entert.pdf

ENTERTAINING

By MAGIC

A P R A C T I C A L T A L K

===========BY===========

H E R M A N N P A L L M E

INTRODUCTION TO THE ELECTRONIC EDITION 100 YEARS AGO, the book you are reading, an

introduction to and a celebration of the world of magic,

was first published. Its author was Hermann Pallme, assistant to and nephew of Alexander Hermann, one of the fathers of modern-day magic.

Mr. Pallme wrote about magic and published a magazine on the subject (a more-or-less faithful facsimile of which you will find included at the end of this PDF). In his book, Mr. Pallme captured the joy and excitement of magic in a way that is sure to rekindle your own enthusiasm for the subject.

Mr. Pallme’s magazine, The Crest Magician, was written with the same optimism and enthusiasm found in his book. (On the very last page of the magazine, you will find an advertisement for this very book, Entertaining by Magic.)

Hermann Pallme ran a magic shop for many years and even produced beginner’s magic sets. In 1920 he sold his magic com-pany to a renowned magician: the Master Mentalist himself... the Great Dunninger!

I hope you enjoy this electronic edition of the book that your great or perhaps great-great grandfather may have read as a boy. I think you will find that most of the things Hermann Pallme wrote, including how to get started as a paid magician, are just as valid today as when penned 100 years ago.

CONTENTS.

______

THE LITERATURE OF MAGIC EDUCATIONAL VALUE OF MAGIC MAGIC AS A PROFESSION

THE STUDY AND THE PRACTICE OF MAGIC CONCERNING DEPORTMENT

THE DRAMATIC ELEMENT THE MONOLOGUE

MUSIC

COSTUME AND CHARACTER AS A SOCIAL ADVANTAGE MAGIC FOR PROFIT

PREFACE.

_________

WHEN the publishers first contemplated the publication of a volume on Entertaining by Magic, a threefold purpose was in view. First, to present in a concise and comprehen-sive form a book that would treat upon magic from a dif-ferent view point than that of the stereotyped volumes now published, that deal only with a mechanical, or work-ing side of tricks and magic, and either do not touch, or if so, very lightly, on its ethical side; Second, to show its possibilities as an educational value and its social and business advantages; Thirdly, to find a person who was not only proficient as a magician, but to present the above mentioned facts in their clearest, most entertaining, con-structive, and comprehensive form. A gentleman who was at once an artist, who possessed the enthusiasm of his art, and could instill that enthusiasm into those who might read what he would write, and one whose work would be accepted as an authority.

se-curing the services of Mr. Pallme to "father" this book, and that not only has he measured up to the standard we had set, but in his own masterful way has exceeded our expec-tations; and it is with pardonable pride that we present this little volume for your entertainment and instruction. Mr. Herman Pallme is the nephew of Alexandé Hermann ("Hermann the Great") and Mme. Adelaide Hermann, both of whom are too well known to the world of magic to need exposition here; hence to Mr. Pallme rightfully be-longs the title "The Heir to Magic."

Hermann Pallme.

MR. PALLME was born in Kensington, on the outskirts of London, England, July 3rd, 1869.

His ability as a magician seems to have been inherent, as at an early age skill and dexterity astonished his school-mates, and amazed his elders. He also evidenced an early liking for the stage and successfully played child parts in the late Augustus Harris’ Drury Lane pantomimes, but while yet attending school.

In 1885 he left England to tour Europe with his uncle, the late Alexandé Hermann, making his first public appear-ance in magic at the age of 16, as an assistant to "Hermannn the great." He appeared before King Edward and Queen Alexandra (who were then Prince and Princess of Wales) during their Majesties' visit to the Eden Theater, Paris, France, where Alexandé Hermann was performing. After visiting most of the Continental cities and appearing with his uncle before many other celebrities, he returned

to London the following year, entering the office of a leading barrister-at-law in the Temple Bar.

While the law had its educational value, yet it did not pos-sess the charm of the footlights, and upon the artists re-quest of his uncle in 1889 to join him, he forsook law for magic, and came to the United States, where he toured the country from Maine to California, and from Canada to Mexico for several seasons.

During this time he served his illustrious uncle in almost every capacity, in "front of the house," and behind the stage, overseen the erection of the paraphernalia of the different illusions, and personally preparing the program of the tricks it made Alexandé Hermann famous; thus gaining a wonderful amount of valuable experience and data.

A severe illness contracted in Vancouver, B.C., caused him to abandon the stage and magic and upon his recovery he entered commercial life, became a naturalized citizen of the United States and a resident of New York.

He is a student and philosopher, and although successful in Mercantile life he has never given up his first love, and spends all his leisure time in studying and developing magic and mechanics.

Mr. Pallme fills engagements in the lyceum field, and is much sought after in the social world. He has a clean, clear-cut personality, that is at once pleasing and master-ful, and his perfect mastery of the art of magic is a source of keenest pleasure to those fortunate enough to witness

his exhibitions.

Mr. Paul me is an indefatigable worker, and he is now working out some of the undeveloped ideas of the late Al-exandé Hermann, and the results of his experiments and achievements are eagerly awaited for by the world of magic.

FOREWORD.

T

The halo of mystery which envelops the art may account for this fact. The vast majority are not yet certain whether it's wonders are wholly within the realm of the natural, or lap over a bit into the sphere of the supernatural. It is this very doubt which lends to magic some of its charm.

Of late, there seems to be an unusual interest shown in this art. No program is complete without a magical act. Par-lor entertainments, entirely of ledgerdemain, are numer-ous. Volumes are being written purporting to reveal the secrets of the magician, and the youth of our day, with its nimble mind and inventive bent, is turning its attention to this exhaustless field of pastime and profit.

In view of this fact, I am led to write this little book as a guide and an inspiration towards the proper study of this form of entertaining. A wide experience, covering many years in most countries, is here boiled down within the compass of a few pages.

Magic is closely akin to a science--the science of the occult. As is the case with any science, its possibilities for study and experiment are limitless. It is at once simple and pro-found. It fascinates the child yet entertains the sage. Any one so desiring may readily acquire the art. Subse-quent practice develops the adept. The mere eating of food does not make one strong. It is the assimilation of that food that gives strength. The more you exercise the stronger you become.

The mere reading of these pages will not make you a ma-gician. The proper digestion and assimilation of the mter herein contained, put into practice, is the secret of at-tainment.

This book is not a treatise,--it is just a talk. It tells you all you need to know, though it does dwell a bit on the ethi-cal side of magic. But there is a reason for this: A well-built house must have a solid foundation.

