fn. Library )ur Head-The Thinner the Skull the Better Oak Street unclassified MENTAL III NUTS III TO CRACK CATCH OR TRICK PROBLEMS LYING FIGURES, LAME LOGIC, CURIOUS PUNS GYMNASTICS FOR THE TONGUE RIDDLES PUZZLES QUESTIONS Spelling, Reading, Kissing, Biographical Bible, Mathemathical, Etc. Entertainment For The Home SHADOW PANTOMIME MAGIC Card and Coin TRICKS MAX STEIN PUB. HOUSE, All Rights Reserved RIDDLES AND Drawing-Room Magic BY GEORGE SCHORB Humor for Quick and Dull Wits A COMPLETE COLLECTION OF THE WORLD’S BEST RIDDLES, CARD TRICKS AND PARLOR GAMES Scientific, Biographical, Biblical, Mathematical, Historical and Shakesperean Riddles, Practical Puzzles, Acrostics, Palindromes, Curiosities of Litera- ture and Gymnastics for the Tongue ; New and Standard Games of Action ; Musical and Instructive Games, Pantomimes, Tricks with Coins and Cards ; a Comprehensive Collec- tion of Parlor Amusements and Entertainments SPECIAL ILLUSTRATIONS COPYRIGHT, 1904, BY WM. H. LEE COPYRIGHT, 1907 BY WM. H. LEE. 1 CHICAGO INTRODUCTION the reader thinks it is child’s play to make riddles, just try to crack a few of these hard-shelled nuts. Many of the conundrums have been prepared by the best minds of ancient and modern times. Only riddles which can be guessed are given* and the child, youth and adult will find them suited to each individual taste. The latest and best card and coin tricks, parlor sleight-of-hand tests capable of being manipulated without the use of elaborate preparation, will delight those in search of an evening’s entertainment. The numerous games will prove especially de- sirable and amusing. This book of riddles, tricks and games will serve as a valued after-dinner companion and a “jolly little fellow” to take with you to evening parties. It will make you think and laugh and therefore make you happier and better. * FIVE HUNDRED RIDDLES Q. Which is the greatest riddle? A. Life, for we all have to give it up. Q. Which is the greatest number? A. Number one, oneself. Q. Which is the best place to hold the World's Pair? A. On your heart; the fair one’s. Q. Why was Columbus a very dissipated man, according to Mark Twain? A. He has been on a bust four hundred years. Can you solve this one ? Q. What class of people in America have no legs? A. Women; they have limbs. Q. When a prudish young lady has occasion to speak of a legacy, what should she call it? A. Limb-acy. Q. Which are the safest banks, the best stock and the most profitable shares? A. The farmer’s earth banks; livestock and plowshares, for they are the source of all wealth. 3 4 Q. What would be the best epitaph for a gambler? A. Waiting for the last trump. Q. Why is the 12 -.50 train the hardest to catch? A. It is ten to one if you catch it. Q. Why is the clock the most modest piece of furniture ia the house? A. It covers its face with its hands and runs itself down. Q. I saw a duck swimming in the pond and a dog sitting on its tail. A. The dog sat on his own tail on the shore. Q. How can you change a pumpkin into a squash? A. Throw it up and it will come down a squash. Q. How can you always have what you please? A. If you will be pleased with what you have. Q. Teacher said, “Sonny, give me a word that rhymes with boy?" A. He said girl. A true poet. Q. Why do blind men so often marry blind women' A. Because love is blind. Q. Why is money like a whip? A. Because money makes the mare go. Q. The king’s fool offended him and was condemned tc death; the king said, “You have been a good fool, so I will let you choose the manner of your death.” What mode do you think he chose? A. I choose to die of old age. Q. Why is a Zulu belle like a prophet? A. She has little on ’er in her own country. Q. Victor Hugo said, “Man was the riddle of the eight- eenth century.” But what is the riddle of the nineteenth cen- tury? A. Woman, we can’t guess her, but we’ll never give her up. Q. Who is more to be admired than a promising young \ man? A. A paying one. Q. When a fast young man says, “I think I had better marry and settle down,” what would you advise instead? A. Better stay single and settle up. Q. Which one of the children does the mother love best? A. Always the absent o lines. PLAYING WITH PUNS. One person in the company mentions a name which sig- nifies something, as Brown. Another responds with a kin- dred name, as White. A few names from the New York directory will be suggestive : Hale, Hearty, Sick; Shepherds, Flock, Lamb; Christian, Sinner, Devil; Pilgrim, Staff; Noah, Ark, Car, Driver; Mean, Lovely; Constable, Club; Canary, Singer; Hen, Chick; Clock, Hands; Widow, Maid; Redhead, Whitehead; Shoemaker, Skinner; Herring, Sucker. Try to make some groups of names yourself 43 I A READING PUZZLE. Q. I’ll prove the word that I’ve made my theme Is that that may be doubled without blame ; And that that that thus trebled I may use, And that that that that critics may abuse May be correct. Further — the dons to bother — Five thats may closely follow one another ; For be it known that we safely write Or say, that that that that that man writ was right ; Nay, e’en that that that that that that followed Through six repeats the grammar’s rule has hallowed, And that that that (that that that that began), ' Repeated seven times is right ! Deny ’t who can? A. Read it until you make sense. Q. How can you get rid of a caller who don’t know when to go? A. Do as Longfellow used to do ; invite them out to see the view from the piazza, after which it is easier to go than to return to the hou se. Q. When are two friends half-witted? A. When they have an understanding between them. Q. Which is the grand seat of learning? A. The seat of a boy’s pants, for it is that to which the schoolmaster applies himself. Until recent times when a boy was sent to a teacher it was customary to say: “He is put under his ferrule.” • Q. During the “Woman’s Crusade” Beecher was asked what he thought of women leaving their homes and meddling with men’s affairs. He said — A. “I don’t see any use in always keeping a gun loaded; if women are loaded with reform let them unload.” Q. He says: “A good-hearted man is more apt to become dissipated than a mean man, because ” A. “Sweet things spoil more easily than sour things; and warm things more easily than cold things.” Q. Why is it proper to include women when we say man- kind, or all men? A. Because man embraces woman. 44 Q. Who is the oldest lunatic? A. Time out of mind. Q. We say: “Strike while the iron is hot.” But what did Cromwell say? A. “Not only strike while the iron is hot, but make it hot by striking. Don’t simply improve a chance when you have it, but make a chance.” Q. Why are newspapers reliable? A. They lie, then they lie again, or they re-lie, and so are re-li-able. Q. To relieve the sting of the last riddle, I ask, “Why is the printing press the tree of life?” A. It brings forth leaves for the healing of the nations. Q. Behind the barn at early morn I heard a herald blow his horn. His beard was flesh, his month was horn. The like of him was never born. A. Rooster. (Hatched, not born.) Q. “Variety is the spice of life,” we say, but we cannot live on spice. What, then, is the food of life? A. Uniformity; pur regular work; our daily bread, our old friends and common faith. Order is better than novelty. Common things are the best. Q. On what condition would women wear men's clothes? A. If it were the fashion. Q. On what condition would all men be charitable? A. If they would see ten per cent., in it. Q. A man bought a coat &nd found it too short, but his wife assured him — A. It would be long before he had another. Q. On the first of July, 1891, a train ran off the great bridge at St. Louis and no one was killed or injured. How was it possible? A. It ran off the bridge as usual and went on its way. Q. Why is a dead hen better than a live one? A. She will lay wherever you put her. 45 Q. Here is a sample of my first attempt at riddle making when I was a boy about fourteen or less: We are seven busy brothers Laboring every day. Always helping others In everything they say. The first in the Amazon doth dwell. The second in Egypt has a cell, The third in Ireland makes his home. The fourth of us resides in Rome, The fifth and seventh are in you, The sixth is everywhere in view. A. The vowels. Q. Perhaps this is the first original riddle with which I amused myself at the expense of my playmates. From one million substract 1,000, i, 50, 50 and 1. A. The numbers to be subtracted are represented by MILLI; take these letters from the word million and you have left the word on, so when the boys told me their remain- der, I said: “Guess on, guess on.” When they gave it up I said: “I have been telling you the answer; it is ‘on.’ ” Q. Why is the tongue like a horse? A. It must be bridled. Q. “Mamma, papa can’t go to heaven, can he?” “Why, my child?’ ’ * * Because . * ’ A. He can’t leave the store. Q. Who are the best book-keepers? A. The people who never return a book. Q. Whabare the three degrees of a mining speculation? A. Positive, mining; comparative, minor; superlative, minus. Q. Why is Blackstone like an Irish vegetable? A. He is a commontator. Q. What is a counter-irritant? A. A woman shopping. Q. Why is a girl in love like an arrow? A. She is in a quiver until her beau comes. Q. How can you have a set of teeth inserted gratis? 46 - A. Kick a bull-dog. Q. What is the dryest subject-? A. A mummy. Q. Why are women wicked? 4 A. They hook their dresses, steel their petticoats, and crib I their babies. Q. What consolation has a homely girl? A. She will be a pretty old one if she lives long. r Q. v I saw you where you never were, And where you could not be, And yet within that very place Your face I often see. A. In the mirror. Q, Instead of complaining when it rains we should do so as they do in Spain, and what is that? A. Let it rain. Q. What does the Chinaman say in answer to the question, “What are the wild waves saying?” A. \Washee; washee. Q. Would you rather be a bigger fool than you seem, or rather seem to be a bigger fool than you are? A. Whichever horn of this dilemma a person chooses when you ask the question you reply: “That would be impos- sible. ” Q. What is the difference between the death of a barber and the death of a sculptor? A. One curls up and dyes; the other makes faces and busts. Q. What poet does everybody want? A. Moore (more). Q. Pat said, “There was nothing wonderful about the great fall of Niagara,” because — A. There was nothing to hinder the fall. Q. What increases its value one-half when turned upside down? A. Figure 6 . 47 Q. Why is the board of trade a den of wild beasts? A. The members are bulls and bears. Q. In the opinion of a negro preacher, why did Jesus learn the carpenter’s trade? A. That he might build mansions for his people in heaven. Q. Why does a doctor not get sea- sick? ,V. He is used to see-sickness. Q. Why was Henry VIII. a peculiar suitor? A. He married his wives and axed them afterwards. Q. What’s the difference between a soldier and a belle? A. One faces the powder and the other powders the face. Q. Why is an old man easily robbed? A. His gait is broken and his locks are few (locks of hair). Q. Why is a cat’s tail like the world? A. It’s fur to the end. Q. Why are penmakers rascals? A. Because they make people steel pens and tell them they do write. Q. Why is a fool’s pate like a drum? A. It is empty, and good for nothing but noise. Q. Is it ever correct to say, “This ’ere” and “that’er?” A. Yes, when you mean this ear and that air. Q. What does everybody give and few take? A. Advice. Q. I can throw an egg against the wall And it will neither break nor fall. A. The wall will not break. Q. Why do women carry parasols? A. The sun is of the masculine gender, and they cannot endure his ardent glances. Q. When a smoker promises to quit, what does the prom- ise usually end in? A. Smoke. He smokes again. v Q. Made years ago, yet made to-day. Employed while others sleep. Which none would want to give away. And none would wish to keep. A bed A. 48 Q. A blind beggar* had a brother and the brother died the man that died had no brother. A. The beggar was a woman. Q. Of what did Ling die when he swallowed the bomb? A. Shooting off his mouth. Q. How can a man be his own grandfather? A Smith had a son John; John married a widow who had a grown daughter; old Smith married the daughter, and so he became John’s son; but John’s father must be grand- father to John’s son, therefore Smith is grandfather to himself. Q. What gives a cold, cures a cold and pays the doctor? A. A draught. Q. Why is a quarrel like a bargain? A. Takes two to make it. Q. What’s the difference between a cat and a book? A. One has the claws at the end of the paws, and the other has the pause at the end of the clause. Q. Why does more corn grow in crooked rows than in straight ones? A. There are more crooked rows. Q. » I often murmur, but never weep ; Always lie in bed, but never sleep. My mouth is larger than my head. And much discharges, though never fed; 1 have no feet, yet swiftly run ; The more falls I get, move faster on. A. A river. Q. When does one become soured? A. When he is in a pickle. Q. Where did Humboldt go on his thirty-ninth birthdayt A. In his fortieth year. Q. Of what disease will a cold water hobbyist die? A. Water on the brain. Q. Archimedes said, “Give me a standing place and I will move the earth with a lever. ’ ’ Goethe solved the problem. How? A. Make good thy standing-place and move the world. \ 49 Q. Why is a woman like a locomotive * A. She makes a terrible noise when she whistles. Q. When is it right to lie? A. When you are in bed . 1 Q. What encouragement does the Bible give to a tobacco chewer? A. He that is filthy let him be filthy still. Q. What always goes with a wagon that is no part of it and of no use to it? A. The noise it makes. Q. McClelland’s hands were always tied with rules ana forms. The story goes that he once telegraphed to Lincoln, “I have captured a hundred cows; shall I milk them?” Promptly came the reply — A. Suck ’em, George; you are the biggest calf in the army. Q. What is gratitude? A. The memory of the heart. Q. Why do women have no beards? A. A crusty old bachelor says, “Their tongues are so long that in shaving themselves they would cut their tongues.” Q. What is Eternity? A. A day without yesterday or to-morrow. Q. A bet that he could eat more oysters than B; A ate ninety in a week, B ate a hundred and one. How many more did B eat than A? A. Ten. He ate a hundred and won. Q. How does the average Yankee answer the question, ‘What is the chief end of man?” A. Keep all you’ve got and get all you can. Q. There was a man who was not born. His father was not before him He did not live, he did not die. His epitaph is not o’er him. A A man by the name of Nott. Q. A sleeper in a sleeper over a sleeper. A. First, a man asleep; second, sleeping car; third, a beam under the rail. Q. Preacher: Children, why are ministers the salt of the earth? A. Boy: Because they keep victuals from spoiling. Q. Of what trade is the Sun? ^ A. A tanner. Q. A lazy man, wishing to encourage his wife’s industry, exclaimed, “My dear, you and I are equal to ten.” “Yes,” she said, “for — A. I am one (i) and you are a cipher (o). Q. McCauley’s Riddle, given here only in substance from a poem. My whole is composed of twelve; divide us into three and nine, and you bring before you a dark and dreadful scene, bloodshed and ^cruelty; man destroying man; if you exclude the first three of us, the picture is even darker, for now the brute, creation is' involved in the general misery; but separate us into four and eight and what a change! Now all is gladness and gayety. The air rings with jubilee and joy. A. First, manslaughter; second, slaughter; third, man’s laughter. Q. If you crols your second finger over your first and pass the fork up and down on the bridge of your nose it will feel as though you had two noses. Why? A. The fingers being crossed, it is the outer side of each finger that touches the nose ; and the mind, from habit, refers all sensations to their usual place. So there seems to be a nose on the outer side of both fingers, which would require two noses. Q. SHELLEY’S RIDDLE. I bring fresh showers For the thirsty flowers, From the seas and the streams . I bear light shade For the leaves when laid In their noonoay dream 51 I bind the sun’s throne With a burning zone, And the moons with a girdle of pearl ; The volcanoes are dim And the stars reel and swim When the whirlwinds nr” banner unfurl*. When the crimson pall Of the even doth faU Ffrom the depth of heaven above. Safe folded I rest On my airy nest, As still as a brooding dove. I wield the flail Of the lashing hail, And whiten the green plains under- \ And then again I dissolve it in rain And laugh as I pass in thunder. 