Chapter VII: Friendly Suggestions (2)

Before entering upon the first and easy lessons, it will be as well to consider the means by which the effect is produced. The Student is supposed to have made himself thoroughly acquainted with the previous chapter, as to the effect to be produced, _not on himself_, but _on the spectators and audience_. And we may assure him, that if he has a fair range of voice, a diligent observance of the rules which we are about to lay down, coupled with attention to the nature of sound as it falls upon the ear, will lead him to such triumphs as, in all probability, he never imagined he could have attained—an assurance which we are emboldened to offer from _our own pursuit and practical realization of the art_.

The student must bear in mind that the means are _simply natural ones_, used in accordance with _natural laws_. We have given him the acoustical theory of the effect on the auric nerve, and the means are the organs of respiration and sound, with the adjoining muscles. They are the diaphragm, the lungs, the trachea, the larynx, the pharynx, and the mouth. The diaphragm is a very large convex muscle, situated below the lungs, and having full power over respiration. The lungs are the organs of respiration, and are seated at each side of the chest; they consist of air-tubes minutely ramified in a loose tissue, and terminating in very small sacs, termed air-cells. The trachea is a tube, the continuation of the larynx, commonly called the windpipe: through this the air passes to and from the lungs. It is formed of cartilaginous rings, by means of which it may be elongated or shortened. The larynx is that portion of the air-tube immediately above the trachea: its position is indicated by a large projection in the throat. In the interior of this part of the throat are situated the vocal chords. They are four bands of elastic substance somewhat similar to India-rubber. The cavity, or opening between these vocal chords is called the glottis: it possesses the power of expanding or contracting under the influence of the muscles of the larynx. The pharynx is a cavity above the larynx, communicating with the nasal passages: it is partially visible when the mouth is opened and the tongue lowered. Near this part of the root of the tongue is situated the epiglottis, which acts as a lid or cover in closing over the air-tube during the act of swallowing. The mouth forms a cavity to reflect and strengthen the resonance of the vibrations produced in the air-tube; it also possesses numberless minute powers of contraction and modification.

We now proceed to give the instructions to which we have referred—instructions guaranteed by a proficiency which we are ever ready to submit to the ordeal of a critical examination, either in private or in public.

If the student will pay strict attention to the parts printed in _italics_, and will practice the voices here specified, he will find that they are the _key to all imitative sounds and voices_; and, according to the range of his voice and the capabilities of his mimetic power, he will be enabled to imitate the voices of little children, of old people, and, in fact, almost every sound which he hears.

Too much attention cannot be bestowed on the _study of sound as it falls on the ear_, and an endeavor to imitate it as it is heard—_for the “secret” of the art is, that as perspective is to the eye so is ventriloquism to the ear_. When we look at a painting of a landscape, some of the objects appear at a distance; but we know that it is only the skill of the artist which has made it appear as the eye has seen it in reality. In exactly the same manner a ventriloquist acts upon and deceives the ear, by _producing sounds_ as they are heard from any known distances.

PRACTICAL ILLUSTRATIONS.

NO. I.

THE VOICE IN THE CLOSET

This is the voice in which Mr. Frederic Maccabe, the celebrated mimic and ventriloquist, excels, and the clever manner in which he can adapt it off-hand, as it were, will be best illustrated by the fact mentioned to us by the gentleman in question, whom we call Mr. B. in Mr. Maccabe’s presence. Mr. B., who was an invalid, suffering from some nervous disorder, originating by overwork and anxiety, was travelling in Ireland in search of health, and when on his way from Dublin to Cork, he lay exhausted in a corner of a railway-carriage, muffled up in cloaks and wrappers in a paroxysm of pain. At Mallow, two gentlemen entered the carriage, one of whom was in exuberant spirits, and commenced telling some amusing anecdotes. At length the porter came to collect the tickets. They were all handed in but one, when the following colloquy ensued:—

_Porter._—A gentleman hasn’t given me his ticket.

_Gentleman._—Bill, in the next compartment, has the ticket, (tapping at the partition). Haven’t you, Bill?

The imaginary Bill, who appeared to be suffering from a severe cold, replied that he had, and the porter would not take it. The official went off to find the ticket, but Bill, in the mean time had vanished. Back came the porter and indignantly demanded the ticket. He was interrupted by a shrill voice in the opposite compartment, crying,—“Porter! porter! why don’t you come and take the ticket! There’s some one insulting me!” Away went the chivalric porter, to come back puzzled and chafed to receive the ticket, which was handed to him. His hand had not reached the coveted piece of pasteboard, ere the yell of a terrier under the wheels caused the porter to draw back, amid bursts of laughter, during which the ticket was thrown out, and the train moved on. And Mr. Frederic Maccabe stood confessed, but not penitent.

