HANEY'S HAND-BOOK OF
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VENTRILOQUISM.
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WHAT IS VENTRILOQUISM?
·
Before we take the reader into the precise and minut
Instructions which he will have to study and practice ei d
he can become the possessor of the coveted art, it will bə
necessary to inform him what Ventriloquism* is, and in
what it consists. In doing so, we shall endeavor to be as
plain and clear as possible. Ventriloquism may be di-
vided into two sections, or general heads, the first of
which may be appropriately designated as Polyphonism,
and consists of the simple imitation of the voices of hu-
man creatures, of animals, of musical instruments, and
sounds and noises of every description in which no illu-
sion is intended, but where, on the contrary, the imitation
is avowedly executed by the mimic, amongst which we
may classify sawing, planing, door-creaking, sounds of
musical instruments and other similar imitations.
Secondly, we have ventriloquism proper, which con-
sists in the imitation of such voices, sounds and noises,
not as originating in him, but in some other appropriate
source at a given or varying distance in any, or even in
several directions, either singly or together-a process
exciting both wonder and amusement, and which may be
accomplished by thousands who have hitherto viewed the
ventriloquist as invested with a power wholly denied by
nature to themselves. It is needless to observe that when
the imitations are effected without a movement of mouth,
* Literally signifying belly-speaking, from venter, the bolly, and
loquor, I speak.
1212506
6 HANEY'S HAND-BOOK OF VENTRILOQUISM.
features or body, the astonishment of the audience is
considerably enhanced.
The terms polyphony, mimicry or imitation are em
ployed to designate results obtained in reference to the
first division of the subject, where no illusion is intended,
while the term ventriloquism distinguishes those under the
second division, where an illusion is palpably produced.
The first is much more common than the latter; indeed,
there is scarcely a public school which does not possess
at least one boy capable of imitating the mewing of a cat,
the barking of a dog, or the squeaking voice of an old
woman. On the other hand, from a want of the knowl-
edge of how to proceed, it is very seldom that even a
blundering attempt at ventriloquism is heard, except from
a public platform.
There have been many statements put forward defining
ventriloquism, but we are decidedly of opinion that the
theory of two of the most celebrated of foreign ven-
triloquists, Baron de Mengen and M. St. Gille, who were
sufficiently unselfish to avow the secret of their art, is not
only the most correct, but it is at once the most reason-
able and the most natural.
From Baron de Mengen's account of himself, and the
observations made of M. de la Chapelle, in his frequent
examinations of St. Gille, whom we shall afterwards re-
fer to, it seems that the factitious ventriloquist voice does
not (as the etymology of the word imports) proceed from
the belly, but is formed in the inner parts of the mouth
and throat.
The art does not depend on a particular structure or or-
ganization of these parts, but may be acquired by almost
any one ardently desirous of attaining it, and determined
to persevere in repeated trials.
The judgments we form concerning the situation and
distance of bodies, by means of the senses mutually as-
sisting and correcting each other, seem to be entirely
founded on experience; and we pass from the sign to the
thing signified by it immediately, or at least without any
intermediate steps perceptible to ourselves.
3
Hence it follows hat if a man, though in the same room
HANEY'S HAND-BOOK OF VENTRILOQUISM.
with another, can, by any peculiar modifications of the
organs of speech, produce a sound which, in faintness,
tone, body and every other sensible quality, perfectly ro-
sembles a sound delivered from the roof of an opposite
house, the ear will naturally, without examination, refer it
to that situation and distance, the sound which he hears
being only a sign which, from infancy, he has been accus-
tomed, by experience, to associate with the idea of a per-
son speaking from a house-top. A deception of this kind
is practised with success on the organ and other musical
instruments.
Rolandus, in his Aglossostomographia, mentions that if
the mediastinum, which is naturally a single membrane, be
divided into two parts, the speech will seem to come out
of the breast, so that the bystanders will fancy the persons
possessed.
Mr. Gough, in the "Manchester Memoirs," Vol. V.,
Part II., p. 622, London, 1802, investigates the method
whereby men judge by the ear of the position of sonorous
bodies relative to their own persons.
This author observes, in general, that a sudden change
in direction of sound, our knowledge of which, he con-
ceives, does not depend on the impulse in the car, but on
other facts, will be perceived when the original communi-
cation is interrupted, provided there be a sensible echo.
This circumstance will be acknowledged by any person who
has had occasion to walk along a valley, intercepted with
buildings, at the time that a peal of bells was ringing in it.
The sound of the bells, instead of arriving constantly at
the ears of a person so situated in its true direction, is fre-
quently reflected, in a short time, from two or three differ-
ent places. These deceptions are, in many cases, so much
diversified by the successive interpositions of fresh ob-
jects, that the steeple appears, in the hearer's judgment,
to perform the part of an expert ventriloquist on a theatre
-the extent of which is adapted to its own powers, and
not to those of the human voice.
The similarity of effect which connects this phenome-
non with ventriloquism, convinced the author, whenever
he heard it, that what we know to be the cause in one in-
8
HANEY'S HAND-BOOK OF VENTRILOQUISM.
stance is also the cause in the other, viz. that the echo
reaches the ear, while the original sound is intercepted by
accident in the case of the bells, but by art in the case of
the ventriloquist.