7 sift the snow On the mountains below And their great pines groan aghast ; And all the night ’Tis my pillow white As I sleep in the arms of the blast. A. A. cloud. _ Q- He dreamed that the Frenchman’s sword still slew, And triumphed the Frenchman’s eagle; The struggling Austrians fled anew Like the hare before the beagle. The bearded Russian he scourged again, The Prussian camp was routed, _ A«d again on the hills of haughty Spain \\ His mighty army shouted. i. McClellan. GIVEN HERE ONLY IN PART. 52 O’er Egypt’s sands, o’er Alpine snows. At the pyramid, at the mountain, Where the wave of the lordly Danube flows, And by the Italian fountain ; O’er the snowy cliffs where mountain streams Dash by the Switzer’s dwelling, He led again, in his dying dreams, His host, the broad earth quelling. Who was he? Q. Napoleon. Q. MISS FANSHAW’S ENIGMA. - ’Twas whispered in heaven and muttered in hell, And echo caught faintly the sound as it fell. On the confines of earth, ’twas permitted to rest, And the depths of the ocean its presence confessed; ’Twas seen in the lightning, and heard in the thunder; ’Twill be found in the spheres, when riven asunder? ’Twas given to man with his earliest breath, Assists at his birth and attends him in death ; Presides o’er his happiness, honor and health, Is the prop of his house and the end of his wealth It begins every hope, every wish it must bound And though unassuming with monarchs is crowned Without it the soldier and sailor may roam, But woe to the wretch who expels it from home. But in shade let it rest, like a delicate flower — O, breathe on it softly ; it dies in an hour. \ A. The letter H. Q. How can we all remember our friends in our will? A. In our good-will. Q. What is the best thing that any of us can do in this world? A. Mind our own business. Q. Is life worth living? A. It depends on the liver. 53 1 Q. What we all require, what we all give, what we occas- ionally ask for, yet very seldom take ? A. Advice. Q. If by chance a man falls From the top of St. Paul’s, What does he fall against? A. Against his inclination. Q. Why is a kitten biting her own tail like a good man- ager ? A. Because she makes both ends meet. Q. Why is the figure 9 like a peacock? A. Because without a tail it is nothing. Q. Why did Adam bite the apple when Eve gave it to him? A. Because he had no knife. Q. Which are the most contented bird’s? A. Rooks, because they never complain without caws. Q. In my first my second sat ; my third and fourth I ate. A. Insatiate. Q. You eat me, you drink me, deny it who can, I’m sometimes a woman and sometimes a man. A. A toast. Q. The beginning of eternity, the end of time and space, The beginningof every end, and the end of every place. A. The letter E. Q. What is the greatest enemy of the world and of every man? A. Despair; We commenced this catechism with the ques- tion which is the greatest riddle, and the answer was Life, because we all have to give it up, but woe to the man who wants to give it up. The world is the sphinx that propounds to every man the riddle of life. If he does not give an answer, find some meaning in life, it devours him. The love of life and faith in the world is the great secret of happiness and success. Let every one remember the famous Persian proverb, “When men shall say in passing a grave, ‘Would I were there,’ the end of the world is at hand.” Nursery Rhymes Illustrated T3 rt E n T3 Q n-. >» ade. Shopkeeper (to commercial traveler) — Can’t give you ao order. Quite overstocked. Traveler — Let me at least show you my samples. Shopkeeper — Spare yourself the trouble. I can’t took at them. Traveler — -Then will you allow me to look at them myself? It is three weeks since I have even seen them. The Effect of Culture. Boston Girl — Oh, mother ! I did something awfully immod- est at the party to-night. Mother — Why, my dear child, what was it ? B. G. — That horrid bouquet Mr. Bacon sent me had some cinnamon pinks in it. They made me sneeze — but I cant say it. Mother — Go on. B. G. — My glasses fell off, and Mr. Bacon say my bare face. The Course of True Love The course of true love may be traced in the eight letters produced at a hearing of a breach-of-promise case. The first letter commenced “ Dear Mr. Smith/' then followed, “ My Dear John,” then “ My Darling John,” “ My Own Darling Jack,” 44 My Darling John,” “ Dear John,” “ Dear Sir,” “ Sir,” and all was over. Its an awful thing, force of habit. It’s accountable for a great deal of misery and a great deal of happiness. Most things are done from force of habit. Betting, drinking, loving, hating, all become habits, and can’t be got over, A fellow goes courting, and it’s awfully pleasant. At first it’s novelty and fun, then it becomes habit, and they think it is love. The girl goes away for a month. He pines for a week, and when she comes back she’s got out of the habit, and he’s got into the habit of courting another girl, and it’s all up. Brabantio (appearing at window) — What do you want ? Be off ? Iago . — Look to your bags. ‘Brabantio. — They’re safe; I’ve got them on, you sorry wags. Othello . — You’re drunk. Cassio . — l own I've taken too much wine. Othello . — Be off! No more be officer of mine I Othello.— Now to escape before I am discovered. Some other people then will find her some-othered, Having Fun at Home and Scaring the Folks as Well (. In 4 Scenes .) Putting Off Duns. Ella The gentleman who lodges above appears very attentive to you. Bella Ah, yes; I am even engaged to him. But yet I am tortured - with doubt Would that I knew whether he loves me for myself alone f Ella But why in'the world should he marry you otherwise ? Bella— Well, to tell the truth, he owes my mother six months’ rent Perils of Translation. The translation of the English spiritual songs into the foreign lan- guages often causes ludicrous readings which are quite equal to any of the slangy irreverence of the impudent young American. A certain missionary relates that he got an Indian scholar to assist him in translating into the Indian vernacular the hymn: , ' Rock of ages, cleft for me, Let me hide myself in.^hee. Imagine his surprise and chagrin to read the following loose lines ' Very old stone, split for my benefit. Let me get under one of your fragments. } 3.—“ Fits him to a T.” It- Purpose. - “ Yes, sir/’ exclaimed the earnest man, “there’s a fortune in it--> fortune, sure.” * “In what ? ” « “A new patent medicine of mine.’* “ What’s it good for? ” “Why to make money with.” “But what is it expected to cure?” “ Oh, excuse me. I understand you now. To tell you the tu^esf truth, it isn’t expected to cure much of anything except poverty.” . • Not Worth Having. * No; he’ll never propose.” she said with a sigh. “Why do you say that? ” asked her deadest friend. “We went rowing in the moonlight last evening, and he just to and rowed and rowed.” “Never let the boat drift at all? ” “Never once.” “Oh, well, in that case, I should say he hasn’t sense enougn tc worth having anyway.” . Pluck. Foreman of Pressroom.— Ink's all out, sir, and I ain’t printed but wo hundred copies. Editor— Have you cleaned all the soot out of the lamp chimneys ind stove, and used that ? Foreman . — Yes, sir. Editor,— Well, then boil down last week’s returned copies and ised the ink out of them. This paper is bound to get out. Fashion Notes. Caps for climax purposees are sold in great numbers. Cliffs for the ears are going out of favor with the young. Babies’ teeth continue to be cut as formerly. First Tramp — Tails again! We don’t seem to have no luck Well, oncet more, an’ dis time settles it. See. Second Tramp — Wall, I’m chawed, ef it ain’t tails agin. We got to take the baths, sure. First Tramp — Here! I'll tell you a scheme. Les’ go inter de saloon an’ tell der bar- keep’ we’re goin’ to take a bath, an’ bet him de drinks that it don’t kill us. See. Second Tramp — Then we git both Great head you have ! But — say ; ’sposin’ it should kill us. First Tramp — Ye’re right, Jimmy We hadn’t better run no risks. {They don't run any risk.) Concealing His Contempt. One day Thad Stevens was practicing in one of the Pennsylvania courts, and he didn’t like the ruling of the presiding judge. A second time the judge ruled against him, when the old man got up and com- menced tying up his papers, as if to quit the court-room. ‘•Do 1 understand, Mr. Stevens,” asked the judge, “that you wish to show your contempt of this court? ” “No, sir; no, sir;” replied old Thad. “I don’t want to snow m) contempt ; I’m trying to conceal it.” “EXCUSE HASTE AND A BAD PEN.” Home Entertainment for Every Member of the Family. PARLOR ENTERTAINMENTS AND EVENING PARTY AMUSEMENTS. Vi f The following- pages are designed to afford friendly coun- i sel and instruction on a matter in which, we are sorry to say, I the education of most people has been shamefully neglected. > We refer to the art of amusing one’s self and others at social gatherings. While we are boys and girls at school, the art of amusement is treated with great ^nd deserved respect; but during our passage thence to man’s or woman’s estate,* we are too apt to regard all “games” as childish and undigni- fied. A steady course of “all work and no play” has the proverbial effect, and we find when too late that we have lost the faculty of amusing ourselves. We may almost say that there are but three acknowledged forms of social amusement music, dancing, and card-play- ing ; and when, as occasionally happens, none of these are found available, the company, too often subside into chilly groups around the room, feebly struggling to keep conver- sation afloat until the blissful moment when they are per- mitted to go home. But given the presence of even one individual who has studied the art of amusement and has the courage to put his v knowledge into practice, and what a Change comes Over the scene ! A simple con J uring trick, an all but obvious puzzle, or even a few antediluvian conun- drums serve to break the universal ice, and people who five minutes previously were glaring at each other in disgust, malice, and all uncharitableness, are now all smiles and cor- diality. New social talents are developed, and the stream of fun, once started, flows with increasing vigm* until the hour |of parting arrives, amid a general chorus of “Who would have thought it was so late? ” 64 Games of Action Blind Man’s Buff. This is one of the oldest, and at the same time the best, of “romping-” games. It is, however, so universally known, that we should scarce have ventured to ref£r to it, save that ' it forms a text whereon to base a short description of two or three variations from the original idea. For the benefit of any possible reader (say Japanese or Hindoo) to whom Blind BLIND MAN’S BUFF. Man’s Buff may be unknown, we may mention that one of the party is blindfolded with a handerchief, due care being taken that no tell-tale crevice is left ; that he is then turned round three times, so as to get thoroughly confused in his mind as to his cardinal points and the relative positions of things in general, and that he is then invited to “catch whom he can;” which he forthwith proceeds to do accordingly, 55 56 ai^M much laughter, and many hairbreadth escapes on the part of the unblinded competitors. When he has caught a prisoner, however, his troubles are not at an end, for, with- out raising the bandage, he is required to name his victim, and if he guesses wrongly the captive is released, and the Blind Man must continue his sightless wanderings until he catches (and correctly names) another. * Buff with the Wand. This is a variation of Blind Man’ Buff, but much less gen- erally known. The Blind Man, with eyes bandaged as before, stands with a cane or walking-stick in hand, in the center of the room, the rest of the company join hands in a ring and dance round to some lively air. At a pause in the music, the Blind Man lets the “wand” fall gently on the head or shoul- ders of one of the circle, or, if the circle be large, simply points at some portion of its circumference. The person indicated is bound to take hold of the other end, and to imi* tate, disguising his voice as best he can, any three cries (of birds, beasts, peddlers, or newsboys) the Blind Man may choose to utter. The Blind Man then makes a guess at the person holding the wand, and if he guesses rightly, such person becomes Blind Man in turn. If the guess is wrong, the circle moves on qgain as before, and the* Blind Man makes a fresh attempt. The game is sometimes played by the Blind Man asking, “Who are you?” to which the person indicated replies, dis- guising his or her voice as much as possible, “That’s no business of yours.” Hot Cockles. This is another form of the same game. The Blind Man kneels with his face hidden on a lady’s lap or the seat of a chair, and holds his open hands laid one on the other behind his back. The company then advance one by one, and eacli gives a slap, light or heavy as he pleases, on the extended palms; and the Blind Man is required to say whose was 57 the hand that struck the blow. If he guesses right he is released, and the striker takes his place. The Feather Game. The players are seated in a circle, with their chairs close together. The leader takes a piece of goose or swan’s-down, and blows it upwards towards the center of the circle. The company are now expected to keep it afloat with their breath, its falling to the ground involving a forfeit from the person on whom, or nearest to whom, it falls. The excitement produced by this simple game must be experienced to be believed. The consciousness of tight boots, unpaid taxes, and your mother-in-law coming the next day for a six months’ visit, — all areas nothing, for the mo- ment, compared with the vital importance of keeping that small piece of swan’s-down well afloat. This game, too, has the advantage of being very nearly as amusing to lookers-on as to the players; the spectacle of, say, a couple of elderly gentlemen puffing themselves into the guise of apoplectic cherubs, and blowing violently in each other’s faces, while the provoking feather gently subsides between them, being a sight to appeal to the risible faculties of the most cold-blooded spectator. , « In the not unfrequent case of a dispute as to who is answer- able for the feather’s decline and fall, the leader of course decides. Hunt the Ring. A good-sized ring, say a curtain-ring, is procured, or, for lack of an appropriate ring, a key, of such size as to be readily hidden in the hand may be used as a substitute. Through this is threaded a piece of string of four or five yards in length, the ends being joined so as to form an end- less band. . The company sit or stand in a circle, the cord passing through their closed hands. The key circulates from one to another, while the player who is “out,’’ standing in the middle of the circle, endeavors to intercept it in its progress. Where a key is used, a daring player will sometimes aggra- vate the unhappy middleman by whistling into the barrel of the key, when the player’s back is turned. There is another form of this game, in which the endless cord is dispensed with. Each player in this case grasps with his left hand the right wrist of the person next him, though so lightly as to allow free play of the arm. The hands are then set in rapid backward-and-forward motion, under cover of which the key or ring is passed from one to another, the “out” player, as before, endeavoring to intercept its passage; when the person in whose hand the article is found is re- quired to take his place. Twirl the Plate: or, My Lady’s Toilet. The leader gives to each of + he party the name of some article appropriate to a lady’s toilet, as Handkerchief, Hair- brush, Gloves, Fan, Towel, Powder-puff, Slippers, etc., which name serves to distinguish him or her throughout the game. This preliminary having been settled, and the com- pany seated in chairs around the room, the leader takes an ordinary plate, and sets it spinning in the middle of the floor, at the same time saying, “ My Lady is going to a Ball, and wants her ” calling out the agreed name of some one of the party. The person distinguished by such name or num- ber is bound to catch the plate before it runs down, and again set it in motion, calling out the agreed name of another of the party, and so on. If the one called on fails to get hold of the plate while yet spinning, he or she incurs a forfeit. If the person spinning the plate introduces the word “Toilet,” the whole company are bound to change places, the unlucky person who may be left without a seat incurring a forfeit, and being made the next spinner of the plate. The Stage=Coach. The company, as in the last case, sit round the room, and the leader gives each a name having some relation to a stage- coach or its passengers. Thus we may suppose the dramatis persona represented by one of the company present) to be as follows: The Coachman. The Guard. The Second Wheel. The Fourth Wheel. Mr. Nicholby. The Stout Lady. The Stout Gentleman. The Luggage. The Whip. The First Wheel. The Third Wheel. The Horn. Mrs. Nicholby. The Thin Lady. The Horses. The Man with the wooden ler. The Little Dog-. The last named is a personag-e which is broug-ht into con- stant requisition, and a g*ood deal of fun may be made by inducing- some stout elderly g-entleman who does 7iot know the game to undertake this- character. As will presently be seen, the amount of g-entle exercise — but we