We have now gone through the average performance of the Indian Jadoo-wallah and have, I trust, some idea at any rate of how his tricks are done. Though this is as far as I know the first time that such explanations have been published in detail I do not want anyone to accuse me of trying to deprive the poor fellow of his means of livelihood, which is far from my intention. In fact, though people who have read these pages have a glimmering of how he does his tricks, few of these will be able to imitate them, and those who are really interested will probably call in the next Jadoo-wallah that appears, to get him to give his show with the intention of checking my explanations while the tricks are being performed. I sincerely trust that this will be the case as I shall have done at least one Jadoo-wallah a good turn.

It is true that conjurors have a code of honour--this may not be believed of such deceptive people--in that they do not divulge each others tricks which are performed exclusively. For instance, suppose that Mr. A invented a new trick and showed it to Mr. B, who is also a finished artist. Though Mr. B could see the modus operandi of the trick he would be quite unjustified in giving it away or in doing the trick himself without the permission of Mr. A. This is an inviolate law of Members of the Magic Circle and applies equally, or should do, to showmen who do not belong to the circle.

There is no harm, however, in one of us explaining tricks that have been performed for centuries and are almost common property. These tricks have lost, as it were, their patent rights. Personally, I do not mind explaining any tricks of my own that I am certain an unskilled person could never possibly do.

Having completed the average programme of our Jadoo-wallah, I feel sure that people will say to each other "Yes" but what about the Rope trick? He cannot explain that and has avoided the best known trick of all Indian conjuring tricks.

In self-defence therefore, we will deal with the Great Rope trick. I will describe it as it has been described to me.

The performer, in one's own compound, throws up the end of an ordinary rope into the air. By some mysterious means this end remains suspended in mid-air, without any visible means of support, so much so that the little boy a.s.sistant climbs up the rope to its very highest point, whence, after an interval, he entirely disappears. The performer then takes a sword and waves it in the air, when the legs and arms, disjointed, and finally the trunk and head of the little boy fall with a profusion of blood upon the ground at the foot of the rope. By means of an incantation these resume their natural positions, and the little boy gets up and walks off, apparently none the worse for his most trying ordeal.

This trick was first described in writing by one IBN BATUTA, an Arab, who made a journey round the world about the year 1368. (I am not quite sure of this date). As far as I remember he saw it in China. He gives the most blood curdling description of the trick, and ends up with "so much so that we had to have another drink." Please note the expression "another drink." I am of opinion that "this other little drink" did all the harm.

Missionaries have from time to time stated that they have seen this trick performed, though in no instance do they give the place or the name of the wonderful man who did it.

Although I have been most anxious to see the trick for the last twenty-three years, during which period I would gladly have travelled from one end of India to the other to do so, I have never yet met anyone who has definitely told me that he with his own eyes had seen the trick. There is one exception to this statement, an Irish bandmaster of a Gurkha regiment, who was I think, trying to pull my leg.

I have met innumerable people whose aunt's sister's cousin saw it done, but never have I had the pleasure of meeting anyone directly deceived by it.

A reward of a year's pay has been open to every sepoy (or Indian soldier) I have met, who has seen the trick and can give me the name and residence of the performer. This for 23 years. So far there have been no acceptances.

Eminent conjurors have travelled throughout India on purpose to get into touch with any man who does the trick, but their travels have been in vain. Large rewards have been offered for such a meeting, and larger still for the performance of the trick. One single performance only, not the exposition of it. These rewards have never been claimed.

The late Mr. Charles Bertram was one of these eminent men, and though he travelled twice throughout India, he returned to England without having been shewn the trick.

In 1918, Captain Holmes, V.C., gave a lecture on this illusion before the members of the Magic Circle at Anderton's Hotel, Fleet Street, London, at which all the press correspondents of the leading news-papers were present. He produced a snapshot of a man purporting to be showing the Rope Trick in Poona, or Kirkee, one of its suburbs.

Captain Holmes explained that though the boy did climb up what he (Holmes) thought was a rope, he did not disappear at the top, nor did the disgusting exhibition of blood and disjointed limbs take place.

This snapshot was carefully examined through a powerful magnifying gla.s.s, and the supposed rope had distinct joints in it similar to any bamboo pole, which j.a.panese jugglers use when showing the feat of balancing a pole on their chins and allowing a boy to climb to its top. A trick that most of us have seen many times in the music halls of London. At his lecture, Captain Holmes stated that he did not see the man throw the rope up into the air, as he arrived late just in time to take a photo of the boy while in the air.

Many explanations have been given from time to time as to how this mythical trick has been done. The most amusing is that which was quoted at the Ma.s.s Meeting referred to above, and as far as my memory goes I will quote it here.

"The trick is performed during the heat of the day, when the sun is at its zenith. The performer gets his audience to sit in a verandah facing the most powerful glare of the sun. The rope is thrown up and the boy climbs to its topmost end. On the explosion of a gun the boy completely disappears only to re-appear from the other side of the house or garden.

