Healthful Sports for Boys Part 18

Rochester University--"Waxico, waxico, waxico, wax! Waxico, waxico, waxico, wax! Brek-k-ks--Brek-k-ks, ah-h-ah! ROCHESTER!"

University of Was.h.i.+ngton--"U. of W.! Hiah! Hiah! U. of W.! U. of W.!

Siah! Siah! Shooken' Shookem! WAs.h.i.+NGTON!"

Hobart College--"Hip-ho-bart! Hip-ho-bart! Hip-ho, hip-ho, HIP-HO- BART!"

Syracuse University--"Srah--Srah--Srah Sy-ra-cuse!"

This list by no means comprises all the college cries, but it will serve to ill.u.s.trate the most striking of them.

Even the women's colleges have their own distinctive cries, and for oddness they quite equal those of the men. And now the high schools, and even the separate cla.s.ses and school societies are indulging in original cries. But so long as these things keep up the cla.s.s spirit and make for sound lungs and high spirits, why should old fogies object?

CHAPTER XXVI

CLEVER TRICKS WORTH KNOWING

THE VANIs.h.i.+NG KNOTS

For this trick you must use a silk handkerchief. Twisting it, rope- fas.h.i.+on, and grasping it by the middle with both hands. You must request one of the spectators to tie the two ends together. He does so, but you tell him he has not tied them half tight enough, and you yourself pull them still tighter. A second and a third knot are made in the same manner, the handkerchief being drawn tighter by yourself after each knot is made. Finally, take the handkerchief, and covering the knots with the loose part, you hand it to some one to hold.

Breathing on it, you request him to shake out the handkerchief, 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 that end of the handkerchief out of its twisted condition and into a straight line, round which the other end of the handkerchief remains twisted; in other words, 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 twisted round and round it. This tendency the performer counteracts by drawing it partially back through 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 slipknot.

THE DANCING SAILOR

The Dancing Sailor is a figure cut out of cardboard, eight or nine inches in height, and with its arms and legs cut out separately, and attached to the trunk with thread in such a manner as to hang perfectly free. The mode of exhibiting it is as follows: The performer, taking a seat facing the company, with his legs slightly apart, places the figure on the ground between them. As might be expected, it falls flat and lifeless, but after a few mesmeric pa.s.ses it is induced to stand upright, though without visible support, and, on a lively piece of music being played, dances to it, keeping time, and ceasing as soon as the music ceases.

The secret lies in the fact that, from leg to leg of the performer, at about the height of the figure from the ground, is fixed (generally by means of a couple of bent pins), a fine black silk thread, of eighteen or twenty inches in length. This allows him to move about without any hindrance. On each side of the head of the figure is a little slanting cut, tending in a perpendicular direction, and about half an inch in length. The divided portions of the cardboard are bent back a little, thus forming two "hooks," so to speak, at the sides of the head. When the performer takes his seat, as before mentioned, the separation of his legs draws the silk comparatively taut, though, against a moderately dark background, it remains wholly invisible. When he first places the figure on the ground, he does so simply, and the figure naturally falls. He makes a few sham mesmeric pa.s.ses over it, but still it falls. At the third and fourth attempt, however, he places it so that the little hooks already mentioned just catch the thread, and the figure is thus kept upright. When the music commences, the smallest motion, or pretence of keeping time with the feet is enough to start the sailor in a vigorous hornpipe.

CONJURING WITH COINS

Coin-conjuring has its own peculiar sleights, which it will be necessary for the student to practice diligently before he can hope to attain much success in this direction.

The first faculty which the novice must seek to acquire is that of "palming"--_i.e._, secretly holding an object in the open hand by the contraction of the palm. To acquire this power, take a half-crown, florin, or quarter (these being the most convenient in point of size), and lay it on the palm of the open hand. Now close the hand very slightly, and if you have placed the coin on the right spot (which a few trials will quickly indicate), the contraction of the palm around its edges will hold it securely, and you may move the hand and arm in any direction without fear of dropping it. You should next accustom yourself to use the hand and fingers easily and naturally, while still holding the coin as described. A very little practice will enable you to do this. You must bear in mind while practicing always to keep the inside of the palm either downward or toward your own body, as any reverse movement would expose the concealed coin.

Pa.s.sES

Being thoroughly master of this first lesson, you may proceed to the study of the various "pa.s.ses." All of the pa.s.ses have the same object --viz., the apparent transfer of an article from one hand to the other, though such article really remains in the hand which it has apparently just quitted. As the same movement frequently repeated would cause suspicion, and possibly detection, it is desirable to acquire different ways of effecting this object. It should be here mentioned that the term "palming" which we have so far used as meaning simply the act of holding any article, is also employed to signify the act of placing any article in the palm by one or the other of various pa.s.ses.

The context will readily indicate in which of the two senses the term is used in any given pa.s.sage.

Pa.s.s I.--Take the coin in the right hand, between the second and third fingers and the thumb, letting it, however, really be supported by the fingers, and only steadied by the thumb. Now move the thumb out of the way, and close the second and third fingers, with the coin balanced on them, into the palm. If the coin was rightly placed in the first instance, you will find that this motion puts it precisely in the position above described as the proper one for palming; and on again extending the fingers the coin is left palmed. 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 thenceforward remain closed, as if holding the coin, and the right hand hang loosely open, as if empty.

PALMING

In the motion of "palming," the two hands must work in harmony, as in the genuine act of pa.s.sing 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 toward it.

