PRACTICAL MIND-READING/PART 6
LESSON VI.
DIFFICULT DEMONSTRATIONS.
We shall now direct your
attention to a class of demonstrations of a rather more complicated order than those
related in the last chapter. But even these difficult feats may be rendered
comparatively easy of accomplishment by careful practice, and development of
receptivity.
PRELIMINARIES.
In
these experiments or demonstrations the Transmitter stands by your left side,
you grasping the fingers of his right hand in your left hand, and holding as in
the case of the former experiments, i.e. either with his hand pressed against
your head, or else held out and up, as before described. You receive the
impressions in the same way. The following demonstrations may be performed
after a little private practice, so as to be shown at a public performance
almost as easily as the simpler feats heretofore described.
DISCOVERING THE CARD.
DEMONSTRATION
I. Spread a number of cards over the table. Then retiring from the room, have
the audience select one card of the number, which the Transmitter must be
sure to remember distinctly—that is the Transmitter should remember just where the card is, the position being
the important feature, rather than the name of the card. Then taking the
Transmitter's hand as above described, you should move your right hand
to-and-fro over the table, moving it backward and forward, and in circles. You
will soon find that this feat closely resembles the one of the last chapter in
which you find small objects; the pin hole, etc. You will soon find that the
impressions tend to centre over a certain
spot on the table. Begin to lessen your circles and hand movements until you
gradually centre over this spot. Then slowly lower your fingers until you touch
the card resting on the said spot, when you will be sure that you are right,
when you must pick up the card and exhibit it to the audience. The same
indications mentioned in the feats of the last chapter will be felt by you. You
will feel the "No, no!" impression when you are wrong, and the
"That's right" impression when you are moving in the right direction,
until at last you will distinctly feel the relaxation of the mental urge, which
you will have learned to translate into "Right you are!" when you
finally touch the right card. This feat is really no more difficult than the
one in which the small object is found, and we have included it in the list of
"Difficult Demonstrations" simply because it is practically a
"connecting link" between the two classes of demonstration, as you
will see as we proceed.
THE CHECKER MOVE.
DEMONSTRATION
II. This is akin to the last experiment. Have a checker board arranged by some
of the audience who understands the game. Then let some one decide on the next
move. Be sure that the Transmitter thoroughly understands the piece to be
moved, as well as the place to where it is to be moved. Then, proceeding as
above indicated, first find the piece to be moved, and then move it to the
proper place. This feat consists of two parts, you will notice. The finding of
the piece is like the finding of the card. Then with the piece grasped between
your thumb and forefinger, make a small circular and backward and forward
movement, until you feel the mental impression of "There!" when you
will place your piece directly on the spot. This may seem difficult, and
appears so to the audience, but you will find by a little private practice that
it is really as easily performed as some of the simpler tests.
THE GAME OF CARDS.
DEMONSTRATION
III. Similar to the above is the feat known as the "Game of cards."
Two players sit opposite each other at a table, having dealt themselves
two hands of euchre. Have the Transmitter lead you behind the first player, and
standing there have the player silently point out the card he wishes to lead,
to the Transmitter. The Transmitter then should concentrate his mind on the
card, and you will find it in the usual manner, and having found it will play
it on the table. Then leading you around to the other player, the Transmitter
repeats the process, and you find and play the card. Then back to the first
play, and repeat. Then alternate between the players, in the same manner, until
you have played out the game. This may be improved upon by the Transmitter
thinking of which player has won the trick, when you will push the cards over
to the winner, having discovered the direction in the usual manner. This feat
is very effective indeed when properly performed.
THE MAPPED-OUT TRIP.
DEMONSTRATION
IV. Have a map laid open on the table, and have the audience decide upon a trip
between two points, either by rail or by water. Then returning to the room,
stand as above described, and with your forefinger find the place from which
the trip starts. Then move slowly along the selected course in the same manner
in which the checker-game was played, passing along the chosen route until
the end is reached. These feats are all really variations of the one principle.
THE PACK OF CARDS.
