The works of M. L’Abbe La Chapelle, issued 1772, and before alluded to, contain descriptions of the ventriloquial 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 moveable lips, which he could readily control by a movement of the fingers under the dress; and with this automaton he was accustomed to hold humorous and satirical dialogues. He ascribed proficiency in his art to the frequent gratification of a propensity for counterfeiting the cries of the lower animals, and the voices of persons with whom he was brought in contact. So expert, 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 circumstances related concerning one M. St. Gille, a grocer at St. Germainen-Laye, near Paris, whose powers as a ventriloquist had given occasion to many singular and diverting scenes, formed the resolution of seeing him. Being 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 proceed, he was yet more surprised at hearing the words, “it was not from that quarter,” apparently in the same 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, everywhere about him, and seemed to proceed from any quarter or distance from which the operator chose to transmit it to him. To the Abbe, though conscious that the voice proceeded from the mouth of M. St. Gille, he appeared absolutely mute while he was exercising his talent; nor could any change73 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 ventriloquist.
On another occasion, M. St. Gille sought for shelter from a storm in a neighboring convent; and finding the community in mourning, and inquiring the cause, he was told that one of their body, much esteemed by them, had lately died. Some of their religious attended him to the church, and showing him the tomb of their deceased brother, 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. Accordingly, they first chanted a De profundis in full choir; during the intervals of which the ghost occasionally expressed the comfort he received from their pious exercises 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 philosophers 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 1771, submitted his attainments in this direction to several experiments before MM. Leroy and Fouchy, Commissioners of the Royal Academy of Sciences, and other persons of exalted rank, in order to demonstrate 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 commission 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 supernatural voice, now coming from the top of adjoining trees, then descending until it approached her, next receding and plunging into the ground, where it ceased. For upwards of two hours was this startling manifestation continued with such adroitness that she was convinced 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 extraordinary 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 pub74lic and private, made his company in high request among the upper circles. The Lord Mayor of the City, in particular, received the ventriloquist 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 ventriloquist himself was annoyed on the same account, being willing to do his best to entertain the 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.” 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 nobleman of high rank to spend at his house the evening of the identical day so unfortunately pitched on by the civic dignitary. All 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 he went off perfectly satisfied.
At the appointed day Alexandre sat himself down at the magistrate’s board. Never had the ventriloquist comported himself with so much spirit and gaiety. He insisted on devoting bumpers to each and every lady present.
The toasts went round, the old port flowed like water, and the artiste in particular seemed in danger of loosing his reason under its potent influence. When others stopped, he stopped not, but continued filling and emptying incessantly. By and by, his eyes began to stare, his visage became purple, his 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 disrobed himself, taking first from his breast a quantity of sponge which he had placed beneath his waist coat, and into the pores of which he had, with a quick and dexterous hand, poured the greater portion of the wine which he had apparently swallowed.
Having washed from his person all tokens of his simulated in75toxication, and dressed himself anew, M. Alexandre then betook himself to the mansion of the nobleman to whom he had engaged himself.
On the following day the fashionable newspapers gave a detailed account of the grand party at his Grace the Duke of ——’s, and eulogized to the skies the entertaining performances of M. Alexandre, who, they said, had surpassed himself on this occasion. Some days afterwards, 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 unfortunately got at the Mansion House?” And thereupon the worthy magistrate detailed to the ventriloquist the circumstances of his intoxication, and the care that had been taken with him, with other points of the case. M. Alexandre 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 you 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 Alexandre made up for his trick by making the Mansion House ring with laughter till daylight.
Many anecdotes are told respecting M. Alexandre’s power of assuming the faces of other people. At Abbotsford, 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 sculptor, 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 desired a specimen of his abilities. At this instant a load of hay was passing along near Temple Bar, when 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, instantly proceeded to unload the hay into the street. The smothered76 voice urged them to make haste, but the feelings 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.
It would be obviously invidious to compare the merits of living professors. Mr. Maccabe, Mr. Gallagher, Mr. Thurton and Mr. Macmillan have long been favorites with the public.
Many physiologists aver that ventriloquism is obtained by speaking during the inspiration of air. It is quite possible to articulate under these circumstances, and the plan may with advantage be occasionally adopted; but our own practical experience and close observation of many public 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. Matthews, have displayed the vocal illusion while walking in the streets. Baron Mengen describes as follows 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 then circumscribe a cavity between my left check and teeth, in which the voice is produced by the air held in reserve in the pharynx. The sounds thus receive a hollow and muffled tone, which 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 somewhat exhausted when the vocal illusion grew less perfect. We ourselves, and all ventriloquists with whom we have conferred, have acknowledged that they have experienced fatigue in the chest, and have attributed it to the slow expiration 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 modifications of voice specified as ventriloquism, it is important to be familiar with the distinctions of the sounds uttered 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 all77 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 uniform pitch throughout its duration, and acoustically musical sound is composed of an equal number of impulses or noises produced in equal tones.