With a hope that it will instill a love of, and be a means of giving an insight into the science of modern magic, and afford in the reading as much pleasure as it has given the author to write it, this volume is dedicated to all inter-ested in the science.

Yours for success,

CHAPTER I.

HISTORY OF MAGIC.

MAGIC is among the earliest growths of human thought. It is and ever has been present in some form or other, among all the races of mankind.

The word is from the Persian, Magi, and refers to the caste of priests of ancient time whose advancement in the su-pernatural craft has astonished and influenced the Western world.

In olden times magic was synonymous largely with nec-romancy and sorcery. To-day it means the performance of tricks and exhibiting of illusions by the aid of apparatus or through mere dexterity. In a word magic signifies those practices or arts which seem to be beyond the ordinary ac-tions of cause and effect.

The first mention of natural magic as a performance is perhaps in the Book of Exodus--fifteen hundred years be-fore the Christian era. But at a far earlier date than this the Black Art was in vogue as a religious rite. Ledgerdemain was very common among the Greeks and Romans. It will

be seen therefore, that there were of old two branches of magic. The one was the imposture of necromancy. The other was the amusing mystery of sleight-of-hand. The first still assists, but only among the most barbarous peo-ple. The second constitutes a great modern school of con-juring.

There is every reason to believe that the agents were equally if not more proficient than their present-day suc-cessors and imitators. Modern magic calls to its aid all the appliances of modern science. It's confederates are elec-tricity, magnetism, optics and mechanics. The ancients an-ticipated us in doing the same thing. The results of re-search prove that they made electricity their errand boy, and harnessed steam and mechanics as a draught horse, many centuries before Franklin dreamed of his kite or Watts saw the tea-kettle boil over.

I repeat, then, that the ancients were very skillful in, and possessed a great knowledge of the art of legerdemain. Magic survived the barbarism and ignorance of the Mid-dle ages. It has come down to us stripped of all religious significance, free from suggestions of witchcraft, and stands forth as an art pure and simple.

Ignorant superstition gives way before the search-light of progress, and to-day some of the master minds of our times have given their life to a study and development of magic as a science.

The earliest professors of the modern school were Italian. The most famous exponent was French. Later on magic

obtain a foothold in England, where it has since had a large following. Subsequently the art crossed the sea, and America is now the Mecca and in many cases the home of some of the greatest of magicians, who have helped to lift magic to the high level of legitimate entertainment it now occupies.

CHAPTER II.

WHEN we consider that the conjurer's art has come down to us from the remotest antiquity, it is, at first thought, a source of surprise, that there should be such compara-tively little literature upon so exhaustless a subject.

The reason for this fact is apparent. For many centuries and until quite recently, the secrets of magic had been con-fined to a limited few. Both secrets being their stock in trade, naturally they were not disposed to give them away. The halo of mystery with which the art was ever surrounded served to lend fascination to both performers and performances.

With the advancement of modern science, however, and the increasing enlightenment of the masses, magic has lost much of its former element of secrecy and has resolved it-self to a matter of skill, dexterity, and ingenuity. While losing none of its erstwhile charm, it has simply dropped into its proper category as an art pure and simple.

It is in view of this state of affairs and that the literature of magic has been steadily improving,--though there is still much room for further improvement.

The majority of volumes heretofore published, give the mechanical side of magic, but very little or no attention to the ethical side, its advantages and possibilities as an edu-cational force, as an amusement, as a means of livelihood, and as a proper appreciation of and the correct study of this fascinating subject.

The purpose of this book is simply to point the correct way towards a study of this entertaining art, and, to show the possibility of any one who really desires to do so, to become a magician. It does not pretend to explain how tricks are performed, but to lay down certain fundamental principles which underlie success in the practice of the art. But to return to the subject. So rapidly has the art of Magic improved since the days of Robert-Houdin, that there is now a literature comprising thousands of works. In addi-tion to this there are countless pamphlets and magazine articles.

The languages in which these volumes are printed repre-sent almost every known tongue. The majority of the books are not worth reading, but a few of them are classics and would more than repay thorough perusal and study. With the more prominent magicians it has become a fad to collect works on magic--ancient and modern. Some of these collections are magnificent libraries in themselves. Beyond comparison the finest is that of Dr. Saram Ellison

of New York, whose library of magic numbers over 2000 volumes. The some of these works are very rare, bearing date three centuries back.

There are some excellent works on magic, a number of them of positive merit, which can be purchased at a tri-fling cost, and which the beginner will find of most sub-stantial aid.

CHAPTER III.

EDUCATIONAL VALUE OF MAGIC.

FOR the all round development of the youth, of both sexes, there is nothing better than the study and practice of magic.

First, their are the mental advantages.

Being scientific, it induces a study of the sciences and on their most interesting side--the practical. For magic, and it's fullest sense, is closely related to chemistry, to me-chanics and to magnetism.

It stimulates the inventive faculties. Stock tricks call for, or suggest more convenient apparatus. Original tricks ne-cessittate new paraphernalia. And "necessity is the mother of invention. "

It requires rapidity of thought. The magician must be, of all things quicker with it. He must rise to every occasion. He must be equal to every emergency.

It cultivates that rare faculty of thinking of two or more things of the same time. For example hands are busy with the trick; the eyes are upon and must hold the audience; the thoughts dwell upon the monolog and the speaking of the right word at the psychological moment.

Again, of the study of magic has its physical advantages. It develops crease. Indeed, this is one of the essential qualities of a successful performer. Every movement must be natural. It must harmonize with the nature of the par-ticular trick. It is important that ones grace and ease of ac-tion be so marked as to attract the attenac-tion of the audi-ence. This serves to divert a too close watch upon his ma-nipulations.

Another physical advantage derived is agility. The im-portance of this feature is indicated in the very name--Sleight-of-hand. Upon his ability to move quickly rests a part of the performer's success.

The art of magic likewise cultivates strength. Many mus-cles otherwise rarely used are brought into play. In the simpler experiments the hands and arms are marvelously developed. In the more elaborate performance as the en-tire body is trained to instant and trying response.

Last, but not least, comes self possession--or poise--as an advantage. The conjurer is the thorough master of the situation, including himself and his audience. He inspires one with a feeling that he is completely at home. He knows what to do, and just when and how to do it.

study of magic. They are advantages, moreover, useful in every walk of life,--professional and mercantile. On the mental side, it is equal to a liberal education. On the physical side, it develops grace and approaches an athletic training.

CHAPTER IV.

NOT only is there no better divertisment for adult, or child than the study and practice of magic, but there is scarcely a more profitable field for a profession.