_Voice No 1._—To acquire this voice, which we so name for distinction’s sake, speak any word or sentence in your own natural tones; then open the mouth and _fix the jaws_ fast, as though you were trying to hinder any one from opening them farther or shutting them; draw the tongue back in a ball; speak the same words, and the sound, instead of being formed in the mouth will be formed in the pharynx. Great attention must be paid to holding the jaws rigid. The sound will then be found to imitate a voice heard from the other side of a door when it is closed, or under a floor, or through a wall. To ventriloquize with this voice, let the operator stand with his back to the audience against a door. Give a gentle tap at the door, and call aloud in a natural voice, inquiring “Who is there?” This will have the effect of drawing the attention of the audience to a person supposed to be outside. Then fix the jaw as described, and utter in voice No. 1, any words you please, such as “I want to come in.” Ask questions in the natural voice and answer in the other. When you have done this, open the door a little, and hold a conversation with the imaginary person. As the door is now open, it is obvious that the voice must be altered, for a voice will not sound to the ear when a door is open the same as when closed. Therefore the voice must be made to _appear_ face to face, or close to the ventriloquist. To do this the voice must not be altered from the _original note_ or _pitch_, but be made in another part of the mouth. This is done by closing the lips tight and drawing one corner of the mouth downwards, or towards the ear. Then let the lips open at that corner only, the other part to remain closed. Next breathe, as it were, the words out of the orifice formed. Do not speak distinctly, but expel the breath in short puffs at each word, and as loud as possible. By so doing you will _cause the illusion_ in the mind of the listeners, that they hear the same voice which they heard when the door was closed, but which is now heard more distinctly and nearer on account of the door being open. This voice must always be used when the ventriloquist wishes it to appear that the sound comes from some one close at hand, but through an obstacle. The description of voice and dialogue may be varied as in the following examples—

EX. 1. THE SUFFOCATED VICTIM.—This was a favorite illustration of Mr. Love, the polyphonist. A large box or close cupboard is used indiscriminately, as it may be handy. The student will rap or kick the box apparently by accident. The voice will then utter a hoarse and subdued groan, apparently from the box or closet.

STUDENT (_pointing to the box with an air of astonishment_): What is that?

VOICE: I won’t do so any more. I am nearly dead.

STUDENT: Who are you? How came you there?

VOICE: I only wanted to see what was going on. Let me out, do.

STUDENT: But I don’t know who you are.

VOICE: Oh yes, you do.

STUDENT: Who are you?

VOICE: Your old schoolfellow, Tom, ——. You know me.

STUDENT: Why, he’s in Canada.

VOICE (_sharply_): No he ain’t, he’s here; but be quick.

STUDENT (_opening the lid_): Perhaps he’s come by the underground railroad? Hallo!

VOICE (_not so muffled as described in direction_): Now then, give us a hand.

STUDENT (_closing the lid or door sharply_): No, I won’t.

VOICE (_as before_): Have pity (_Tom, or Jack, or Mr. ——, as the case may be_), or I shall be choked.

STUDENT: I don’t believe you are what you say.

VOICE: Why don’t you let me out and see before I am dead?

STUDENT (_opening and shutting the lid or door and varying the voice accordingly_): Dead! not you. When did you leave Canada?

VOICE: Last week. Oh? I am choking.

STUDENT: Shall I let him out? (_opening the door_). There’s no one here.

2. THE MILKMAN AT THE DOOR.—This affords a capital opportunity of introducing a beggar, watercress or milkman, and may be varied accordingly. We will take Skyblue, the milkman; and we would impress on the student, that, although we give these _simple_ dialogues, _they are merely intended as illustrations for the modest tyro_, not to be implicitly followed when greater confidence and proficiency are attained.

VOICE: Milk below!

STUDENT: Is it not provoking that a milkman always comes when he is not wanted, and is absent when we are waiting for the cream?

VOICE: (_whistling a bar of “Shoo Fly”_).

STUDENT: Oh, yes, always the broken-hearted milkman as if he was not as happy as a king.

VOICE (_nearer_): Milk below! Why, Sally, where’s the can?

STUDENT: Sally will be long in answering, I think.

VOICE: Sally’s gadding with the police. Milk below!

STUDENT (_slightly opening the door_): We don’t want any milk, my good man.

VOICE: No skim milk for the cat, or cream for tea?

ANOTHER VOICE: Watercresses!

STUDENT: Really, this is too bad. Go away.

VOICE: You owe me ten cents for last week’s milk; I was to wait.

STUDENT: This is intolerable. I’ll send for the police.

VOICE [_ironically_]: Send for Sally and p’lice, I’ll foller.

STUDENT: Impudent rascal.

VOICE: Keep your compliments at home, Master Idlebones.

STUDENT [_opining the door_]: I’ll report you to your master.

VOICE [_louder, as the door is opened_]: Will you, young Whippersnapper, pay us the dime, and let us go?

STUDENT offers to pay, while the voice gets weaker in the distance with “Milk below!” until it becomes inaudible.

A conversation may be held in a similar strain with _cellarman_: and, as a rule, the lower notes of the voice will be best for voices in the basement, and formed as low in the chest as possible.

STUDENT: Thomas, are you coming?

VOICE BELOW [_gruffly_]: I should think I was.

STUDENT: We are waiting for the beer.

VOICE [_partly aside_]: The longer you wait, the greater our honor. Mary, have another drop.

STUDENT: Why, the scamp is drinking the beer! Thomas! Who’s there with you?

VOICE: Myself. [_Aside_] Make haste with the pot, Mary; he’s in such a hurry.

STUDENT: You drinking rascal, how dare you!

VOICE: Coming, sir. The barrel’s nearly empty.