It is the business of the ventriloquist to amuse his ad-
mirers with tricks resembling the foregoing delusion; and
it will be readily granted that he has a subtle sense, highly
corrected by experience to manage, on which account the
judgment must be cheated as well as the ear.
This can only be accomplished by making the pulses,
constituting his words, strike the heads of his hearers, not
in the right lines that join their persons and his. He must,
therefore, know how to disguise the true direction of his
voice; because the artifice will give him an opportunity to
substitute almost any echo he chooses in the place of it.
But the superior part of the human body has been already
proved to form an extensive seat of sound, from every
point of which the pulses are repelled as if they diverged
from a common centre. This is the reason why people,
who speak in the usual way, cannot conceal the direction
of their voices, which, in reality, fly off towards all points
at the same instant. The ventriloquist, therefore, by some
means or other, acquires the difficult habit of contracting
the field of sound within the compass of his lips, which ena-
bles him to confine the real path of his voice to narrow
limits. For he who is master of his art has nothing to dỡ
but to place his mouth obliquely to the company, and to
dart his words out of his mouth-if the expression may
be used whence they will then strike the ears of the audi-
ence as that from an unexpected quarter. Nature seems to
fix no bounds to this kind of deception, only care must be
taken not to let the path of the direct pulses pass too near
the head of the person who is played upon, but the diver-
gency of the pulses make him perceive the voice itself.
Our readers will, therefore, not be surprised that the
French Academy adopted this view of the subject, and laid
down that the art consists in an accurate imitation of any
given sound as it reaches the ear. In conformity with a
theory so incontrovertible, physiologists have suggested a
variety of movemer's of the vocal organs, to explain still
J
HANEY'S HAND-BOOK OF VENTRILOQUISM.
9
further the originating cause; and some have gone so far
as to contend for a peculiarity of structure in these organs
as an essential requirement, but they have wisely omitted
to specify what. Nothing, however, can be more accu-
rate than the description of "the essence" of ventriloquy
in the English Cyclopædia"-namely, that it consists
in creating illusions as to the distance and direction whence
a sound has travelel." How those sounds are produced,
we shall show in another chapter.
VENTRILOQUISM AMONGST THE AN-
CIENTS.
Charles Lamb gave utterance to the thought that it was
"pleasant to contemplate the head of the Ganges," but
the student of ventriloquism finds it difficult to obtain a
view of the source of his art. In the dim and misty ages
of antiquity, he may trace, under various guises, the prac-
tice of his art. Many of the old superstitions were fos-
tered by its means; from the cradle of mankind to the
birthplace of idolatry, we incidentally learn of the belief
in a familiar spirit-a second voice, which afterwards took
the form of divination.

a
J
.
The various kinds of divination among the nations of
antiquity, which were stated by the priesthood to be by a
spirit, a familiar spirit or a spirit of divination, are now
supposed to have been effected by means of ventriloquism.
Divination by a familiar spirit can be tracked through a
long period of time. By reference to Leviticus xx. 27,
it will be seen that the Mosaic law forbade the Hebrews
to consult those having familiar spirits, and to put to death
the possessor. The Mosaic law was given about fifteen
years before Christ. Divining by a familiar spirit was,
however, so familiar to the Jews, that the prophet Isaiah
draws a powerful illustration from the kind of voice heard
in such divination, see Isaiah xxix. 4.
There can be little doubt but the Jews became ac◄
Bibtig
10 HANEY'S HAND-BOOK OF VENTRILOQUISM
quainted with this voice during their compulsory captivi
ty in Egypt. In many of the mysteries which accompa
nied the worship of Osiris, the unearthly voice speaking
from hidden depths or unknown hights was common.
Some philosophers have imagined that a series of tubes
and acoustical appliances were used to accomplish these
mysterious sounds. The statue of Memnon will instantly
suggest itself as a familiar instance. The gigantic stone
head was heard to speak when the first rays of the wor-
shipped sun glanced on its impassive features. The magic
words were undoubtedly pronounced by the attendant
priest, for we find a similar trick prevalent throughout the
whole history of ventriloquism, and even now the public
professors of the art know how much depends on fixing
the attention of their audience on the object or place from
whence the sound is supposed to proceed. The Jews
carried the art with them into Palestine, for we trace the
agency throughout their history.
The witch of Endor.divined by a familiar spirit, 1 Sam.
xxviii. 7, in Hebrew N (Ob.) The word is also adapted
in the Hebrew Bible to designate those persons, whether
male or female, to whom there is a familiar spirit. The
plural of is N-Oboth, usually, in the Septuagint
Scriptures, is rendered by the Greck 'Eyyaorpiμúlovs,
which is compounded έν, in γαστήρ, the belly and μῦθος,
speech, and corresponds with the word Ventriloquism.
This rendering of the IIebrew in the Septuagint Profes-
sor Lee accounts for by the muttering of those having
a familiar spirit-the n, see his Hebrew Lexicon, or
Thes. Heb. Gesenii, sub voce.
The Greeks practiced a mode of divination termed gas-
tromancy, from yaorp, the belly, and μúvris, a prophet;
where the diviner replied without moving his lips, so that
the consulter believed ho heard the actual voice of a
spirit speaking from its residence within the priest's belly.
St. Chrysostom adopts the same Greek word as the trans
lators of the Septuagint version, to designate the diviners
by familiar spirits, namely, 'Eyуaσтрyúlovç.