In the former case, it takes the mind off the cares and wor-ries of daily routine, serving as a splendid relaxation for oneself and an unlimited source of entertainment for one's friends.

In the latter case, it constitutes a respectable calling which yields fine returns, income steadily increasing with abil-ity.

It is an axiom that nothing could be accomplished without study or practice. Yet, it is quite within the bounds of truth to say that there is nothing which repays one more for the time spent in its study than does magic.

To attain that degree of perfection which characterizes a Hermann or a Kellar naturally requires continual and life

long study and application.

Yet, to acquire sufficient proficiency to entertain success-fully and earn a good living means less time and labor than the study of art or music, and gives quicker results and better pay.

Let me enumerate a few points which show the value of magic as a profession.

It is dignified. The audiences drawn to this form of enter-tainment always are refined, cultured and appreciative. An atmosphere of gentility thus surrounds both performer and auditors. The conjurer has constant opportunity to display his scholarship by frequent mention of historical and scientific fact, allusion to travel, acquaintances with persons of note, familiarity with languages, and so on, ad infinitum. All this may be done most naturally in the "patter" which is a monolog running in conjunction with the experiments.

Again, magic, as a profession offers an unlimited field. By that I mean two things. First, unlimited as to its possibili-ties; for the study of mechanics, chemistry, electricity and optics, will suggest an endless variety of new tricks and experiments. These can be patented, and thus become your exclusive property; nor can they be used by anyone else unless on payment of a royalty to you,--an additional source of income.

My second meaning in speaking of its offering an unlim-ited field is that it is not overrun as are most professions, there being but a few other performers now in the field,

and room for many more. The trite platitude, "There is al-ways room at the top" applies particularly to magic.

Again, magic as a profession presents an opportunity for wide travel. I might also subdivide this advantage.

First, because ones engagements in the course of time cover a continent; and in the event of marked success take in the civilized world.

Second, which is akin to the first, the splendid income of a good magician--before referred to--makes extensive travel possible.

And third, the advancement and development in the art necessitates travel. For example, some of the most famous experiments shown have their origin in the far East--India or China. The more successful performer finds it neces-sary to go there, to get the local color, and in some cases to buy the secrets of a trick itself. One of the most marvelous tricks seen on the stage in our day--growing a full-size tree from a seed--was purchased from an East Indian ma-gician by the conjurer who introduced it to America, for a sum equal to one dollar.

CHAPTER V.

THE STUDY AND THE PRACTICE OF MAGIC.

ONE of the most famous writers--Pope, has said "The proper study of mankind is man. " so I begin this chapter by saying--the proper study of magic is "doing tricks. " I am tempted to quote again by way of illustration. At the close of the Civil War the question arose as to the resump-tion of specie pavement, and how to resume. One of the great statesmen said: "The Way to resume specie payment is to resume." And the puzzling question was decided by a simple epigram.

Now, the way to become a conjurer is to conjure. In other words practice is the first and only essential in the early stages of study. Of course, this matter of study and prac-tice embodies several points; I shall devote this chapter to a careful exploration of these points.

1. First of all should be placed persistence,--that old, stereotyped direction for success in any endeavor. Of course there are variations of natural talent. Not everyone

can become the equal or peer of some of our modern ma-gicians, but everyone can try. There is no one who pos-sesses fingers, thumbs and average intelligence, but can become--with persistence and practice--a more than pass-able conjurer.

Do not understand me to say that a long course of study and practice is necessary before you can surprise and en-tertain your friends. Quite the contrary. There are many tricks, some requiring very little skill, others a mere knowledge of the secret, which may be performed with startling effect.

2. The student should next make certain that in getting up a trick he has studied carefully the instructions and fully grasps their meeting. He must never try to do something that he does not fully understand.

Having assured himself on this point, he should next as-certain whether the trick involves any principles of skill of operation in which he is not thoroughly versed and profi-cient. If it does, before addressing another step, remove that deficiency. If it does not, then proceed to the practice of that trick until it is thoroughly mastered in all its de-tails.

Begin by practicing very slowly. But when you're trick is perfected, do not cultivate quick, jerky movements. Study to perform your tricks in an easy, natural, graceful man-ner.

Avoid falling into that erroneous idea that "The quickness of the hand deceives the eye." Nothing is further from the

truth. It is absolutely impossible to remove or replace an object without being perceived, as long as the eyes of the audience are on the performer. The secret is to direct their eyes away from your hands--to divert their attention at the right moment, and for just a moment.

Quoting Robert-Houdin, who was acknowledged as the greatest magician of our age: "The calmer the moments are the more easy it is to produce an illusion on the specta-tors."

3. having advanced thus far, the real study of the trick is just beginning, though the novice will think that he is through. Far from it. He has only acquired one phase or element of the illusion.

The next phase in importance is the "patter" or talk, de-signed not only to divert attention, but to top off the effect of a trick; and last, but not least, the deportment, which re-lates to your personal action and the arrangement of your stage.

Each of these elements is of immense importance, and I will devote an entire chapter to each, though it will be necessary to refer to them occasionally in the course of the present chapter.

4. Assuming, now, that you have perfected the mechanical side of your trick and can perform it correctly, turn your attention and direct your efforts to the other side above referred to.

First, stand before a full-length mirror and practice until you have become as familiar with these movements as you are with the alphabet. So familiar, in fact, that after leaving the mirror you can see these movements in "the mind's eye. "

While these movements, as intimated before, are to ap-pear natural, in reality they should be strictly mechanical,--every step, every gesture, every manipulation. They ought not to be deviated from as much as a hair's breadth in each performance of the same trick. The reason for and importance of this injunction will become obvious now that we take up the next point--the monolog.

5. The verbal accompaniment is really an absolute neces-sity, very few magicians performing without it. They should in every case be committed to memory and timed like clock-work to fit every movement,--or the "deportment." "Patter" and "deportment" should dove-tail together with mathematical precision.

In order, therefore, to become letter-perfect in the "patter," the same method should be followed as with deportment, viz.: practice before the mirror. That is, you study before-hand not only what to do, but what to say. This applies to the simplest trick.

6. Now having given study and practice to these elements which constitute the successful and effective presentation of a trick,--the mechanical side, the deportment, patter and the dramatic effect, this chapter may continue with two or three additional directions.

7. When first you begin to prepare a program, be sure (a) that you can attain an equal degree of proficiency in each number; (b) that it is arranged in logical and dramatic se-quence, and then do not change it. Once you are accus-tomed to a certain program, it is most advisable to adopt an entirely new one all at one time.