STUDENT: I should think so, tippling as you are at it.

VOICE: Now don’t be saucy.

STUDENT: The fellow is getting intoxicated. Thomas!

VOICE: Wait till I come. I have waited for you many times.

STUDENT: I suppose it is of no use hurrying you?

VOICE: No, it isn’t, my young tippler. I’m COMING! _coming!!_ coming!!!

From this illustration the student may proceed to try the second voice.

NO. II.

_Voice No. 2._—This is the more easy to be acquired. It is the voice by which all ventriloquists make a supposed person speak from a long distance, or from, or through the ceiling. In the first place, with your back to the audience, _direct their attention_ to the ceiling by _pointing to it or by looking intently at it_. Call loudly, and ask some question, as though you believed some person to be concealed there. Make your own voice very distinct, and as near the lips as possible, inasmuch as that will help the illusion. Then in _exactly the same tone and pitch_ answer; _but, in order that the same voice may seem to proceed from the point indicated, the words must be formed at the back part of the roof of the mouth_. To do this the lower jaw must be drawn back and held there, the mouth open, which _will cause the palate to be elevated and drawn nearer to the pharynx_, and the sound will be reflected in that cavity, and appear to come from the roof. Too much attention cannot be paid to the manner in which the breath is used in this voice. When speaking to the supposed person, expel the words with a deep, quick breath.

When answering in the imitative manner, the breath must be _held back and expelled very slowly and the voice will come in a subdued and muffled manner_, little above a whisper, but so as to be well distinguished. To cause the supposed voice to come nearer by degrees, call loudly, and say, “I want you down here,” or words to that effect. _At the same time make a motion downwards with your hand._ Hold some conversation with the voice and cause it to say, “I am coming,” or, “Here I am,” each time _indicating the descent with the hand_ (_see examples_). When the voice is supposed to approach nearer, the sound must alter, to denote the progress of the movement. Therefore let the voice at every supposed step, roll, as it were, by degrees, _from the pharynx more into the cavity of the mouth_, and at each supposed step, _contracting the opening of the mouth_, until the lips are drawn up as if you were whistling. By so doing the cavity of the mouth will be very much enlarged. This will cause the voice to be _obscured, and so appear_ to come nearer by degrees. At the same time, care must be taken not to articulate the consonant sounds plainly, as that would cause the disarrangement of the lips and cavity of the mouth; and in all _imitation voices_ the consonants must scarcely be articulated at all, _especially if the ventriloquist faces the audience_. For example; suppose the imitative voice is made to say, “Mind what you are doing, you bad boy,” it must be spoken as if it were written “’ind ’ot you’re doing, you ’ad whoy.”[2] This kind of articulation may be practised, by forming the words in the pharynx, and then sending them out of the mouth by sudden expulsions of the breath clean from the lungs at every word. This is most useful in ventriloquism, and to illustrate it we will take _the man on the roof_ as an illustration. This is an example almost invariably successful, and is constantly used by skilled professors of the art. As we have before repeatedly intimated, the eyes and attention of the audience must be directed to the _supposed spot_ from whence the illusive voice is supposed to proceed.

[2] It is very rarely that a ventriloquist shows a full face to his audience: it is only done when he is at a great distance from them, and is pronouncing the labial sounds, in the manner given, for any movement of the jaws would help to destroy the illusion.

STUDENT: Are you up there, Jem?

VOICE: Hallo! who’s that?

STUDENT: It’s I! Are you nearly finished?

VOICE: Only three more slates to put on, master.

STUDENT: I want you here, Jem.

VOICE: I am coming directly.

STUDENT: Which way, Jem?

VOICE: Over the roof and down the trap. (Voice is supposed to be moving as the student turns and points with his finger.)

STUDENT: Which way?

VOICE (_nearer_): Through the trap and down the stairs.

STUDENT: How long shall you be?

VOICE: Only a few minutes. I am coming as fast as I can.

The voice now approaches the door, and is taken up by the same tone, but produced as in the first voice. As another illustration, we will introduce the reader to

THE INVISIBLE SWEEP.—This is a striking example of the second voice. Let the student pretend to look up the chimney, and rehearse the following or some similar colloquy:—

STUDENT: Are you up there?

VOICE: Yes. Chimley want sweep?

STUDENT: Really, it is extraordinary. What are you doing?

VOICE: Looking for birds’-nests.

STUDENT: Birds’-nests! There are none there.

VOICE: Dick says there be.

STUDENT: Come down!

VOICE: I shan’t.

STUDENT: (_stirring the fire_); I’ll make you show yourself.

VOICE: I say, don’t; it’s so hot.

STUDENT: Come down, then.

VOICE: Don’t be so stupid. Let I alone.

STUDENT: Will you come down?

VOICE: Yes, I will.

STUDENT: What’s your name?

VOICE (_much nearer_): Sam Lillyvite. I say, what do you want me for among company?

STUDENT: To show yourself,

VOICE (_nearer_): What for?

STUDENT: To let these ladies and gentlemen see that there are many strange things between heaven and earth, but not Sam Lillyvite, the sweep.

Another good illustration is to hold a conversation with a friend who lives on the first floor, and with whom you can converse on any subject—as the _retired and mysterious student_—but the moment the student can master the elementary sounds, he will not need our assistance in providing him with dialogues, which, however simple they may be to read, have _an extraordinary effect when properly spoken_.