In the Acts of the Apostles (xvi. 16), mention is made
of a young woman with a familiar spirit meeting the
HANEY'S HAND-BOOK OF VENTRILOQUISM.
11
Apostles in the city of Philippi, in Macedonia. St.
Chrysostom and other early Fathers of the Christian
Church mention divination by a familiar spirit as prac-
ticed in their day. The practice of similar divination is
still common in the east; it lingers on the banks of the
Nile, and is even practiced among the Esquimaux. This
divination by a familiar spirit has been practiced upwards
of three thousand years.
MODERN PROFESSORS OF THE ART.
The earliest notice of ventriloquial illusion, as carried
out in modern times, has reference to Louis Brabant,
valet-de-chambre of Francis I., who is said to have fallen
in love with a beautiful and rich heiress, but was rejected
by the parents as a low, unsuitable match. However, the
father dying, he visits the widow, and on his first appear-
ance if the house, she hears herself accosted in a voice
resembling that of her dead husband, and which seemed
to proceed from above. "Give my daughter to Louis
Brabant, who is a man of great fortune and excellent
character. I now endure the inexpressible torments of
Purgatory for having refused her to him; obey this ad-
monition and I shall soon be delivered. You will provide
a worthy husband for your daughter, and procure ever-
lasting repose to the soul of your poor husband."
The dread summons, which had no appearance of pro-
ceeding from Louis, whose countenance exhibited no
change, and whose lips were close and motionless, was
instantly complied with; but the deceiver, in order to
mend his finances for the accomplishment of the marriage
contract, applies to one Cornu, an old and rich banker at
Lyons, who had accumulated immense wealth by usury
and extortion, and was haunted by remorse of conscience.
After some conversation on demons and spectres, the
pains of purgatory, etc., during an interval of silence a
voice is heard like that of the banker's deceased father,
complaining of his dreadful situation in Purgatory, and
•
12 HANEY'S HAND BOOK OF VENTRII. QUISM,
calling upon him to rescue him from thence by putth g
into the hands of Louis Brabant, then with him, a large
sum for the redemption of Christians in slavery with the
Turks; threatening him, at the same time, with eternal
damnation if he did not thus expiate his own sins. pon
a second interview, in which his ears were saluted with the
complaints and groans of his father and of all his de-
ceased relations, imploring him, for the love of God, and
in the name of every saint in the calendar, to have mercy
on his own soul and others, Cornu obeyed the heavenly
voice and gave Louis 10,000 crowns, with which he re-
turned to Paris, and married his mistress.
The works of M. l'Abbe La Chapelle, issued in 1772,
and before alluded to, contain descriptions of the ventril-
oquial achievements of Baron Mengen at Vienna,, and
those of M. St. Gille, near Paris. are equally interesting
and astonishing. The former ingeniously constructed a
doll with movable lips, which he could readily control by
a movement of his fingers under the dress; and with this
automaton he was accustomed to hold humorous and sa-
tirical dialogues. IIo ascribed proficiency in his art to
the frequent gratification of a propensity for counterfeit-
ing the cries of the lower animals, and the voices of per-
sons with whom he was brought in contact. So cxpert,
Indeed, had practice rendered him in this way, that the
sounds uttered by him did not seem to issue from his own
mouth. La Chapelle, having heard many surprising cir-
cumstances related concerning one M. St. Gille, a grocer
at St. Germain-en-Laye, near Paris, whose powers as a
ventriloquist had given occasion to many singular and di-
verting scenes, formed the resolution of seeing him. Be-
ing seated with him on the opposite side of a fire, in a
parlor on the ground floor, and very attentively observing
him, the Abbe, after half an hour's conversation with M.
St. Gille, heard himself called, on a sudden, by his name
and title, in a voice that seemed to come from the roof of
a house at a distance, and whilst he was pointing to the
house from which the voice had appeared to him to pro-
ceed, he was yet more surprised by hearing the words,
"it was not from that quarter," apparently in the same
Sharp b
HANEY'S HAND-BOOK OF VENTRILOQUISM.
13
kind of voice as before, but which now seemed to issue
from under the earth at one of the corners of the room,
In short, this factitious voice played, as it were, every-
where about him, and seemed to proceed from any quar-
ter or distance from which the operator chose to trans-
mit it to him. To the Abbe, though conscious that the
voice proceeded from the mouth of M. St. Gille, he ap-
peared absolutely mute while he was exercising this talent,
nor could any change in his countenance be discovered,
But he observed that M. St. Gille presented only the
profile of his face to him while he was speaking as a ven-
triloquist.
On another occasion, M. St. Gille sou ht for shelter from
a storm in a neighboring convent, and finding the commu-
nity in mourning, and inquiring the cause, he was told
that one of their body, much esteemed by them, had
lately died. Some of the religious attended him to the
church, and showing him the tomb of their deceased bro-
ther, spoke very feelingly of the scanty honors that had
been bestowed on his memory, when suddenly a voice was
heard, apparently proceeding from the roof of the choir,
lamenting the situation of the defunct in Purgatory, and
reproaching the brotherhood with their want of zeal on
his account. The whole community being afterwards
convened in the church, the voice from the roof renewed
its lamentations and reproaches, and the whole convent
fell on their faces, and vowed a solemn reparation. Ac-
cordingly, they first chanted a De Profundis in full choir,
during the intervals of which the ghost occasionally ex-
pressed the comfort he received from their pious exer-
cises and ejaculations in his behalf. The Prior, when this
religious service was concluded, entered into a serious
conversation with M. St. Gille, and inveighed against the
incredulity of our modern sceptics and pretended philos-
ophers on the article of ghosts and apparitions; and St.
