The Humbugs of the World - P. T. Barnum (red white royal blue TXT) 📗

ends to be held by a trusty person⁠—assigning, as a reason for that arrangement, that it would then be known no one in the circle could assist in producing the manifestations. The plan did not always work well, however; for a skeptic would sometimes cut the rope, and then pounce upon “the spirit”⁠—that is, if he didn’t happen to miss that individual, on account of the darkness and while trying to avoid a collision with the instruments.

To secure greater immunity from detection, and to enable them to exhibit in large halls which could not easily be darkened, the boys finally fixed upon a “cabinet” as the best thing in which to work. They had, some time before, made the “rope-test” a feature of their exhibitions; and in their cabinet-show they depended for success in deceiving entirely upon the presumption of the audience that their hands were so secured with ropes as to prevent their playing upon the musical instruments, or doing whatever else the spirits were assumed to do.

Their cabinet is about six feet high, six feet long, and two and a half feet deep, the front consisting of three doors, opening outward. In each end is a seat, with holes through which the ropes can be passed in securing the mediums. In the upper part of the middle door is a lozenge-shaped aperture, curtained on the inside with black muslin or oilcloth. The bolts are on the inside of the doors.

The mediums are generally first tied by a committee of two gentlemen appointed from the audience. The doors of the cabinet are then closed, those at the ends first, and then the middle one, the bolt of which is reached by the manager through the aperture.

By the time the end doors are closed and bolted, the Davenports, in many instances, have succeeded in loosening the knots next their wrists, and in slipping their hands out, the latter being then exhibited at the aperture. Lest the hands should be recognized as belonging to the mediums, they are kept in a constant shaking motion while in view; and to make the hands look large or small, they spread or press together the fingers. With that peculiar rapid motion imparted to them, four hands in the aperture will appear to be half-a-dozen. A lady’s flesh colored kid glove, nicely stuffed with cotton, is sometimes exhibited as a female hand⁠—a critical observation of it never being allowed. It does not take the medium long to draw the knots close to their wrists again. They are then ready to be inspected by the Committee, who report them tied as they were left. Supposing them to have been securely bound all the while, those who witness the show are very naturally astonished.

Sometimes, after being tied by a committee, the mediums cannot readily extricate their hands and get them back as they were; in which case they release themselves entirely from the ropes before the doors are again opened, concluding to wait till after “the spirits” have bound them, before showing hands or making music.

It is a common thing for these impostors to give the rope between their hands a twist while those limbs are being bound; and that movement, if dexterously made, while the attention of the committeemen is momentarily diverted, is not likely to be detected. Reversing that movement will let the hand out.

The great point with the Davenports in tying themselves is, to have a knot next their wrists that looks solid, “fair and square,” at the same time that they can slip it and get their hands out in a moment. There are several ways of forming such a knot, one of which I will attempt to describe. In the middle of a rope a square knot is tied, loosely at first, so that the ends of the rope can be tucked through, in opposite directions, below the knot, and the latter is then drawn tight. There are then two loops⁠—which should be made small⁠—through which the hands are to pass after the rest of the tying is done. Just sufficient slack is left to admit of the hands passing through the loops, which, lastly, are drawn close to the wrists, the knot coming between the latter. No one, from the appearance of such a knot, would suspect it could be slipped. The mediums thus tied can, immediately after the committee have inspected the knots, and closed the doors, show hands or play upon musical instruments, and in a few seconds be, to all appearance, firmly tied again.

If flour has been placed in their hands, it makes no difference as to their getting those members out of or into the ropes; but, to show hands at the aperture, or to make a noise on the musical instruments, it is necessary that they should get the flour out of one hand into the other. The moisture of the hand and squeezing, packs the flour into a lump, which can be laid into the other hand and returned without losing any. The little flour that adheres to the empty hand can be wiped off in the pantaloons pocket. The mediums seldom if ever take flour in their hands while they are in the bonds put upon them by the committee. The principal part of the show is after the tying has been done in their own way. Wm. Fay, who accompanies the Davenports, is thus fixed when the hypothetical spirits take the coat off his back.

As I before remarked, there are several ways in which the mediums tie themselves. They always do it, however, in such a manner that, though the tying looks secure, they can immediately get one or both hands out. Let committees insist upon untying the knots of the spirits, whether the mediums are willing or not. A little critical observation will enable them to learn the trick.

To make this subject of tying clearer, I will repeat that the Davenports always untie themselves by using their hands; as they are