POLYPHONIC IMITATIONS.

THE TORMENTING BEE.—It is related that Mr. Love, when young, took great delight in imitating the buzzing of insects and the cries of animals; indeed, it is difficult to decide whether he or Mr. Thurton most excelled in this particular species of mimetic illusion. In all imitations of insect noises, the bee should be heard to hum gently at first, so as in a private party not likely to attract attention till the right pitch is obtained, and be it remembered that the sound, without being particularly loud, can be made to penetrate every corner of a large room. The illusion is greatly increased by pretending to catch the offending and intrusive insect. The humble bee, the wasp, and the bluebottle fly are best to imitate, and afford an agreeable relief to the other exercises of ventriloquial power. To imitate the tormenting bee, the student must use considerable pressure on his chest, as if he was about to groan suddenly, but instead of which, the sound must be confined and prolonged in the throat; the greater the pressure, the higher will be the faint note produced, and which will perfectly resemble the buzzing of the bee or wasp.

Now, to imitate the buzzing of a bluebottle fly, it will be necessary for the sound to be made with the lips instead of the throat; this is done by closing the lips very tight, except at one corner, where a small aperture is left, fill that cheek full of wind, but not the other, then slowly blow or force the wind contained in the cheek out of the aperture: if this is done properly, it will cause a sound exactly like the buzzing of a bluebottle fly. These two instances will show how necessary it is for the ventriloquist to study minutely the different effects of sound upon his hearers in all his exploits. And to make the above properly effective, he should turn his face to a wall; with a handkerchief strike at the pretended bee or fly, at the same time pretend to follow his victim first this way and then that, and finally to “dab” his pocket-handkerchief on the wall as though he had killed it; the sounds should be at times suddenly louder and then softer, which will make it appear as it is heard in different parts of the room.

THE SPECTRE CARPENTER.—The noise caused by planing and sawing wood can also be imitated without much difficulty, and it causes a great deal of amusement. The student must, however, bear in mind that every action must be _imitated_ as well as the noise, for the eye assists to delude the ear. We have even seen ventriloquists carry this eye-deception so far as to have a few shavings to scatter as they proceed, and a piece of wood to fall when the sawing is ended. To imitate planing, the student must stand at a table a little distance from the audience, and appear to take hold of a plane and push it forward: the sound as of a plane is made as though you were dwelling on the last part of the word hu_sh_—dwell upon the _sh_ a little, as _tsh_, and then clip it short by causing the tongue to close with the palate, then over again. Letters will not convoy the peculiar sound of sawing—it must be studied from nature.

A MOUNTAIN ECHO.

Some persons imagine ventriloquism to be an echo; but, as we have said, an echo only repeats what has been said before—it could not answer a question.

An echo is reflected sound, and the reflecting body must be at such a distance that the interval between the perception of the original and reflected sounds may be sufficient to prevent them from being blended together. No reflecting surface will produce a distant echo, unless its distance from the spot where the sound proceeds is at least 56½ feet, because the shortest interval sufficient to render sounds distinctly appreciable by the ear is about one-tenth of a second; therefore, if sounds follow at a shorter interval, they will form a resonance instead of an echo; and the time a sound would take to go and return from a reflecting surface, 56½ feet distance, would be one-tenth of a second.

It would, therefore, be impossible for a ventriloquist to produce an echo in a room of ordinary size, as the walls, being so near, would cause the sounds to be blended, and would only produce one impression on the ear; and yet the skilled ventriloquist can with ease imitate, in a room, a mountain echo. We will give the instructions, as it is very amusing.

Turn your back to the listeners; whistle loud several short, quick notes, just as if you were whistling for a dog; then, as quick as possible, after the last note, and as softly and subdued as possible to be heard, whistle about a third the number of notes, but it must be in _the same note or pitch_; this will cause the last whistle to appear just like an echo at a great distance. This imitation, if well done, never fails to take the listeners by surprise, and causes astonishment. The same thing can be done by shouting. Call aloud any sentence, such as—“Holloa, you there!” Let your voice be formed close to the lips; then quickly, and mind in the _same pitch or note_, speak the same words very subdued and formed at the back of the mouth. This is not difficult, and is very effective.

POINTS TO BE REMEMBERED.

In giving the succeeding instructions, it must be borne in mind that the power and acuteness of hearing is possessed in a greater or less degree by different individuals, and depends upon the sensibility of the auric nerves. It will not be out of place nor uninteresting to show the effect of sound and the manner in which it is heard by the organs of the ear. It is said that the human ear is capable of appreciating as many as twenty-four thousand vibrations in a second, and that the whole range of human hearing, from the lowest note of the organ to the highest known cry of insects, as of the cricket, includes nine octaves.

Sound first strikes the drum or tympanum, a thin membrane which closes the aperture of the ear; when this drum vibrates by the sonorous undulations of the external air; the vibrations are communicated by minute bones, muscles, and fluid in the cavity of the ear, and are then conveyed to the brain; and to show how absolutely necessary it is that all the organs of the would-be ventriloquist should be entire and without fault to succeed well, we will show how the ventriloquist makes that nice distinction of the gradation of sound, and by which he is enabled to judge whether he is causing his voice _to appear_ at the proper distance from his audience or not.

