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Modern Magic: A Practical Treatise on the Art of Conjuring
·
Professor Hoffmann
23
It
follows,
as
a
practical
consequence
of
this
first
rule,
that
you
should
never
perform
the
same
trick
twice
on
the
same
evening.
The
best
trick
loses
half
its
effect
on
repetition,
but
besides
this,
the
audience
know
precisely
what
is
coming,
and
have
all
their
faculties
directed
to
find
out
at
what
point
you
cheated
their
eyes
on
the
first
occasion.
It
is
sometimes
hard
to
resist
an
encore,
but
a
little
tact
will
get
you
out
of
the
difficulty,
especially
if
you
have
studied,
as
every
conjuror
should
do,
the
variation
and
combination
of
tricks.
There
are
a
score
of
different
ways
of
vanishing
a
given
article,
and
as
many
of
reproducing
it;
and
either
one
of
the
first
may
be
used
in
conjunction
with
either
of
the
second.
Thus,
by
varying
either
the
beginning
or
the
end,
you
make
the
trick
to
some
extent
a
new
one.
The
power
of
doing
this
readily
is
very
useful,
and
among
other
advantages
will
enable
you
to
meet
an
encore
by
performing
some
other
trick
having
some
element
of
similarity
to
that
which
you
have
just
completed,
but
terminating
in
a
different
and
therefore
unexpected
manner.
The
student
must
cultivate
from
the
outset
the
art
of
“talking,”
and
especially
the
power
of
using
his
eyes
and
his
tongue
independently
of
the
movement
of
his
hands.
To
do
this,
it
will
be
necessary
to
prepare
beforehand
not
only
what
he
intends
to
do,
but
what
he
intends
to
say,
and
to
rehearse
frequently
and
carefully
even
the
simplest
trick
before
attempting
it
in
public.
It
is
surprising
how
many
little
difficulties
are
discovered
on
first
attempting
to
carry
into
effect
even
the
clearest
written
directions;
and
nothing
but
practice
will
overcome
these
difficulties.
The
novice
may
be
encouraged
by
assuming,
as
he
safely
may,
that
the
most
finished
of
popular
performers
was
once
as
awkward
as
himself,
and
were
he
to
attempt
any
unfamiliar
feat,
would
probably
be
as
awkward
still.
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