"Magic was the cradle of the twin giants -- History and Science," as someone has so aptly put it. I would make it more explicit, however, and say that Magic was the cradle of History, Religion, Medicine, Pharmacy and Chemistry, and other Sciences. It was the beginning of all that we have now in the way of Science.

It seems almost incredible to us that Magic, now that we regard it only as an entertaining art, should have led the way to an understanding of nature and thus to the development of sciences. But just such was its effect. Magic, of course, you know came down hand in hand with History. In our earliest records, in Biblical times, during the Golden Age of Art in Greece, in the Dark Ages, during the Renaissance, down to the present day, we see the influence of Magic. I have already given you a glimpse of the history of its widespread influence in every age and in every land.

Now we come to the development of religion and of the sciences in relation to Magic.

Earliest Religion

Today we will take up the importance of Magic in Religion.

The earliest religion, of course, was the worship of the elements. Primitive man gazed in wonder at the sun, marveled at the rain, and was awed by day and night. In his bewilderment he conceived the idea that invisible powers were embodied in these mysterious things—the sun, the rain, the winds, etc. Because he could not understand them and because they were beyond his control, he reasoned that they were supernatural beings who ruled the world. He feared the unknown and so he feared these gods of the elements, who, he believed, caused the sun to shine when they were pleased and brought the storm when they were angered.

Origin of Magic in Religion

To these people, only self-preservation was paramount to their worship—their religion. They bent every energy to appease their gods and to keep them mollified, since even in prehistoric times there was a leader of some kind in every group or tribe of people. This leader, naturally, guided the thought and actions of the people in their religion. His suggestions, his actions—his mutterings and the waving of his arms began to signify to the people that he had some communion with the powers above. The ability to sway the will of the gods then began to be definitely associated with the leader. The people began to believe that he was an agent of the gods and thus had supernatural powers.

This marks the beginning of the relationship of Magic with Religion.

Even the cultured nations of antiquity—the ancient Greeks and Romans—believed in many gods who must be appeased with magical practices—such as sacrificing animals and giving offerings of various kinds. The practices were performed under the leadership of the sorcerers. The Jews also, who recognized only one Creator and Ruler of the Universe, believed in powers intermediate between God and man. These powers were angels and demons who could be influenced by magical practices of humans.

The ancient priests, then, were really Magicians, and the first Magic was that which was closely related with religion.

"White" and "Black" Magic

The functions of the priest and the sorcerer were blended at first. Then as established religions were formed among nations of a higher grade, sorcerers began to practice magic and a separation became distinct between the official rites of the priests and those practiced by the sorcerers.

Here began the distinction between "White Magic" and "Black Magic." The miracles worked by the divinities under official sanction were classed as "White Magic" and were always for good. The bewitchings and administering of potions for evil by the sorcerers were classed as "Black Magic."

As religion rose to a higher level it released itself somewhat from the belief in "White Magic," and "Black Magic" grew independently of religion. Strangely enough, however, in spite of enlightenment and a philosophy of religion which developed, magic beliefs in connection with religion maintained an unbelievably strong hold—so strong, in fact, that their influence was not diminished much all through the centuries to modern times. And "Black Magic" has gained such a tremendously strong hold on peoples' imaginations that, as I have pointed out, it still exerts its influence in the form of superstitions.

Origin of Necromancy

Among the ancients, ancestor worship was a major part of religion. You can readily understand, then, how this worship of the dead and the belief that their spirits manifested themselves to the living would bring Necromancy into being. Someone had to be able to conjure up these spirits and to understand them—and, of course, this person would be the one who had supernatural powers and had communion with the deities. Thus arose the class of magicians called necromancers, which I discussed with you in Lesson 3. These necromancers aided the people in pursuing their religion through their supposed magical powers of communication with the spirit world.

Greek Oracles

The religion of the ancient Greeks was founded largely on Necromancy. Their many shrines where the oracle-gods and the departed souls were consulted for prophecies, indicating how closely magic was bound up with their religion. The Oracle of Delphi, which was the shrine of the god Apollo, is the one especially famed in history.

And so we find that in every land, in every corner of the globe, Magic was inseparably bound up with the early religions. Today, too, in civilized countries as well as in primitive lands, these magical beliefs, though somewhat modified, are still a part of religion.