anticipate. The leader, standing- in the middle of the circle, relates a s,tory as to a certain journey by stag-e-coach, introducing- as frequently as possible the names assig-ned to the various members of the party. As each is named, he or she is required to stand up, turn round, and sit down again ; the omitting to do so when the name is mentioned, or the doing so when not . so called upon, being equally punishable with a forfeit. Whenever the “Stage-Coach” is mentioned by name all have to change places, and as the leader takes th e opportunity to drop quietly into a seat, one member of the party is naturally left chairless, and has to pay a forfeit, and and to wait for another general move before he can regain his seat;. The story told may either be written out beforehand, or be the extempore production of the leader’s imagination. The following is a specimen of the style of thing usually adopted, with the appropriate action on the part of the per- formers : — “Mr. Nicholby (, turn ) and Mrs. Nicholby C turn ) were stay- ing at New York, when one morning Mr. Nicholby (turn) 60 read in the newspaper that there was to be an excursion by stage-coach {all change places, the leader drops into a seat, and the player left standing is called on foi a forfeit ) to several points of interest in the neighborhood, and at once said to Mrs. Nicholby {turn), “My dear Mrs. Nicholby {turn), shall we go? “Nothing I should like better,” said Mrs. Nicholby {turn) ; “but what about my dear little dog ! {turn)', ‘Can’t you leave the little dog {turn) at home for once?” “What, leave my dear little dog {turn) alone among strang- ers? Never ! Mr. Nicholby ! ” {turn). “ Take him with you, then,” said Mr. Nicholby {turn). “I will,” said Mrs. Nicholby {turn). So as soon as breakfast was over, they hastened away, Mrs. Nicholby {turn) carrying the little dog {turn) to the inn whence the stage-coach {all change ) was to start. There were several passengers already. There was a stout lady {turn) and a thin lady {turn) ; a stout gentleman {turn) and a gentleman with a wooden leg {turn). Mr. Nich- olby {turn) got ouside, and Mrs. Nicholby {turn) inside'" with the little dog {turn). The luggage {turn) was strapped on the roof, and the coachman {turn) mounted to his seat. The guard {turn) blew his horn {turn), the coachman {turn) cracked his whip {turn), his horses {turn) pranced, round went the wheels {turn), and off went the coach {all change places ). But no sooner had they started, and the coach {all change ) was fairly on its road, than the little dog {turn), who had taken a violent dislike to the gentleman with the wooden leg {turn), began to bark violently, and to make sharp snaps at the wooden leg. The stout lady and the thin lady {both turn) both screamed. “What a nasty snappish little dog!” {turn), said the thin lady {turn). “Not at all, ma’am. I assure you,” said Mrs. Nicholby {turn)', “he is the sweetest and best-tempered little dog {turn), but once he tried in play to bite a gentleman with a wooden leg {turn), and he broke his best wisdom tooth, and he hasn’t been able to -bear anybody with a wooden leg since. Lie down, Carlo, at once, you naughty, naughty little dog l” {turn). But the little dog t>i {turn) continued to bark, and the stout lady {turn) ana the thin lady {turn) grew more and more uncomfortable, till at last Mrs. Nicholby {turn) said, “I can assure you the dear angel is only annoyed at the wooden leg. Would you mind, sir, just for once, taking it off and hanging it out of the win- dow? ” Mrs. Nicholby {turn) smiled her sweetest smile, but the man with the wooden leg {turn) savagely replied, “ Per- haps you wouldn’t mind, ma’am, just for once, you know, hanging your ugly little cur out of the window. I am sure it will make things pleasanter for all parties. ’’ Mrs. Nichol- by {turn) burst into tears, and putting her head out of the window, called frantically to Mr. Nicholby {turn). “Stop the coach ! {all change) ; stop the coach 1 {change again). Here is a brute of a man with a wooden leg {turn) calling my dar- ling little dog {turn) a nasty little cur ! Let me out ! let me out ! I won’t sit in the coach {all change) with him ! ” So the coach {all change) was stopped, and Mrs. Nicholby {turn) was assisted onto the box-seat with her little dog {turn). “A jolly good riddance ! ” said the gentleman with the wooden leg {turn). “I hate a nasty little dog {turn) like that,” said the stout lady {turn). “So do I,” said the thin lady {turn). The stout gentleman {turn) didn’t say anything, but he laughed till he fairly shook the coach {all change). The coach- man {turn) whipped up his horses ( turn ), the guard {turn) blew his horn {turn), round flew the wheels {turn), a^d off went the coach {all change), the little dog {turn) now l vrking at the luggage ( turn ).’’ And so the story may run on to any extent, detailing the adventures of the travelers — how Mr. Nicholby ’s hat flew off; how the little dog smashed in the thin lady’s bonnet-box^ how Mrs. Nicholby lost her muff; how the coach was attacked by brigands, and afterward upset, according to the fancy and invention of the leader. It may safely be concluded that, by the end of the game, the players generally, and the little dog in particular, will have a fair amount of exercise and a goodly number of forfeits will have been accumulated. 62 Musical Fright One of the company takes a seat at the piano, and plays a lively air. A row of chairs, in number one less than that ot the players, are arranged down the middle of the rocm. These are placed close side by side, but facing in alternate directions, and the company march round them in single file, to the sound of the music; the moment the performer ceases to play, each endeavors to secure a seat. The player who is left standing has to pay a forfeit, and is “out.” One of the chairs is then removed, and the march resumed with the same result. This process is repeated till all the players save one are “out,” that one being the winner, and entitled to decide upon the forfeits of the rest. It should be mentioned that sitting down improperly, i. e . before the music has ceased, is also a cause of a forfeit; and if the player be a good performer, much fun may be occa- sioned by his introducing what are apparently concluding chords, and thus beguiling incautious players into a prema- ture subsidence, or, on the other hand, pulling up short in the very middle of a musical phrase which appears to be good for at least another dozen bars. Magic Music This game, like the last, depends a good deal on the musical performer. In its simplest form one of the company leaves the room, and during his absence some agreed article is hidden. On his return to search for it, the player at the piano commences a kind of musical commentary on his pro- ceedings, growing louder as he approaches the hidden object, and fainte'r as he recedes from it; the alternate cres- % cendo and diminuendo serving to guide his search. Sometimes, by way of variation, instead of hiding any object, the players in the room agree upon some act which the “out” player shall be required to perform ; e. g., to take a bouquet of flowers from the table, and carry them to a particular lady. It would at first sight appear that the clue afforded by the music must be extremely slight, but such is 63 not the case. With a fair performer at the piano, and ordi- nary intelligence on the part of the guesser, the discovery of the duty required from the latter is generally only a mat- ter of a few minutes. The Dutch Concert The players sit or stand round the room in a circle. The leader assigns to each some musical instrument, as harp, flute, violoncello, trombone, etc., and also selects one for him- self. Some well-known tune is then given out, say “Marching Through Georgia,” and the players all begin to play accord- ingly, each doing his best to imitate, both in sound and action, the instrument which has been assigned to him, the effect being generally extremely harmonious. The leader commences with his own instrument, but without any warn- ing suddenly ceases, and begins instead to perform on the instrument assigned to one or other of the players. Such player is bound to notice the change, and forthwith to imi- tate the instrument just abandoned by the leader, incurring forfeit if he fails to do so. The Knight of the Whistle This is a capital game for everybody but the victim, and produces much fun. Some one who does not know the game is chosen to be Knight of the Whistle, and is commanded to kneel down and receive the honor of knighthood, which the leader (armed with a light cane, the drawing-room poker, or other substitute for a sword) confers in due form. While placing him in position, opportunity is taken to attach to his back, by means of a bent pin or otherwise, a piece of string about a foot in length, to which is attached a small light whistle. Having been duly dubbed, in order to complete his dignity, he is informed that he must now go in quest of the Whistle, which is in the hands of one of the company, and will be sounded at intervals, in order to guide him in his search. Meanwhile the other players gather in a circle round him, making* believe to pass an imaginary object from hand to hand. The victim naturally believes that this imaginary object must be the long-lost Whistle, and makes a dash for it accordingly, when the player who happens to be behind his back blows the actual whistle, and instantly drops it again. Round flies the unhappy Knight, and makes a fresh dash to seize the Whistle, but in vain. No sooner has he turned to a fresh quarter than the ubiquitous Whistle again sounds behind his back. If the game is played smartly, and care taken not to pull upon the cord, the Knight may often be kept revolving for a considerable period before he discovers the secret. Sometimes a lady is chosen to “dub” the intended Knight, and the following piece of doggerel is repeated, the 1o -ader prompting : — 65 Lady. Why do you kneel thus low to implore? Gentleman . That I may remain a mere gent no more. Lady. How can I help your being a gent? Gentlemen. Dub me a Knight — you shall not repent? Lady. If I should yield to your request, What knightly duties will please you best ? Gentleman. To wait on ladies from morn till night. And meet their foes in deadly fight. Lady. Will you promise to heed all I may say, And my will or whim henceforth to obey ? Gentleman. Yes, whatever you bid me do f Shall be my law — I belong to you. Lady. Go, then, and be no longer blind, And the troublesome Knight of the Whistle find. • 'The lady then, strikes his shoulder with her fan or hand- kerchief, and says, “Rise up, Sir ” In this case the victim is not told, but is left to discover that he himself is the Knight of the Whistle. He Can Do Little Who Can’t Do This. This is another “sell” of almost childish simplicity, but we have seen people desperately puzzled over it, and even “give it up” in despair. The leader takes a stick (or poker) in his left hand, thence transfers it to his right, and thumps three times on the floor, saying, “He can do little who can’t do this.” He then hands the stick to another person, who, as he supposes, goes through exactly the same performance, but, if he does not know the game, is generally told, to his disgust, that he has incurred a forfeit, his imitation not having been exact. The secret lies in the fact that the stick, when passed on, is first received in the left hand , and thence transferred to the right before going through the thumping ceremony. An uninitiated person almost instinctively takes the stick in the right hand at once. , The Farmyard. This is generally made use of as a means of victimizing some rather assuming young gentleman. The leader states 66 that ne is about to give each person privately *he name of some animal in the farmyard, and that when he gives the sig- nal, by dropping his handerchief, each is to imitate the noise and action of that particular animal — the louder the better. He then goes round the circle, and whispers to each, profes- sedly, the animal he or she is to imitate. In reality, however, he says to each, “Remain perfectly silent,’’ save when he reaches the victim, to whom he whispers, “The donkey.” He then asks, “Are you ready? Now then, all together !” and drops his handerchief. There is a solemn hush, amid which the voice of the victim is uplifted with a stentorian “bray.” As a rule, the subject of the experiment is not likely to make himself especially conspicuous for the* remainder of the evening. Crossed Questions and Crooked Answers. This game is usually played as follows : — The players sit round in a circle, and the first, in a whisper, asks a question and receives an answer from the second. The second person then (also in a whisper) asks a question of the third, and so on, the last person asking a question of the first. Each per- son then states aloud the question he or she was asked , and the answer he or she received , which of course have no connection the one with the other. Thus, suppose the questions and answers actually given to be as follows : — Q. What do you use for your complexion? A. Soap and water. Q. What is your favorite study? A. Three-volume novels. Q. What are you going to have for dinner to-morrow? A. Roast pork. Q. What is the best thing to keep your head warm? A. A good stiff hair-brush. Q. Who hems your pocket-handkerchiefs? A. My mother-in-law. Q. Whom do you regard as the noblest characters in his- tory ? 67 A. Helen’s Babies. Q. What brought you here to-night? A. My own legs. j Q. What gave you such a bad cold? A. Drinking out of a damp tumbler. These questions and answers, duly reported, will produce the following combinations: — No. 1. The question I was asked was, “What gave you such a bad cold?’’ and the answer I received was, “Soap and water.” No, 2. The question I was asked was, “What do you use for your complexion? ” and the answer I received was, “Three volume novels.” No. 3. I was asked, “What is your favorite study?” and the answer was, “Roast pork.” No. 4. I was asked, “What are you going to have for din* ner to-morrow ?’’ and the answer was, “A good stiff hair- brush.” No. 5. The question asked me was, “What is the best thing to keep your head warm ? ” and the answer I received was, “My mother-in-law.” No. 6. I was asked, “Who hems your pocket-handerker- chiefs?” and the answer I received was, “Helen’s Babies.’ 1 No. 7. I was asked, “Whom do you regard as the noblest characters in history?’’ and the answer I received was, “My own legs.’’ No. 8. I was asked, “What brought you here to-night?’’ and the answer I received was, “Drinking out of a damp tumbler.’’ This mode of playing the game (though the most usual) is subject to the disadvantage that while two of the party are exchanging confidences the rest are left unoccupied. It will be found a better plan to have a supply of slips of paper of ' two colors, say pink and white, and to give one of each to each player. Each player writes a question on the white paper, and passes it to his next neighbor, who then answers it on one of the pink slips of paper. All the papers being 68 then collected, and well mixed together, are drawn in couples, white and pink together, and the question and answer on them read aloud by the leader. Russian Gossip. This is an illustration of the old adage that a story never loses in the telling. The company being arranged in a circle, the leader, in a whisper, communicates to one of them the contents of a newspaper paragraph, or some anecdote, real or fictitious. This the recipient in turn communicates to his next neighbor, and so the story passes 1 completely round the circle, the last person relating aloud the story as communr cated to him. The original narrative is then also read aloud, when it is generally found that there is scarcely one feature of resemblance between the two narratives; the extraordi- nary metamorphosis the story has undergone being produc- tive of the greatest possible amusement, and occasionally some little indignation, each player thinking it scarcely pos- sible that a story which he feels sure he repeated with per- fect accuracy, could be so shamefully garbled by the other players. Thus A tells B that he was told by his barber, that same morning, that he had heard from Mr. Jones’ coachman that Miss Jones had declined an offer of marriage from Lieut. Brown of the Navy, and that it was generally believed that she was in love with the brother of the clergj^man who re- cently officiated at her sister’s marriage. B tells C that A’s barber told his coachman that Miss Jones had had an offer from Lieut. Brown, but that she had refused him, and that it was believed that she was in love with the clergyman who married her sister. By the time the story has been hal£ a dozen times repeated it is stated that Miss Jones had had an offer from the celebrated Lieut. Brown, but that her brother-in-law, the clergj^man, had raised great objections to the match, and that she had since eloped with the coachman’s brother, who was a barber in the Oxland Building. 