Let any one firmly close both ears by stopping them, then speak a few words; now, as the cars are stopped, the sound cannot enter immediately to the drum of the ear, but it takes cognizance of the sound by a passage called the eustachian tube, which extends from the back part of the mouth to the cavity immediately behind the drum of the ear.

The sound vibrations made in the mouth are transmitted along this tube to the interior part of the organs of hearing. Now it is by a nice judgment of sound by this tube that the professional ventriloquist judges the majority of his voices, especially those greatly obscured or muffled. Not only must the auric nerves of the would-be ventriloquist be perfect, but he will become more proficient as he is able to study and understand the human voice. There is the language of emotion, or natural language. When we say natural, we mean the language by which the feelings manifest themselves without previous teaching, and which is recognized and felt without teaching. Some of them are the scream of terror, the shout of joy, the laugh of satisfaction, laugh of sarcasm, ridicule, &c., which are made by man, and understood by fellow-men, whatever may be the speech or country of the other.

There are also distinct qualities of voice, peculiar to each person, both in tone and quality, and the best practice is to try and imitate three or four people’s voices, and let them be of a different tone and pitch.

The ordinary compass of the voice is about twelve notes, and a very good practice to the attainment of the art is to call aloud in a certain note, _and then in the octave to that note_; do this several times a day, changing the note, also speak a sentence all in the same note or pitch, properly called intonation, loud at first, and then by degrees lower; this kind of practice will enable the ear to judge of the modulation required to make a voice appear to recede or come near by degrees.

CONCLUDING REMARKS.

When the student is acquainted with the voices before described, he may imitate many others by _contraction and expansion of the glottis, and by modification of the cavity of the pharynx and mouth_. The best way to practice is in a room by himself, to talk loud, and, while so doing, to make all sorts of _contortions with the muscles of the mouth and jaws—first fixing the jaws_ in the manner already described, _then drawing the lips inward, next putting them forward, at the same time putting the tongue in different shapes and positions in the mouth_; also by speaking in the natural voice, and answering in the _falsetto pitch_, which is the imitating voice for women and children.

We are confident that enough has been said to enable any one with a good range of voice to attain proficiency in the art; the student always remembering (and it cannot be too often repeated) that _to render a voice perspective, the most essential thing is to attend to the study of sound as it falls upon the ear; then imitate that sound by the different contractions and expansions of the muscles of the throat, mouth, face and jaws_. During these various contractions and expansions, draw in a long breath and talk, first rapidly, then slowly, but always with a _slow expiration of breath_. Do this a dozen times consecutively for several days, at the same time taking particular care to _elevate and depress the roof of the mouth_, especially the back part, as this movement will cause the voice to appear near, or at a distance. Ample directions have been given how all this is done, but let it be understood that it is most essential. The student may then practice before a friend, and he will be astonished to find that he can deceive any listener, as to the point from which the sound comes; and will be gratified that he has become the source of great amusement to himself as well as in the circle in which he moves.

Thus we have acquired a working power in the art which, we trust, we have now explained to the satisfaction of the reader. The progress of the student will, of course, be facilitated by an inherent propensity of mimicry, which often approaches some of the minor attainments of ventriloquism. In every company some person may be found who, without any professional instruction, can give admirable imitations, of the voice, gait, and peculiarities of a friend or acquaintance; thus proving that Nature, to some extent, supplies the basis upon which, if we may use the phrase, the complete superstructure of vocal illusion may be raised. The possession of this quality would amount, comparatively, to little, without instruction and perseverance. Here, as in other respects, practice makes perfect; and, more than that, a diligent application of our rules will invest the originally defective amateur with an attainment which the ignorant will attribute to the possession of a supernatural gift.

All we need say in conclusion is, that the rules propounded will not only clear away imaginary difficulties from the path of the student, but entitle him, like ourselves, to an acquirement more or less near perfection, according to a natural gift of mimicry, and to the zeal with which he may study and practice the art.

THE MAGIC WHISTLE.

It will be pleasant when the wind is howling without, among the snow-laden limbs of the trees, to be reminded of the gay summer by the counterfeit notes of the woodland songsters; or, wandering among the woods and fields in spring or summer time, how glorious to challenge the feathered musicians to a contest of skill with you in their own sweet language. We propose to instruct the reader in the manufacture of a little instrument by which the notes of birds, voices of animals, and various peculiar sounds may be imitated.

First, look at the annexed diagram, and then procure a leek and cut off from the green leaf thereof a piece about the size of the diagram; then lay it on a smooth table, and with the thumb-nail delicately scrape away a small semi-circular patch of the green pulpy substance of the leaf [as represented in the diagram], being careful to leave the fine membrane of outer skin of the leaf uninjured—and there is the instrument complete. It may require several experiments to make the first one, but once having discovered the right way, they are very easily manufactured. The reader may not be aware of the fact that the leaf of the leek has a fine transparent outer skin, which is quite tough, but by breaking and carefully examining one or two leaves, he will soon find out what we allude to.