Thus we see how tremendously strong was the hold that Magic had—so strong a hold that thousands of years have failed to destroy it, and though its influence has diminished and it has been modified, Magic is still with us.

In your next lesson I will take up the subject of Magic and the Science of Medicine.

MAGIC DEVELOPS YOUR PERSONALITY

Personality plays an important part in Magic. It has a reciprocal relation to the Art—that is, to use a common phrase, it works both ways: Personality is developed by learning Magic and becoming a Magician, and success as a Magician depends a great deal on personality.

How Magic Develops Your Personality

Magic gives you confidence. That is a big factor in developing a strong personality -- confidence. First you must study and practice faithfully so that the presentation of your tricks may be excellent. Then you will gain confidence in your ability to present your tricks with skill and effectiveness. This confidence will be apparent to the audience and it will convey to them the impression that you have a strong, positive personality. And, indeed, this confidence will develop your personality and will enable you to make a strong impression in performing.

You know how confidence works in a social way. At a party or at a club gathering, it is always the fellow with confidence in himself who is the popular one. He is the man with "personality plus." Very often this man has developed his personality through some talent -- he may sing or play the piano, or he may be a good storyteller. Now, just think what an advantage you have over even this established favorite.

You are learning an Art which is more entertaining than any other and one which is different. If you were until now just an unnoticed member of the crowd, you can become the popular one who is invited to every party and is well known. And all because you will have a wonderful art with which to come before any crowd.

And this art gives you a distinctive personality that is always remembered.

The patter, which I give you with each trick, also helps to develop your personality. If you have been a little shy of speaking before a group, here is your opportunity to overcome any such weakness. You have something to say and you have something to do when you come before a group as a Magician. You have an opportunity to be funny, and when you see that you can make people laugh and that you can arouse their wonder and their admiration, your personality will respond and will become strong and positive.

Thus Magic brings you one of the essentials of success -- a forceful personality. You will find Magic an invaluable aid to you in developing personality in your social life, in your business or your profession, and if you plan to go on the stage the value to you of your personality in Magic will actually be measured in dollars and cents.

How Your Success as a Magician Depends on Your Personality

First impressions can make or break you. The first few moments that you are before your audience are the crucial moments. In a flash your audience decides whether they like you or not, and whether you are a Magician or not. It is vitally important that in those first few moments you sell yourself to your audience. You must get their good will right at the start.

This first impression depends on your personality and you must study the essentials which will gain for you the good will of your audience.

A person may have ability but if his personality is weak, he can never be really successful. The impression he makes on his audience is negative and he is either forgotten as soon as his performance is over or else he is remembered as a poor performer. So remember these things:

1 - Know your tricks perfectly.

2 - Be confident in your ability to present them.

3 - Give your patter in a strong, forceful manner. 4 - Try to maintain always a natural manner.

To sum it all up --

You must have a strong personality to be a success at Magic.

Magic helps you to develop the personality which success at Magic requires.

LESSON 5

In the last lesson you were initiated into paper tearing effects. Effects of this kind are very useful on any program. I hope that you have mastered the moves for I want you to feel perfectly familiar with them.

In this lesson we will continue with tissue paper effects.

1. HINDOO PAPER TEARING

This is another variation of the torn and restored paper effect with a different way of handling the thumb tip and of getting rid of the extra piece of paper.

EFFECT:

A strip of colored tissue paper about 30 inches long and 1 inch wide is carefully shown, then torn into a number of small pieces, which are placed in a saucer and burned. The performer shows hands empty, then reaches into the ashes and with the tip of his first finger and thumb of right hand takes a pinch of the ashes. A few magic words and the bits of ashes change to the strip of paper, which is unfolded and shown to be restored.

PARAPHERNALIA:

1--Two strips of colored tissue paper, preferably bright colored, about 30 inches long and 1 inch wide. 2--Thumb Tip.

3--A saucer or little brass dish.

4--Small box of matches.

SECRET AND PATTER:

To Prepare:

Fold or rather pleat the strip of paper down small and place in thumb tip. Push thumb tip, containing paper, into match box cover. This forces the box of matches out a little over half way. Tip should be completely hidden in cover so that a spectator looking directly down on box could not see it.