69 How? When? and Where? Thjsis Mrame having: some little resemblance to that of the Twenty Questions.” One member of the company leaves the room, and a word, generally one admitting- of more than one interpretation, is chosen in his absence. On his -eturn he asks each person in succession, “How do you like t?’ the person interrogated being bound to return an appro- bate answer. He then inquires in the same way of each, Wnen do you like it?” and finally, unless he has previously ruessed the word, “Where do you like it? ’’ If he succeeds a guessing, he is called upon to declare whose answer fur- ushed him with the clue to the secret, when the person who ave such answer must in turn retire and become the ques- IO ?5; Y 6 sup P ose ; example, that the word chosen , ss . The word, it will be observed, is perceptible of weral meanings, as window-glass, opera-glass, looking- lass, drmking-glass, weather-glass, etc. The questioner proceeds to inquire, “How do you like it?” id receives the following answers. 1. Full. 2. Bright. 3. ‘fi: 4 - Clear. S. Strong. 6. Rising. 7. With ice in it. With something- hot. To the second question. “When do you like it?” the replies ay be— 1. When I am smoking a pipe. 2. When I wish to : very good-looking. 3. After dinner. 4. After supper. S. 1 ai T n S' 0111 " t0 see 111 7 lady-love. 6. When I am cold. When I am shaving, 6. When I am out of spirits. “Where do you like it ? ” 'may b.e answered as follows: 1. herever I dan get it. 2. Hanging fip in the hall. 3. On my essjqg-table. 4. Facing a pretty girl, with myself behind r. 5. At the theater. 6. On a race-course. 7. In the cap- n’s cabin. 8. Close by a full bottle, etc. We may safely assume that the questioner has ere this essed the word, and will leave, the reader to decide which the answers is most^ likely to have directed him to the icovery of the secret. 70 The Two Hats. This is a modern version of the old “Game of Contraries.” The leader brings forward two hats ; one he places on his own head, and hands the other to one of the company, with Whom he enters into conversation. The person addressed must stand when the leader sits, and sit when he stands; take off his hat when the leader puts on his, and vice versa . A failure in any of these particulars is punishable by a for- feit. The conversation may be somewhat as follows : — Leader (standing and wearing his own hat). Allow me to offer you a hat, sir. (Sits down.) Victim (standing up). I am much obliged to you, but ] already have one. Leader. Scarcely so becoming as this one, I think. Bui won’t you try it on? (Stands up, and victim sits down.] Allow me to place it on your head. Victim. Not at present, thank you, though I quite admb it is a very charming hat. Leader (throwing himself into a chair, and fanning him self with his hat). Dear me, how very hot the room is! Praj don’t rise on my account. (Victim stands up, but omits t< put on his hat, whereby he incurs a forfeit, and the leadei passes on to endeavor to entrap some other player.) Shadow Pantomime This is a form of dramatic performance which is bes suited to rather young players, but, properly managed, i may not only be made great fun to the performers, but fertile source of amusement to the spectators. The “screen” should be tightly stretched on a woode; frame, and should consist of the kind of muslin used fo transparencies, which may be had very wide without a sean For lack of this a fine sheet will make a very fair substitute 71 >ut it the latter it should be wet and wrung «mt to ender it more transparent. In any case care should be aken to secure a closely woven material, as any rays of light •hining between the threads would have a very bad effect. U1 lights should be put out on the spectator’s side of the .creen, and the opposite side should be lighted by one lamp »nly. This should be a low flat lamp, fitted with a luplex burner of tolerably large size, and burning the very >est kerosene or a purified paraffin oil. This lamp should be >laced in a box or case purposely made to receive it, and vhich should be closed on every side save that looking to- vards the sheet, and should be only so high as just to admit he lamp, and to allow of some sort of guard over the chim- ley, to prevent the top of the box being scorched by the in- ;ense heat. The box should be substantial enough to prevent ts being readily kicked over, and, if practicable, screwed lown to the floor. The inside should be lined with bright ;in, or, better still, a concave reflector should be fixed at the jack of the box, just behind the light. Gas may be used, if ^referred, but it must be remembered that to render the shadows sharp and well defined, all the light must proceed : rom a single burner ; indeed, so essential is it that all the -ays should originate from one point, that where a flat- lame burner is used, it is found necessary to turn it edge- ways to the screen. If such a box as above described is not available, a four-legged wooden stool may be used as a sub- stitute, a tin or iron plate being fixed beneath to prevent the charring of the wood. Some performers use an unguarded Light, with a stool placed behmd it, for the performers to step up and down from ; but there is far too much risk about this plan, as the accidental kicking over of the lamp might readily turn the pantomime into a very serious tragedy. The plan we have recommended, though it involves a little more troub- le, will be found in every way more satisfactory. The position of the light above described will be referred to as the “first,” or ordinary position, and in default of 72 special mention to the contrary, it will be assumed that the lamp is thus placed. A couple of feet or so behind the box in question there should be a stool or table about two feet high, to which the lamp may be transferred at pleasure. This will be referred to as the “second” position. To produce clear and sharply defined shadows on the screen, the objects to be reflected, whether animate or inani- mate, should be as close to it as possible. Living actors should always be seen in profile, and to ensure this will re- quire diligent rehearsal under the guidance of a careful stage manager, for the actor cannot himself see whether his reflec- tion is as it shquld be. If he turns ever 1 so little to try to' catch sight of his features, the profile is a profile no longer. For like reasons, the actors must avoid standing one in front of another, or their shadows will instantly become confused. If the action requires that two actors should pa^s- each other they should do so as rapidly as possible, and if they are re- quired to turn round, they must do so with an instantaneous ; “right about-face,” bringing the features again into profile; from the opposite side. Furniture, in like manner, will de- mand special treatment. An ordinary dining-table, when reflected against the screen, would look something like a car- penter’s bench, or an old-fashioned square piano;'the width of the top being transformed, in shadow, into apparent depth. Where it is not required that a table or chair should, in stag£ parlance, be “practicable,” i.e., capable of being used as a table or chair, its representation may be cut out of paste- board, and pinned or otherwise fastened to the screen. But where a table is required to place articles upon (as for a stage banquet, or the like), the best plan is to make, or have made by a carpenter, a table of very light de^l. In length it will be of the actual length it is intended to appear ; but in width it should not be more than six or eight inches. Of course the slightest and roughest workmanship will suf- fice. Other articles of furniture may be constructed on the same principle. 4 I 73 Where scenery is required, it may be cut out of stiff white or brown paper (according- to the degree of opacity required) and pinned to the screen. The point that most puzzles the uninitiated with reference to a shadow pantomime is the extraordinary manner in which the characters make their entrances and exits. Instead of coming- on at the side, after the ordinary fashion (thoug-h this is sometimes done, by way of variety), they g-enerally enter by dropping down, apparently from the ceiling, and exeunt SHADOW PANTOMIME* Fig. 1. by flying up there again in a most weird and uncanny man- ner (see fig. 1). This curious effect is produced by jumping over the light, and the reader will now see the object of the substantial box or case we have described. The performer can jump on or off the top of a box so arranged with perfect safety; but where he has to jump over a naked light on to a box behind it. there is a constant element of danger. A refer- ence to Fig. 2 will show more clearly how this curious ef- fect of vanishing into space is produced. 74 The light only throws a shadow on the screen within the limits of imaginary straight lines drawn from the light to the extreme corners of the screen. So long as any object remains within these limits it is visible on the screen, but the moment it passes outside them it is no longer between the light and the screen, and therefore no longer throws a shadow. SHADOW PANTOMIME. Fig. 2 . Necessary articles of furniture, or the like, are introduced or got rid of over the light in like manner; the stage mana- ger holding them, when wanted, just within arm’s reach, but outside of the line of shadow. The effect of a chair or table floating gently down from' above to the hand of the performer is most absurd. As outline is the only consideration, not only the manu- facture of stage properties, but the make-up of the perfor- mers is an extremely easy process. Pasteboard is the universal material. From swords and axes to beer-jugs and 75 coal-scuttles, a few sheets of pasteboard will furnish all that is required. A hump on the back, or a horse’s head, may be manufactured in like manner. A false nose or chin is equally within its range. All that you have to do is to cut out the desired feature (say a nose) in duplicate. Glue to- gether the portions forming the projecting part of the nose, and the unglued portions will form a convenient clip to em- brace the natural organ. To secure the pasteboard feature in position, you may either use a piece of adhesive plaster, or a thread passing round the head and tied behind. Fluids, as for instance beer poured from a jug, are represented by saw-dust or sand, a paper-bag full of which, stuck just inside the waistcoat, will enable a wounded combatant to bleed in the most copious and affecting manner. A curious effect may be produced by holding objects cut out in pasteboard first at right angles to the screen, and then gradually shifting them round till they are parallel with it. In the former position the article throws meyely an upright streak of shadow on the screen, thence gradually developing to its full form and dimensions. Many of the small pantomime tricks used in the miniature theaters may be enlarged with very good effect for the pur- pose of the Shadow Pantomime. Multiplying Shadows. Before quitting the subject of the Shadow Pantomime, we may give a passing mention to the subject of the curious optical illusion called “The Multiplying Shadows/’ some- times also known, from one form in which it is presented, as The Witches’ Dance. A glance at our illustration will go far to explain it. A dummy figure (suppose that of a witch, riding on the conventional broomstick) is suspended by fine threads or wires on the side of the screen remote from the ^spectators. Behind this are ranged, one behind the other, and at right angles to the screen, a row of lighted candles. Being all in the same line, they throw one shadow 76 only on the screen. The figure is now made to oscillate slightly, so as to impart some little motion to the shadow. One of the candles is now removed from its place in the row, and waved gently about, now high, now low, the effect to the spectators being that a second shadow springs out of the k THE WITCHES’ DANCE. first, and dances about it on the screen. A second and third candle is then removed, and waved up and down, each candle as it leaves its place in the line producing a separate shadow. It is well to have three or four assistants, each taking «. candle in each hand. Drawing-Room Magic Card Tricks. We shall devote the next following- Chapters to the expla- nation of a few elementary feats of Drawing-Room Magic. In the present pages we propose to limit our description to such illusions as demand a comparatively small amount of personal dexterity, and little or no “apparatus’’. We will comence with the ever popular class of tricks per- formed with playing cards, and for this purpose it will be necessary in the first instance to describe two or three sleight-of-hand processes on the use of which the higher-class card tricks mainly depend. To facilitate their acquirement, we should recommend the amateur, where practicable, to use cards of a small size. In any case, it is well to use only the piquet pack of thirty-two cards (the twos, threes, fours, fives, and sixes being removed), the complete whist pack being inconveniently bulky for sleight-of-hand 'purposes. To Make the Pass. # {Sauter la Coufe ). — The effect of this sleight, which is the very backbone of card-conjuring, is to reverse the respective positions of the upper and lower halves of the pack, i.e,, to make those cards which at first formed the lower half come uppermost, when those cards which at first formed the upper half will of course be undermost. It is used by card- sharpers, immediately after the cards have been cut, to re- place them in the position which they occupied before the cut, and from this circumstance derives its French name. T is performed as follows: — Hold the pack in the left hand, lengthways, with the face downwards, as if about to deal at any card game. In this position the thumb will naturally be on the left side of the pack, and the four fingers on the otb^r- Insert the top joint 78 of the little finger immediately above those cards which are to be brought to the top of the pack (and which are now undermost), and let the remaining three fingers close natur- ally on the remaining cards, which are now uppermost. In this position you will find that the uppermost part of the pack is held between the little finger, which is underneath, and the remaining fingers, which are upon it. Advance the right hand, and cover the pack with it. Grasp the lower por- tion of the pack lengthways between the second finger at the upper and the thumb at the lower end, the left thumb lying, slightly bent, across the pack. Press the inner edge of the lower packet into the fork of the left thumb. Next draw away the upper packet, by slightly extending the fingers of the left hand, at the same time lifting up the outer edge of the lower packet, till the edges of the two packets just dear each other, when by the mere act of closing the left hand they will be brought together as at first, save that they will have changed places. Do this at first very slowly, aiming only at neatness and noiselessness of execution. At the outset the task will be found somewhat difficult, but gradually the hands will be found to acquire a sort of sympathetic action; the different movements which we have above described will melt, as it were, into one, and the two packets will change places with such lightness and rapidity that they will seem to actually pass through each other. A slight momentary depression and elevation of the hands (apparent^ a mere (careless gesture) in the act of making the pass will completely cover the transportation of the cards, which in the hands of an adept is invisible, even to the most watchful spectator. It is sometimes necessary to cause the two halves of the pack to “kiss,” i.e ,. to bring them face to face. This is ef- fected by turning the original upper packet face upwards in the act of bringing the transposed packets together. When the pass in the ordinary form is fairly mastered, this slight variation will occasion no additional difficulty. In this, as in all other branches of prestidigitation, the 19 student will find it of the greatest possible advantage to practice before a looking-glass. By this means, better than any other, he will be enabled to judge how far his movements succeed in deceiving the eyes of a spectator. One caution may here be given with advantage: the student of legerde- main must learn to perform all necessary movements 'with- out looking at his hands , unless for some special reason he desires the spectators to look at them also. In every case, wherever the performer desires his audience to look, his own eyes must take that same direction; and wherever he desires his audience not to look, he himself must carefully abstain from looking. Let us suppose, for instance, that a person has drawn a card, and has replaced it in the middle of the pack. The performer desires to bring it to the top, for which purpose it is necessary to introduce the little finger above the card in question, and to make the pass, as above described. When the card is replaced in the pack, the eyes of the drawer are naturally directed