The explanation is simple, on the sound of the gun, when the audience are somewhat startled, the boy jumps from the rope on to the top of the verandah up which he climbs, coming down the other side of the house and re-appears."

I make no comment on this explanation. It is not worthy of one.

"It is done by mesmerism." How many times have I heard this futile remark when discussing the Rope trick. What always defeats me is this.

Supposing it could be done by mesmerism, why does this wonderful mesmerist, hypnotist, or suggestionist limit his powers, marvellous as they are, to making people believe that they see a boy climb up a rope.

Why does he not make people believe that he is Mahatma Ghandi and the Ali brothers rolled into one? As the trick is done for a means of livelihood, why does he not make people see him as Dr. Barnardo asking for funds for charities. His limitations are unbounded, yet he sticks to this absurd rope and the boy climbing up it.

"Tum tua res agito paries c.u.m proximus ardet." I do not know what this Latin quotation means, but I would like it to convey "don't you think it rot yourself?"

Ask any medical man about the explanation of hypnotism and kindred other "isms" being accountable for the performance of this trick. I understand that a hypnotist can persuade a patient to believe that his finger is momentarily stiff, and that when released from this suggestion, the patient can remember that it had been made to him. But in order to persuade a person that he sees such a thing as a rope being thrown in the air and so forth, that person must be so much under the influence that when he is released from it he is totally unable to remember what he saw when under the trance. How then, can he describe what he saw when he comes to?

Some people say that photos have been taken of the trick and that when the plate was developed it was found to be blank. As I say, a person to be sufficiently mesmerised to imagine that he sees the trick being done, must perforce be so much under the influence that he cannot remember what he saw or anything that he did when under that influence. How does he know that he took a photo? Or that anyone else took one? Or remember anything at all about it?

I hope that the above arguments will do away with the plea of mesmeric power being accountable for this myth. The plea is to my mind too absurd for words, yet it is wonderful that many people put it forward in all good faith.

While on the subject of photography, let me now point out that although the magicians of Europe and America have for ages been trying to get in touch with the trick, and although the ubiquitous Kodak has been in vogue for at least thirty years, not one single photo or snapshot is available that depicts any part or portion of this trick.

If there is such a snapshot, and its owner cares to communicate with me through my publishers, I can get him a good price for the plate or film, even for a copy of the picture. A really handsome price for it.

To sum up I maintain that the trick has never been performed out of doors. That is to say that a rope thrown up into the air has not remained suspended in mid-air, nor has any boy ever climbed up it.

That when at the top he has not disappeared and that after his disappearance he did not come down in bits, covered with blood or otherwise.

I further maintain that no one has seen this trick, as described above, or in any way similar to the above description, who can come forward to give the approximate date, of such a performance, the place, and the names of the performer, his a.s.sistants, or of any two other persons who saw the trick done at that time and place.

I only wish there might be such a person. We might then get in touch with the Indian Rope trick and Ibn Batuta's character might be vindicated.

I offer Rs. 5000. (__300) to anyone who will show me the Rope Trick in the open. This amount will be payable to anyone who will arrange that the trick is performed for my benefit, in my presence.

The trick must be similar to the description given by Ibn Batuta, and must be brought to a successful conclusion before the reward can be claimed. It is to be performed at a place selected by me, either in India or England.

This offer holds good for five years from the 1st January, 1922.

My address is:--

Major L. H. Branson, M.I.M.C.,

The Magic Circle,

Anderton's Hotel, Fleet Street,

London, England.

CHAPTER X

SNAKES AND CROCODILES

The best trick I have ever seen in India during my 23 years in that country, was one that was performed especially for my benefit twice before I tumbled to the way in which it was done.

We were in our own compound or garden in a military station not far from Bombay, having tea on a small lawn--green gra.s.s--of which we were inordinately proud. Suddenly we heard the chanter of the itinerant Jadoo-wallah, and as usual I called him in to ask him if he had anything new. I wanted a really wonderful trick.

"Yes Saheb" he replied "I have something really good, that few sahebs have seen before."

"What is it" said I, thoroughly aroused by his earnest manner, and hoping that at last I should have an opportunity of seeing an oriental miracle worthy of the spurious reputation held by Eastern Magicians.

"It is a trick with some snakes and a crocodile" said our friend "and if the saheb will sit down with the memsaheb, and will call the orderly, I will show it now." No sooner said than done. We sat down and called Aba Nalaode, our Mabratta orderly.

[Ill.u.s.tration: Filling the a.s.sistant's hands with earth.]

While he came from his quarters, the Jadoo-wallah proceeded to divest himself of all his clothing, with the exception of his dhotie or loin cloth. On the arrival of our orderly, he too was made to take off his shirt, leaving him dressed in a similarly neglige manner to our entertainer. The Jadoo-wallah then took some earth and made our orderly hold it in his two hands held together in front of his body.

He then pranced round the orderly two or three times, making, as he did so an imaginary circle round his a.s.sistant. He next called our attention to the fact that he had nothing concealed about his person.

[Ill.u.s.tration: The Performer showing that he has nothing concealed about him.]