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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 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
principle 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 VIII. 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
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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. This 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 XII.The same principle described in the
above mentioned test may be extended to apply to the drawing of
simple pictured, 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 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
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Lesson 6
with you and really helping you to draw but it is highly
effecttive 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 Receivers hand and fingers, under this method
becomes almost like the motion of a "Planchette," and often
writes and draws the number 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 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.
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Lesson 7
Practical Mindreading
William Walker Atkinson
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LESSON VII.
SENSATIONAL FEATS.
IN ADDITION to the feats given in this work, which, together
with their countless variations, form the stock in trade of the
majority of the professional Mind Readers, there are a number of
other feats essayed by the public performers which we have seen
fit to group under the general title "Sensational Feats." These
feats are described here in order that the student may understand
the nature of them, and the manner of their performance. But we
consider such feats suitable only for the sensational
advertisements of the professional performers, and always
dependent upon more or less spectacular accessories, and
attended by even dangerous features in the case of the driving
feat. And therefore we do not offer them for reproduction by the
private student, or the parlor demonstrator. The principal
Sensational Feats performed by the professionals, are as follows:
THE DRIVING FEAT.
This is performed by the performer, blindfolded as usual, driving
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