear drop may walk down your cheeks. It revolves around a little Chinese girl named Chee-Woo. Chee-Woo was very pretty. We will let this piece of paper represent Chee-Woo, all rigged out in her beautiful purple dress (providing you are using purple paper). Well. Chee-Woo fell in love, but her father objected to her lover and the shock literally tore her to pieces."

Tear paper into a number of pieces, placing one piece in front of the other.

"So she left home and went out into the cruel cold world." Put pieces of paper into the empty tumbler.

"And then it rained — oh, my, how it rained! Regular Chinese rain."

As you say this, hold glass with paper in it in your left hand, and with the right hand pick up the glass of water and pour water into other glass so that paper will be soaked.

"Which reminds me of a very subtle joke told about the Prince of Wales.

You see, the Prince was standing on a corner talking to a friend. They were both standing under an umbrella. So the Prince says, 'It certainly is raining.' To which his friend replies, 'So's your old man'. It's quite subtle -- that job about the king reigning."

Now stir up paper in glass with first and second fingers of right hand.

"Anyway, Chee-Woo got very wet — in fact, she was sopping wet. And she said, 'I must get out of this dampness and find sunshine'."

Take wet pieces of paper out of glass and squeeze in right hand so water will run out. In the meantime, place glass of water on the table at left.

"She couldn't have been wetter if she had been swimming. 'But let me get into the sunshine,' said she."

Apparently place wet paper into left hand. THE AUDIENCE THINKS YOU PUT PAPER INTO YOUR LEFT HAND, but you don't. Let me show you how to do it as you will use the same or a similar "sleight" with other small objects later on.

After you have squeezed water from paper, it is natural for you to hold ball of paper between your thumb and fingers of right hand. Show ball. Now turn slightly to the left so that palm of left hand faces audience and back of right hand is to audience, ball concealed.

Apparently place ball in left hand, closing fingers slightly around the right hand.

Right hand now draws away, bringing ball with it, still held between thumb and fingers. Left hand closes quickly at same moment. The effect is that you have PLACED THE BALL OF PAPER IN YOUR LEFT HAND.

Try this before the mirror. Actually put ball into left hand at first, then try to get same effect but leave ball palmed in right hand.

Reach for fan on hat with right hand, letting ball come a little beyond fan. Dip fingers slightly into hat and let ball drop into hat. Then pick up fan, allowing edge nearest to you, to come up first so that envelope attached to fan will pull up out of hat but will be hidden by fan.

As you pick up fan, spread it apart.

Hold fan in front of left hand. As soon as left hand is covered, open it and grasp envelope of torn pieces, tearing it from the strip. Then begin fanning.

"Then came the gentle winds. The winds of the four seasons came to soothe her."

As you fan, squeeze envelope, thus tearing it and releasing the pieces of paper so that they fall from hand like snow flakes. The fanning helps to spread them.

When the envelope is broken in hand in order to let the torn pieces out, it is naturally torn apart in the fingers in the process of moving fingers and thumb back and forth in scattering the paper flakes. The torn pieces of envelope fall with the flakes in small pieces.

"And swept her away to the heavens where she changed to snow — beautiful purple Chinese snow."

After all of the flakes have fallen and left hand is shown empty, say,

"And ever after — they have had winter in China."

The above effect may be done without patter, simply doing PANTOMIME. If doing pantomime, music helps put across the effect and you should use it when possible. Chinese or waltz music is most effective.

Instead of a hat on the table you may use a nice Chinese bowl of some sort; or if you have an assistant, he or she may hold your properties on a tray. This would permit you to dispense with using a table for the effect. If assistant is dressed in Chinese costume, so much the better.

3. JAPANESE TORN AND RESTORED NAPKINS

This is the usual method of doing the torn and restored paper napkin effect, and because of the finish in which the method is apparently exposed, this trick is very popular.

EFFECT:

A paper napkin is shown and torn into a number of strips. Magician rolls them into a ball, then opens ball and whole napkin is found to be restored. He then explains to the audience how it is done. He tells them that you use two napkins, one of which you palm in your left hand. You roll napkin into a ball and place in left palm. You take another napkin, tear it, roll it into a ball, and then exchange it for the ball in left palm. The ball when opened is, of course, the whole napkin. But what to do with the torn pieces now palmed in left hand? In case someone should see them, just unwrap them — and they are found to be a whole napkin as in the beginning. The audience is no wiser as to the "modus operandi" (method of working) than they were at first.

