PSYCHOLOGY OF PRESTIDIGITATION. 559 



lay aside this fundamental resemblance and wliat a difference we find 

 between the two oases! When we wish to surround a hypnotized 

 person with dlusions the operation is one of the greatest simplicity. 

 We merely pronounce a word in an authoritative tone to make the 

 illusion a reality to him. "Here is a bird," we say, and without further 

 explanation the subject sees a bird as if it were in reality present. The 

 prestidigitator must resort to a more subtle means of arriving at the 

 same end; he must deceive the spectators without their being aware of 

 the deception that is being i)racticed upon them. 



The first necessary condition for all these operations is holding the 

 attention of the audience. Before commencing a trick the operator 

 should endeavor to have the attention of each one of the spectators, in 

 order that their minds may enter into relation with his. This is what 

 in hypnotism is called "entrer en rapport," giving a convenient term to 

 a phenomenon the existence of which is certain, but the nature of which 

 it would be most difficult to define. We all know how to attract and 

 retain the attention of a person with whom we wish to speak. It is 

 instinct with us. We were never taught the different insignificant 

 means employed to arrive at this end, such as raising the voice, placing 

 the hand upon the shoulder, or making use of an interjection. We all 

 know that a great deal depends upon the personality of the individual; 

 for instance, there are some who find it impossible to hold the attention 

 of an audience or even of an individual, while there are others who by 

 the mere utterance of a few words, such as "I do not know" or "I beg 

 pardon," command immediate attention. The prestidigitator who has 

 doubtless never reflected upon the means he uses to hold his audience, 

 nevertheless knows well how to exercise this influence to attract the 

 eyes and close attention of everyone present to his hands, his eyes, or 

 to whatever j^art of his body it is necessary for his project that they 

 should be attracted. 



Robert Houdin makes an observation the truth of which will be 

 readily recognized by those who are accustomed to speak in public and 

 to enter into communication with a large concourse of individuals. 

 He says that the first and most important quality of the prestidigitator 

 is to possess a steady eye; certain people have a timid, vague expression, 

 and while conversing with them should one look them frankly and 

 steadily in the face they feel embarrassed and turn away their heads as 

 if they dreaded the intimacy of such looks. This timidity of expression 

 is contagious; it is a great stumbling-block to conversation, and pre- 

 vents the orator from exercising any influence over his hearers. The 

 Ijrestidigitator, says Robert Houdin, must have a frank, bright, pene- 

 trating glance, which he must concentrate boldly upon the eyes of the 

 spectators in such a manner that their eyes become riveted on his, and 

 a feeling of mutual sympathy arises. When the artist accomplishes 

 this he can at will turn the eyes of his audience in whatever direction 

 he sees fit. 