Of course it is advisable to keep your act up-to-date and this should be done by occasionally adding new and stronger tricks, abandoning those of less merit or interest. Professional performers follow this rule which accounts largely for their skill.

Besides following this mode of procedure will save you endless worry and work.

My reference to logical and dramatic sequence means this. Let each trick sort of introduce and lead up to the next, each being a little better, and a little more intricate than the preceeding. Invariably reserve the best for last; an an-ticlimax is as bad in magic as in oratory or drama. An ac-ceptable concluding trick or illusion, is one introducing flowers, animals, or the national flag.

8. The novice is often tempted to crowd to many tricks on his program. To perform a trick well--that is, in accor-dance with the four elements explained above--requires a certain fixed time, which of course you can ascertain by experiment. First settle upon the time to be given to your act, then prepare and study your program accordingly. In this chapter I made a grouping of the essential points in

the study of magic not to be found between the two covers of any other book published.

Other volumes merely explain how tricks are performed--the mechanical side. Naturally you will want to know how they are performed. First we must crawl before we can walk and this is true in magic as it is in everything else. It is best to first inquire into what book you should read and what tricks you should purchase to enable you to master the first principles.

A good way to do so is place your aims and desires before a reputable firm who deals in these goods, and to follow their advice when you have ascertained their reliability. The advice they are able to give is invaluable as it has been gained through experience.

Let it be remembered that in the vast majority of tricks, while assistance may be needed, confederacy is rarely re-sorted to, save by the veriest tyro.

The motto of a famous magician is worth quoting here: "To succeed as a conjurer, three things are essential--first, Dexterity, second, Dexterity, third, and Dexterity. "

This is literally true, not a mere play on words, for a three-fold dexterity is required--adroitness of hand, requisite command of eye, and a quickness of tongue.

Let the ambitious student feel convinced that if he will heed the directions herein laid down, he will in a short time be able not only to amuse and astonish his friends off-hand with vanishing coins and manipulating cards, but

in a more pretentious gathering, produce live hens from an egg omelet; cannonballs from a hat; decapitate a per-son; or vanish a full grown woman.

CHAPTER VI

WE are now at the point where you supposedly have the mechanical side of your Trick perfected; where you are thoroughly familiar with every movement and gesture; and where you have at your tongue every word of the "Patter," or Talk.

This brings us, then, to the matter of Deportment, which means the art of properly presenting the trick before an audience. Not a few professional magicians and most amateurs are deficient in this most important phase of their work.

In order to make myself perfectly clear, I think it best to expound this question of deportment in a series of sec-tions. The order in which these are given is not necessarily the order of their importance.

1. First, as regards your relation to your audience. This re-fers particularly to distance; but I am tempted to say a word with regard to manner.

Keep your distance and let them do the same; do not make the error of getting too familiar with your spectators. You know "Familiarity breeds contempt," but worse, it opens up means to worry or perhaps detect you in your work. Keep your distance also as regards space. This should be as wide as possible, as many "substitutions" etc., are effected as you pass from the audience to your table. It is apparent, therefore, that the longer the distance the more time you have for necessary manipulations.

It may be difficult in a parlor to get the necessary distance to perform certain tricks, but aim to get as far from your audience as the room will permit; but there are many tricks, called "close work," that can be done right in the midst of your audience.

2. A few apt, bright sentences addressed to your audience as an introductory to your performances are not only nec-essary as a matter of courtesy, but will serve to put you and them in sympathy, on good terms as it were, or as the French say "en rapport."

Something like this will answer the purpose: "Ladies and gentlemen: in order to show my appreciation of the honor you do me by your presence here to-night, I shall try my very best to entertain you with some feats in ledgerde-main. But let it be understood at the beginning that I will not attempt to deceive you. If there is any deceit, it will be that you deceive yourselves or that your own eyes deceive you."

Let another simple paragraph conclude your entertain-ment. This will serve as a polite dismissal, and prevent that embarrassment which an audience sometimes feels when it is not sure the performer is through with his pro-gram. This needs to be no more than an acknowledgment of thanks, as, "With this illusion I shall close my entertain-ment; I thank you for your consideration and attention." 3. Always maintain an attitude of respectful dignity before your audience. This does not mean to assert your egotism to the point of being thought conceited, but by your manner--the mastery of your work and Yourself--com-mand respect.

If you are naturally humorous as well, it may assist your performance. But always perform in a natural manner. Do not try to be funny. It is only a step from the sublime to the ridiculous. Just one letter makes the difference be-tween pathos and bathos.

In this connection, avoid personalities. Of course, watch for and avail yourself of every chance for repartee, but never lose your temper, no matter what derogatory re-marks may be addressed to you. Just make a mental note of such persons as try to embarrass you, and when you can (always politely, though) turn it on them and make them look small, don't fail to do so.

4. In case of an accident or hitch, such as forgetting to pro-vide yourself beforehand with some accessory, or the dropping of an article, do not become confused. On the contrary, treat the incident as a joke, and with a smile say something witty, such as, (in case of dropping article) "It is

almost impossible to perform this trick without first con-sulting the fairies. With your kind permission I should like to retire for just a moment for consultation." leave the stage, or if you are performing in the parlor have an ac-commodating screen to retire behind in just such emer-gencies.

In such an exigency, some such remark as above will save the marring of your act, and your spectators will applaud and admire your presence of mind.

But should something go radically wrong, do not plead guilty to a failure. Keep your wits, either bringing your trick to some conclusion, or glide naturally into the next one. If you suffer a complete breakdown, keep up your "patter" just the same and burlesque the trick. Frequently, with a little quick-witedness, this may be a more accept-able finish than the original.

It is a matter of record, that some of the best performers meeting with such an accident, and by their ready wit brought about a better finished to their trick, and always afterwards use this conclusion. Many excellent bits of "Business" have been discovered in just this way. Again let me emphasize, keep your wits about you always.

5. As a general rule, do not tell an audience for and what you're going to do. The reason for the should be clear to you. If the spectators know what to expect, not only is the trick robbed of half its charm--that of surprise, but you in-crease the chances of detection. Knowing what to expect is always an aid in discovering how it was brought about.

6. As a corollary to this rule it follows that the same trick should never be performed twice in the same evening. A beautifully rendered bit of acting or declamation can stand an encore; but the best trick would lose its effect upon a repetition.

Besides, having seen it once and knowing the denoument, the spectators will devote their whole attention this time to an effort to detect where you mystified the first time. It is not necessary that you refuse an encore. It is possible to repeat a trick with variations, bring it to the same con-clusion; or with the same preliminaries bring it to a differ-ent conclusion. Thus you are presdiffer-enting practically a new trick, yet possessing elements of similarity to the one for which an encore was asked. This will serve both to please the audience and to avoid chances of detection.