DEMONSTRATION
V. This is a very effective feat, and requires some little skill and practice,
but there is no reason why any careful, patient, and persistent student should
not be able to master it. It consists in the audience selecting any given card
from the pack, and then replacing it with the others, being sure that the
Transmitter is familiar with the card chosen, and knows enough about cards to
recognize it when he sees it again. Then the pack of cards should be placed on
the table, face up. Returning to the room, you take the Transmitter's hand as
usual, and with your right hand pick off the cards from the pack, slowly and
one by one. As you pick up each card, slowly weigh it
in your hand, so to speak, and then place it aside if you receive no
"stop" orders from the mind of the Transmitter. Having previously
practiced this feat in private you will have learned that peculiar
"heavier" sensation that comes to you when you lift the right card
from the pack, so that when you finally reach it you will know it. We cannot
describe just what this sensation will feel like—you must learn it by actually
experiencing it in private practice. We advise you to diligently practice this
feat in private, for it is wonderfully effective. You will find that after
a bit of practice you will be able to get the "heavy" feeling when
you lift up and "weigh" the right card. You should perform this feat
slowly, and carefully, shaking your head, "No," just before you
discard a card. If by the lack of concentration of the Transmitter, you fail to
feel the "heavy" feeling when you pick up the right card, the shake
of the head will be apt to arouse him to exert his Will more
actively, and you will receive the "hold on" impulse immediately. Do
not be in too much of a hurry to discard, but make several feints at it before
finally letting go. This feat may be improved by having the audience select a
"poker-hand," such as a "flush," a "straight,"
"three-of-a-kind"; a "full-house," etc., etc., and having
you find the hand one card at a time. This latter is a fine effect, and always
brings down the house. But be sure that your Transmitter really knows and
remembers the cards, else the feat will fail, of course. He must remember each
card, and recognize it when it appears face up on the pack before you, as you
proceed with the discarding. Never attempt this feat in public without previous
careful, private, practice, for it requires the most delicate perception and
skill. If you find that you cannot master it to your satisfaction, after
sufficient practice, you may try it by the "Simpler Method" given at
the conclusion of this Lesson.
THE CHOSEN WORD IN THE
BOOK.
DEMONSTRATION
VI. Like the last feat, this is a complex and difficult one, but one that
always arouses enthusiasm in an audience when well performed. It will repay you
for the private practice that you will have to employ upon it, before you
produce it in public. The feat consists of the audience selecting a book from a
pile, or a book-shelf, or book-case, etc.—then a given page is chosen—then a
line of printed matter on that page—and then a word in
that line. It is well to have the Transmitter draw a pencil circle around the
chosen word, so that he may be sure to remember it later. The book is then
replaced on the shelf. Then returning to the room, you first find the book, by
the methods already given in previous feats; then laying it flat on the table
you should begin to slowly and deliberately pick each leaf up separately. This
part of the feat is almost identical with the last one, in which you picked up
the cards from the pack. When you get the proper impression, you should
announce that you have found the leaf. If satisfied that you are right,
ascertain upon which side of the leaf, the chosen page is. This can be done by
pressing the leaf to the right, or left, in succession, until you get the right
impression as to which way to press it down. Then, having thus found the page,
pass your finger slowly down and back over the page several times, until
you get the impression of a centre. This
centre will be the chosen line. Then by passing the finger slowly along the
line, you will discover the Word when you reach it. This is a
"ticklish" feat, but it may be mastered by practice—in fact some
people have found it almost as simple as some of the easier feats, while others
require careful practice with it. Do not be discouraged if you do not succeed
at first trial, even in public, but try again, and after a bit you will seem to
"get the knack" all at once, and thereafter will have but little
trouble in making the demonstration. If you find that you do not meet with the
desired degree of success in this feat, try it by the "Simpler
Method" given at the last of this part of the book. But do not give it up
without the proper practice. If you have carefully performed the previous
feats, you should have so developed yourself by this time that you should have
no special difficulty in this feat.
BLACKBOARD
DEMONSTRATIONS.
The
following feats may be performed either upon a large blackboard hanging from
the wall, or upon a large sheet of card-board, or stiff paper, spread upon the
table. If the blackboard is used, you should stand before it, the Transmitter
standing in the usual position. If the table is used, you should stand before
it, the Transmitter in his usual place.
DRAWING THE CHOSEN
FIGURE.
