pages: unmaskingrobert00houdgoog.pdf, 315
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unmaskingrobert00houdgoog.pdf | 315 | THE UNMASKING OF ROBERT-HOUDIN which is a cross between the whistle of a locomotive with a cold, and a sawed-off and hammered-down flute in which has been inserted a tin whistle. As this nerve- racking music holds the spectators under its awful spell, the basket begins to rock, the contortionist-subject grad- ually raises himself inside the basket, and when the noise is at its height he straightens up in the basket and raises it with his back as far as it will go. To the uninitiated it actually appears as if he had returned to an empty basket in his original position. The trick is a marvellous decep- tion, but only a Hindoo can exhibit it with success, for no white person would ever indulge in the screechings, imbecilities, and contortions which are the spectacular and convincing features of the trick. Sometimes the trick is varied. Instead of the subject being found in his original position he is seen running toward the crowd as from a distance. This is accom- plished by having two subjects, one in the basket and one hidden on the outskirts of the crowd, who are "doubles" or at least who show a marked resemblance and are dressed exactly alike. The earliest programmes of Hindoo jugglers in my col- lection are dated 1818. The "Mr. Ramosamee" featured on this bill later split his name thus, "Ramo Samee," and was engaged to perform alone between the acts of "The Broken Heart" at the Garrick Theatre, London. From Ramo Samee, Continental and British magicians learned the trick of juggling brass balls. On page 135 Professor Hoffmann, in a foot-note, com- mends Robert-Houdin for the very impartial manner in which he approaches the question of spiritualism and [286] |