You should study, as every professional performer does, variation in combination of tricks. The better books on Magic explain many ways of vanishing an article, and as many ways of reproducing it.

7. In the preceding chapter, I showed the falsity of the idea that "The quickness of the hand deceives the eye." I said that the secret of success is to direct the attention of the spectators from your hands at the right moment and for just a moment.

This leads me, then, to lay down the rule that when you desire to divert the attention of the audience to a certain point, you must yourself look fixedly at that point. Obvi-ously you cannot point or suggest looking somewhere;

that would arouse suspicion and you would be watched more closely.

The great requisite is to cultivate a "good eye." it is in-variably the case that an earnest look of the performer in a particular direction will carry everyone's else glance un-consciously with it.

By all means avoid furtive glances at your hands as it would ruin the trick.

8. I have intimated elsewhere, but will repeat here more explicitly, the importance of always taking your time in performance of your tricks.

Speak your "patter" with the naturalness of a good actor, not with the stiffness of a schoolboy reciting his piece. Let the audience hear every word, and let them see every movement. Give them time to appreciate these, so that when you pass to the second stage of a transformation, they will have understood fully the first. Where is the in-terests or surprise, let me ask, in changing a card into a rose, unless spectators know in the first place that it was a card?

9. A word now with regard to by-play, or what is called in stage parlance "business." attention to this has a marked tendency to keep alive the interests of the spectators, as well as to create a mystical atmosphere. This puts the spec-tators in the proper mood to accept your pretensions to a supernatural power.

possible incident that will tend towards this result, and in-troduce them into the performance of each trick.

For example: nearly all performers entering upon the stage, before introducing their first trick, take off their gloves, roll them into a small ball, and vanish them.

Some go a step further in discoursing a moment upon the importance of the wand, and then "remember to have for-gotten it." But they "Must have it" in order to proceed, so it is mysteriously produce from "Somewhere."

Again, in the course of a trick, you need an egg. How much better for the general effect if, instead of taking it from the table, or having an assistant bring it, you pro-duce it from a lady's bonnet or someone's mouth.

This principle can and should be worked out to the fullest extent.

There is a very considerable element of psychology in magic--that is an endeavor to make the spectators believe, through inducted suggestion or inference, that which is not the case. In other words, to have that manner or style about your deportment as to lead the audience to uncon-sciously except the fact that you're really a magician pos-sessed of the powers with which you seem to be endowed. In fact, the successful performer should adopt auto psychology--that is, study and aim to make yourself be-lieve that you are performing miracles.

is portraying on the stage; and some have gone so far, in the study of a new part, as to merge their identity wholly into that new character for weeks.

Just so, you as the magician must learn to impersonate the part. From the time you appear upon the stage until the conclusion of the performance, you should act not only as if, but should persuade yourself that you're supposed power is a real one, and that your wandis not alone an emblem, but the the very source of your power.

Having cultivated this faculty of entering into the spirit of the part you play, you will acquire the ability to produce an almost unlimited effect upon the imaginations of your spectators.

Thus, both you and they will lose sight of the mere com-monplace or mechanical means through which you obtain your results, and you create the impression that the results are reach through actual magic. The successful people of the world--whether workers, players, or in any walk of life, are those who have acquired this faculty of psychol-ogy.

10. The arrangement of your program is deserving of some comment. Your printed program should contain no information as to the exact nature of your tricks, and yet should be worded in such a way as to arouse the greatest curiosity. In other words, you must give no clue as to the real nature of the illusion, this being in accordance with the directions above: not to tell an audience beforehand what you are going to do.

For instance, if you do a series of handkerchief tricks, call this part of your program "The bewitched handkerchiefs," or if a series of flour tricks, "The enchanted Garden," and so on giving each series of tricks some fanciful name, which will awaken the curiosity of your audience and yet not tell them anything.

In giving a performance do not fail to have a private pro-gram of your own fastened in some conspicuous place be-hind the scenes, or if working in the parlor, someplace where it can be seen only by yourself. This prompted-pro-gram must contain a list of the tricks to be performed that evening, together with a detailed list of accessories neces-sary in the performance of each.

After each trick or group of tricks, when you retire behind the scenes or screen, this must be consulted so as to enable you to be in readiness for the next series. It is quite impos-sible for you or an assistant to keep in mind the many ar-ticles required in the course of an evening. I remember once being on the verge of failure in a certain trick, be-cause I did not have a necessary hook pinned to my trou-sers.

In this chapter I have embodied those elements of success characteristics of the master-magicians of this and past ages, together with a few original principles which my own experience has shown to be most valuable. Do not minimize the importance of any one as against the others. They are all equally essential to the finished performer.

CHAPTER VII.

WE come now to the dramatic element of a magical per-formance to which reference has been made in other chap-ters.

Let me define this as meaning the effect which a trick pro-duces upon the spectators.

This has much to do with the success and the artistic finish of a performance. The mere doing of a trick would fall flat without this dramatic element.

There are other elements, as we have seen, which consti-tute the trick's proper presentation, but even after acquir-ing mechanical skill, deportment, and suitable "Patter," the general dramatic effect has yet to be considered.

This should be so designed as to produce a pleasing en-semble .

personality, the selection of tricks, and the logical se-quence in presentation. We will take up the three divi-sions in detail. First, personality: There is a classic story of a Greek who, entering a room, came across a corpse lying full length upon the floor. He surveyed it for a moment in silent wonder. Then he stood the lifeless form upright and released his hold. Instantly the body fell forward with a sickening thud. Again he raised the lifeless clay to its feet and once more let go, Again the body fell, this time back word. Contemplating it a second time the Greek philo-sophically said, "It lacks something within."

How true this is of many people on the stage, in public and private life, everywhere. They are as bright as their fellows, better educated, perhaps, but no matter what they do, they are not convincing--they "lack something within," and that something is undeveloped personality. The man or woman who has personality--or call it personal mag-netism if you will--cannot but succeed, because they gain their desired point, make friends, are convincing through this subtile force that makes them masters of every situa-tion. Let me say right here, there is nothing that cultivates this necessary art--for it is an art--like the study of magic and its deportment.

Be something! Be somebody! Have an identity! Become known by some distinguishing mark; your smile, your graciousness of manner, the witiness of your "patter," your ease of manipulations--cultivate all of these--anything that will cause your personality to stand out, for everyone has personality.