Have box prepared with thumb tip and paper on a table, end of box with tip away from audience. Have a strip of paper and a saucer or little brass dish near box.

Pick up strip of paper from table. Hold one end with left hand and other with right hand, letting audience see palms of hands. Show paper freely on both sides.

"You have no doubt, heard some very interesting stories about the Hindoo Yogis. For ages these Yogis have been known for their philosophies and occult teachings. I remember one Hindoo teacher who used to teach philosophy with some interesting material illustrations. He would, for instance, take a strip of paper such I have here and tear it into many small pieces, . . . "

Tear strip into a number of pieces.

"Which he would place in a small dish." Show saucer to be empty and unprepared.

"Would you, sir, kindly examine this little dish and hold it for me?" Give dish to spectator to hold.

"Now, let me just place these many torn pieces into the saucer. Are you quite certain that the paper has been torn and that the pieces are really in the little dish?

You are certain."

Pick up match-box from table with right hand and transfer it to left hand in position shown in illustration.

Take out a match with right hand, strike it on side of box, and light torn pieces of paper.

"How frail life is — a beautiful thing at one moment and ashes the next. There! The tissue pieces have turned to ashes."

PLACE LEFT THUMB INTO TIP. Close box of matches with right hand. This automatically forces tip out of cover. You now have Tip on thumb, end of it facing audience. Drop match-box on table with right hand.

"But here is where the Hindoo teacher taught his philosophy of life. He would show his left hand containing nothing."

Show left hand for a second, thumb tip towards audience. Then drop hand a bit, concealing tip behind fingers.

"And with his empty right hand he would take up a pinch of ashes."

Show right hand so that all are convinced that it contains nothing. Then with first finger and thumb reach into saucer and take a pinch of ashes.

"See -- one needs but a pinch of ashes."

As you show ashes, hold up both hands for a second with thumbs pointing toward audience. Look at ashes and as you do so, close left fist around thumb tip. Finger palm tip and allow thumb to come out.

"Then one rubs them a moment with both hands."

Bring hands together, and with right index finger take strip of paper from thumb tip.

"And under the warmth of human touch we find the ashes materializing into the paper strip again." Unfold paper. Then hold it at each end and show both sides.

"According to the Hindoo philosopher, nothing can be destroyed. Every deed we do is registered in the great scheme of things. Life is constantly changing. Form transfers itself into other forms, but matter is never destroyed. The tissue that was turned to ashes has changed back to tissue again, proving that the Hindoo was right and that in the final analysis nothing can be destroyed."

Let paper fall on table. As paper falls, bring thumb into tip again. Show both hands for a moment and drop them again.

Get rid of tip by placing box of matches or strip of paper Into pocket or by reaching into pocket for some article for next effect.

NOTE:

You will find that in some experiments the match-box is valuable for getting rid of the thumb tip as well as for producing it.

Tip is on left thumb. Pick up match-box with right hand, transfer to left, push drawer out with left thumb. Tip goes into box and forces box open. Leave tip in cover and remove thumb. Take match from box and use it for some purpose -- to light a candle or cigarette. Tip fits snugly into matchbox cover so that box can be placed on table, keeping end with tip away from audience.

2. ANOTHER METHOD OF PERFORMING HINDOO PAPER TEARING

EFFECT:

This effect looks the same to the audience, but the method of handling thumb tip is somewhat different.

Have box of matches, strip of paper and saucer on table. Thumb tip with duplicate strip of paper is on left thumb.

Show hands empty. Pick up strip of paper with right hand. Finger palm tip in left hand. Show strip freely and tear it into small pieces. Hold torn pieces with first finger and thumb of left hand. Pick up dish with right hand and give it to spectator. Transfer torn pieces to right hand and place them in saucer.

Pick up match-box. Light paper or have spectator light it. Pick up pinch of ashes with right hand. Manipulate tip back onto left thumb, showing palms of hands empty.

Finger palm tip again, bring hands together, pretending to rub ashes. Take strip from tip with first finger of right hand and show paper freely. Roll paper up into ball and place in pocket, leaving tip with it.

You can begin to see now why it is so necessary to learn a principle and the way of handling a piece of apparatus well.

I explained to you in Lesson 2 the Thumb Tip Manipulation Principle and gave you four effects with the tip. Today I gave you another effect using the tip, and as we go along, you will find more and more use for it.