towards it ; and if the performer were himself to look downward at the cards, it would multiply tenfold the chances of detection. He should pause for a moment, and looking full at the person who drew the card, ask, “You are certain that you will know that card again?” or make some similar observation. As he speaks, a natural impulse will draw the eyes of the audience to his own face, and he may then make the pass without the slight necessary movement attracting the least attention. To “Force” a Card. By this phrase is signified the compelling a person to draw such card as you desire, though he is apparently allowed absolute freedom of choice. Your first step is to get sight of the bottom card, or, if you want to force a predetermined card, to get that card to the bottom. Having done this, take the pack in the left hand, and insert the little finger halfway down, in readiness for the pass. Make the pass as above described, but, before uniting the two halves of the pack in 80 t their new position, again slip the little finger of the left hand between them. (The two halves wall now be united at the end which is towards the spectators, but divided by the little finger at the end nearest to yourself; and the original bottom card, which is the one you desire to force, is now at the bot- tom of the upper heap, resting on the little finger.) Using both hands, with the thumbs above and the fingers below the pack, spread out the cards fan wise from left to right, at the same time offering them to the person who is to draw, and requesting him to select a card. Keep the little finger of the left hand still on the face of the card to be chosen, or you may now use, if more convenient, the same finger of the right hand, both being underneath the cards. As the person ad- vances his hand to draw, move the cards onward with the thumb, so that the particular card shall reach his fingers just at the moment wii'en he closes them in order to draw; and, if you have followed these directions properly, it is ten to one that he will draw the card you wish. It may possibly be imagined that forcing a card is a very difficult matter, and requires an extraordinary degree of dexterity ; but this is by no means the aase. The principal thine* against which a beginner must guard, is a tendency to offer the particular card a little too soon. When the cards are first presented to the drawer, the pack should be barely spread at all, and the card in question should be ten or fifteen cards off. The momentary hesitation of the drawer in mak- ing his choice will give time, by moving the cards quicker or slower, as may be necessary, to bring that card opposite his fingers at the right moment. Should the performer, however, miscalculate his time, and the card pass the drawer’s fingers before the choice is made, there is still no reason to appre- hend a failure. Still keeping the little finger on the card, tfie performer should sharply close the cards, and making some remark as to the drawer being “difficult to please,’’ or the like, again spread them as before, and offer them for the choice. 81 To “Palm” a Card. Bring' the card which you desire to palm (by the pass or otherwise) to the top of the pack. Hold the pack face down- wards in the left hand, covering it lengthways with the right. With the left thumb push the top card till it projects about an inch beyond the edge of the pack. With the third finger of the left hand, which is now immediately below the card, press it upwards into the right hand, which should half close over it. You must not mind about bending the card, which will lie curled up against the inside of the hand. You may either let the hand drop negligently to your side, or, still better, take the pack between the fingers and thumb of the same hand and offer it to be shuffled. This will give you the opportunity, often very valuable, of seeing what the card in question is. When it becomes necessary to return the card to the pack, the mere motion of taking the pack in the right hand, whether from the left hand or from the table, will effect that object in the most natural manner. To “Slip” a Card. Hold the pack in the left hand, having first slightly moist- ened the fingers, which should rest upon the back of the cards* Open the pack bookwise, at an angle of about 45°, 82 holding- the upper packet leng-thways between the thumb and second finger of the right hand. Draw this upper packet smartly upwards to a distance of two or three inches from the lower packet. (See fig. 1.) The top card of the upper packet, being held back by the pressure of the fingers upon it, will not move upwards with the rest of the packet ; but immediately the remaining cards are clear, will fold itself down on the top of the lower packet. If the top card of the lower packet be examined before and after the slip, the card will appear to have changed, the fact being that the original top card becomes the second after the slip, the slipped card covering it. The various sleights above described will cost the student some little time and perseverance before they are fairly mastered, and until they are so it is hopeless to attempt any of the more brilliant feats. In the meantime, however, he will find in the following pages many tricks for which sleight- of-hand is not necessary, but which, if performed with neat- ness and tact, will cause considerable astonishment to the uninitiated. Two cautions will here be useful. First, Never tell your audience beforehand what you are going to do. If you do so, you at once give their vigilance the direction which it is most necessary to avoid, and increase tenfold the chances of detec- tion. Secondly (this is, indeed, a practical corollary of the first rule), Never perform the same trick twice on the same evenmg. The best trick loses half its effect on repetition, but, besides this, the audience know precisely what is com- ing, and have all their faculties directed to find out at what point you cheated their eyes on the first occasion. It is some- times hard to resist an encore , but a little tact will get you out of the difficulty. Thirdly, the student must cultivate from the outset the art of “ talking,’’ and especially the power of using his eyes and his tongue independently of the movement of his hands. To do this, it will be necessary to prepare beforehand not only what he intends to do , but what 83 he intends to say , and to rehearse frequently and carefully even the simplest trick before attempting- it in public. It is surprising how many little difficulties are discovered on first attempting to carry into effect even the clearest written di- rections ; and nothing but practice will overcome these diffi- culties. With this brief introduction we proceed from precept to performance. DRAWING-ROOM MAGIC, Fig. 2. To make a card vanish from the pack, and be found in a person’s pocket. Slightly moisten the back of your left hand. Offer the pack to be shuffled. Place it face downwards on the table, and request one of the company to look at the top card. Re- quest him to place the back of his left hand upon the cards, and press heavily upon it with his right. In order that he may the better comprehend your meaning, place your own hands as described (See fig. 2), and request him to imitate you. When you remove your left hand, the back being moist- ened, the card will stick to it. Put your hands carelessly behind you, and with the right hand remove the card. All 84 will crowd round to see the trick. Pretend to be very parti- cular that the person who places his hand on the card shall do so in precisely the right position. This will not only give you time, but draw all eyes to his hands. Meanwhile, watch your opportunity and slip the card into the tail-pocket of one or other of the spectators. Now announce that jmu are about to order the top card, which all have seen, and which Mr. A. is holding down so exceedingly tight, to fly away from the pack and into the pocket of Mr. B. (making the choice ap- apparently hap-hazard). On examination your comijiands will be found to have been fulfilled. It has a good effect, when practicable, to slip the card into the pocket of the same person who is pressing upon the pack. To place the Four Kings in different parts of the pack, and to bring them together by a simple cut. Take the four kings (or any other four cards at pleasure), and exhibit them fanwise (See fig. 3), but secretly place behind the second one (the king of diamonds in the figure) 85 vo other court cards of any description, which, being* thus idden behind the king*, will not be visible. The audience sing* satisfied that the four cards are really the four king’s, id none other, fold them together, and place them at the *p of the pack. Cal] attention to the fact that you are about • distribute these four kings in different parts of the pack. ake up the top card, which, being really a king, you may :hibit (without apparent intention) and place it at the bot- m. Take the next card, which the spectators also suppose be a king, and place it about halfway down the pack, and e next, in like manner, a little higher. Take the fourth rd, which, being actually a king, you may show carelessly, id replace it on the top of the pack. /You have now really ree kings at the top and one at the bottom, though the idience imagine that they have seen them distributed in fferent parts of the pack, and are proportionately surprised hen the cards are cut, to find that all the kings are again gether. It is best to use two Jacks for the two extra cards, . v 7 being less distinguishable from the kings, should a spec- tor catch a chance glimpse, of their faces. There are other and better modes of bringing together ur apparently separated cards by the aid of sleight-of-hand, lich will be explained in due course; but we have thought well to give also this simpler method, as it is always an f vantage to possess two different modes of performing the me feat. le Four Kings being placed under the hand of one person, and the Four Sevens under the hand of another, make them change places at command. Exhibit, fanwise, in one hand the four kings, and in the her the four eights. Behind the hindmost of the kings, d so as not to be noticeable by the audience, secretly place forehand the four sevens. Hold the four eights in the her hand in such manner that the lower of the two center ps of the foremost is concealed by the first and second Sneers. The same pip on each of the other cards will b concealed by the card immediately before it, so that the fou cards will appear to the spectators equally like the sevens Place the pack face downwards on the table. Draw attentio to the fact that you hold in one hand the four kings, and 1 the other the four sevens (really the disguised eights). Fo up the supposed sevens, and place them on the pack. Fo up the kings, and place them on the top of the suppose! sevens. As the real sevens were behind the last of the king, they are now on the top, with the kings next, though audience are persuaded that the kings are uppermost, aq the sevens next following. Deal off, slowly and careful! the four top cards, saying. “I take off these four kings and lay them on the table, requesting one of the spe^toi to place his hand firmly upon them. Do the same with t next four cards (which are really the kings). Ask i persons in charge of the cards are quite sure that they a, still under their hands, and, upon receiving their assuran, to that effect, command the cards they hold to change place which they will be found to have done. Four packets of cards having been formed face downwar on the table, discover the total value of the undl most cards. This trick must be performed with the piquet pack thirty-two cards. Invite one of the spectators to pr.va select any four cards, and to place them, separately and fa downwards, on the table ; then, counting an ace as eleve court card as ten, and any other card according to the numb of Tts pips, place upon each of these four so many car as, added to its value thus estimated, shall make fifteen. I must be remembered that value is only to be taken into c. sideration as to the original four cards, those placed on t counting as one each, whatever they may happen to be ) Y meanwhile retire. When the four heaps are complete, « vance to the table, and observe how many cards are 1 87 7er and above the four heaps. To this number mentally add lirty-two. The total will give you the aggregate value of le four lowest cards, calculated as above mentioned. You should not let your audience perceive that you count le remaining cards, or they will readily conjecture that the *ick depends on some arithmetical principle. You may say, You will observe that I do not look even at one single card;’’ id, so saying, throw down the surplus cards with apparent irelessness upon the table, when they are sure to fall suffi- ently scattered to enable you to count them without attract- f g observation. v arrange twelve cards in rows, in such a manner that they will count four in every direction. This is rather a puzzle than a conjuring trick, but may unetimes serve as an interlude to occupy thejninds of your idience while you are preparing for some other feat. The icret is to place nine of the twelve cards in three rows, so 5 to form a square ; then, place the remaining three cards as >llows ; the first on the first card of the first row, the jcond on the second card of the second row, and the last on le third card of the last row. 0 place the Aces and Court Cards in four rows, in such a manner that neither horizontally nor vertically shall there be in either row two cards alike either in suit or value. This also is a puzzle, and a very good one. Tne key to it > to begin by placing four cards of like value (say four ings) in a diagonal line from corner to corner of the in- mded square, then four other cards of like value (say the )ur aces) to form the opposite diagonal. It must be borne 1 mind that of whatever suit the two center kings are, the wo aces must be of the opposite suits. Thus, if the two enter kings are those of diamonds and hearts, the two cen- sr aces must be those of clubs and spades ; and in add- lg the two end aces you must be careful not to place at 88 cither end of the line an ace of the same suit as the king at the corresponding end of the opposite diagonal. Having got so far, you will find it a very eas3 r matter to fill in the remaining cards in accordance with the conditions of the puz- DRAWING-ROOM MAGIC, Fig. 4. zle. The sixteen cards, when complete, will be as in Fig. 4 subject, of course, to variation according to the particulai cards with which you commence your task. The Congress of Court Cards. Take the kings, queens, and Jacks from the pack, and placi them face upwards on the table in three rows of four each avoiding as much as possible the appearance of arrangement 39 but really taking* care to place them in the following - order: — In the first row you have only to remember not to have two of the same suit. Begin the second row with a card of the same suit with which you ended the first, let the second card be of the same suit as the first of the first row, and so on. The third row will begin with the suit with which the second left off, the second card will be of the same suit as the first of the second row, and so on. Now pick up the cards in ver- tical rows, beginning with the last card of the bottom row. The cards may now be cut (not shuffled) any number of times, but, if dealt in four heaps, the king, queen, and jack of each suit will come together. The “Alternate Card” Trick. Privately arrange beforehand the thirteen cards of anj given suit, or mixed suits, according to the following formula placing the first face upwards on the ( table, the next in suc- cession upon it, and so on. Seven , ace , queen , two , eight , three , jack, four , nine, five , king, six , ten. Place the cards thus arranged at the top of the pack. In exhibiting the trick you begin by counting off, without dis- turbing their order, thirteen cards from the top. Then an- nounce, that by a strong effort of the will, you will make every alternate cardy&ppear in regular order. Place the top card beneath, and place the next face upwards on the table, saying “One ! ” Place the third card underneath, and turn up the fourth, which will be a “two. ” Place the fifth underneath and turn up the “three,” and so on, and continu- ing in the same manner throughout the thirteen cards, which will appear in regular order. The “Spelling Bee” trick. This is a variation of the trick last 'described. The exhi- bitor, taking thirteen cards as before, begins to spell “o-n-e, one,” passing one card underneath for each letter, and turn- ing up the fourth, which is found to be an ace. He then 90 spells “t-w-o, two,” passing three cards more beneath, and turning up the next following, which proves to be a two. “T-h-r-e-e, three,” and so on. The formula for producing the cards as above is as follows: Three, eight, seven, ace, king, six, four, two, queen. Tack, ten, nine, five . To name any number of cards in succession without seeing