The way of using this instrument is to place it in the roof of the mouth with the side on which is the membrane downwards; then place it gently in its place with the tongue, and blow between the tongue and the upper teeth. After the first two or three attempts, you will be able to produce a slight sound like a mild grunt; then as you practice it you will find you can prolong and vary the sound somewhat, so that in the course of a couple of days you can imitate the barking of a dog and the neighing of a horse. With two or three weeks’ practice, you will be able to imitate some of the song birds; but to produce exact counterfeits of the best singing birds will probably require months of study; the result, however, will reward you for all your pains, for certainly to be able to carry a mocking bird, canary, thrush, cat-bird and sucking-pig in your vest pocket, is no small accomplishment.

When not using the instrument, it should be kept in a glass of water to prevent its drying.

THE

Hunters’ and Trappers’

COMPLETE GUIDE.

A MANUAL OF INSTRUCTION IN THE ART OF

HUNTING, TRAPPING AND FISHING.

This book will be found very valuable to those who have not had experience in these healthy, manly and profitable pursuits. The book is thorough in detail in every respect. The young sportsman can learn how to use the Gun or Rifle with ease and precision, and become an unerring shot. The mystery of making, setting and baiting Traps successfully, is shown.

The Best Methods of Catching all kinds of Fish,

Either in the Sea, Lake or River, is told practically and understandingly. The whole

Art of Managing and Training Dogs for Sporting Purposes,

and all about the care of Skins and Furs, so that they will fetch the highest market price, is given, with a vast amount of other valuable information relating to the Hunters Craft.

CONTENTS.

ABOUT GUNS.
HOW TO SELECT A GUN.
BREECH-LOADERS.
HOW TO LOAD A GUN.
THE ART OF GUNNING.
THE RIFLE, AND HOW TO USE IT.
ABOUT DOGS.
MANAGEMENT OF DOGS.
TRAINING OF DOGS.
BEST DOGS FOR SHOOTERS.
HUNTING, GUNNING AND SHOOTING.
RABBIT SHOOTING.
SNIPE SHOOTING.
PARTRIDGE SHOOTING.
WOODCOCK SHOOTING.
WILD FOWL SHOOTING.
DEER HUNTING.
BUFFALO HUNTING.
TRAPPING.
HOW TO MAKE TRAPS.
SETTING AND BAITING TRAPS.
PROPER SEASON FOR TRAPPING.
HINTS TO TRAPPERS.
SPECIFIC DIRECTIONS FOR TRAPPING AND SNAREING ALL KINDS OF BIRDS AND
ANIMALS.
FISHING.
BAITS, HOOKS, LINES, RODS, &c.
HOW TO CATCH VARIOUS KINDS OF FISH.
THE ART OR STRETCHING AND CURING SKINS.
DRESSING AND TANNING SKINS AND FURS.
COLORING AND DYEING SKINS AND FURS.

The Book is indispensable to all who delight to Fish, Hunt or Trap, either for sport or profit. The instructions will enable anyone to become thoroughly expert in the Sports and Pastimes of the River, Field or Forest. Illustrations are given, where needed, to elucidate matters, as in the construction of traps, &c.

This book will place many in a position to turn their spare time to a very profitable account. Furs and Skins are always in demand, and if properly caught and managed, sell for large prices.—=Price 25 Cents.=

_Address all orders to_

HURST & Co., 75 Nassau Street, N. Y.

CHEAPEST AND BEST IN THE WORLD.

THE N. Y. HOME MAGNET
_Is a Beautifully Illustrated, Large, 32 Column Paper_.

Published regularly every month, at the low rate of FIFTY CENTS A YEAR. The price is the only “cheap” thing about it. Handsomely illustrated. It is first class in every way, shape and manner.

BOYS will read it, for it has the best Hunting, Indian and Sea Stories; tells how to make traps, toys, bows and arrows, etc., etc.

GIRLS will like to have it, for it is brimful of superior Tales of the Affections and of Home Life; with any quantity of articles on Love-making, Household Management, Fashions, has Toilet Mysteries, Preserving, Cutting Dresses, Working Crochet, Lace, Braid, etc., etc.

MEN will like it for the vast amount of valuable information on every subject that can improve the mind, the morals and the habits. Giving all new phases of thought, all new inventions, and particularly those by which money can be easily made.

LADIES will like THE MAGNET, for in its columns will be found everything detailed that can go to embellish Home, and render it more attractive; teachings in every kind of culinary economy, and modes of making a little money go a good way in household management.

EVERYBODY will like THE MAGNET for in its columns will be found something to suit every taste, whether grave or gay; whether in search of amusement, instruction or profit, you will become for its perusal wiser, better and richer. Nothing is too light and amusing, nothing too grave, learned or useful to find a fit place in THE MAGNET’S varied pages.

These are a few of the subjects that will be found in every number of THE MAGNET:

=Tales and Romances.=
=Lively Editorials.=
=Pleasant Pastimes.=
=Household Hints.=
=Portfolio of Information.=
=Maids, Wives and Widows.=
=Young Folks’ Department.=
=Our Knowledge Box.=
=Health Hints.=
=Answers to Correspondents.=
=Ways that are Dark.=
=Humorous Department.=
=Poetry.=
=Facts and Figures.=
=Conjuring.=

And hundreds of other useful and profitable employments will be written upon and explained by experts, so that the reader can both inform his mind, and make money by what he learns from THE MAGNET.