Gille found it difficult to convince the fathers that the
whole was a deception.
M. St. Gille, in 1781, submitted his attainments in this
direction to several experiments before MM. Leroy and
Fouchy, Cemmissioners of the Royal Academy of Sci-
14 HANEY'S HAND-BOOK OF VENTRILOGISM.
❤
ences, and other persons of exalted rank, in order to do.
monstrate that his mimicry was so perfect as to reach the
point of complete illusion. For this purpose a report
was circulated that a spirit's voice had been heard, at
times, in the environs of St. Germain, and that the com-
mission was appointed to verify the fact. The company,
with the exception of one lady, were apprised of the real
nature of the case, the intention being to test the strength
of the illusion upon her The arrangement was that they
should dine together in the country, in the open air, and
while they were at table, the lady was addressed in a su-
pernatural voice, now coming from the top of adjoining
trees, then descending until it approached her, next re-
ceding and plunging into the ground, where it ceased.
For upwards of two hours was this startling manifesta-
tion continued with such adroitness that she was con-
vinced the voice belonged to a person from another
world, and subsequent explanation failed to convince her
to the contrary.
M. Alexandre, the famous ventriloquist, had an extra-
ordinary facility in counterfeiting all the expressions of
countenance and bodily conditions common to humanity.
When in London, his mimetic powers, which he was fond
of exercising both in public and in private, made his
company in high request among the upper circles. The
Lord Mayor of the City, in particular, received the ven-
triloquist with great distinction, and invited him several
times to dine at the Mansion House. But it unluckily
happened that, on every occasion when M. Alexandre
dined there, he could not stay to spend the evening,
having contracted engagements elsewhere. The Lord
Mayor expressed much regret at this, and the ventrilo-
quist himself was annoyed on the same account, being
willing to do his best to entertain his guests whom the
Lord Mayor had asked each time to meet him.
At last, on meeting M. Alexandre one day, the Lord
Mayor engaged him to dine at the Mansion House on a
remote day. "I fix it purposely," said his lordship,
"at so distant a period, because I wish to make sure this
time of your remaining with us through the evening."
HANEY'S HAND-BOOK OF VENTRILOQUISM,
15
Through fear of seeming purposely to slight his lordship,
M. Alexandre did not dare to tell the Mayor that on that
very morning he had accepted an invitation from a noble-
man of high rank to spend at his house the evening of the
identical day so unfortunately pitched on by the civic
dignitary. All that the ventriloquist said in reply was,
"I promise, my lord, to remain at the Mansion House till.
you yourself think it time for me to take my leave."
“Ah, well,” said the Lord Mayor, and went off perfectly.
satisfied.
At the appointed day Alexandre sat himself down at:
the magistrate's board. Never had the ventriloquist coin-
ported himself with so much spirit and gaiety. He in--
sisted on devoting bumpers to each and every lady pres-
ent.
*
The toasts went round, the old port flowed like water,
and the artiste in particular seemed in danger of losing
his reason under its potent influence. When others.
stopped, he stopped not, but continued filling and empty-
ing incessantly. By-and-by, his eyes began to stare, his
visage became purple, bis tongue grew confused, his
whole body seemed to steam of wine, and finally he sank.
from his chair in a state of maudlin, helpless insensibility.
Regretting the condition of his guest, the Lord Mayor
got him quietly lifted, and conveyed to his own carriage,
giving orders for him to be taken home to his lodgings..
As soon as M. Alexandre was deposited there, he became
a very different being. It was now ten o'clock, and but
half an hour was left to him to prepare for his appointed
visit to the Duke of ——'s soiree. The ventriloquist dis-
robed himself, taking first from his breast a quantity of
sponge which he had placed beneath his waistcoat, and
into the pore of which he had, with a quick and dexter-
ous hand, poured the greater portion of the wine which
he had apparently swallowed.
P
Having washed from his person all tokens of bis simy-
lated intoxication, and dressed himself anew, M. Alexan-
dre then betook himself to the mansion of the nobleman
to whom he had engaged himself.
On the following day the fashionable newspapers gara
:
16
HANEY'S HAND-BOOK OF VENTRILOQUISM.
a detailed account of the grand party at his Grace the
Duke of -'s, and eulogized to the skies the entertain.
ing performances of M. Alexandre, who, they said, had
surpassed himself on this occasion. Some days after-
wards, the Lord Mayor encountered M. Alexandre. "Ah,
how are you?" said his lordship. "Very well, my
lord," was the reply. "Our newspapers are pretty
pieces of veracity," said his lordship; have you seen
the Courier of the other day? Why, it makes you out to
have exhibited in great style last Thursday night at his
"Grace of -'s!" "It has but told the truth," said the
mimic. "What? impossible!" cried the Mayor; you
do not remember, then, the state into which you unfor-
tunately got at the Mansion House?" And thereupon the
worthy magistrate detailed to the ventriloquist the circum-
stances of his intoxication, and the care that had been
taken with him, with other points of the case. M. Alex-
andre heard his lordship to an end, and then confessed the
stratagem which he had played off, and the cause of it.