DEMONSTRATION
VII. Have the audience select a number, and think intently of it. Impress upon
the Transmitter that is to think of the Shape of
the figure instead of merely remembering its name. For instance if the figure
"8" is thought of, the Transmitter should think of the Shape of the figure, and not of the word
"eight." Then begin to circle your hand around over the blackboard
just as you did when finding the place of the "beginning of the trip"
of the demonstration mentioned a few minutes ago. Then bring your pencil or
chalk to a starting point, which you will soon perceive. Then hold your fingers
pressing lightly forward, and impart to your hand a trembling vibratory motion
as if in hesitation regarding the next movement, saying at the same time to
your Transmitter: "Will Hard now—Will the Direction to
me," and you will soon begin to get an impression of "Right," or
"Left," or "Down," as the case may be, which you should
follow slowly. Be slow about it, for if the impression is not right you will
soon be checked up. Fence around a little until you begin to get the
impressions clearly. You will find that the principal trouble is at the start,
for once you are started on the right track, your Transmitter's Will will be
freely employed, and he will pour the impressions into you. Let him feel
that it is his Will that is really doing
the work, and he will exert it freely. Once started, these drawing feats are
easily performed, the trouble being with the start. You should practice this
feat frequently in private, before attempting it in a public demonstration. It
is very effective.
THE LADY'S AGE.
DEMONSTRATION
VII. This is a variation of the above feat. A lady in the audience is asked to
whisper her age in the ear of the Transmitter, and you are to draw it on the
board or paper. The feat is performed precisely in the manner described above,
the Transmitter being cautioned to think of but one
figure at a time during the drawing.
THE BANK NOTE TEST.
DEMONSTRATION
IX. Akin to the last two feats, is the reading of the number of a bank-note
held in the hand of the Transmitter. It is performed in precisely the same
manner as the preceding feat. Be sure to have the Transmitter understand that
he is to think of but one figure at a time, until it is drawn, and then the
next, and so on.
THE WATCH NUMBER TEST.
DEMONSTRATION
X. The feat of reading and drawing the number of a person's watch is
a variation of the last mentioned demonstration, and is performed in
precisely the same way.
THE GEOMETRICAL FIGURE
TEST.
DEMONSTRATION
XI. Have the audience select some simple geometrical figure, such as a square,
triangle, circle, right angle, etc., and proceed to draw it in the same way as
the figures in the demonstrations just described. Have the Transmitter hold the
figure in his mind and mentally draw it as
you proceed. A little private practice will enable you to draw these figures
easily, and in fact, they are really simpler than numbers, although more startlingly
effective at times.
DRAWING PICTURES.
DEMONSTRATION
XII. The same principle described in the above mentioned test may be extended
to apply to the drawing of simple pictures, such as the outline figure of a
pig, etc. The copy is placed on the table or blackboard, so that the
Transmitter may easily refer to it, and then you proceed as in the feats above
mentioned. Practice this until you "get it down fine."
THE HIDDEN NAME.
DEMONSTRATION
XIII. The same principle may be extended to the writing down of the name of a
person, town, etc., previously chosen by the audience. Draw in large
letters, so that the eye of the Transmitter may easily follow you at each step.
THE UNDERLYING RULE.
In
all of the "Drawing Demonstrations," you should remember the primary
principle, i.e. Follow the line of the least Mental Resistance, and the Will of
the Transmitter will invariably lead you to the right direction.
THE "SIMPLER METHOD."
A
simpler method of performing the feats and demonstrations which we have styled
"The More Difficult Feats," is that of having the Transmitter stand
by your right side, turning toward you and placing his right hand over
yours, the tips of his fingers resting on
your fingers between your large knuckles and first joints,
(instead of standing on your left side with his fingers grasped in your left
hand, as heretofore mentioned). This method is not nearly so good so far as
appearances go, for some critical members of the audience might object that he
was in confederacy with you and really helping you to draw—but it is highly
effective so far as simplifying the feat is concerned. His finger-tips with
their nervous matter aroused into activity seem to fairly charge your fingers
with "nervous energy," or "magnetism," and your hand acts
almost automatically. The motion of the Receiver's hand and fingers, under
this method becomes almost like the motion of a "Planchette," and
often writes and draws the numbers, figures, letters, etc., so easily and
smoothly, that they seem to be fairly "running away" from the mind of
the performer. You should at least familiarize yourself with this method, so as
to be able to use it in emergencies, or in the case of a poor Transmitter, or
else in the case of the more delicate and complex tests. If you neglect this
method, you will have failed to acquaint yourself with one of the most
startling features of Contact Mind Reading, which so far touches the higher
phenomena that it is closely akin to what is known as "Automatic
Writing." In fact, if you are disposed, and are naturally receptive and
sensitive to impressions, you may even write a letter through the Will of a good Transmitter, by this method. By all
means make yourself acquainted with its possibilities, and phenomena.
We
now pass on to a consideration of the more Sensational Feats.
NEXT CHAPTER
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