them. The performer takes the pack, and secretly notices the bottom card. He then announces that he will name all the cards of the pack in succession without seeing them. Hold- ing the pack behind him for an instant, he turns the top card face outwards on the top of the pack; then holding the pack with the bottom card towards the audience, he names that card. From the position in which he holds the pack, the top card, which he has turned, is towards him, and in full view. Again placing his hands behind him, he transfers the last named to the bottom, and turns the next, and so on in like manner. To Nail a Chosen Card to the Wall. Procure a sharp drawing pin, and place it point upwards on the table, mantelpiece, or any other place where it will not attract the notice of the spectators, and yet be so close to jmu that you can cover it with your hand without exciting suspi- cion. Ask any person to draw a cajrd. When he returns it *to the pack, make the pass to bring it to the top, palm it, and immediately offer the pack to be shuffled.' While this is being done, place your right hand carelessly over the pin, so as to bring the center of the card as nearly as possible^ over it, and then press gently on the card, so as to make the point of the pin just penetrate it. When the pack is returned, place the palmed card upon the top, and thus press home the pin, which will project about a quarter of an inch through the back of the card. Request the audience to indicate any point upon the wood- 91 fork of the apartment at which they would like the chosen ard to appear ; and when the spot is selected, stand at two r three feet distance, and fling* the cards, back formost. eavily against it, doing your best to make them strike as at as possible, when the other cards will fall to the ground, >ut the selected one will remain firmly pinned to the wood- work. Some little practice will be necessary before you can take certain of throwing the pack so as to strike in the ight position. Until you can be quite sure of doing this, it 5 better to be content with merely striking the pack against he selected spot. The result is the same, though the effect 5 less surprising than when the cards are actually thrown rom the hand. Coin Tricks ! Coin-conjuring, like card-conjuring, has its own peculiar leights, which it will be necessary for the student to prac- ice diligently before he can hope to attain much success in his direction. The first faculty which the novice must seek to acquire is bat of “palming” — i. e., secret^ holding an object in the >pen hand by the contraction of the palm. To acquire this x>wer, take a dollar, quarter or nickel (these being the most 92 convenient in point of size), and lay it on the palm of th open hand. (See fig. 1.) Now close the hand very slightly and if you have placed the coin on the right spot (which . few trials will quickly indicate), the contraction of the pain around its edges will hold it securely (see fig. 2), and yo| may move the hand and arm in any direction without fear o dropping it. You should next accustom yourself to use th hand and fingers easily and naturally, while still holding ti^ coin as described. A very little practice will enable you t do this. You must bear in mind while practicing always t keep the inside of the palm either downwards or toward your own body, as any reverse movement would expose t £ concealed coin. Berne* thoroughly master of this first lesson, you may pr ceed to the study of the various “passes.” All of the passj have the same object — viz., the apparent transfer of an ari cle from one hand to the other, though such article real, remains in the hand which it has apparently just quitte As the same movement frequently repeated would cau; suspicion, and possibly detection, it is desirable to acqm different ways of affecting this object.* * It should be here mentioned that the term “palming,” which we have so used as meaning simply the act of holding any article, is also employed to sign the act of placing any article in the palm by one or other of the various pass The context will readily indicate in which of the two senses the term is used in a given passage. It is hardly necessary to state that the illustrative diagra represent the hands of the performer as seen by himself. 93 Pass 1 . — Take the coin in the right hand, between the second and thibd fingers and the thumb (see fig*. 3), letting* it, however, really be supported by the fing-ers, and only steadied by the thumb. Now move the thumb out of the way, and close the second and third fing-ers, with the coin .balanced on them, into the palm. If the coin was rightly placed in the first instance, yo^i will find that this motion puts it precisely in the position described as the one for palming; and on again extending the fingers, the ^oin is left palmed, as in fig 2. When you can do this easily with the hand at rest, you must practice doing the same thing with the right hand in motion toward the left, which. should meet it open, but should close the moment that the fingers of the right hand touch its palm, as though upon the coin which you have by this movement feigned to transfer to it. The left hand must thenceforth remain closed, as if holding the coin, and the right hand hang loosely open, as if empty. In the motion of “palming” the two hands must work in harmony, as in the genuine act of passing an article from the one hand to the other. The left hand must therefore rise to meet the right, but should not begin its journey until the right hand begins its own. Nothing looks more awkward or unnatural than to see the left hand extended, with open palm before the right hand has begun to move towards it. Pass 2. — This is somewhat easier than Pass 1, and may sometimes be usefullv substituted for it. Take the coin 94 edgeways between the first and third fingers of the right hand, the sides of those fingers pressing against the edges of the coin, and the middle finger steadying it from behind. Carry the right hand towards the left, and at the same time move the thumb swiftly over the face of the coin till the top joint passes its outer edge; then bend the thumb, and the coin will be found to be securely nipped between that joint and the junction of the thumb with the hand. As in the last case, the left hand must be closed the moment the right hand touches it ; and the right must thenceforth be held with the thumb bent slightly inwards towards the palm, so that the coin may be shielded from the view of the specta- tors. This is an especially quick mode of palming, and if properly executed the illusion is perfect. Pass 3. — Hold the left hand palm upwards, with the coin in the position indicated in fig. 1. Move the right hand towards the left, and let the fingers simulate the motion of picking up the coin, then instantly close. At the same moment slightly close the hand, so as to contract the palm around the coin, as in fig. 2, and' drop the hand, letting it hang loosely by your side. A word of caution may here be desirable. These “passes” must by no means be regarded as being themselves tricks, y but only as processes to be used in the performance of tricks. If the operator, after pretending to pass the coin, say, from the right hand to the left, showing that it had vanished from the left hand, were to allow his audience to discover that it had all along remained in his right hand, they might admire the dexterity with which he had in this instance deceived their eyes, but they would henceforth guess half the secret of any trick in which palming was employed. If it is necessary immediately to reproduce the coin, the performer should do so by appearing to find it in the hair or whiskers of a spectator, or in any place that may suit his purpose, remembering always to indicate before- hand that it has passed to such a place, thereby diverting 95 the attention from himself. As the coin is already in his hand, he has only to drop it to his finger-tips as the hand reaches the place he has named, in order, to all appearance, to take it from thence. The various passes may be employed not only to cause the disappearance of an article, as above described, but to secretly exchange it for a substitute of similar appearance. These exchanges are of continual use in conjuring; indeed, we may almost say that three parts of its marvels depend on them. Such an exchange having been made, the substi- tute is left in sight of the audience, while the performer, having thus secretly gained possession of the original, dis- poses of it as may be necessary for the purpose of the trick. With this brief practical introduction, we proceed to describe a few of the simpler trick with coins. A dollar being spun upon the table, tell blindfold whether it falls head or tail upwards. You borrow a dollar and spin it, or invite some other per- son to spin it, on the table (which must be without a cloth). You allow it to spin itself out, and immediately announce, without seeing it, whether it has faller head or tail upwards. This may be repeated any number of times with the same result, though you may be blindfolded, and placed at the further end of the apartment. The secret lies in the use of a dollar of your own, on one side of which (say on the “tail” side) you have cut at the extreme edge a little notch, thereby causing a minute point or tooth of metal to project from that of the coin. If a coin so prepared be spun on the table, and should chance to go down with the notched side upwards it will run down like an ordi- nary coin, with a long and continuous “whirr,” the sound growing fainter and fainter until it finally ceases ; but if it should run down with the notched side downwards, the fric- tion of the point against the table will reduce this final whirr to half its ordinary length, and the coin will finally go down with a sort of “flop.” The difference of sound is not suffL- 96 ciently marked to attract the notice of the spectators, but is perfectly distinguishable by an attentive ear. If, therefore, you have notched the coin on the “tail’’ side, and it runs down slowly, you will cry “tail ; ” if quickly, “head.” If you professedly use a borrowed dollar, you must adroitly change it for your own, under pretence of showing how to spin it. Odd or Even ; or the Mysterious Addition You take a handful of coins or counters, and invite another person to do the same, and to ascertain privately whether the number he has taken is odd or even. You request the company to observe that you have not asked a single question, but that you are able, notwithstanding, to divine and counter- act his most secret intentions, and that you will, in proof of this, yourself take a number of coins and add them to those he has taken, when, if his number was odd, the total shall be even; if his number was even, the total shall be odd. Requesting him to drop the coins he holds into a hut, held on high by one of the company, you drop in a certain number on your own account. He is now asked if his number was odd or even ; and, the coins being counted, the total number proves to be, as you stated, exactly the reverse. The experi- ment is tried again and again, with different numbers, but the result is the same. The secret lies in the simple arithmetical fact that if you add an odd number to an even number, the result will be odd; if you add an odd number to an odd number, the result will be even. You have only to take care, therefore, that the number you yourself add, whether large or small, shall always be odd. To Rub One Nickel into Three This is a simple little parlor trick, but will sometimes occasion a great deal of wonderment. Procure three nickels of the same issue, and privately stick two of them to the underside of a table, at about half an in inch from the edge, 97 and eight or ten inches apart. Announce to the company that you are about to teach them how to make money. Turn up your sleeves, and take the third nickel in your right hand, drawing particular attention to its date and general appear- ance, and indirectly to the fact that you have no other coin concealed in your hands. Turning back the table cover, rub the nickel with the ball of the thumb backwards and for- wards on the edge of the table. In this position yofir fingers will naturally be below the edge. After rubbing for a few seconds, say, “It is nearly done, for the nickel is getting foot; and after rubbing a moment or longer with increased rapidity, draw the hand away sharply, bringing away witn it one of the concealed nickels which you exhibit as produced by the friction. Leaving the waxed nickel on the table, and again showing that you have but one coin in your hands, repeat the operation with the remaining nickel. To Pass a Ring through a Pocket Handkerchief This trick is performed by the aid of a piece of wire, sharpened to a point at each end, and bent into the form of a ring. The performer, having this palmed in his right hand, \borrows a wedding-ring and a handkerchief (silk for prefer- ence). Holding the borrowed ring between the fingers of his right hand, he throws the handkerchief over it, and imme- diately seizes with the left hand, through the handkerchief, 1 apparently the borrowed ring, but really the sham ring, ' which he adroitly substitutes. He now requests one of the spectators to take hold of the ring in like manner, taking care to make him hol'd it in such a way that he may not be able to feel the opening between the two points, which would j betray the secret. The ring being thus held, and the hand- kerchief hanging down around it, a second spectator is requested, for greater security, to tie a piece of tape or string tightly aro.und the handkerchief an inch or two below the ring. The performer then takes the hankerchief into his own hand, and, throwing the loose part of the handkerchief -over his right hand, so as to conceal the mode of operation, 98 slightly straightens the sham ring, and works one of the ! points through the handkerchief, so getting it out, and rub- bing the handkerchief with the finger and thumb in order to obliterate the hole made by the wire in its passage. He now palms the sham ring, and produces the real one, which has remained in his right hand, requesting the person who tied the knot to ascertain for himself that it has not been tampered with. To Pass a Ring through the Table The necessary apparatus for this feat consists of an ordi- nary glass tumbler, and a handkerchief to the middle of which is attached, by means of a piece of sewing-silk about four inches in length, a substitute ring of your own. Bor- rowing a ring from one of the company, you announce that it will at your command pass through the table ; but as the process, being magical, is necessarily invisible, you must first cover it over. Holding the handkerchief by two of the corners, you carelessly shake it out (taking care to keep that side on which the suspended ring hangs towards yourself)* and apparenty wrapping in it the borrowed, but really the^ suspended ring, you hand it to one of the company, request- * ing him to grasp the ring through the handkerchief, and to hold it securely, at the same time inviting the audience to choose at what particular spot in the table the ring shall pass through it. When they have made the selection, you place the tumbler upon the spot chosen, and request the person having charge of the ring to hold his hand immediately over the glass, around which you drape the folds of the handker- chief. “Now,” you say, “will you be kind enough, sir, to drop the ring in the glass.” He lets go, and the ring falls with an audible “ting” into the glass. “Are you all satis- fied,” you ask, “that the ring is now in the glass?” The reply will generally be in the affirmative ; but if any one is skeptical, you invite him to shake the glass, still covered by the handkerchief, when the ring is heard to rattle within it. Your next step is to borrow a hat, which you take in the hand which still retains the genuine ring, holding it in such manner that the tips of the fingers are just inside the hat, the ring being concealed beneath them. In this condition you can freely exhibit the inside of the hat, which is seen to be perfectly empty. You now place the hat under the table, mouth upwards, relaxing as you do so the pressure of the fingers, and allowing the ring to slide gently down into the crown. Leaving the hat under the table, which should be so placed that the spectators cannot, as they stand or sit, see quite into the crown, you take hold of the extreme edge of the handkerchief, saying, “One, two three!” jerk it away, and request some one to pick up the hat, and return the bor- rowed ring to the owner. \je Handkerchief that cannot be Tied in a Knot The performer, having borrowed a handkerchief, throws the two ends one over the other, as in the ordinary mode of tying, and pulls smartly ; but instead of a knot appearing, as would naturally be expected, in the middle of the handker- chief, it is pulled out quite straight. “This is a very curious handkerchief,” he remarks ; “ I can’t make a knot in it.” The secret is as follows : — The performer, before pulling She knot tight, slips his left thumb, as in fig. 1, beneath such 100 portion of the “ tie ” as is a continuation of the end held i a the Same hand. The necessary arrangement of the hands and handkerchief, though difficult to explain in writing, wid be found quite clear upon a careful examination of the figure . The Vanishing Knots For this trick you must use a silk handkerchief. Twisting it rope-fashion, and grasping it by the middle with both hands, you request one of the spectators to tie the two ends together. He does so, but you tell him that he has not tied them half tight enough, and you pull them still tighter. A second and third knot are made in the same way, the hand- kerchief being drawn tighter by yourself after each knot is made. Finally, taking the handkerchief, and covering the knots with the. loose part, 3^ou hand to some one to hold. Breathing on it, you request him to shake out the handker- chief, when all the knots are found to have disappeared.