"I had promised," said Alexandre, "to be with his
grace at half-past ten I had also promised not to leave
you till yourself considered it fit time. I kept my word
in both cases-you know the way." The civic functionary
laughed heartily, and on the following evening Alexandro
made up for his trick by making the Mansion House ring
with laughter till daylight.
N
1
66
Many anecdotes are told respecting M. Alexandre's
power of assuming the faces of other people. At Abbots-
ford, during a visit there, he actually sat to a sculptor five
times in the character of a noted clergyman, with whose
real features the sculptor was well acquainted. When ·
the sittings were closed and the bust modelled, the mimic
cast off his wig and assumed dress, and appeared with his
own natural countenance, to the terror almost of the sculp-
tor, and to the great amusement of Sir Walter and others
who had been in the secret.
Of this most celebrated ventriloquist it is related that on
one occasion he was passing along the Strand, when a
friend desire a specimen of his abilities. At this instant
a load of hay was passing along near Temple Bar, when
HANEY'S HAND-BOOK OF VENTRILOQUISM.
17:
Alexandre called attention to the suffocating cries of a
man in the centre of the hay. A crowd gathered round
and stopped the astonished carter, and demanded why he
was carrying a fellow-creature in his hay. The complaints
and cries of the smothered man now became painful, and
there was every reason to believe that he was dying.
The crowd, regardless of the stoppage to the traffic, in-
stantly proceeded to unload the hay into the street. The
smothered voice urged them to make haste, but the feel-
ings of the people may be imagined when the cart was
empty and nobody was found, while Alexandre and his
friend walked off laughing at the unexpected results of
their trick.
THE THEORY OF VENTRILOQUISM.
Many physiologists aver that Ventriloquism is obtained
by speaking during the inspiration of air. It is quite pos-
sible to articulate under these circumstances, and the plan
may with advantage be occasionally adopted; but our own
practical experience and close observation of many pub-
lic performers, and of not a few private friends who have
attained distinctness and no small amount of facility in the
art, convince us that the general current of utterance is,
as in ordinary speech, during expiration of the breath.
Some imagine that the means of procuring the required
imitation are comprised in a thorough management of the
echoes of sound. Unfortunately, however, for this theory,
an echo only repeats what has been already brought into
existence. Several eminent ventriloquists, including the
late Mr. Mathews, have displayed the vocal illusion while
walking in the streets. Baron Mengen describes as fol-
lows his mode of speaking when he desired the illusion to
take the direction of a voice emanating from the doll:
"I press my tongue against the teeth, and thus circumscribe
a cavity between my left check and teeth, in which the voice
is produced by the air held in reserve in the pharynx. Tho
sounds thus receive a hollow and muffled tone, which
-
18 HANEY'S HAND-BOOK OF VENTRILOQUISM.
}
causes them to appear to come from a distance." The
Baron furthermore mentions that it is essential to have
the breath well under control, and not to respire more
than can be avoided. M. St. Gille was seen to look some-
what exhausted when the vocal illusion grew less perfect.
We ourselves, and all ventriloquists with whom we have
conferred, have acknowledged that they experience
fatigue in the chest, and have attributed it to the slow expi-
ration of the breath. M. St. Gille, with the majority of
ventriloquists, was often compelled to cough during the
progress of his exercitation.
To attain an exact and positive knowledge of the modi-
fications of voice specified as Ventriloquism, it is impor-
tant to be familiar with the distinctions of the sounds ut.
tered by the mouth; and to ascertain how the organs act
in producing those vocal modifications, it is necessary to
know how the breath is vocalized in all its distinctions of
pitch, loudness, and quality by the ordinary actions of the
Vocal organs. In ordinary language we speak of noise,
of common sound, and of musical sound-terms employed
by Dr. Thomas Young in illustrating the mechanical
agencies of articulation: "A quill striking against a piece
of wood causes a noise, but striking successively against
the teeth of a wheel, or of a comb, a continued sound,
and, if the teeth of the wheel are at equal distances, and
the velocity of the rotation is constant, a musical sound.
The general terms-pitch, loudness, quality and duration,
embrace all the distinctions with which the musician has
to deal, and which he uses in his art.'
The distinguishing feature of musical sound is its uni-
form pitch throughout its duration, and acoustically musi-
cal sound is composed of an equal number of impulses or
noises produced in equal tones.
The general terms-pitch, loudness, quality and dura-
tion-also embrace all the distinctions heard in ordinary
sounds. These sounds differ from the musical in the pitch,
constantly varying throughout their duration, as the bu
man voice in speaking and the voice of quadrupeds;
acoustically such sounds are composed of an unequal num-
wer of impulses or noises produced in equal tones. And
HANEY'S HAND-BOOK OF VENTRILOQUISM.
19
from this circumstance pitch, in the strictly musical sense,
is not a property of ordinary sound.
