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others require careful practice with it. Do not be
discouraged if you do not succeed at first trial, even in
public, but try again, and after a bit you will seem "get the
knack" all at once, and thereafter will have but little trouble
in making the demonstration. If you find that you do not
meet with the desired degree of success in this feat, try it by
the "Simpler Method" given at the last part of this book. But
do not give it up without the proper practice. If you have
carefully performed the previous feats, you should have so
developed yourself by this time that you should have no
special difficulty in this feat.
BLACKBOARD DEMONSTRATIONS.
The following feats may be performed either upon a large
blackboard hanging from the wall, or upon a large sheet of
card-board, or stiff paper, spread upon the table. If the
blackboard is used, you should stand before it, the
Transmitter standing in the usual position. If the table is
used, you should stand before it, the Transmitter in his usual
place.
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 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 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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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.
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