Pa.s.s 2.--This is somewhat easier than Pa.s.s 1, and may sometimes be usefully subst.i.tuted for it. Take the coin 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 toward the left, and at the same time move the thumb swiftly over the face of the coin till the top joint pa.s.ses 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 inward toward the palm, so that the coin may be s.h.i.+elded from the view of the spectators. This is an especially quick mode of palming, and if properly executed the illusion is perfect.

Pa.s.s 3.--Hold the left hand palm upward, with the coin in position.

Move the right hand toward the left, and let the fingers simulate the motion of picking up the coin, and instantly close. At the same moment slightly close the left hand, so as to contract the palm around the coin, and drop the hand, letting it hang loosely by your side.

THE VANIs.h.i.+NG TRICK

A word of caution may here be desirable. These "pa.s.ses" must by no means be regarded as being themselves tricks, but only as processes to be used in the performance of tricks. If the operator, after pretending to pa.s.s the coin, say from the right hand to the left, and 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 other place that may suit his purpose, remembering always to indicate beforehand that it has pa.s.sed to such a place, thereby diverting the general 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 pa.s.ses may be employed not only to cause the disappearance of an article, as above described, but to secretly change it for a subst.i.tute of similar appearance. These exchanges are of continual use in conjuring; indeed, we may almost say that three parts of its marvels depends on them. Such an exchange having been made, the subst.i.tute is left in sight of the audience, while the performer, having thus secretly gained possession of the original, disposes of it as may be necessary for the purpose of the trick.

With this brief practical production, we proceed to describe a few of the simpler tricks with coins.

HEADS OR TAILS

You borrow a quarter, and spin it, or invite some other person 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 fallen head or tail upward. 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 quarter of your own, on one face 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 side of the coin. If a coin so prepared be spun on the table, and should chance to go down with the notched side upward, it will run down like an ordinary coin, with a long continuous "whirr," the sound growing fainter and fainter till it finally ceases; but if it should run down with the notched side downward, the friction 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 sufficiently 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 coin, you must adroitly change it for your own, tinder pretence of showing how to spin it, or the like.

ODD OR EVEN; OR, THE MYSTERIOUS ADDITION

You take a handful of coins, 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 him a single question, but that you are able, notwithstanding, to divine and counteract 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 hat, held on high by one of the company, you drop in a certain number on your own account. He is now asked whether his number was odd or even; and, the coins being counted, the total number proves to be as you stated, exactly the reverse. The experiment is tried 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 DIME INTO THREE

This is a simple little parlor trick, but will sometimes occasion a good deal of wonderment. Procure three dimes of the same issue, and privately stick two of them with wax to the under side of a table, at about half an inch from the edge, 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 dime in your right hand, drawing particular attention to its date and general appearance, and indirectly to the fact that you have no other coin concealed in your hands. Turning back the table cover, rub the dime with the ball of the thumb backward and forward on the edge of the table. In this position your fingers will naturally be below the edge. After rubbing for a few seconds, say: "It is nearly done, for the dime is getting hot," and, after rubbing a moment or two longer with increased rapidity, draw the hand away sharply, bringing away with it one of the concealed dimes, which you exhibit as produced by the friction.

Leaving the waxed dime on the table, and again showing that you have but one coin in your hands, repeat the operation with the remaining dime.

THE CAPITAL Q

Take a number of coins, say from five-and-twenty to thirty, and arrange them in the form of the letter Q, making the "tail" consist of some six or seven coins. Then invite some person (during your absence from the room) to count any number he pleases, beginning at the tip of the tail and travelling up the left side of the circle, touching each coin as he does so; then to work back again from the coin at which he stops (calling such coin one), this time, however, not returning down the tail, but continuing round the opposite side of the circle to the same number. During this process you retire, but on your return you indicate with unerring accuracy the coin at which he left off. In order to show (apparently) that the trick does not depend on any arithmetical principle, you reconstruct the Q, or invite the spectators to do so, with a different number of coins, but the result is the same.

The solution lies in the fact that the coin at which the spectator ends will necessarily be at the same distance from the root of the tail as there are coins in the tail itself. Thus, suppose that there are five coins in the tail, and that the spectator makes up his mind to count eleven. He commences from the tip of the tail, and counts up the left side of the circle. This brings him to the sixth coin beyond the tail. He then retrogrades, and calling that coin "one," counts eleven in the opposite direction. This necessarily brings him to the fifth coin from the tail on the opposite side, being the length of the tail over and above those coins which are common to both processes. If he chooses ten, twelve, or any other number, he will still, in counting back again, end at the same point.

The rearrangement of the coins which is apparently intended to make the trick more surprising, is really designed, by altering the length of the tail, to s.h.i.+ft the position of the terminating coin. If the trick were performed two or three times in succession, with the same number of coins in the tail, the spectators could hardly fail to observe that the same final coin was always indicated, and thereby to gain a clue to the secret. The number of coins in the circle itself is quite immaterial.

THE WANDERING DIME

Have ready two dimes, each slightly waxed on one side. Borrow a dime, and secretly exchange it for one of the waxed ones, laying the latter waxed side uppermost on the table. Let any one draw two squares of ordinary card-board. Take them in the left hand, and, transferring them to the right, press the second waxed dime against the center of the undermost, to which it will adhere. Lay this card (which we will call a) on the table, about eighteen inches from the dime which is already there, and cover such dime with the other card, b. Lift both cards a little way from the table, to show that the dime is under card a, and that there is (apparently) nothing under card b. As you replace them, press lightly on the center of card a. You may now make the dime appear under whichever card you like, remembering that, if if you wish the dime not to adhere, you must bend the card slightly upward in taking it from the table; if otherwise, take it up without bending.

THE MAGIC COVER AND VANIs.h.i.+NG PENNIES