The general terms, loudness and quality, embrace all
the distinctions heard in a noise, as in the collision of two
unelastic sticks. Pitch and duration can scarcely be con-
sidered as belonging to common noise. Thus we have-
(1) noise whose audible distinctions are comprehended
under the general terms loudness and quality; (2) con-
mon sound, whose audible distinctions are comprehended
under the general terms-loudness, quality, duration, and
every varying pitch; (3) musical sound, whose audible
distinctions are comprehended under the general terms-
loudness, quality, duration and uniform pitch
Phonation, or the production of voice, is a result of ac-
tions taking place under two distinct classes of laws-
namely, the ordinary mechanical laws of acoustics, and
the physiological laws of muscular movement. The ad.
justment of the vocal mechanism to be brought into oper-
ation by the current of air is made by actions under the
latter laws; and phonation is the result of the reaction of
the mechanism on the current of air by mechanical move-
ments under the former laws. Now the pitch of the voice
essentially depends on the tension of the vocal ligaments;
the loudness on the extent of the excursion of these liga-
nents in their vibration; the duration on the continuance
of the vocalizing causes; the quality on the organization
of the larynx, and also on the form and size of the vocal
tube. The form and size of this tube can be altered in
various ways for instance, by dilating or contracting the
pharynx; by dilating or contracting the mouth; by con-
tracting the communication between the pharynx and
mouth, so as to constitute them distinct chambers, or by
dilating the opening so as to throw them into one, which
is chiefly attained by movements of the soft palate; and
by altering the form of the mouth's cavity, which is ef
fected by varying the position of the tongue. Each of
these modifications of the vocal tube conveys a peculiarity
of quality to the voice all, however, being local or laryn-
geal sounds. Moreover, sounds can be produced in the
vocal tube, apart from the larynx. These, strictly speak.

20 HANEY'S HAND-BOOK OF VENTRILOQUISM.
1
ing, are not vocal sounds, though some of them may be
of a definite and uniform pitch, while others are mere
noises, as rustling, whispering, gurgling, whistling, enor-
ing, and the like. Now, as everything audible comes un-
der the classes of noise, sound, or musical sound, and as
each variety originates in the vocal apparatus of man, it
is obvious that an ordinary vocal apparatus is all that is
required for the achievemen of the feats of ventriloquy.
A person having an ear acutely perceptive to the nice
distinctions of sounds, may, by a little practice, imitate
many sounds with accuracy. Those persons, however,
who are highly endowed with the mental requisites, which
consist of an intense desire to mimic, coupled with the
ability to originate mimetic ideas, are able to imitate
aounds at first hearing.
We next proceed to treat of those illusions, where the
voice so perfectly counterfeits the reality intended, that
it appears not to issue from the mimic, but from an ap-
propriate source, in whatever direction, and at whatever
distance the source may be. We do not hear the distance
which a sound has travelled from its source, but we judge
the distance from our former experience, by comparing
the loudness which we hear with the known distance and
known loudness of similar sounds heard on former occa-
sions. Common experience will prove that we oftener err
in estimating the distance of uncommon than of familiar
sounds. In apology for such an error, the ordinary lan
guage is, "It seemed too loud to come so far," or "It
seemed too near to be so faint a sound," as the case may
be, both of which are apologies for an erroneous judg-
ment, and not for faulty hearing. Near sounds are louder
than distant ones. Now, by preserving the same pitch,
quality and duration, but with an accurately graduated re-
duction of loudness, a series forming a perspective of
sounds may be created, which, falling in succession on
the ear, will suggest to the mind a constantly increasing
distance of the sound's source. The estimate, then,
which is formed of the distance which a sound has travel-
led before reaching the ear is a judgment of the mind
formed by comparing a present perception (by hearing)
HANEY'S HAND-BOOK OF VENTRILOQUISM.
21
with the remembrance of a former loudness in connee.
tion with its known distance. With regard to direction,
"it is observed, "The direction whence a sound comes
seems to be judged of by the right or left ear receiving
the stronger impression, which, however, can only take
place when the sound's source is in a plane, or nearly so,
with a line passing through both ears. It is familiarly
known that a person in a house cannot by the noise of an
approaching carriage judge with certainty whether it is
coming from the right or left. He accurately judges it
to be approaching, passing, or receding, as the case may
be, by the gradations of loudness, but is unable to decide
with certainty whether its approach or recession is from
up or down the street. Enough has been stated to show
that we do not hear, but that we judge the direction a
sound has travelled from its source on reaching the ear.
The ventriloquist indicates, either directly or indirectly,
the direction from which he wishes his audience to be-
lieve the sound is coming. Thus he directly indicates it
by words, such as- Are you up there ?' < He is up the
chimney,' He is in the cellar,' Are you down there?'
&c., as illustrated in the various examples. He indirectly
indicates it by some suggestive circumstance, as an action
or gesture, which is so skilfully unobtrusive and natural
as to effect its object without being discovered. Thus,
when the ventriloquist looks or listens in any direction,
or even simply turns towards any point, as if he expected
sound to come thence, the attention of an audience is by
that means instantly directed also to the same place. Thus,
before a sound is produced, the audience expect it to come
in the suggested direction; and the ventriloquist has mere-
ly, by his adjustment of vocal loudness, to indicate the ne
cessary distance, when a misjudgment of the audience will
complete the illusion which he has begun."
The effect which is produced on sound by its travelling
from a distance, is observed to be :-
(1) That its loudness is reduced in proportion to its dis
tance.
}
(2) That its pitch remains unaltered.