What would the play of "Hamlet" be with Hamlet left out? How would the magnificent "Charge of the Light brigade" sound if read like a newspaper item? Just so a magical per-formance would fall flat--be devoid of the vital element--unless the personality, the life and energy of the per-former sparkle and effervesce all through it.

The second phase of the dramatic element, has to do with your selection of tricks. This should be the subject of much care and thought. Build up your act, ever keeping the car-dinal points before you of sequence, and added interest and strength as your program proceeds.

Don't, above all things, purchase a lot of cheap rubbish and expect to be a magician. Remember, though, that the price of a trick cannot always be relied upon as expressing the value of the trick--some tricks are only made of one or two small articles, yet in the purchase of them you are get-ting the secret of doing the trick, which is the real value. Again, let me impress upon you the value of quality rather than quantity--get the best tricks that you can af-ford, and always keep them in good condition.

In making your selection for a program which you wish to prepare for a special occasion, or for permanent use, sev-eral things must be borne in mind:

(a). That you should be fairly proficient in each trick. (b). They should be sufficiently diversified to create

vari-ety, and yet fit ONE into the other--sequence;

(c). They should be adapted to the size of the room, or stage, and the character of your audience--whether juve-nile or adult.

After a short time your experience will avail you--your judgment will ripen--and your program naturally im-prove.

The last and most important element of the dramatic side depends upon the sequence of your tricks.

(a). These should lead up from a succession of simple illu-sions to the most difficult and elaborate. As an illustration of this might be mentioned the "Marvelous production of flowers" Trick. Beginning with the production of a button-hole bouquet, it leads up to the materializing of an entire flower garden if necessary.

(b). Always arrange your tricks into sets or groups, as, for instance, your tricks with coin should all be in one group, going from lesser--or minor--tricks to the major ones--all leading up to the best coin trick.

This order should be filed with each group, as, all hand-kerchiefs together, all flour tricks together, etc.. Nothing is worse than to first do a coin trick, then a trick with flowers or handkerchiefs, then back to another coin trick, and so on; it robs your work of continuity, creates confusion, and you then fail in this most essential element--sequence. Suppose you read a story by first reading the opening

chapter, then skipping to the fifth chapter, then back to the second, then to the fourth, and so on. You would lose the thread--this sequence--of the story. Just so with magic, make your act a continued story well told, and have the chapters following in proper order--that is exactly what is meant by sequence.

(c). Between each set or group of tricks, there should be an intermission of a few minutes, while the magician leaves the stage or retires behind the screen to consult the program--as mentioned before--or to secure a necessary thing for the next group. During your absence from the stage have this wait filled in with music, and this will be taken up more fully in the chapter on music.

If your program is a lengthy one, say more than an hour, it is advisable to divide your entertainment into two parts, with an interval of 10 or more minutes between them. This arrangement will be found more acceptable to your audience, who are likely to become fatigued by too pro-tracted attention.

It will also be of service to the performer to allow him to make any necessary arrangements for the second part of his entertainment.

A great deal of benefit can be derived from attending the performance of other conjurers, not only in posting your-self as to what movements are graceful or awkward, but by observing the remarks of the auditors you can gain many points, as to how certain tricks may be improved--how they appeal to the audience, and improved--how to present your own act with its correct dramatic possibilities, it's proper

CHAPTER VIII.

AS has been stated each trick or illusion should have an appropriate word accompaniment or, as it is the technical term--the "patter."

This patter or monologue should be prepared and re-hearsed with great care, as it is in truth the very life of your act.

Many tricks without their verbal accompaniment would be rather flat and uninteresting.

Words should be used to explain, or embellish every ac-tion, and each action or trick should be led up to by intro-ductory phrases. For instance, suppose you were to do the "coin trick," producing money from the air, etc., you should use some such patter as this: "Ladies and gentle-men, I will show you how very easy it is to secure money if you only know how; why the very air is full of it; all you have to do is to understand the proper way to reach for it. Ah! Just as easy as can be and so much better than

working for it,” etc..

Again the monologue is a means of diverting the attention of your audience and is your salvation in case of the mis-hap or failure of your trick. A bright witty remark will turn your failure into a success; where you to remain quiet the failure would be apparent.

A well chosen monologue, has made many a poor or in-different magic act seem good, and contra, I have seen many an otherwise clever performer ruin a good act be-cause of his failure to have a properly prepared mono-logue or patter for his tricks.

Well chosen remarks, add a finesse to your work, give ad-ditional charm to your performance, and keep your audi-ence in good humor and in closer touch or sympathy with you.

Humorous remarks that have no "sting" in them are al-ways a great aid in working a trick, but do not make the mistake that belittling, insulting or hurting the feelings of any of your auditors, in humor. Avoid personalities at all times in do not forget that there are very few people who will not resent being made a fool of.

Another point is, always keep before you this admonition, never act or speak in a manner that can be construed as conceited.

Study to keep your temper under any and all circum-stances, remember he who loses his temper is himself lost.

Self possession, a few quiet words will do more towards disarming and disconcerting the "smart Alec" in your audience, than all the angry words you might hurl at his head.

Remember too that while you keep your temper you have your audience with you, but the moment you lose it, they become antagonistic.

A good monologue is really entertained in itself and should be constantly polished and improved upon. Do not make the mistake, though, of talking too much. Rather do a little talking with your tricks and that direct to the point, and to do a few tricks with a monologue. Decide which you are going to be a monologist or a magician.

Your patter should of course always be pertinent to your tricks; do not try to tell a funny story that has no allusion to, or does not lead up to the trick in hand.

You can readily see the importance of your language, and if it is not within your capabilities to do so yourself, it is advisable to have someone who is proficient write you a monologue to introduce and carry out your tricks.

CHAPTER IX.

MUSIC has at all times been a pleasing adjunct to all kinds of entertainments, and it is one of magic's most useful handmaidens.

In the earliest days, when in the ancient temples of Egypt, Greece, and Rome, Magic was part of the religious rites, music was an accompaniment; when instruments were not used, mystical chance were sung to arouse awe, reverence, and stir the emotions of the people.

In more recent times the Hindu fakirs, and the Wonder Workers of the East use the music of a shrill pipe and sort of drum to accompany their exhibitions; and this harrow-ing refrain has its proper effect to divert the attention of and work upon the feelings of the spectators, adding to the mysticism of the performance.

Than music, there is nothing that can so control every emotion that stirs the human heart or brain, and in its proper expression can be conveyed almost every human

feeling.

It is not strange then that magicians of all ages have called upon the sister art to aid in giving a finished setting to their performances.

