House of MysteryPreface
David P. Abbott
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- I have done an unusual thing. I have written this book without the word trick appearing in it except in this preface. I have felt for a long time that in the presentation of Super Mysteries, the performer should try to place his work above mere trickery. As I always say, “It is something more than mere tricks.”
In fact, it embodies the highest form of Dramatic Art. The performer is an actor. He is acting the part of a Wonder Worker. Just as his acting is true to the character he portrays, so do his achievements approach more nearly to true miracles. In my work, I never call my experiments tricks, and I have tried to impress this upon my readers by omitting the word throughout the text of the volume.
For some years, it has seemed to me that the natural place for mystical work of all kind is the parlor, where everything is right up close to the observer, so that he can satisfy himself that ordinary things, free from mechanical devices, are used, and therefore the achievements partake of the nature of real miracles.
Of course, stage magic has its place in public entertainment, which is perfectly legitimate, but as such large contrivances must be used in order for a large number of people to observe them from a distance, this makes the employment of mechanical devices imperative. In a measure the public has learned this fact, and I find it generally believed that the presentations are mere tricks due to secret mechanisms. In a word, the experiments consist of nothing but mechanical magic.
Of course, in stage magic probably only one half is due to mechanism, while the other half is due to pure art, but in the work of the most expert mediums, no mechanisms are used, on account of the danger of being caught. Pure art enables them to present their mysteries as real miracles, hence the deep impression made in such cases. Those witnessing such things, when good, remember them for life, when they have long forgotten all of the stage magic they have ever seen.
I decided to profit by their example and to try to develop and gather together a collection of Super Mysteries for the parlor, which, so far as I know, has never been surpassed. The séances of Cagliostro in his home in Paris were on this order, but in his day the means were not at hand to do what can now be done.
In the development of my Mystery Séances, I have tried to excel in each particular thing that I present. I have tried to avoid the use of anything like apparatus wherever possible and to substitute art in place of mechanical devices where it can be done.
In this volume, I have given these things just as I do them, as nearly as photography and description can give them. Of course, the reader never can fully realize the truly wonderful effect produced on my guests, unless he could actually witness my work, but there is no other way I can leave these things behind me for future performers except in the way I have taken.
I have conscientiously presented these things using all of my power of description and detail, as well as photography, in the endeavor to make everything clear and understandable for the reader who will conscientiously study each effect, and take it and try it step by step as he reads. Give it the same study you would were you learning a violin or piano. Take it step by step, and master it as you go.
I have devoted Part I to Electrical Mysteries. Of these, I have used most of them, but the Skull and Kettle are the only ones that I retain in my regular program. Part II is the remainder of my usual program at my home, given in rotation just as I introduce the effects.
Part III is miscellaneous experiments, many of which I have devised and used, but I now use but one of them in my regular program. This one that I use is the Handkerchief and Flower Illusion. I open my entertainment with this. When my guests first assemble, they write their questions for “Pentaura,” then fold, seal, and place them in their pockets. Then I begin my performance. I first give the “Handkerchief and Flower Illusion” described in Part III, and follow this with another illusion where a cone, oranges, drawer box, etc., are used. Then I begin with the skull and red lights, as described in Part I, and follow on through Part II.
— David P. Abbott's preface to House of Mystery (2005) - I have done an unusual thing. I have written this book without the word trick appearing in it except in this preface. I have felt for a long time that in the presentation of Super Mysteries, the performer should try to place his work above mere trickery. As I always say, “It is something more than mere tricks.”