(8) That its quality or tone is somewhat altered
22
HANEY'S HAND-BOOK OF VENTRILOQUISM.
(4) That its duration remains unaltered.
(5) That the human speech is somewhat obscured,
chiefly in the consonant sounds.
It must be remembered that the ventriloquist makes
the sound, not as it is heard at its source, but as it is heard
after travelling from a distance.
THE MEANS BY WHICH IT IS EF-
FECTED.
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 spec-
tators 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 at-
tention 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
aro emboldened to offer from our own pursuit and practi-
cal realization of the art.
The student must bear in mind that the means are sim-
ply 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 respira-
tion 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 termina-
ting 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
HANEY'S HAND-BOOK OF VENTRILOQUISM.
23
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 open-
ing between these vocal chords, is called the glottia: 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 nasa.
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 swal-
lowing. 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 critical
examination, either in private or in public.
:
If the student will pay strict attention to the parts
printed in italics, and will practise the voices here speci-
fied, 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 en
abled to imitate the voices of little children, of old people,
and, in fact, almost every sound which he hears.
Too much attention cannot he bestowed on the study of
sound as it falis on the ear, and an endeavor to imitate it as
it is heard for the "secret" of the art is, that as perspec-
tive is to the eye so is Ventriloquism to the ear. When we
look at the 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.
24 HANEY'S HAND-BOOK OF VENTRILOQUISM.
PRACTICAL ILLUSTRATIONS.
VOICE 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 gen-
tleinan in question, whom we will call Mr. B. in Mr. Mac-
cabe'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 the 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 ex-
uberant spirits, and commenced telling some amusing an-
ecdotes. At length the porter came to collect the tickets.
They were all handed in but one, when the following col-
loquy ensued :-
C
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 meantime, nad vanished. Back came the por-
ter, and indignantly demanded the ticket. He was inter-
rupted by a shill voice in the opposite compartment, cry-
ing-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.
• G
Voice No. 1.-To acquire this voice, which we so name
for distinction's sake, speak any word or sentence in your
{
HANEY'S HAND-BOOK OF VENTRILOQUISM.
25
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, in-
stead 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 the door when it is
closed, or under a floor, or through a wall. To ventrilo-
quize 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 the natural voice, Who's 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
through an obstacle, but from some one close at hand.
The description of voice and dialogue may be varied as in
the following examples:
·
¿
28
HANEY'S HAND-BOOK OF VENTRILOQUISM.
Ex. 1. THE SUFFOCATED VICTIM.- This was a favorite
illustration of Mr. Love, the polyphonist. A large box
or closed 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 sub-
dued groan, apparently from the box or closet.
STUDENT (pointing to the box with an air of astonish-
ment): What was that?
VOICE: Oh! let me out.
STUDENT: Why, there is some one here, I declare.
(To box) Who is it?
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.
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
me.
Let
You know
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 wont.
VOICE (as before): Have pity (Tom, or Jack, or Mr.
as the case may be), or I shall be choked.
STUDENT: don't believe you are what you say.
VOICE: Why don't you let me out and see before I am
dead?
+ $525
STUDENT (opening and shutting the lid or door, and vary-
ing 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 milk
HANEY'S HAND-BOOK OF VENTRILOQUISM.
21
}
man, and may be varied accordingly. We will take Sky-
blue, the milkman; and we would impress on the student
that, although we give these simple dialogues, they are
merely intended as illustrations for the modet tyro, not to
be implicitly followed when greater confidence and pro-
ficiency are attained.
VOICE: Milk below!
STUDENT: Is it not provoking that the milkman always
comes when he is not wanted, and is absent when we are
waiting for the cream?
VOICE (whistling a bur of "Polly Perkins").
STUDENT: Oh, yes, always the broken-hearted milk.
man; 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 intolerable. Go away.
VOICE: You owe me threepence for last week's milk;
I was to wait.
STUDENT: This is intolerable; I'll send for the police.
VOIUE (ironically): Send for Sally and p'lice, I'll
foller.
STUDENT: Impudent rascal!
VOICE: Keep your compliments at home, Master Idle-
bones.
STUDENT (opening the door): I'll report you to your
master.
VOICE (louder as the door is opened): Will you, young
whipper-snapper, pay us the thruppence, and let us go?
STUDENT offers to pay, while the voice gets weaker in
the distance with milk below!" until it becomes inau-
dible.
A conversation may be held in a similar strain with the
cellarman; and, as a rule, the lower notes of the voice
28
HANEY 9 HAND-BOOK OF VENTRILOQUISM.
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): 1 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?
Make haste with the tot,
VOICE: Myself (aside).
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's 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.
VOICE NO. 11.
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, di ect their
attention to the ceiling by pointing to it, or by looking in
tently at it. Call loudly, and ask some question, as though
you believed a 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 voire
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
HANEY'S HAND-BOOK OF VENTRILOQUISM.
29
the roof. Too much attention cannot be paid to the man-
ner in which the breath is used in this voice. When speak-
ing to the supposed person, expel the words with a deep,
quick breath. When answering in the imitative voice,
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 ex-
amples.) When the voice is supposed to approach nearer,
the sound must alter, to denote the progress of the move-
ment. 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, con-
tracting 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 ar-
ticulate 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."* This kind of articulation may
be practised by forming the words in the pharynx, and
then sending them out of the mouth by sudden ex-
pulsions of the breath clean from the lungs at every
word. This is most useful in ventriloquism, and to illus-
trate it we will take the man on the roof as an illustration.