Keep your tip in good condition. If it shines too much, a good temporary duller is to rub it with a soft pencil eraser. It will have to be painted with dull drying Japan paint occasionally, according to directions given you in Lesson 2. Be careful to paint the tip as near your skin color as possible. You will have to experiment to get the right shade for your skin. It is well worth the trouble for it will make your thumb tip as nearly indetectable as possible.

3. MILADY'S PARISIENNE HAT

In this effect you have a chance to show your ability as a milliner. It is another version of the Torn and Restored Paper Effect and is an excellent trick for an audience which has women in it.

Every magician must know how to construct his own paraphernalia. He must know how to do this for several reasons: First, the paraphernalia he needs may not be available at the time he needs it and if he knows how to make his own, he need not depend on anyone else; Second, because of the secrecy of methods, he is able to keep his secret to himself by making his own paraphernalia; and Third, making his own paraphernalia leads to originality and inventiveness on the part of the magician. And I hope some day to see you making original effects of your own.

With this effect I teach you a little constructive work to start you in the fascinating work of making your own paraphernalia.

EFFECT:

Magician shows two sheets of tissue paper on both sides. He places them together and tears them into a number of pieces. Then he folds the pieces into a small wad. The paper is opened and is found to have been transformed into a French tissue paper hat, which Magician places on his head or on the head of a lady in the audience.

SECRET AND PATTER:

To Prepare:

Here I will teach you how to construct the paper hat.

Materials you will need are:

Tube of glue or good paste, pair of scissors, piece of black tissue paper, 15 inches square, two strips of green tissue, each 2 3/4 inches wide and 14 inches long.

Take the square of black tissue paper. Fold paper over in half. Fold both sides over and paste down. Fold over top corners and paste down.

Take strip of green tissue. Paste strip on black tissue as shown below. Paste other strip on opposite side. Turn hat over. Fold both strips over to this side and paste down. When dry, hat is ready to be folded for trick.

Fold in half. Fold green flap up at bottom. Fold top down. Fold over right to left side Turn paper over. You now have the hat folded into a square about 3-5/8 inches each way.

We proceed now with the rest of the preparation for the trick:

Take a piece of black tissue paper, 15 inches square, and a piece of black tissue 6-1/2 inches square.

Put some paste on the inside two edges of the small square -- AD and CD. Then place small square carefully on large square and press down pasted edges. This makes a large square of tissue with a pocket. The sides AB and BC are open.

When all pasted parts have dried, fold square of paper into small squares. This is done to keep the edges of the pocket from being noticeable.

Take the hat, which you have folded into a small square, and put a spot of paste, about an inch, at point indicated in illustration.

Open up pocket on large square of tissue and slip in folded hat as shown in illustration. Press down on pocket and hold until paste holds well. Set aside until dry.

Hold paper up by outer corner of pocket. Be careful to hold outer edges of pocket and those of large square together. You can show both sides of square quickly. It looks just like an unprepared black paper napkin.

Take a sheet of green tissue, same color as band used in making hat. Cut a sheet 15 inches square (same size as black sheet).

Place green and black sheets together and fold green in squares as you did with black sheet.

Put sheets on table, green on top. You are now ready to perform.

Pick up the two sheets of paper. Hold them up with the green sheet in front of the black one. Hold them at the corner in which the hat is concealed.

"Have you ever heard of French tissue paper millinery? It seems to be very popular in Paris. I was visiting some friends there and I was surprised at the number of new hats my hostess wore — green ones, pink ones, black, blue, lavender ones. 'Your hat bill must be very high,' I said to her one day. 'What makes you think that?' she asked. 'Well,' I replied, 'I am judging from the number of new hats you have.' She laughed and said it was evident that I did not understand the Parisienne art of tissue paper millinery. 'You see,' she said, 'We ladies make our own hats and thus make use of our artistic sense. For instance, here are two sheets of tissue paper — black and green ....'"

Show papers -- first the green sheet, then the black one for a second, then back to the green one.

Now separate papers and hold black in right hand by corner with pocket and green in left hand. Turn hands quickly and show papers both sides. Then bring papers together again with green sheet in front.