The successful magician gives as much time and attention to the musical accompaniment to his tricks as he does to any other part of his program.

He realizes that its aid is invaluable, not only to add vari-ety to his act, but as a means of graceful aid in the expres-sion of his tricks, as a means of diverting the attention of his audience, and as a pleasing finish to his performance. Music is a great aid to your deportment and adds much to the dramatic effect. Choose with care your musical setting and have the proper piece to go with each trick or each group of tricks. A bright two-step or waltz, for instance, played while you are doing manipulations with coins or cards, an intermezzo or slow graceful air while you are doing some illusion, etc. will heighten the effect of your work.

Always use the same piece of music or one of the same tempo with each set of tricks, and you will intuitively get to working in perfect time with the music, and your de-portment, patter and musical setting will all be in perfect harmony that will give such finish to your work as will at once stamp you as an artist.

During all breaks or intermissions a bright and lively air should be played forte, that is, loud, but during your

pat-ter and manipulations the music should always be very soft and suggestive, not loud enough to interfere with your audience hearing and appreciating every word that you speak.

Many magicians do only such tricks as can be done with-out the patter and use only a musical accompaniment for their work, such as those who work in the character of the Chinese, Japanese, and Grotesque or Clowns.

Of course all such "dumb acts,"--so called because no word is spoken--require artistic excellence and a command of pantomimic ability, as things must be suggested and at-tention diverted simply by a play of the facial features, gestures and the musical setting.

CHAPTER X.

THE conventional costume for the magician is the regula-tion evening dress, and it is one of the most convenient. It affords great possibilities for pockets and hiding places, especially the coat.

Many magicians wear knickerbockers and black silk hose instead of the long trousers, and this adds to the appear-ance especially if one has a good figure.

A good costume for ladies use also is the conventional evening dress coat, vest, and white shirt as her brother's use, and a short black skirt, black hose and patent leather slippers.

A Tuxedo or dinner coat can be used in many instances, but do not make the error of wearing this coat with knick-erbockers. If you desire to wear knickerbockers, wear the correct court costume, a swallow tail coat or cut-away.

Another solecism to avoid is never wear evening dress be-fore evening--six o'clock. The proper dress for morning or afternoon is the frock coat, and one should dress as well and correctly on the stage as off.

There is no positive rule why one should stick to this con-ventional style of dress, in fact to my mind a costume or "characterization," will in many cases make the act more picturesque and effective. It also adds to the dramatic ele-ment in many instances.

There is an added interest and fascination in working in a character make-up, and if you are a comedian, a comic character well carried out while you are performing your tricks, will add much to the general effectiveness of your act.

Another advantage not to be overlooked in working up a comic character is that it is easier to cover up your breaks, mistakes and mishaps, and all such can be given a comical turn that will be thought by your audience to have been intentional.

The costumes of the Orient are well adapted to the magi-cians use. They give an air of mysticism and picturesque-ness that is impressive. Particularly is this true of the Chi-nese or JapaChi-nese dress that many performers are now us-ing.

The Japanese costume is a good one for ladies to use, and Madame Hermann used this style costume in one of her

famous acts.

A Hindoo mystic is another costume of the Orient that the magician can use advantageously. The long flowing robes offer great possibilities for concealing articles, and the general make-up is very suggestive of the occult science. The dress of a Clown or Grotesque is a good one for a magical act if you possess pantomimic ability--that is can suggest by a gesture and feature expression what would otherwise be covered by your patter. In fact, a command of pantomimic art will be a valuable attribute even if you do use a monolog, and should be cultivated.

There are many other character make-ups that the magi-cian may adopt. I herewith give some suggestions regard-ing such, with a mention and illustration of professional actors who have made such characterization successful and even famous. A reference to these illustrations will give you an idea of the different make-ups.

A fop or dude, such as portrayed by Mr. Joe Coyne, with some little by-word used whenever opportunities offer as "My word, wasn't that clever," would go very well.

The country boy of Mr. Sagar Midgeley is a funny charac-ter and with some sentences in your patcharac-ter as "That's one my mom showed me," and "Ghee, I didn't know I could do it," will keep your audiences in rare good humor.

An eccentric Frenchman, such as played by Mr. George Be-ban, with "zat ees zee magifique," as your by-word, is an excellent humorous character.

The burlesque German, as Mr. Joe Weber presents that in-dividual, of broken English, would be acceptable as a comic make-up if you want to combine magic and fun, and comments in dissected English could be made quite a fea-ture of your act.

The eccentric German, as Mr. Sam Bernard gives him to us in his presentation of "Hoggenheimer" in the "Girl from Kays," is a good character for one who possesses a quiet style of humor, as this sort of character, while being in a manner burlesque, is played with a certain dignity or re-pression, that makes it a distinct type from the usual stage "Dutchman." whenever you received applause, to bring in his "Sufficiency," using the German accent, will bring you a hearty laugh.

One of the cleverest amateur acts I have ever witnessed, was by a young man who made up as a tramp, after the pattern Mr. Nat. Wills gives us a of the stage hobo. His re-marks were few, well chosen, and humorous. When ever he made a break or a pretended one he used the by-word "I'm so nervous," said in a husky tone of voice that con-vulsed his audience with laughter. In this character, too, a knowledge of expression and pantomime is very valuable. Other characters may suggest themselves to you, if you desire to do your act in character, but let me impress upon you the point that you are a magician, not a character ac-tor; in other words, the character assumed is to heighten the dramatic effect of your act, and at all times should be subordinated to the work in hand--your manipulations of your tricks.

CHAPTER XI.

WHILE magic is a splendid profession, both as to being a dignified calling and remunerative one, yet it is my pur-pose in this chapter to consider it and it's broader field, that of the amateur--and when I say amateur I mean the correct definition of the word, "A person who practices an art, especially a fine art, not as a means of livelihood or professionally, but for the love of it."

There are many advantages for the amateur in magic, it's educational value, as a means and incentive of research into chemistry, mechanics, history and languages, its de-velopment of natural grace and poise, its general im-provement and broadening influence on the mind; all of which have been mentioned elsewhere. But the main point to the amateur is the social advantages, and these are so manifold that I shall endeavor to here take them up in de-tail.

Magic, as we have seen, compels a broader mental hori-zon through its tendency towards erudition. It's careful study as outlined in this book cannot but help you to have

a command of language, and what is better still the proper expression of your thought--an absolute necessity for one desireing social prominence.

The practice of magic gives a gracious manner, a poise, and self-confidence that is acquired through the practice of no other art. It gives polish, makes one quick-witted, de-velops a gift of bright repartee, and a finish to one's man-ner and speech.