* It is very rarely that a ventriloquist shows a full face to his au-
dionce; it is only 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.
30
HANEY'S HAND-BOOK OF VENTRILOQUISM.
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.
STUDENT: Are you up there, Jem?
VOICE: Hallo! who's that?
STUDENT: It's me! 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 an-
other 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 collo-
quy:
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 your-
self.
VOICE: I say, don't; it's so hot.
STUDENT: Come down, then.
HANEY'S HAND-BOOK OF VENTRILOQUISM.
31
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 pro-
viding 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 imita-
tions of insect noises, the bee should be heard to hum
gently at first, so as in a private party not likely to at-
tract 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 blue-bottle 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
32
HANEY'S HAND-BOOK OF VENTRILOQUISM.
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 blue-bottle fly, it will
be necessary for the sound to be made with the lips in-
stead 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 blue-bottle fly. In
these two instances it will show how necessary it is for
the ventriloquist to study minutely the different effect 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-hand-
kerchief on the wall as though he had killed it; the
sound 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 be also imitated, and causes
a great deal of amusement, without much difficulty. 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 ventriloquista
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. Toimitate 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 dwell-
ing on the last part of the word hush-dwell upon the sha
little, as tsh, and then clip it short by causing the tongue
to close with the palate, then over again. Letters will
not convey the peculiar sound of sawing-it must be
studied from rature.
"
HANEY'S HAND-BOOK OF VENTRILOQUISM. 33
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 distinct echo unless
its distance from the spot where the sound proceeds, is at
fifty-six and a-half 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, fifty-six and a-
half 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 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
in ccho 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.
84 HANEY'S HAND-BOOK OF VENTRILOQUISM.
Res
POINTS TO BE REMEMBERED.
It
In giving the succeeding instructions, it must be borna
in mind that the power and acuteness of hearing is pos-
sessed in a greater or less degree by different individuals,
and depends upon the sensibility of the auric nerves.
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 capa-
ble of appreciating as many as twenty-four thousand vi-
brations 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 oc-
taves.
Sound first strikes the drum or tympanum, a thin mem-
brane which closes the aperture of the ear; when this
drum vibrates by the sonorous undulations of the external
air, the vibrations are communicated by minule bones,
muscles, and fluid contained in the cavity of the ear, and
are then conveyed to the brain; and to show how abso-
lutely 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 ears are stopped,
tue 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.
P
The sound vibrations made in the mouth are transmitted
along this tube to the interior part of the organs of hear-
ing. 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 ventrilo
quist be perfect, but he will become more proficient as he
HANEY'S HAND-BOOK OF VENTRILOQUISM.
35
Is able to study and understand the human voice. There
is the language of emotion, or the 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, the laugh of sarcasm, ridicule, etc., which
are made by man, and understood by his fellow-men, what-
ever 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 prac-
tice is to try and imitate three or four people's voices, aud
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 de-
grees 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 aloud, 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 placing 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
36
HANEY'S HAND-BOOK CF VENTRILOQUISM.
any one with a good range of voice to attain proficiency.
in the art; the studen: always remembering (and it can
Lot be too often repeated) that to render a voice perspec-
tive, 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 ex-
piration 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 ap-
pear 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 de-
ceive 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 to the
circle in which he moves.
Thus have we 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 for mimicry, which
often approaches some of the minor attainments of Ven-
triloquism. In every company some person may be found
who, without professional instructions, can give admirable
imitations of the voice, gait, and peculiarities of a friend
or acquaintance, thus proving that Nature, to some ex-
tent, 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 emount,
comparatively, to little without instruction and persever-
ance. Here, as in other respects, practice makes perfect;
and more than that, a diligent appliance 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 pro
HANEY'S HAND-BOOK OF VENTRILOQUISM.
37
pounded will not only clear away imaginary difficulties
from the path of the student, but entitle him, like our-
selves, to lay claim 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 wood-
land 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. As will be seen, this little in-
strument is quite simple and unpretending, but it will
really accomplish all we have claimed. Still we must
warn our readers that, to acquire the art thoroughly, it
needs patience and perseverance. We can but tell them
how to make and use the instrument, and the rest they
must learn for themselves.
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
semicircular patch of the green pulpy substance of the
leaf (as represented in the diagram), being careful to
leave the fine membrane or outer skin of the leaf unin-
jured-and there is the instrument complete. It may re-
quire several experiments to make the first one, but once
having discovered the right way, they are very easily
manufactured. The r: der may not be aware of the fact
that the leaf of the leek as a fine transparent outer skin,
38
HANEY'S HAND-BOOK OF VENTRILOQUISM.
which is quite tough, but by breaking and carefully ex-
amining 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 press 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 re-
ward you for all your pains, for certainly to be able to
carry a mocking-bird, canary, thrush, cat-bird and suck
ing-pig in your vest pocket, is no small accomplishment.
When not using the instrument, it should be kept in s
glass of water to prevent its drying.
Cihs

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1


UNIVERSITY OF MINNESOTA
wils
791.1 H193
Haney Jesse
Co., New York.
Haney's handbook of ventriloquism: cont
3 1951 002 130 824 Q
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