The audience think they have seen just two plain sheets of paper. You must try to keep the edges of the pocket together. However, with the quick turns of the paper, the pocket will not be noticeable to the audience anyway.

"Now watch me tear the papers into a number of pieces. Instead of cutting patterns with scissors, I tear them."

Hold Pocket Corner with left hand. Tear through green and black paper tearing about half an inch off pocket. Then tear one more strip through both sheets.

Now turn paper sideways. Tear through, tearing about half an inch off pocket, then tear once again. In tearing, each time place the torn pieces in front of each other. You now have a bunch of square pieces of tissue, all in front of the back pocket concealing hat.

These pieces can be shown on both sides as rear piece of black pocket prevents audience from seeing folded hat.

Then place rear black piece in front. The folded hat is now behind the torn pieces, just as the ball of paper was in the Chinese Paper Trick in Lesson 4.

Fold and crumple torn pieces into a loose ball or flower effect.

"Then I fold them over and give them a tuck here and there and open some of the pieces up." Begin opening up the folded hat.

"Until I find a beautiful Parisienne hat."

Open hat out in full and place on your head or on the head of a lady assistant or lady spectator.

You will see that the ball of torn pieces forms the pompom or flower on front side of hat.

"And Hubby certainly could never kick about the expense of such a millinery bill."

4. THE PATRIOTIC PAPER BALLS

A very pretty experiment that is easy to perform. It gives you one or two moves in sleight of hand.

EFFECT:

Three bowls are shown empty and placed in a row about six inches apart on the table. In front of each bowl Magician places three tissue paper balls—red balls in front of one bowl, white balls in front of second bowl, and blue balls in front of third bowl. He drops the three red balls one by one into the first bowl; then the white balls in the same manner into the middle bowl; and finally the blue balls into the third bowl. Magician calls attention to the patriotic nature of the colors—this being the reason that the balls cannot be kept apart. He turns the bowls over and instead of three balls of the same color in each bowl, we see red, white, and blue balls in each bowl.

PARAPHERNALIA:

1--Three bowls, preferably deep like soup bowls.

2--Three red tissue paper balls. Three white tissue paper balls. Three blue tissue paper balls.

Balls should be made in this way:

For each ball take a piece of tissue six or seven inches square.

Fold all four corners of the paper in a little beyond center of sheet. Then keep on folding in corners until you have a ball tightly pressed together so that it will not spring open very much. Ball should be about 3/4 inch in diameter.

SECRET AND PATTER:

TO PREPARE: Have the three bowls stacked inside of each other. In the top one have the nine balls of paper. These bowls may be all ready on the table or may be brought in and placed there for the experiment. Separate the bowls and throw balls on table. Show bowls empty, one at a time, and place them in a row on the table, about six inches apart. In front of the bowl on the left side (1) place the three blue balls in a row about 2 1/2 inches apart. In front of the middle bowl (2) place the three white balls. In front of the bowl on right side (3) place the red balls. Study illustration carefully for arrangement of bowls and paper.

"When you have looked at our American flag, I wonder whether you have ever thought why the colors, red, white and blue, were used instead of green, black and pink, or purple orange and lavender. It is because of

the patriotic nature of red, white and blue and the inseparable bond of harmony between them. I can perhaps explain it better with a few objects which I have here—three bowls and three red, three white and three blue tissue paper balls. Bowl 1 is empty and I will set it here. Bowl 2 is empty and I will place it nearby. Bowl 3 is also empty and I place it here."

Show the bowls one at a time as you say this, and place them in their positions.

"In front of each bowl I shall place three balls. In front of Bowl 3—these three red balls." Place three red balls in a row in front of Bowl 3. "In front of Bowl 2—-three white balls."

Place three white balls in row in front of Bowl 2. "In front of Bowl 1—three blue ones."

Place three blue balls in front of Bowl 1.

"I will place each color, one at a time, in their respective bowls. In Bowl 3, this red ball."

Show right hand empty and pick up red ball between first and second fingers and thumb. Pretend to put it into Bowl 3. Audience thinks you do put it in, but this is what you really do—move ball down from first and second finger with thumb to middle of third finger and curve third and fourth fingers inward to FINGER PALM the ball. You will find the movement easy with a little practice. Back of hand is toward audience throughout most of experiment.