I knew a chap who had all the advantages wealth could give him, education, position, etc., but he was of such a quiet retiring disposition that he got the reputation of be-ing morose. Naturally he received but few invitations to social functions, and at those he did attend he was ne-glected.

He lacked nothing as regards education, he was a deep thinker and conversant with almost every subject; but he lackrd self-confidence.

For his own amusement he took up the study of magic and developed rare ability in the art. One day he was per-suaded to give an exhibition of his talent before some of his father's friends.

Thoroughly wrapped up in his subject he gave REALLY a marvelous performance and had the deportment and speech accompanying each trick down to a fine point.

The results of that exhibition was his awakening--the re-port of his skills spread and he is today one of the bright-est and most sought after members of his social set.

He has developed into a brilliant and witty conversation-alist, has lost all diffidence of manner, in fact, I do not know any more gracious, better poised fellow than he is, and he gives all the credit to study and development of that fascinating art magic.

The man or woman who masters a few tricks in ledgerde-main and can properly present them for the edification of their friends, has an entree into society and is sure of an invitation to social functions from which they might oth-erwise be barred.

How often have you been at entertainments, both public and private, where the program consisted only of vocal and instrumental music, and recitations or readings, and how many times have you declared you would never at-tend another.

Mark the difference if some of the entertainers varied the monotony by performing a few tricks in Magic; it added variety--the very essence of successful entertaining--to the evening, and gave a better flavor to the music and recita-tions.

The study of magic is not confined to the sterner sex, in fact it is remarkably well adapted to the ladies. It is a graceful ART, and truly the sex are the real exponents of all things as pertaining to grace . Nor is it a new thing with the gentler sex; Madame Hermann has achieved a professional prominence in her art which is at once the ad-miration and the envy of the world of magic, and many ladies in private life are also expert in the practice of this

art.

I have often wondered why more young girls do not turn their attention to the study and practice of magic, as it de-velops every one of the attributes necessary to social suc-cess or prominence, grace, physical culture, dexterity, agil-ity, and ease of movement, ease of manner and speech, and confidence in oneself and one's powers.

It gives a girl confidence in herself without making her bold, and it opens up the way toward social prominence even more than in the case of her brother aspirants.

To be a successful entertainer is to be a social success--to be adapted to the practice of magic is to be a successful en-tertainer.

Even though you should be a brilliant performer on the piano or some other instrument or are an accomplished and gifted singer, yet the mastery of a few tricks will add to your power as an entertainer, and intensify your versa-tility.

It would not be fitting to close this chapter without giving some attention to the proper way to to work in a parlor or drawing room, and I will give a few of the most important points.

You should first curtain off sufficient space at the end of the room to be large enough to accommodate your table and other paraphernalia.

table and the audience to enable you, in going from your spectators to the tables, to make the exchanges and substi-tutions necessary for the successful accomplishment of cer-tain tricks.

In working in a parlor drawing-room a screen may be necessary and at times two may be required. Place them on either side of your stage room, well back.

The screen should be at least six feet high and four to five feet wide when opened. As you cannot go "off the stage" it may be necessary to retire behind the screen to consult your prompt program, to relieve yourself of certain arti-cles, or to secure accessories for subsequent tricks, it would be well to have a small table back of the screen to deposit articles on. But never retire behind or use screens unless absolutely necessary as it breaks up the continuity or sequence of your act.

To properly dress your scene you should have two small tables, one either side well down, and a larger table in the center, farther back. Many substitutions can be made pass-ing from one of the tables to the other.

Have dark cloths on your tables, and on the larger table this should hang down a little way in front to better con-ceal your servante or drawer, or what ever you may have at back of table to place things on.

Be sure that there are no bright lights behind your table and there are no mirrors in your part of the room. The reason for this last injunction is obvious.

CHAPTER XII.

THE rock upon which many a vessel of were the ambition has gone to pieces is business ignorance. It is a rare combi-nation, I know, to find exceptional business ability and marked genius under the same hat. Mark Twain tells somewhere of a wonderfully learned college professor, "Who knew everything except how to apply it."

The secret of success in almost every line of effort is in both having the knowledge and knowing how to apply it. The same thing is true with regard to the profession of magic. What is the use of being an expert conjurer if you have no audience before whom you can operate? Of what avail is it to devote time and money to developing your-self in the art if you cannot make it yield you substantial returns?

The purpose of this chapter, then, is to suggest ways and means toward success in what may be termed the profit-able side, as distinguished from the artistic side of magic.

First, too strong an emphasis cannot be laid upon the value of advertising. It was a late P. T. Barnum who, when asked the secret of his great success, said: "Advertise, ad-vertise, advertise!"

Do this at the beginning in a small, modest way--prefera-bly the "mouth to ear" kind. I am assuming, of course, that your study and practice have brought you to that degree of skill which will enable you to give a satisfactory pro-gram before a company of your friends or acquaintances. This being the case, let it be known that your services are available, free always at the beginning. Get your act be-fore the public--get yourself talked-about, volunteer your services whenever and wherever you can without cheap-ening Yourself; that is, let your appearances all be before representative gatherings--benefits, entertainments, ban-quets, sociables, smokers, etc.

After the first few appearances refrain from volunteering your services too promiscuously--rather wait until you are asked and than acquiesce only after you have been consid-erably "coaxed." in other words create the impression that your services have a value and are in demand. What costs nothing is really but little appreciated, hence, your serv-ices, after you have acquired proficiency in your art, will only be valued in proportion to the effort necessary to se-cure them.

Create a demand for yourself. When this demand is cre-ated, stop all volunteer work, except possibly for some worthy charity.

be either the very practical one of the expense of your act--the necessity of continually purchasing new apparatus, or the more ethical one that you are making it your profes-sion and have concluded to only accept paid engagements in the future.

Having made the beginning by having Yourself talked about you should now begin to advertise your act.

This means the securing of simple business literature. This literature should next be put into circulation. The more systematic an elaborate method of circular rising I will treat of in this chapter.

It is assuming that only your evenings are available and your travels must be limited to a radius within easy reach of your home. If you live in a large city, your field of op-erations may be very extensive, and carry you nearly or entirely through a season within your own city. If you re-side in a small town or in the country, your operations should take in the near by neighboring towns, easy to reach.

Your advertising matter must be put into the hands of every organization or committee interested in a present or perspective entertainment.

This advertising should be;

1. An attractive but neat circular, embellished with a photo-cut of yourself, or with some appropriate cut de-scriptive of magic. The rest of the circular should consist of a description of your act and as many press and personal