Docc Hilford - Our Magic Edited, Ultimate Magic eBooks Collection
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//-->Our MagicThe Art in Magic -- The Theory of Magicby Nevil MaskelyneCONTENTSPart I: The Art in MagicI. The Real Secrets of MagicII. The Three Degrees in ArtIII. UnityIV. ConsistencyV. JustificationVI. Surprise and RepetitionVII. Effects of TransitionVIII. ClimaxIX. PresentationX. RehearsalXI. Speed in PresentationXII. PatterXIII. Stage Manner and PersonalityXIV. Mental AttitudeXV. The Importance of Artistic PrinciplesPart II: The Theory of MagicI. TerminologyII. General AnalysisIII. MisdirectionIV. Styles of MagicV. Manipulative PrinciplesVI. Principles of Mental MagicVII. Mechanical PrinciplesVIII. Optical PrinciplesIX. Acoustic PrinciplesX. Electrical PrinciplesXI. Chemical and Molecular PrinciplesXII. Magical InventionsPrefaceIN WRITING this book, we have fulfilled a purpose that has long been held inview, viz:-the production of a work which would present our art in a truerlightthan is ordinarily shed upon it by textbooks and treatises. We have long beenimpressed by the fact that, unlike other technical subjects, magic has receivedscarcely anyattention upon its theoretical side; but has been allowed to drift along thecourse of progressas best it might, unaided by the advantages that order and system could bes-tow. In any othercalling, technical or artistic, the groundwork of the subject, invariably and asa matter ofcourse, receives due attention on the part of those who follow that calling.Those who teachand those who study alike, are well aware that unless the fundamental prin-ciples-the theoryof their subject are properly understood, there can be no chance of gainingany realknowledge such as an expert must possess. Then, since magic combines bothart and science,the folly that it can be studied apart from its theory, its very constitution, istoo obvious torequire comment. Therefore, in this book, we have attempted the task of set-ting before thereader a plain and straightforward statement of the facts, principles, and rea-soning essentialto a proper understanding of our subject, so far as our ability will allow.We do not for a moment suggest that what we have written herein representsthe lastword to be said concerning magic. On the contrary, we are well aware thatour book is butthe commencement of a new departure which, we hope, may lead to the fullelucidation ofour subject, in every particular. The ramifications and extensions of knowled-ge connectedwith magic are so vast in their scope that no single treatise can possibly in-clude all that askilled magician ought to know. Consequently, we can claim no more thanthe production ofa book which, in our opinion, serves to indicate, rather than to exhaust, themanifold topicsassociated with the art, science, and practice of magic.One notable feature of this work, which should, we believe, serve to provethe faiththat is in us, consists in our unhesitating disclosure of original devices, andthe modusoperandi of original experiments in magic. So far from feeling any reluctancetoward lettingthe general public into the secrets of our procedure, we are most anxious toeducate thepublic in such matters, in order that a proper understanding of our art may bedisseminatedamong its votaries and patrons. The point is this. Tricks and dodges are ofcomparativelysmall importance in the art of magic. At the utmost, they display inventive a-bility, butnothing more. The effect-and the effect alone-produced by the use of such in-ventions, is theconsideration of real importance.For proof of this, we need only point out one well known fact, viz:-that thevery bestaudience a skilled magician can have is one composed entirely of magicians.The reason forthis should be self-evident. An audience of magical experts is bound to seethe performer 'sfeats in a proper light. Such an audience will very seldom be perplexed bywhat is exhibited,and will never attach great importance to "how it is done." Every member ofsuch anaudience will have his mind engrossed almost exclusively in noting the artwith which theperformer uses devices, known or unknown, to produce an intended effect. Ifhis art ismeritorious, the expert spectators will appreciate the performance highly, nomatter how old,how new, how ingenious, or how simple may be the technical devices em-ployed.It will be difficult, we fear, to bring the general public to that standpoint. Theaverageman is so firmly impressed with the notion that magic consists merely in puz-zles offered forsolution, challenges to the spectator's acuteness, that many years must elapsebefore thaterroneous idea can be dispelled. Some day, however, we hope that even theman in the streetwill have learned the fact that so-called "secrets" are to the magician littlemore than are, tothe actor, the wigs, grease-paints and other "make-up" with which he prepareshimself forappearance before the public. The art of the magician, like that of the actor,depends uponmatters far higher than mere appliances and processes. just as the actor, in theexercise of hisart, employs certain means for making himself resemble the character he re-presents, so themagician employs devices essential to the guise in which he appears. As ithappens, themagician's aids in this respect are necessarily more recondite than those ofthe actor. Owingto this fact, there has arisen the mistaken impression that the magician's artbegins and endsin the devices he employs-whereas, in fact, those devices are merely hisworking tools. Hisart does not consist in the things he uses, nor in the trade secrets and technicalprocesses hehas at command, but in the employment of those facilities with adequate effi-ciency. Itconsists in what he does with the things he uses, not in those things themsel-ves. In the handsof a skilled magician, a magical experiment becomes something vastly diffe-rent from what itwould be if conducted by a novice. That needs no argument whatsoever. Andit is just in thatvery difference that the art of magic is comprised. Those who hold the viewthat the tools ofmagic are synonymous with the art of magic do great injustice to the magici-an and to his artalike.Undoubtedly, we must admit that great progress in the art has been made du-ringrecent years. Both in artistry and in social standing the modern magicianstands upon a planefar higher than that occupied by his predecessors of two or three generationsago. Theaverage magician of today has been educated at a public school, and is social-ly qualified torank with members of any other profession. He knows some Latin, and per-haps a trifle ofGreek; and on occasion can speak French without giving his audience thecold shivers. So faras they go, these facts are eminently satisfactory, but more is requisite for theequipment ofan artist in magic. The young gentlemen who constitute the vast bulk of risingmagicianshave not yet shaken themselves free from the trammels with which their lessfavoredpredecessors were hampered. They have not, as a rule, learned to understandthe art of magicas it really is, nor to recognize the nature of its constitution. In so far as theyare true artists,they depend upon their instinctive leaning toward refinement and appropriateprocedure.They go to work the right way because they feel it to be the right-not becausethey know it tobe right. As for explaining why any particular course of action is right, that isbeyond the
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