Then pick up white ball and hold with thumb and index finger of right hand, while red ball is still finger palmed.

"In Bowl 2, this white ball."

You pretend to put white ball into Bowl 2, but this is what you really do. You drop RED ball into Bowl 2. Then you bring White ball down with the thumb of right hand from first and second finger tips to middle of third finger and finger palm the White ball as you did the Red one originally. You now have your first and second fingers and thumb free to pick up another ball.

Through most of the experiment these moves are the same:

PICK UP BALL

FINGER PALM

DROP

"In Bowl 1, a blue one."

Pick up blue ball and drop white.

"I'll place this red ball in with the other red one..." Pick up red ball, drop blue.

"This blue ball with the other blue one..." Pick up blue, drop red.

You will note that I jumped the white ball, but it was done with a purpose.

"This white ball with the other white one..." Pick up white ball and drop blue.

"Let the remaining red ball keep company with the other two red ones..."

Pick up red ball and DROP BOTH RED AND WHITE BALLS into Bowl 3.

"The white ball with his other white friends..."

NOTE THIS MOVE. As you pick up white ball, turn right hand over casually so that audience can see palm of hand. Instead of placing hand into bowl as you did with other balls, drop this white ball from a height about three inches above Bowl 2, so that audience sees it go in.

WHY DO WE DO THIS? It is such moves which make Magic. When we get a chance to accent a point to convey a certain impression to the audience, we stress that point.

We wanted the audience to believe that we had placed the balls one by one in their respective bowls so that three of each color were in each bowl, respectively. We did not do this with seven of the balls, but now with the last two-- a white one and a blue one--we have a chance to show that we are actually dropping the white ball into Bowl 2 and the blue ball into Bowl 1. The fact that we show the audience that we actually drop these balls into their respective bowls, accents the fact that the others were fairly done. "And last, but not least, the blue one we shall place with the Blue Brothers." Put blue one in with a toss, which makes a good finish.

"Let us summarize the situation. What have we? In Bowl 3, three red balls; in Bowl 2, three white balls, and in Bowl 1, three blue balls. But if you were standing where I am, you would see something peculiar

happening. They are moving about in a mysterious manner. Well-—look at that little red fellow go." You are looking into bowls and pretending to see this.

"Now I will show you what I mean by patriotic colors and why we use red, white and blue in the flag. I turn over Bowl 3. Look! A red, a white and a blue ball. In Bowl 2--a red, a white and a blue ball. In Bowl 1-—a red, a white and a blue ball.

As you say this, turn over each bowl, one at a time, and show the three balls. Pour them out into right hand, then let them drop on table.

"Patriotic? I'll say they're patriotic. You can't keep them apart."

In order to impress on your mind the ROUTINE of dropping the balls, study this chart and keep diagram well in mind.

SUGGESTIONS:

For performing on the stage or in club work, I vary the presentation of the experiment. Instead of placing the balls in a row in front of the bowls, I place the balls of each color in a saucer so that they can be seen. They cannot be seen when lying in a row flat on table.

If you will use a red bowl, a white bowl, and a blue bowl and in front of each have a similar colored saucer, and then place the balls of like color on each saucer, you will have a very effective means of presentation.

Be careful that during progress of trick no one can see into bowls to discover colors of balls in each.

I find it very handy to use opaque glasses, such as are used in bathrooms. They are deep and hard to see into. They are exceptionally satisfactory for close work. Sometimes I take ordinary tumblers and cover them with paper-- one red, one white, and the third blue.

To vary the effect, instead of using paper balls, use three onions, three small potatoes, and three radishes. Invent patter to fit the combination.

LESSON 6

In your next lesson I am going to give you some very interesting effects with a piece of string or cord.

1--Kellar's famous cut and restored cord trick, with which this famous illusionist baffled many magicians. A piece of wrapping cord is cut in half by a spectator and the two pieces of string held apart. Two ends of the cord are tied together and lo! the knot disappears and the string is in one piece again.

2--Another version of the Kellar Cord Effect, introducing you to Comedy Magic. Excellent comedy patter.

3--An impromptu cut and restored cord effect. This is an astonishing effect done without any preparation. A piece of string or cord is cut by spectator and then restored by magician.

TARBELL SYSTEM, INCORPORATED, Chicago.