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Modern Magic: A Practical Treatise on the Art of Conjuring
·
Professor Hoffmann
554
[M]
The
numbers
1,
2,
3,
in
the
centre
of
the
various
rings
in
Figs.
240–
244,
indicate
whether
the
ring
in
question
is
a
“single”
or
forms
part
of
the
group
of
two
or
of
three,
as
the
case
may
be.
The
feat
may
either
end
here,
the
rings,
still
linked,
being
gathered
together
and
carried
off
by
the
assistant,
or
the
performer
may
link
all
one
by
one
into
either
of
the
key
rings,
and
then
shake
them
out
and
scatter
them
on
the
floor
in
the
manner
already
described
as
to
the
eight
rings.
The
performance
may
be
elaborated
to
any
extent,
the
two
key
rings
giving
a
wonderful
facility
of
combination,
but
whatever
be
the
passes
adopted
they
should
not
be
too
numerous,
as
the
trick,
however
skilfully
worked,
consists
only
of
repetitions
of
the
same
primary
elements,
and
the
interest
of
the
spectators
will
quickly
diminish.
The
performer
should,
in
manipulating
the
rings,
study
neatness
and
lightness,
rather
than
rapidity.
The
effect
should
be
as
though
the
rings
melted
into
and
out
of
one
another,
and
the
smallest
appearance
of
force
or
exertion
should
be
avoided.
It
has
a
very
good
effect
in
disengaging
the
rings
one
from
another,
to
hold
them
together
for
a
moment
or
two
after
they
are
actually
disconnected,
and
then
holding
them
parallel
to
each
other,
to
draw
them
very
slowly
apart.
The
precise
moment
of
their
separation
is
thus
left
uncertain,
the
illusion
being
thereby
materially
heightened.
A
single
ring
may
in
this
way
be
drawn
along
a
chain
of
three
or
four,
the
effect
being
as
if
the
disengaged
ring
passed
through
the
whole
length
of
the
chain.
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