^ When the performer apparently tightens the knot, he in reality only strains one end of the handkerchief, grasping it above and below the knot. This pulls the end of the hand- kerchief out of its twisted condition and into a straight line, round which the other end of the handkerchief remains twisted ; in fact converts the knot into a slip-knot. After each successive knot he still straightens this same end of the handkerchief. This end} being thus made straight, would naturally be left longer than the other, which is twirled round and round it. This tendency the performer counteracts by drawing it partially back thraugh the slip- knot at each pretended tightening. When he finally covers over the knots, which he does with the left hand, he holds the straightened portion of the handkerchief, immediately behind the knots, between the first finger and thumb of the right hand, and therewith, in the act of covering over the knots, draws 'this straightened portion completely out of the slip-knot. I TMIPSIDBMBOOl AND COMPLETE FORTUNE TELLER The full and correct Tnles of divina- tion concerning dreams and visions, the observance and application of talismen, charms and incantations. There is no book equal to the Complete Gypsy Dream Book, Price 25 cents, prepaid. or Book of Fate Containing fortune telling by moles ; Phy- siognomy by the lines and forms of the face, hair, eyes, etc.; Palmistry or Judg- ments drawn from the hand and nails o t the fingers. Price 25 cents, postpaid. NEW EDITION Containing the true explanation of all dreams and lucky numbers that belong to them; also Fortune Telling by Cards, Dice, Domi- noes, Moles, Marks, Scars, or other Signs on the Skin ; showing their situation, etc., etc.; Judgments drawn from the Moon’s Age; Signs of Speedy Marriage and good success attending it by Sundry Signs, also their numbers ; Palmistry or Fortune Telling by lines in the hand; Showing the various judgments drawn from the hand; also, Finger Nail observations. Price 15 cents, postpaid. ADDRESS ALL ORDERS TO STEIN 6t CO . 508 S. ST ATE ST,. CHICAGO w «** fob or Ain emnoRr ff rou wart wt _ — _ . . f® <*>S^ Jit® HOW TO TELL FORTUNES 8V CAROS, By Madam Zancig. Fully Illustrated. This fittl manual has been written to giv* amusement, ana It describes the methods that are common lv used by Gypsies and others when they “read your for tune.” Many have witnessed a great number or- most wonderful and useful conclusions which have been produced by this science, and many future events have been foretold. Any one can tell the present, past and future by following these simpk instructions let) pages. 50 illustrations. Paper Covtwa .. ........ Zft Ceofk Cloth. . .1 NATIONAL POLICY FLAYEB’S GUIDE AND DREAM BOOK. This Little volume is pne- ♦he lottery or policy. It c of dreams, arranged lucky numbers; Pla Days of Week and rice less to those who play complete list alphabetically, with contains a complete their Cards, their numbers; onth, with numbers; Holi- day's, Unlucky Days, Lucky Days, Birthdays, Com- bination Tables, etc* ; Rules how to ascertain how much any amount of money will bring on any given row of numbeas, etc., eta 208 pages. Cover* 25 Cents Woth 60 Cent# GIPSY WITCHES FORTUNE TELLING CARDS. By Madame Le Norm and. (Gipsy Witch.) Le Normaud has left behind such a reputation, %b4 memory of so unusual a talent, that we believe vr« shall do a favor to the admirers of hersystem, by pub- lishing the cards which were found after her death. They are the same cards with which she prophesied to Napoleon I. his future greatnesp, and the downfall o# many princes and great men or France. Bach pach contains fifty-two fine illustrated cards, lithographed In colors, with inscription foretelling your past, pre* ent and future. Can also be UBed for playing any card game. Full directions with each pack. Price per package of 52 care* la neat case 60 cent* Any book In this list sect postpaid to any address upon receipt of pCfcfe. Complete Catalogue sent free ’{Mar, 4 * ct'i Afm «* gtatg «t |y> v [The Star Book Library I Tho C*«- VtA Ala This is a collection of hundreds of cleref no. 1. me oiar Kiddie BOOK riddles end conundrums, famous for their cleverness. Complete answers are given for each one. In the back of the book will aloo be found a number of catch problems that will prove stumbling blocks for the unwary. Here is material for a thousand evenings’ entertainment. The person, be he boy, girl, man or woman, who has at command a number of clever riddles, conundrums and catch proplems like these, is always a welcome guest In any company, and the material furnished in this book will keep you supplied with a constant stream of fresh ones for years to come. Bound in handsome scarlet covers, .with 64 large pages. No. 2. The Star Money Maker hundreds of people, who, by their own experience have tested and tried the plans and suggestions offered and found them what they are claimed to be, shrewd, clever and original methods of making money in spare time hours right at home. We Include in the back of the book a number of valuable formulas, receipts and trade secrets that are likewise priceless in value. 64 large pages, set in new clear type, and printed on fine book paper, handsome scarlet covers. No. 3. The Star Collection of Famous Songs, penseln^ifbofcol' lected THE SONGS OUE MOTHEKS SANG. The ENDURING melodies of America, the ones our forefathers knew and loved— the ones our children’s children will greet with eager pleasure. The WORDS as well as MUSIC for each song. Here are a few of the songs: Home Sweet Home; Highland Mary; Die Wacht am Rhein; Woodman Spare That Tree; Maggie by My Side; Douglas, Tender and True; Then You’ll Remember Me; Do They Miss Me at Home; Scots wi’ Wallace Bled; Bring Back My Bonny; Yankee Doodle; Rocked in the Cradle of the Deep; America; Good Night Ladies; Maryland; Dixie; Old Cabin Home; Jnanita; In the Gloaming; Sweet Afton; Killarney: etc., etc. It is America’s best music for all America; a book every home will welcome and preserve, j i Tim Cla. Mobo*. The'best boy’s book In America, with scores ItO. me oiar icy iriaKer. of plans and designs for making all sorts of toys, also useful as well as ornamental things. Every plan in the book has been worked out by a practical boy with limited home tools and apparatus; and the HOW TO MAKE IT is told in plain simple language that EVERY boy will read and understand. Here are some of the plans which are explained; Bird Houses, Pantagraph, Camera Obscura, Kaleidoscope, Barometer, Traps, Air Motors, Bow and Arrows, Land Sailer, Talking Machines, Sleds, Cameras, Toboggans, Wind- Mills, Stilts, Kites, Dog Sleds, Coasters, Toy Railroads, forth of July Toys, etc. This book Is especially prepared, copyright, new matter, illustrated with scores of copyright drawings and pictures, and has taken us five years to prepare. No. S. The Star Amateur Electrician. have helped us to make this book, with its scores of special copyright designs, plans and Instructions, the VERY BEST In the country, regardless of price: a book that any boy who can read will be able to understand and work from. The How and Why of Electricity fully told in simple language, with scores of plans and instructions for making batteries, dynamos, motors, telegraph apparatus* telephones, lights, bells, alarms, coils, “wireless” outfits, etc., etc. Any of the above books, 10 cents, postpaid. Your choice of ant three (3> books, 25 cents, postpaid. Address all orders. MAX STEIN & CO., 500 S. STATE ST., CHICAGO, ILL. HERRMANN’S BOOK OF MAGIC. BfHermmim Includin g a full expose of the Black Art. This fe a practical treatise on how to perform modern tricks. Great care has been exercised by the eu* thor to include in this book only such tricks as* have never before appeared in print. This assures ' the performer a secret and almost endless fund for suitable material to be used on all occasions. With little practice almost anyone can perform that more simple tricks, and with practice, as he be- comes more adept, he can perform the most diifi* cult. No book published contains a greater vari- ety of material for conjurers and Bnght-of-hand performers than this book- 180 pages, 41 illustra- tions. Paper Cover. ....-25 Cant* «J!oih, SCSsirti “CARD SHARPERS, THEIR TRICKS EXPOSED, OR THE ART OP ALWAYS WINNING. 59 By Bobert-Houdin. This volume was expressly written to “en- lighten the dupes and there will be no more cheating/* In unveiling the tricks of card sharpers, tile author and editor have included everything practiced by gamblers c? all countries, ther having spent years in following every crooked or cheating move made by them, which i3 fully explained by diagrams. The book when read will inspire no thought beyond that of guarding the reader against the card tricks of sharpers. 200 pages, 24 illustra- tions. Paper Cfloer Ts>Sh Cover Price. $ .25 - .SO THE EXPERT AT THE CARD TABLE. By S. W, Krdnase. Without doubt the very bast and most up-to-date treatise on the nuxaeroa* sleights used by gamblers, concluding with a thor- oughly interesting chapter on Card Sleights and Tricks with Cards. A jh ong the various new gambler's sleights will be found many which will prove of excellent service to the progressive conjuror. 2U5 pages, 101 iliastri* tiens. Paper Cover Price 250 J2mo, Cloth 50* Any book in this list sent postpaid to auy sa dress, upon receipt of price. Complete C&talo©3* sent free. .*A,¥ «T£>!fS* ** Ct> » «ST A n&: ****... |~t>. $1.50 WO RTH FOR 2 5 CENTS! Old Secrets and New Discoveries CONTAINS INFORMATION OF RARE VALUE FOR AXE CLASSES, IN ALL CONDITIONS OF SOCIETY. This book is a combina- tion of six books, each com- plete in itself, and which were formerly published at 25 cents per copy. Following are the titles of the six books contained in OLD 5ECR8TG AND NEW DISCOVERIES: (1) Old Secrets? N ( 2 ) Secrets for Farmers; (3) Preserving: Secrets; (4) Manufacturing Secrets; (5) Secrets for the House- wife ; and (6) The Secret of Money Getting, by P. T. Barzmm. This Book Tells how fo make persons at a dis- tance think of you— Something all lovers should know. St Tells how you can charm those you, meet and make them love you. It Tells how Spiritualists and others can make writing appear on the arm in blood characters, as performed by Foster and all noted magicians. It Tells how to make a cheap Galvanic Battery; how to plate and gild without a battery ; how to make a candle burn all night ; how to make a clock for 25 cents ; how to detect counterfeit money; how to banish and prevent -mosquitoes from biting; hofa to make yellow butter in winter; Circassian curling fluid ; Sympathetic or Secret Writing Ink ; Cologne Water; Artificial Honey; Stammering: how to make large noses small; to cure drunkenness; to copy letters without a press; to obtain fresh-blown flowers in winter; to makegood burning can- dles from lard. it Telia how to make a horse appear as though he was badly foundered : to make a horse temporarily lame ; how to make him stand by his food and not eat it; how to cure a horse from the crib or sucking wind; how to put a young countenance on the horse; how to cover up the heaves; now to make him appear as if he had the glanders ; howto make a true-pulling horse balk; how to nerve a horse that is lame, etc. These horse secrets are being continually sold at one dollar each, it Tel ! s how to make the Eggs of Pharo’s Serpents, from which, when lighted, though but the size of a pea, there issues from it a coiling, hiss- ing serpent, wonderful in length and similarity to a genuine serpent. It Tolls of a simple and ingenious method for copying any kind of draw- ing or pictu re. And more wonderful still, how to print pictures from the print itself. tt Tell* how tc perform the Davenport Brothers’ “Spirit Mysteries,” so that any person can astonish an audience, as has been done. Also scores of other wonderful things which we have no room to mention. OLD SECRETS AND NEW DISCOVERIES contains over 250 solid pages of reading matter, and is worth $1.50 to any person; but it will be, mailed to any address on receipt of only 25 cents. Postage stamps taken in pay- ment for it the same as cash. Your money back if book is not as advet- Used. Address all orders to ADDRESS ALL ORDERS TO MAX STEIN & CO., 508 S. State St., CHICAGO. ILL ', 1 * -OK riilE?* ANQflELBCi 'CIAT' ‘^ p , HAVE :w HI* SOCKET. A COMfj-^TS 4.^-iTHICAL re^EUEKCB LIBRARY IN IXS£U>*' T5he Handy Vest-Pocket ELECTRICAL DICTIONARY BY WM. L. WEBER, M.E. ILLUSTRATED V C ONTAINS upwards of 4,800 words, terms and phrases employed In the electrical profession, with their definitions given in the most concise, lucid and comprehensive manner. The practical business advantage and the educational benefit derived from the ability to at once understand the meaning of some term involving the description, action or functions of a machine or apparatus, or the physi* cal nature and cause of certain phe- nomena, cannot be overestimated, and will not be, by the thoughtful assidu- ous and ambitious electrician, because he knows that a thorough understand- ing, on the spot, and in the presence of any phenomena, effected by the aid of his nttle vest-pocket book of refer- ence, is far more valuable and lasting in its impression upon the mind, than any memorandum which he might make at the time, with a view to the future consultation of some volumin- ous standard textbook, and which is more frequently neglected or forgotten than done. The book is of convenient size for carrying in the vest pocket, being only 2% inches by 5y a inches, and inch thick; 224 pages, illustrated, and bound in two different styles: Cioth, Red Edges, Indexed • • 25c Full Leather, Gold Edges, Indexed, 50c Cold by booksellers generally or sent postpaid to any address upon it'cslp# of price. MAX STEIN & CO.. 508 S. STATE ST.. CHICAGO. ILU POPULAR NOVELS An Original, Illustrated, Attractive Cover on every Book 15c each. 7 for $1.00, Postpaid. Adrian Leroy, Chas. Garvice AWoman’s War, B. M. Clay Elaine, 44 Farmer Holt’s Daughter, 44 Her Ransom, " Her Humble Lover *• Her Heart’s Desire, •* My Lady Pride, * Royal Signet, The Sculptor’s Wooing, 44 A Wasted Love * Woven on Fate’s Loom, * The Marquis, “ A Coronet of Shame, * Lucille, Love’s Dilemma, 44 A Woman’s Soul " For Her Only 44 Leave Love to Itself, 44 A Love Comedy M The Woman Decides, 44 My Lady of Snow, 44 The Price of Honor 44 A Passionate Love 44 Behind the Footlights ,’ 4 A Bridge of Love, B. M. Clay A Dead Heart, 44 A Golden Dawn, " The False Vow, 44 Her Second Love 44 Lord Lynne’s Choice 44 Like no Other Love 44 Love for a Day, 44 Under a Shadow, * Heiress of Hilldrop, 44 Set in Diamonds, 44 A Squire’s Darling 44 The Shadow of a Sin, 44 The Shattered Idol, 44 Thom in Her Heart 44 Thrown on the World, 44 A Woman’s Temp- tation, * Wedded and Parted. * A Queen among Women, 44 His Wife's Judgment, 44 Dora Thorne, “ A Broken Wedding Ring, C. M. Braem Sir Arthur’s Heiress, * f A Golden Heart, 44 A Fiery Ordeal, u A Mad Love, * At War with Herself, “ On Her W edding Mora,** For Another’s Sin, *• Wife in N ame Only, ** Between Two Loves ** Her Faithful Heart, 14 A Passionate Love, m Shadow of the Past, “ Her Only Sin, “ My Wonderful Wife, Marie Corelli Mildred Trevanion, The Duchess A Maiden, All Forlorn, ** The Duchess, •* The Haunted Chamber 1 * The Honorable Mr& Vereker, " Lady Valworth’s Diamonds ** A Life’s Remorse ** Marvel *• Under Currents *• A Crown of Shame, Florence Marry att A Little Stepson, *• The Poison of Asps “ Deserted, Elsie Whittlesey Unknown, 44 Hemlock Swamp, 44 Helen Ethinger, 44 Not Exactly Right 44 The Last Heiress, H. W. Tayk* Wonderful! Surprising! Astounding! A full pack of 52 cards, appearing pre 'iselv Tiie same as an ordinary pack of playing cards, but by tli* aid of the in- structions civen. any one can perform tiie most, wonderful and apparently im possible tricks Many of the feats exhibited are truly marvelous and will de light., astonish and amuse a whole audience. Some people in ay, however, bp come so puzzled and bewildered at the mysterious and inexplicable character of many of the tricks as to attribute them to the agency o-f the “ Fvil One. Bear in mind that the tricks are not dene by legerdemain or sleight-of-hand, but that the whole secret is in the cards, and the tricks cannot be performed by any other cards. No one has ever been able to discover the secret until it was explained to them. These cards can he used-jn all card games, interspersing the playing with tricks that will astonish every one. We also send with each, pack the cele- brated trick cards of Prof. Yiller. rhe"re- nowned conjuror and magician. These re- markable tricks are now for the first time made public, and are without exception t.hi* most remarkable card tricks 'extant . As i means of amusement and entertainment thest cards are unequalled. They are always fresh, interesting and mysterious. The interest in them will never grow old, and the possessoi #111 be a welcome guest to any entertainment or festal occasion. We give be- low a partial list of many wonderful tricks that car oe performed with the Wizard's Pack. 1. A card may be drawn, shuffled in the pack, and cu* - the firs: lime. 2 To blow a card from the pack after having been drawn, returned and •huffled. 