PARAPHERNALIA:

1--Four paper napkins, just ordinary thin paper napkins which are about 14 inches square. 2--A hat.

3--A pencil (full length).

SECRET AND PATTER:

To prepare: Arrange two paper napkins on right side of table. Between corners of each napkin place a paper napkin rolled tightly into a ball, as shown in illustration. Note that napkins are folded over, concealing balls.

At your left have another table or on the left side of same table, put a hat with brim up. Place your pencil over hat, end of pencil pointing toward audience.

Pick up napkin A with right hand, also picking up the concealed ball, which you finger palm in right

hand with third and fourth fingers. The audience must never know that you have this concealed ball or that you use more than one napkin in doing the experiment.

Hold napkin with both hands and show it on both sides. The ball is meanwhile finger palmed in right hand.

"This is a Japanese experiment, an effect that has come down from the Japanese conjurers of centuries ago. It is done with a square of Japanese paper or a napkin. An Englishman once said, 'It's a ripping good trick, Bah Jove' because I rip or tear the napkin into a number of strips or bits."

Proceed to tear napkin (cross grain is best) into a number of strips, holding each strip as torn in the left hand. As you tear each strip, continue the patter as follows:

"Two bits, three bits, four bits, five and six bits."

Then tear strips crosswise --

"And some small change which I will ball up or roll into a ball, as that would be better than balling up this experiment."

Roll pieces into small firm ball. Now comes a move that I want you to study closely as it is used to convince audience that you have only ONE napkin in your hands, when in reality you have two.

Hold ball of torn pieces between first and second fingers and thumb of left hand and ball of whole napkin in right palm.

Bring the ball in left hand up to right and place it in front of ball there. Now pick up both balls with first finger and thumb of left hand so that ball of torn pieces is in front of other ball.

Show the two balls as one ball. When pressed together this way they do look like one ball and the audience is no wiser. Hold hands with palms toward audience so that they can see your empty palms.

"There, I have a nice tissue paper sphere with a circumference all around and a diameter through the middle."

As you say this, place right hand carelessly over balls and palm away the ball of torn pieces, which is on top. You will find this very easy to do, for as you begin to close fingers of right hand, ball automatically becomes finger palmed. When right hand is drawn away a few inches, the ball which is the whole napkin is seen by the audience. They thought you held only ONE ball in the first place and so are not aware of any change. To make the move even more natural, just after ball of torn pieces is palmed, I start pressing ball in left hand to make it a bit rounder.

Now reach over to table on your left to take pencil from hat with right hand; but JUST BEFORE DOING SO, let hand extend over pencil and a little way into hat. As you do this, drop the palmed paper ball. To the audience it looks as though you just reached for your pencil.

Take pencil. Hold end in right hand and touch other end to ball in left hand.

"It is remarkable what just the touch of a magic pencil will do." Place pencil back over hat again.

In all these movements keep ball in left hand far enough away from body so that it is never out of sight of audience.

"I tore this Japanese napkin into strips and yet, strange as it may seem, on unrolling it (unroll napkin) we find the napkin wholly restored."

Spread napkin out and hold it so that audience can see both sides. Hands should be shown empty one at a time in holding napkin.

AN EXPLANATION (?) TO AUDIENCE OF HOW THE NAPKIN TRICK IS DONE

This is an explanation of the above effect, in which you tell your audience how you have accomplished the effect, and yet when you have finished, they find your explanation all wrong and are as much puzzled as ever.

On the table at your right you still have a napkin with a concealed ball under one corner. In your left hand you have the napkin that you have just been performing with.

"I will admit that that was a rather easy experiment. Nothing to it in reality. And if you would like to know how to do it, I will show you how so that you can fool your family, friends, enemies, relatives, or motherin-law. First of all, the napkin is very ordinary." Show napkin you have in left hand.

"It is just an ordinary paper napkin that you find at picnics or Sunday night supper. I really tore it up and rolled it up into a ball, but here is where the trick part comes in. Unbeknownst to you, I had another napkin rolled up and concealed here between my fingers."

Roll up napkin into ball and place in palm of left hand so that all can see it.

"This is how to palm an object":

Tighten up palm muscles around object which you have placed in center of palm.

You will have no difficulty in holding ball in palm. You may cover it a little with thumb if you choose.

"Or rather I should say it is concealed in my palm. I kept the back of my hand toward you, and so you thought my hand was empty."

Turn left hand so that back is toward audience and ball is concealed.

