FAMOUS INDIAN TRICKS

Lake Wakatip Mail, Issue 3614, 18 November 1924, Page 7

FAMOUS INDIAN TRICKS

HOW THEY ARE DONE. ROPE AND BASKET DEVICES. It has been stated that one of the wonders of Wembley is the Indian miracle man, who performs a series of tricks that have staggered the world for ages, writes Douglas Boyd in the ‘ Weekly Telegraph.’ The most celebrated of these are the amazing Indian rope trick, of which few have not heard, the famous “ basket ” trick, and the mango-tree trick. Juggling is often confused witli conjuring, and the two arts are quite distinct. In juggling there is no concealment of method; in conjuring there is both concealment of method and deception. The Indian): juggler is, then, wrongly called so. The juggler may be said to perform feats, while the conjurer may be said to perform tricks. The description of the rope trick, as it is generally believed,.to be performed, is as follows: —The conjurer takes a length of rope, and throws it into the air. To the astonishment of “ the foreigner ” it remains stationary, and this fact alone lias mystified jthc' world. A boy assistant climbs up, rests for a moment on the top, then vanishes. The conjurer, annoyed at the sudden disappearance, angrily waves a sword in the air, with the startling result that a leg falls to the ground, then an arm, then the boy’s severed head, then the trunk, until the whole body is lying dismembered on the ground. The turhaned Indian mutters many incantations (the English conjurer’s patter), and the limbs slowdy gather together to rejoin the trunk—and the hoy smilingly springs to his feet. HOW THE TRICK IS PERFORMED This description of the rope trick lias been circulated all over the world, hut a remarkable fact is that no one, apparently, has seen it performed in that way. The real rope trick is simply this: The conjurer takes the length of the rope., and flings it into the air, where it remains perfectly upright, balanced upon the palm of his hand. Nothing further happens, and, like every other seemingly impossible trick, tliis one has a very simple explana--1 on. Down the middle of the rope, which is - light one, runs a length of flexible wire. '■. c conjurer, with great skill and judg-i.-cnt, throws it into the air in a perfectly upright position, the wire straightens out with it, and for a few minutes the rope is stiff. But if the explanation: is simple, the execution is not. The slightest- misjndgment in the upward throw or the slightest error in muscular force means that it will sag and fall to the ground. The “ basket ” trick, which is considered so amazing, lias been performed, with variations, at English conjuring halls. The basket is shaped so that the bottom is larger than the top. A youth jumps into it, and to all appearances it is 100 small. With seeming difficulty a lid is placed over the opening, and the whole is then covered with a large white sheet. Taking up a sword, the conjurer proceeds to thrust it through the top and sides of the basket, blood begins to flow, and horrible screams come from within. By degrees these sounds cease, the basket is uncovered, and to the great surprise of the onlookers is shown to he empty. The hoy-assistant, eventually, is seen climbing down a mango-tree in the vicinity. THE BOY IN THE BASKET. The explanation of this is as simple as that of the rope trick. The hoy assistant wears a large turban, and a great ornamental coat, usually scarlet in color. The obvious is often most deceitful, and this coat effects another office other than merely being part of the ornamental equipment.' It is very thick, and the spectator is easily deluded into the belief that tlif basket is too small to accommodate the hoy. As soon as the lid is placed ove* the opening and the cloth flung over the basket, however, he removes both turban and coat, then lies* at the bottom and larger portion, and curls round it. The ednjurer mow advances with the sword, and thrusts it through the top and sides, ami as he moves gradually round so that every part of the basket receives a vicious stab, the boy, with renewed screams, squirms into the pierced section immediately the sword has been withdrawn. The handle of the weapon is hollow, and contains blood, which runs down a groove in the blade. The assistant’s cries become less distinct, and after a few low groans cease altogether. A corner in each hamd, the conjurer takes off the cloth in front ot the basket, and the boy, who has hurriedly replaced his turban and scarlet coat, springs out behind it. As if the large white sheet is no longer required, it is carelessly carried over to ■a group of fellow-conjurers—for it must he remembered that Indian tricksters always travel in companies of four or five—and the performer throws it upon his other possessions beside them. THE BOY IN THE TREE. The hoy, who has been walking beside the cloth, mingles with them, and quickly disappears in the passing crowds, while the conjurer, returning to the basket, with well-affected astonishment and a great deal of lamentation, discloses it to he empty. The watchers arc very much bewildered when they perceive the assistant climbing down a mango-tree hut a short distance away. And such is the famous “ basket ” trick. The mango-tree trick needs hut little explanation. It represents a miniature mango-tree growing according to popular (belief, “before your eyes.” Inside a little lent the conjurer places a small pot. in which he plants a seed. Now and again lie lifts tile front portion <>f the lent to show the tree in its various stages. A number of twigs of varying lengths, the largest hearing leaves and fruit, are hidden in the folds of a cloth that Ito flings over the tent. Squatting behind it, he pretends to water the plant; actually lie Os changing the smaller twig for one larger. Why these tricks have become famous is because they rank among the first of conjures, hut they pale into insignificance before the wonderful juggling of the Japanese and the amazing conjuring of the celebrated Maskelyne Family.