3. Tiie two colors of a pack divided by one cut.v 4. The card dis overed under a handkerchief. 5. Six persons draw a card each, shuffle them, ,nd immediately after, the performer at once produces them, pulling them •apidiy out of the pack one after the other. 6. The performer leaves the room vhile lie is absent a person draws a card. He returns, ■ -.kes the pack *t ns hand, and immediately pulls the card from the pac- drawn in iiis absence T. To cut a pack and name the number of cards in eacli part. 8. A card drawn by the audience not seen by yourself, shuffled and place* V- it 1 r:- ' pack upon Ihe table, separates itself from the others. 9. To call a' • .mtavof cards and draw them from the pack as called, etc. While performing these tricks, many others equally as gci-d will natural!', - suggested to "he mind of the per ortner. We mail a full pack of Wizard s Oards (52e~~^8), Pro f •. 'll ler’s trick cards, *ud a hook with full and explicit instruction .or performing all the tricks Price 35 cents per pack: 3 packo for 90 ce*iwtage st/mips. or any denoiuiuauon. tukeu same as cash If It Is An Affair of the Here are some touching bits of sentiment on POST CARDS to send the only one. Illustrations that express more than words printed ih beautiful colors on selected tinted card board, designs are by some of America’s most clever artists, 25 different subjects. Order from your book dealer, or they will be sent to you post paid in sealed envelope on receipt of price. Z for S cents. 2S cents a dozen* 03- Cut Out and Mali This to Us. ’"thk'stein CO.. ~ V 'aate Streetr Chicago. Sfi, enclosed please ftnd. . . » torcvhfeti wend .......•••••a Name Address *-*-e THE WIZARD’S MANUAL In this advertisement we mention bot a few of the many wonder* that every person can perform titer reading the WIZARD’S MANUAL ; itcofc- oally contains more information than ell other each books combined. This Marvellous Book, written by a noted expert, not only tells Inst how to perform the most wonderful feats in iho category of Magic, bat 70 READ It lea fact THOUGHTS S37VE son’s thoughts, a© that you can reveal numbers or names thought of, find bid* den articles, etc. SOD CAN DO IT. Pwry Seers© <• unfolded so clearly Qhatcvea Children too learn. The Greatest Book ever issued op ITS kind; a complete compendium of the Secrets of the Magician, Mind Reader and Ventriloquist. Fully explained and illustrated. ■ it explains—— How to Produce Cabbages from a Hat. How to make Rings appear and Disappear. Howto change Paper and Bran to Mills and Sugar. How to Produce Fire from your UoMlu How to make a Person Float In Air. How to do all kinds of Card Tricks. How to do ail the Latest Coin Tricks. How to Cut a I.ady in Halves. How to Produce Bowls of Fish from HaaA kerchiefs. How to Grow Flowers In Empty Vanes Is* Stantly. How to do Tricks with Dominoes and Dim How to do Wonderful Tricks with Hand* K6PCh i6fs« How to do Kellar’s Ring Trick. How to make Large Objects Vanish. How to Profcure Eggs from a Boy’s MOktBi How to Restore a Smashed Watch. How to do the Great Box Trick. How to do all “Spirit” Mysteries. How to make “ Ghosts ” appear. How to Perform the Davenport Illnslonflb How to make a Cane Seem Alive. How to make a Coin Answer Questions. How to do Vanishing Lady Trick. _ How to do Hundreds of other Marrelloq* feats of Legerdemain. SECRET of VENTRILOQUISM REVEALED '2bt» celebrated book tells Howto become a Ventriloquist, making voices apparently emanate owa boxes, empty rooms, chimneys, tranks, loads of hav, etc., and Instructs you lust how to “ throw your voice” so as to make wooden images appear to talk ana sing. The publisher of The Wisard’f Manual agrees to FORFEIT 81000.00 if this is not the TRUE SECRET OF VENTRILOQUISM. These secret instructions have never before been published in book form. Professors of the art have charged from ©100.00 to 8500.00 to instruct others; bv investing 3S cents in this Wizard's Manual, you not only get this knowledge, bat a vast amount of other Information on all subjects pertaining to the mysterious arts. Yon can give a long performance in MAGIC, MIND READING and VENTRHAk QUISM AFTER YOU HAVE STUDIED THIS BOOK A FEW HOURS. Don’t fail to get tt| emember that it is the bes* and cheapest volume on these subjects ever issaed. It explains many Ilia- •Ions amr before revealed in print, guarded secrets of the Science of Legerdemain and Psvchol OOT. Avoid buyi ng cheap, imitation catcb-pcnny affairs; get The Wjaard’e Manual and you will be well plaa so fc We will send It post-paid, upon receipt of only 25 CENTS; ON AND OFF THE BREAD WAGON Being the Hard Luck Tales, Doings and Adventures of an Amateur Hobo* BY CHARLES DRYDEN Profusely Illustrated by HY. GAGE The ups and downs of a young man who leaves the farm at a tender age to wrestle with fate, and the strange adventures he meets in his wanderings, told in a vein of irresistible humor, with many fun-provoking situations and side-splitting pictures. A book you will read and remember and laugh over. Over 250 Pages, about 50 Pictures, and Printed in Clear Type on Good Paper Paper Cover, Printed in Four Colors PRICE 25 Cents Cloth Cover, Stamped in Four Colors PRICE 50 Cents For sale everywhere, or sent postpaid on receipt of price by the publishers Brainy Bowers and Drowsy Duggan STORIES TOLD IN PICTURES The side-splitting stunts which first appeared in cartoons on th« comic page of the Chicago Daily News. By great brain work, Brainy Bow- ers turns all circumstances to ad- vantage, but generally to the dis- comfiture of Drowsy Duggan. Comical and ridiculous suprem- acy of mind over material. A laugh on every page. 160 Pages, All Pictures, Cover in Four Colors, Paper, - PRICE 25 Cents. Cloth Style, Stamped in Colors - PRICE 50 Cents. Sold everywhere or sent postpaid on receipt of price by the publishers Star and Crescent Puzzle. ists of two stars one crescent and small £orseshoe. puzztfc is to take niddie star off and ice ft. No force is ired,itstipsou and isyw ben you kno w One of the most ilizing puzzles put le market in years ou enjoy solving; hard riddles this •le will meet every irement and give e satisfaction. ?, postpaid. 10c. 26c. 75c per dozen Puzzle Keys. THE MAGIC DAGGER.'' 11 re two iroukeys securely caught together with no visible means of separation, and it will puzzle the cleverest to get them apart, but there is a way to get them and one that will keep your Friends busy trying to solve it. When you are in the secret it requires but a few moves .to interlock the keys or separate them. A very in- genious and difficult- puzzle. Price 10c, 3 for 26c, 75c dozen, postpaid. A fine seller. wonderful illusion. To all appearance it is ae ary dagger which you can flourish around in land and suddenly state that you think you lived long enough and had better commit ie at the same time plunging the dagger up to It into your breastor side, oryou can pretend b a friend or acquaintance. Of course your l or yourself are not injured in the least, but eception is perfect and will startle all who ce» 15 cents, or S for 40 cents, by mail, post* FLY SS&ftF PIN The prettiest and most unique little scarf pin ever in- vented. It is an exact repro- duction of a common house- fly in color, size, shape and appearance. Get one of these pins aud see bow many peo- ple will try in the course of a day to brush it off your tie or coat lapel. If you want something both novel, useful and amusing, you should pos- sess one of these pins. It is mounted on a strong steel pin and is worth double the price we are asking for it. Sent postpaid for only < Am T hree for 25 cents. 1 W W ?H£ GOOD LUCK PUZZLE. Can yeti take the the cen« ter shoe off? It looks so easy that an y o n © would bS fooled. The best and neatest pocket puzzle eves made. Made of steel. Pp. for 2.0c, 3 for 25c. I th'elink fczzleT The sensa lion .ofc tin day. Pro nounced’ bj all the most baffling ' and scientific hbV; ■city out 'Thousands have worked at Jt'fcr hours without mastering it, 8tIJl.it cait-lie done two seconds by giving tfie-;link^’thg proper twist, but unless you know how the harder you twist them the tighter they grow. - Price, lO cents; 3- for 2& Ceats,.- by mail, postpaid. The Magic Fan. This fan is to ail appear- ance the ordinary article and you can open and close it and fan yourself at will. You then hand it to someone else with an invitation to use it. As soon as they take it in their hands, however, it will fall to pieces and appear to be broken beyond repair, but when re- turned to you it at once assumes its perfect con- dition. * A great thing for fun at parties. Price, postpaid, only 36 cents, 3 for $L SSagis Wafsfo Cftarm A beautiful little ornament made of imita- tion ivory and containing magnifying lenses of the highest known quality. They contain a variety of pictures such as Actresses, the Brooklyn Bridge, Handsome Women, Lords Prayer etc. Price 10 Cents, 3 for 26 Cents, Post Paid MAX STEIN & CO.. 508 S. STATE ST., CHICAGO. 114* » — — n WAGIC TOBACCO ■ TO &A,CC ao.\ \ gQV This fitrmly the joker* little friend, end mop* fun e»n be had with it than monkeys. First it is empty. Show it again jerrel ull of smoking tobacco; breathe on it, and, presto! o is gone and it is filled with Turkish Cigarettes, mystified and wild to get one. Selling like hoi ice, 10c, pp.. 3 for 25a and our bin catalog. Address SHINS BILL TRICK a bail through a solid table, blowing >ur pocket into a vase, which is included trick, and many other wonderful feats imam, easily performed with this outfit.- in do these tricks with short practice, id 20c ; 3 for 50c ; Stamps or t’our money back if you don’t like it. iTRlO PUSH BUTTONS tre WONDEREUL *cJ STARTLING. When a friend approaches just exposa the bntton to view and you will have! the fun of your life. Bo will be sura V^\N to pash it and receive a smart shock. Price 10c, 8 for 25c, mailed postpaid. anese Trick Knife cutting off your finger or nose, in show the knife and instantly t across your finger or nose, ap- ly cutting deep into the flesh, lood appears on blade of knife, a startling effect to the specta- /hen, presto change! the knife >ved, and your finger or nose is in good condition. A cheap, fective illusion. 10 cts., 3 for 25 cts.,by mail, postpaid. Magta Trick Cards. With tnosc cards you can perform some of the most wonderful illusions. Toucan change eights to duces, blacks to reds, etc. The transformations are truly wonderful. Price 10 Cents, w’th inductions, and our Big Bar* gain Catalogue. Address MACCO miQKBQX You cau burn a card to aahta and then have it APPEAR AGAIN uninjured, and perform many other marvellous tricks with this made box. Complete outfit with directions now to oper- ate the false bottom, 20c postpaid. 3 for 50c. Stamps or silver. Sour money back If you don't like It FIGHTING ROOSTERS Mystify and amuso your friends. These are two gen- nine game roosters with 1 feathers, they fight to a finish, and are always ready to fight. The secret of their movements is only known to the operator. Will last a life- time. 10c per pair, 3 for 25c, postpaid. Address LIGHTNING TRICK BOX. A startling illusion. You take^ off the lid of this wonderful box and show your frieuds that it is full of candy, then replacing the lid you can solemnly assure them that you can instantly empty the box, in their presence, without op- ening it, and taking off the lid agaii), sure enough the candy has ^appeared Or yt5u can change the candy into a piece of coin by following the directions sent with each box Price only 8c, 3 for 20c, postpaid. A neat trick Tiie Wizard’s Wonderful Tricx Cards A full pack of 62 cards with which the most wonderful tricks may be per- ^ formed. We give a partial list of some of the marvelous feats to be accom- plished by their aid. 1. A card may be drawn, shuffled in th_- pack and cut the first time. 2. To blow a card from the deck atter hav- ing been drawn, re- \> “ turned and shuffl d. \ 3. The two colors of a pack divided by one cut, 4, Six persons draw a card each, re turn them and shuffle tue deck, after which the performer at once produces them, pulling them rapidly out of the package one after the other. 5, The performer leaves the room. While he is! absent a person draws a card. He returns, takes the pack in his hand, and immediately pulls out the card drawn in his absence. 6. Cuts the pack any place and instantly names the number of cards in each division. 7. A card drawn by the audience, not seen by yourself, shuffled and F ilaced ; u the pack on the table, separates itself rom the others. 8. To call any numberof cards and draw them from the pack as called. These are only a few of the many wonderful tricks de- scribed in the directions sent with each pack. Many of the feats exhibited are truly marvelous and will delight, astonish and amuse a whole company Bear in mind that the tricks are not done by legerdemain or sleight of hand, but that the whole secret is in the cards, and the feat can- not be done with any other cards. No one has ever been able to discover the secret until it was explained to them. These cards can be used in all card games, interspersing the playing with tricks that will astonish everyone. These cards are always fresh, interesting a.ud mysterious. Price, postpaid, 35c. MAX STEIN & CO., 503 S. S ATE ST.. CHICAGO. JU-‘ i UNIVERSITY OF ILLINOIS-URBANA 3 0112 109553989 THE WIZARD’S MANUAL TEN DOLLAR VOLUME FOR 25 CTS. In thli advertisement we mention tut a few of th* Tde Greatest Book ever issued ot ITS kind; a complete compendium of the Secrets of the /Magician* Mind Reader and Ventriloquist. Fully explained and illustrated. ' ■ it explains — Howto Produce C a bb a ges from A Hnt. Ho v^uTproducc Fire from your Mouth. How to make a Person Floatln Air. How to do all kinds of Card Tricks. - How to do all tbe Latest Coin Trick*. Howto Cot a Lady in Halves. Produce Bswlt of Fish from Hand How to Grow Flowers In Empty Vases In. Stantly. Ho w to do Tricks with Pomlnoes.an d Plcy. . How to do Wonderful Tricks with Han ds kerchiefs. _ How to do Hollar's Kin; Trick. How to make La How to Procure] How to Bestore a Smashed wucii* How to do the Great Bo* Trick. How to do all “ Spirit” Mysteries. How to make “Ghosts'* appear. . How to Perform the Davenpor* How to make a Cane Seem AJh _ How to make a Coin AnswerQuestior How to do Vanishing Lady Trick. — ' Hundreds of other A£arr< How to do many wonder* that ‘SS Mr»onc.n j crfosm after reading '.no WIZABD S MANUAL IUct- „ — „ — telly contains more Information than all otaeifuo* feats ot Legerdemain. books combined. This Marvellous Baok, written by A .eted expert, not only tells lost bow to perform tbe most wonderful Seats in ta# tslego ry of Magic, bat UAUf TO READ tits stack HU TV THOUGHTS Son’s thoughts, «o that you car reveaj combers or names thought oY, And hid* den articles, etc. XOU CAN SOIL Qvery 8 mt*« Is unfolded so el early that even Children < SECRET* VENTRILOQUISM REVEALED This celebrated from bojes, empty bock tclli How a Ventrflognlst, JMUor JW^ ■ rooms, cbimners, trnnksT loadJ of hay, etc.. and instructe yoa Just bow to throw is to make wooden I nacres apnear to tal k an cf 01 ng. The JPJ* *. FORFEIT SI 000.00 if this U not tbe TRUE SEOtET OF VENTRILOQUISM* These secret instructions have never before been published in book form. FroreMonof tae im awy chained from Si 00.00 to *500.00 to instruct others; by investing VS cents in this i Wizard 1 s Manaa^ - . _ A. S V : _ \ 1 _ J nmnnnl At ho* i nfAFTnattATl ATI All ADhlMtfl nertftUllE-t to IDS remlmber^batft^s tbe best and cheapest volume on these subjecw ever lseued.0 It explsinamsBf slons never before revealed in print, guarded secrets of tha Serenas of Legerdemain end PgycMl 1 Avoidbuying cheap, imitationcatch-penny affairs ; get The Wizard’s Manoal and yon ’ »>» *>« f *} 1 F 1 * Wa will aend H post-paid, upon receipt of only 25 C£2i7St0tt topics (Ot IL.09. QcMOOff Others Mibsea, thus gotuas yoa j WiMtd’s MaaosJ (no. Max Stein Pub. House, 508 So. State St., Chicago, 111. £3