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will, in
accordance with the direction of the current passing through the magnet-bob-
bin. Thus, when
the poles of the table magnet are given the same sign as those of the perma-
nent magnet
nearest to them, the latter will be repelled. Reversing the current, of course,
reverses the
polarity of the electro-magnet, and then the permanent magnet is attracted. In
this way, two
distinct motions may be finally produced, two distinct trigger actions relea-
sed, or two distinct
motive powers controlled.
This magnetic form of control has an advantage that no possible device of a
mechanical nature can possess. It enables one to produce effects such as those
we have just
mentioned, in an absolutely clean manner, even under a stranger's very eyes.
This in itself is
no small matter, seeing how much depends, very often, upon the impression a
performer can
make upon "the man from the audience." When in addition the method invol-
ves nothing
likely to arouse suspicion, and also reduces risk of detection to a minimum,
there is good
reason for believing that it is a good thing, well worth turning to account.
Before concluding this section of our book, we would once again impress u-
pon magicians of
repute, and also upon aspirants to that rank, the need that exists for original
work. No doubt it
is very interesting to reproduce effects that other men have originated, to
practise
manipulations that other men have introduced-in short, to do clever or effec-
tive things with
which other men have achieved success. But looking at the matter fairly and
squarely, it
becomes evident that achievements of that subordinate character are of no
very great account.
So far as personal merit is concerned, second-hand magic at the best cannot
do more than
show a performer's ability to repeat a lesson he has learned. With regard to
the art of magic
and its progress, such work can have but little value indeed. Those who are
constantly
looking out for novelties to imitate should remember these facts. In truth, one
had far better
take up old inventions, which give no chance for imitating any living artist,
than to stand
confessed a second-rate performer who can do nothing unless dry-nursed by
abler men. Not
only so, it is most likely that nine spectators out of ten will assume that the
new but second-
hand productions have been appropriated illegitimately: in other words, have
been stolen
from the original inventors. That kind of practice can do but little good to the
performer
himself, and is bound to do great harm to his calling. People can have but
small respect for a
profession in which the chief aim of its members, as a rule, is to acquire other
men's ideas,
instead of being to emulate the success of other men, while avoiding the blind
imitation of
things already done.
There is only one course of action by which the art of magic can be advanced
and the
repute of the magical profession enhanced. That is, for each one of us to put
his shoulder to
the wheel, and do all he can toward pushing forward. It is beyond question
that time and
effort given to the mere imitation of another man's work can be nothing more
than time and
effort misspent, in going over old ground; whereas, by striving to break new
ground, every
step and every effort must be of some service to the art and to its followers
alike. Not only
so, it must be clear to everybody, either in the magical profession or out of it,
that there is far
more money in original work than in the unnecessary repetition of past histo-
ry. Not that the
average imitator considers his work unnecessary. On the contrary, he feels
that, by
scrambling after colorable imitations of all the latest novelties, he is "keeping
up to date."
That is a curious fallacy, since, beyond all question, the man who works on
those lines must
always arrive a day after the fair. He can never be up to date, because he per-
petually lags
behind, waiting his chance to follow in the wake of somebody else.
The simple fact is that to condemn oneself to an arduous struggle for exis-
tence and a
second-rate position at the best, when better fortune lies within reach, can on-
ly be described
as sheer folly. To the man who will arouse his mind to some sense of initiati-
ve and will open
his eyes to facts that stare him in the face, the doing of original work in magic
requires
scarcely more effort than would be necessary in imitating work already done.
We do not
question the fact that some men, more than others, have the faculty for con-
ceiving new ideas.
That is so in every calling that gives men a chance of using their brains. In
every kind of
work, mental or physical, there are bound to be degrees of skill, higher and
lower, to which
various workers respectively attain. In no case can all be equally skilful. Even
the road-
sweeper, who displays a positive genius for scavenging the open roadway,
may prove
incompetent when confronted with the task of clearing the gutters.
In magic, as in all other forms of human activity, it cannot be expected that
all
workers will have an equal facility in carrying out the work that lies before
them. At the same
time, it may be expected, with justice, that every individual magician shall
add his
contribution to the sum of magical achievement, according to the talents with
which he has
been endowed by nature. That is all we have a right to expect; but it is the
least he has a right
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