Then reach over to table on right and pick up napkin with ball of paper concealed under the corner.

Hold napkin in both hands and finger palm the ball in right hand just as you did the first time you did the trick. Audience must not know, however, that you have a ball concealed in right hand.

The trick is really now just the same as the original version except that you do it with the extra ball in palm of left hand.

"I will use this napkin on the table. Now remember, I have this napkin and the one palmed in my left hand. I tear the napkin into a number of strips -- and then crosswise again." Tear napkin and then roll into a ball.

"Then I roll the pieces into a ball."

Do the same move here that I described to you in the preceding effect as to how to show the two balls as one.

This time hold ball from RIGHT hand and torn pieces as one in LEFT hand as in preceding effect, but remember to keep ball which you have palmed in left hand concealed from audience. Then palm off the torn pieces in right hand and reach for pencil, dropping torn napkin into hat as before.

Bring up pencil and point at the balls in left hand. The audience thinks ball between the first two fingers and thumb is the, torn napkin. Your torn pieces, however, have been disposed of. Your trick from now on is easy to do and there is nothing to detect. The audience, however, thinks the main part is yet to come.

"Using a pencil with this trick is all bunk, but it looks professional. I could have waved my handkerchief with just as much power. However in reaching for my pencil, I did something. It was to exchange the whole napkin in my palm for the torn pieces at the ends of my fingers."

As you say this slip one ball above the other by rolling the ball in back over the front one with the thumb and fingers. You may put wand under arm and show how exchange is made by using both hands.

"The single hand move shows how you do it with one hand while reaching for pencil."

"Then all I have to do is to tap the ball which is now the whole napkin, the torn pieces being in my palm, unroll the ball..."

Place pencil under right arm and unroll ball.

"And show that the napkin has been fully restored. Then you can bow as you have successfully performed the experiment." Drop napkin on table.

"Now, the torn pieces in the left hand you can get rid of in any way that you desire. Of course, if the audience is watching you too closely, then the best way I have

found is to take the torn pieces and blow gently thereon twice and pronounce the words, 'Chow Mein Chop Suey.' Surprising as it might seem, if you slowly unroll the ball of pieces..." Unroll the ball.

"You will find that they have all joined themselves together, making a complete napkin as in the beginning. Then your audience will never know what became of the torn pieces. Don't tell them."

As a rule, it is never safe to EXPOSE a method. The less an audience knows about your method of working, the better. But in a case of this kind where you apparently expose and yet do not. you have led your audience to think that perhaps palming and using two pieces of paper is all wrong.

SUGGESTIONS:

If you prefer, you may have two napkins rolled into balls and placed in right coat pocket, together with the two napkins which should be folded. You will find that you have no difficulty when reaching into pocket for napkin to bring out a ball concealed in palm of right hand. This method is very handy when you have to work without preparation or are so situated that you cannot arrange napkins on table without being detected.

You may also dispense with hat and pencil and use a pocket knife instead, which you can have in right trousers' pocket. In reaching for pocket knife, leave ball of torn pieces behind in pocket. You will find that this way of working makes the effect entirely impromptu.

This is a good banquet trick where paper napkins are used. During the course of the banquet, get two extra napkins. Roll them into balls and place in right coat pocket. Get knife into right trousers' pocket. Instead of a knife, a half dollar can be used. If half dollar is used, you can explain "the power of money." Merely touch ball with money. "Cross your palm with fifty cents," as the gypsy fortune teller would say.

When you start to perform, simply reach over and pick up a paper napkin from the table.

TARBELL SYSTEM, INCORPORATED, Chicago.

LESSON 5

In your next lesson I give you three more interesting tricks with tissue paper, based on different principles.

1--A long strip of paper is torn into a number of pieces. placed in a saucer and burned to ashes. Performer shows both hands empty; then he picks up a bit of the ashes, rubs them a little, and they change to the original strip of paper again.

2--Two squares of tissue about 14 inches across are shown. One is black and the other is green. Performer tears them into a number of pieces, blows on them, and they are seen to have changed into a fancy French paper hat for milady.

3--Three bowls are shown empty. In front of each are placed three tissue paper balls -- red, white, and blue, respectively. In one bowl the three red balls are dropped one at a time, in the second bowl the three white balls are placed, while in the third bowl the three blue balls are dropped one at a time. Attention is called to the patriotic nature of the colors and to the fact that they do not remain apart very long. The bowls are turned over and instead of each containing three balls of the same color, each bowl holds a red, white, and blue ball of paper.