TAKE SPECIAL NOTICE,
that THE HOME MAGNET will plainly show

How any one can make a _Real Working Clock_ at a cost fifty cents.

How to Construct and Operate an _Electric Telegraph_, transmitting and receiving messages.

How to make a _Microscope_ that will immensely magnify, at a cost of five cents.

How to Build and Set to Work a real _Steam Engine_.

How to Make the Apparatus for _Photography_, and how to take Pictures of every style easily, successfully and profitably.

How to Construct and Operate a _Galvanic Battery_, and apply it so as to practically plate any articles with Copper, Silver or Gold; and to take beautiful _facsimiles_ of medals and coins; as well as explain how to deposit metals upon leaves, insects, etc.

How to Make and Work a _Lathe_. With the art of _Wood Turning_ fully illustrated.

The art of _Glass Blowing_, instructing any one to make a thousand and one novel and interesting subjects from a piece of glass.

_Bear in mind_, that these processes, which we engage to teach in THE MAGNET, are plain, practical things, so that the learner can turn his knowledge to use, and make money by the exercise of the skills that he acquires.

=50 CENTS A YEAR. Remember that this is all you have to pay to get
this Paper for a Whole Year.=

Many and many an article will appear in THE MAGNET that may put thousands of dollars in your pockets; for it will be full of new, valuable receipts and suggestions.

=Do not Forget.=—Every subscriber gets a Valuable Premium. _One can be selected from a List of Twelve_, comprising beautiful Chromos, Good Books and Useful Novelties. No delay in filling orders.

Send stamp for our Agents’ Terms, List of Premiums and Specimen Copy of THE HOME MAGNET.

Remember, that we give more actual value to our subscribers than any other paper has ever offered. DO NOT FAIL to send FIFTY CENTS and get the most Lively, Spirited and Unique Paper ever issued, for a WHOLE YEAR, with a VALUABLE PREMIUM, worth much more than the price asked for the Paper alone. Address

HURST & COMPANY, PUBLISHERS,
_75 and 77 Nassau Street, N. Y._

THE BOOK OF KNOWLEDGE

AND

Sure Guide to Rapid Wealth.

Fortunes are made every day by the manufacturing and selling of some of the articles here given. Directions are given for making all kinds of Cosmetics, Lotions, Ointments, Patent Medicines, Soaps, Cements, etc. The secrets used by Metal workers, how to make Gold, Silver and the various precious stones, with many practical directions for working and using the commoner metals. The secrets of the Liquor trade are fully detailed, and the choicest receipts and formulas are given for the making of different kinds of liquors, including the new method of making Cider without Apples, all without the use of poisons or poisonous drugs. It is arranged and divided into departments for the use of

=Liquor Dealers=,
=Druggists=,
=Manufacturers=,
=Farmers=,
=Medical Men=,
=The Household=,
=Confectioners=,
=Hunters & Trappers=,
=Perfumers=,
=Artists=.

No one, whatever be his position in life, can fail to find something in this book that will repay a hundredfold its price. Many of the receipts have been advertised and sold for sums ranging from 25 cents to ten dollars. We send the whole book, postage free, for 25 cents.

SINGING MADE EASY.

This book shows how any one with an ordinary voice can, by proper management, as here indicated, become proficient in singing. It explains the pure Italian method of producing and cultivating the voice, the management of the breath and voice organs, the best way of improving the ear, how to sing a ballad, with much other valuable information equally useful to Professional Singers and Amateurs. Price 20 cents.

RIDDLES, CONUNDRUMS AND PUZZLES.

The choicest, newest and best collection of Riddles, Conundrums, Charades, Enigmas, Anagrams, Rebusses, Transpositions, Puzzles, Problems, Paradoxes and other entertaining matter, ever published. Here is Fun for the Mirthful, Food for the Curious, and Matter for the Thoughtful. Price 20 cents.

_Address all orders to_
HURST & Co., 75 Nassau Street, N. Y.

Fortune Telling Made Easy;
or,
THE DREAMERS’ SURE GUIDE.

CONTAINING PLAIN, CORRECT AND CERTAIN RULES FOR FORETELLING WHAT
IS GOING TO HAPPEN.

BY THE CELEBRATED GABRIEL,
The Astrologer of the 19th Century.

=A Complete Oracle of Destiny.=

In this Book you have all that was ever made known by the ancient Egyptians, Assyrians, Persians, Greeks, Chinese and Hindoos relating to the occult sciences. Much has been procured from overlooked sources, and transcribed from the original hieroglyphics. The substance, also, of all that has been, brought to light by the researches and investigations of modern Astrologers and Professors is here laid before the reader in a plain and intelligible manner.

