Art students -- Fiction; Aunts -- Fiction; Love stories; New York (N.Y.) -- Juvenile fiction; Orphans -- Fiction; Young women -- Fiction
He had come upon the stage with nothing in his hands, and except for the
piano it was empty, certainly empty of all the paraphernalia of
legerdemain. Then, suddenly he held in his hand a small brass bowl. He
made a sign to some one in the back of the room, who had evidently been
detailed to help him, and a servant gave him a carafe of ice water. This
he set down beside the bowl. Then he offered the bowl to the spectators
for examination. Ruth noticed that he was so close to them that it was
not even necessary to step down from the low stage. Two or three men who
“Never saw a trick yet I couldn’t see through” examined the bowl with
sceptical eyes and pronounced it quite ordinary. Then George poured ice
water from the carafe into the bowl and again offered it for inspection.
Several people touched it with their hands and pronounced the water with
which it was quite filled to be ice cold. Then George set the bowl down
before him and covered it with a small silk handkerchief. He waved his
hands over it three times, removed the handkerchief, and they saw steam
rising from the ice water. Again George offered the bowl for inspection.
Terry dipped his fingers into the water and as quickly removed them with
an exclamation of pain. The water was almost too hot to touch.
Then from nowhere appeared the little mound of sand and watering pot
indispensable to any self-respecting Indian fakir. Several people
whispered, “The mango tree—that’s an old one.” Throughout George had not
spoken one word. He seemed to be unconscious of his audience except when
he asked them to examine something. To Ruth there seemed in his studied
leisure a conscious effort to disguise haste. He bent now over the sand,
pouring water on it and pressing it up into a little hillock of mud;
then he covered it with a cloth, beneath which his hands were still
busy. Then he moved away and seemed to be muttering charms. When he
returned and removed the cloth there was the little mango sprout with
its two leathery leaves. Again the plant was covered, next time to
appear several inches tall with more leaves, and so on until it had
reached a height of more than a foot.
It was all very wonderful, as was also the fountain of water that sprang
from the tip of his index finger, until he seemed to chide it, whereupon
it disappeared from his hand and was seen spouting from the top of the
piano. Dissatisfied, he lit a candle and, calling to the water, made it
spring from the candle flame itself. Then he called again, spread out
his arms, and the stream, leaving the still lighted candle, separated
and sprang from his five outspread fingertips.
In an ordinary music hall the people who watched would doubtless have
conceded that it was clever, but here in an ordinary drawing-room in an
ordinary country house in the Berkshires on Christmas Eve, the
performance became something more than legerdemain. It bordered on the
supernatural and they sat silent and fascinated.
Public-domain text, read in full here on John Shaqi.
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