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Modern Magic: A Practical Treatise on the Art of Conjuring
·
Professor Hoffmann
670
The
performer
offers
the
pack
to
a
spectator,
and
requests
him
to
draw
a
card.
(This
card
may
or
may
not
be
“forced.”)
The
card
having
been
drawn
and
replaced
in
the
pack,
the
performer
makes
the
pass
to
bring
it
to
the
top,
and
palms
it,
immediately
handing
the
pack
to
be
shuffled.
If
the
card
was
forced,
he
already
knows
it;
if
not,
he
takes
the
opportunity
to
glance
at
it
while
the
cards
are
being
shuffled.
The
pack
being
returned,
the
drawn
card
is
placed
on
the
top,
and
the
pack
placed
in
the
pocket
of
a
second
spectator.
The
performer
now
announces
that
he
not
only
already
knows
the
card,
but
that
he
is
able
to
pick
it
out
without
seeing
it
from
the
remainder
of
the
pack,
which
he
does
accordingly.
Presented
in
this
barren
form,
the
trick
would
attract
only
the
most
passing
notice.
We
will
now
proceed
to
describe
it,
quoting
again
from
Robert-Houdin,
as
it
should
actually
be
presented.
“Ladies
and
gentlemen,
I
shall
commence
my
performance
with
an
experiment
which
is
wholly
independent
of
dexterity.
I
propose
simply
to
show
you
the
extreme
degree
of
sensibility
which
may
be
acquired
by
the
sense
of
touch.
We
possess,
as
you
all
know,
five
senses--sight,
hearing,
smell,
touch,
and
taste.
In
the
ordinary
way,
each
of
these
senses
enjoys
one
faculty
only;
but
when
the
mysterious
influences
of
magic
are
brought
to
bear,
the
case
is
altered.
All
five
of
the
senses
may
be
exercised
through
the
instrumentality
of
one--‘touch,’
for
example;
so
that
we
can
not
only
touch,
but
hear,
see,
smell,
and
taste
with
the
tips
of
the
fingers.
You
smile,
gentlemen,
but
I
assure
you
that
I
am
serious;
and
I
venture
to
think
that
in
a
few
minutes
you
will
be
fully
convinced
of
the
reality
of
the
singular
fact
which
I
have
mentioned.
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