=This Book contains=:

The celebrated Grecian Oracle of Destiny.—The renowned Egyptian Fortune Telling Tablets.—The Great Hindoo Trial of Destiny.—Palmistry, the art of telling fortunes by the lines on the hand.—Fifty-two Grecian observations on moles.—How to make the Dumb Cake.—The birth of children, and foretelling other events by the moon’s age and the days of the week.—To know if your love of a person will be mutual.—Charms, Spells and Incantations.—To procure Dreams, Tokens, and other insights into futurity.—Fast of St. Agnes—The Nine Keys.—Magic Rose.—Cupid’s Nosegay.—The Ring and the Olive Branch.—Love’s Cordial.—The Witches Chain.—Love Letters.—Strange Bed.—To see a future husband.—To know what fortune your future husband will have.—The Lovers’ Charm.—Hymenial Charm.—For a girl to ascertain if she will soon marry.—Physiognomy; the art of discovering a person’s disposition by their features.—How to tell a person’s character by means of Cabalistic calculations.—Fortune-telling by means of a tea or coffee cup—How to read your fortune by the white of an egg.—To choose a husband by the hair.—Lucky days.—Fortune telling by dice.—Fortune telling by cards.—Dreams and their interpretation.—A complete dictionary of dreams.

=This Book will acquaint you truthfully about=

What your portion in life will be.

What you will to successful in.

What you are adapted for.

What your absent wife is doing.

What your absent husband is occupied with.

What your future partner will be.

What your destiny is.

Whether your intended is true to you.

Whether you will be childless.

Whether you will die an old maid.

Whether you will have money left you.

Whether your marriage will be happy.

Whether you will be successful in your love affairs.

Whether you will be a widow.

Whether you will get a divorce.

Whether you will be disappointed in money matters.

The book is, in fact, a perfect Oracle of Fate, and may be consulted with certainty upon all matters that relate to your present or future prospects.

=Price 25 Cents.=
[pointing hand] Sent by Mail to any address, on receipt of Price.

NEW AND INDISPENSABLE MANUALS.

“THE ‘MAGNET’ HAND-BOOKS.” These books are the _very best_ ever issued upon the various subjects of which they treat. Each volume is complete and perfect, and thoroughly practical. Each book contains 100 pages large 12mo., well printed and bound in handsome illuminated covers. PRICE TWENTY-FIVE CENTS EACH.

PARLOR PASTIMES; or, THE WHOLE ART OF AMUSING, for public or private entertainments. An entirely new work by the celebrated Professor RAYMOND, on MAGIC, CONJURING, LEGERDEMAIN, and PRESTIDIGITATION. It is a complete exposé of the Wizard’s Art. No trick or illusion of importance is left unnoticed, and the instructions and explanations are so simple and exhaustive that a child could perform them. This book thoroughly elucidates and explains all the mysteries and wonders associated with all kinds of magic and occult science. It tells how to make, operate and perform with Coins, Cards, Fire works, Mechanical Devices and Magnetic Contrivances. The book also contains a large collection of RIDDLES, CONUNDRUMS, CHARADES, ENIGMAS, REBUSSES, PUZZLES, ACROSTICS, TRANSPOSITIONS, ANAGRAMS, PARADOXES, AND PROBLEMS. A study of this interesting work would make any one thoroughly expert in amusing either a public or private audience. =Price 25 Cents.=

HOW TO WRITE A LETTER. A complete letter writer for ladies and gentlemen. This book is not a collection of letters and examples, as is generally the case with all “Complete Letter Writers” now in use, but is a book which actually tells how to write a letter upon any subject out of the writer’s “own head.” It gives much very necessary information relating to Punctuation, Spelling, Grammar, Writing for the Press, Legal Importance of Letters, Love, Courtship and Marriage. It also contains the Art of Rapid Writing, by the abbreviation of longhand and a DICTIONARY OF ABBREVIATIONS. This book is worth its weight in gold to all. No one can fail to be benefited by some of the information it contains. It contains all the points and features that are in other Letter-Writers, with very much that is new, original and very important, and which cannot be got in any other book. =Price 25 Cents.=

THE AMERICAN BOOK OF GENTEEL BEHAVIOR. A complete handbook of modern etiquette for ladies and gentlemen. A perusal of this work will enable every one to rub off the rough husks of ill-breeding and neglected education, and substitute for them gentlemanly ease, and graceful, ladylike deportment, (as the case may be), so that their presence will be sought for, and they will not only learn that great art of being thoroughly at _home_ in all societies, but will have the rarer gift of making everybody around them feel easy, contented and happy. This work is fully up to the requirements of the times; it describes the etiquette of our very best society.

Get at once this greatest _Hand-Book of Modern Etiquette_.—=Price 25 Cents.=

PERSONAL BEAUTY; Or the whole art of attaining bodily vigor, physical developement, beauty of feature and symmetry of form, with the science of _Dressing with Taste, Elegance and Economy_. To those to whom Nature has been sparing in its gifts, suggestions are here offered that will enable them to overcome these defects, and to become beautiful, elegant and graceful, and to be admired and sought after by the opposite sex.—_Illustrated._—=Price 25 Cents.=

_Copies of the above books sent to any part of the world on receipt
of price._

Address HURST & CO., Publishers, 75 Nassau St., New York.

* * * * *

Transcriber's Notes

Obvious typographical errors have been silently corrected. Variations in hyphenation have been standardised but all other spelling and punctuation remains unchanged.

The following corrections have been made.

Trick 8 Paragraph 4 – The cambric becomes calico in this paragraph. It has been changed back to cambric

Fig. 10 was originally labelled Fig 25. Fig. 23 was originally labelled Fig. 22

Italics are represented thus _italic_, bold thus =bold=.