The general terms—pitch, loudness, quality, and duration, 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 human voice in speaking, and the voice of quadrupeds. Acoustically such sounds are composed of an unequal number of impulses or noises produced in equal tones. And 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 considered as belonging to common noise. Thus we have—(1) noise whose audible distinctions are comprehended under the general terms loudness and quality; (2) common 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 actions taking place under two distinct classes of laws—namely, the ordinary mechanical laws of acoustics, and the physiological laws of muscular movement. The adjustment of the vocal mechanism to be brought into operation 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 movements under the former laws. Now, the pitch of the voice essentially depends on the tension of the vocal ligaments; the loudness or the extent of the excursion of these ligaments 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 dilating78 or contracting the pharynx; by dilating or contracting the mouth; by contracting 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 effected 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 laryngeal sounds. Moreover, sounds can be produced in the vocal tube, apart from the larynx. These, strictly speaking, 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, snoring, and the like. Now, as everything audible comes under 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 achievement of the feats of ventriloquism.
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 sounds 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 appropriate 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 occasions. 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 language 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 judgment, 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 reduction 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 travelled before reaching the ear is a judgment of the mind formed by comparing a present perception (by hearing) with the remembrance of a former loudness in connection with its known distance. With regard to direction, it is observed,79 “The direction whence a sound comes seems to be judged of by the right of 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 cars. 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 believe 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 merely, by his adjustment of vocal loudness, to indicate the necessary 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 distance.
(2) That its pitch remains unaltered.
(3) That its quality or tone is somewhat altered.
(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.
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 acquainted80 with the previous chapter, as to the effect to be produced, not on himself, but on the spectators 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 attention 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 are emboldened to offer from our own pursuit and practical realization of the art.
The student must bear in mind that the means are simply 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 respiration 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 terminating 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 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 opening between these vocal chords is called the glottis: 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 nasal 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 swallowing. 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 a critical examination, either in private or in public.
If the student will pay strict attention to the parts printed in italics, and will practice the voices here specified, 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 enabled to imitate the voices of little children, of old people, and, in fact, almost every sound which he hears.
81
Too much attention cannot be bestowed on the study of sound as it falls on the ear, and an endeavor to imitate it as it is heard—for the “secret” of the art is, that as perspective is to the eye so is ventriloquism to the ear. When we look at a 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.
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 gentleman in question, whom we call Mr. B. in Mr. Maccabe’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 a 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 exuberant spirits, and commenced telling some amusing anecdotes. At length the porter came to collect the tickets. They were all handed in but one, when the following colloquy ensued:—
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 mean time had vanished. Back came the porter and indignantly demanded the ticket. He was interrupted by a shrill voice in the opposite compartment, crying,—“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 ticket82 was thrown out, and the train moved on. And Mr. Frederic Maccabe stood confessed, but not penitent.
Voice No 1.—To acquire this voice, which we so name for distinction’s sake, speak any word or sentence in your 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, instead 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 a door when it is closed, or under a floor, or through a wall. To ventriloquize 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 a natural voice, inquiring “Who is 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 from some one close at hand, but through an obstacle. The description of voice and dialogue may be varied as in the following examples—
Ex. 1. The Suffocated Victim.—This was a favorite illustration of Mr. Love, the polyphonist. A large box or close 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 subdued groan, apparently from the box or closet.
83
Student (pointing to the box with an air of astonishment): What is that?
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. Let 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, ——. You know me.
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 won’t.
Voice (as before): Have pity (Tom, or Jack, or Mr. ——, as the case may be), or I shall be choked.
Student: I don’t believe you are what you say.
Voice: Why don’t you let me out and see before I am dead?
STUDENT (opening and shutting the lid or door and varying 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 milkman, and may be varied accordingly. We will take Skyblue, the milkman; and we would impress on the student, that, although we give these simple dialogues, they are merely intended as illustrations for the modest tyro, not to be implicitly followed when greater confidence and proficiency are attained.
Voice: Milk below!
Student: Is it not provoking that a milkman always comes when he is not wanted, and is absent when we are waiting for the cream?
Voice: (whistling a bar of “Shoo Fly”).
Student: Oh, yes, always the broken-hearted milkman 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?
84
Another Voice: Watercresses!
Student: Really, this is too bad. Go away.
Voice: You owe me ten cents for last week’s milk; I was to wait.
Student: This is intolerable. I’ll send for the police.
Voice [ironically]: Send for Sally and p’lice, I’ll foller.
Student: Impudent rascal.
Voice: Keep your compliments at home, Master Idlebones.
Student [opining the door]: I’ll report you to your master.
Voice [louder, as the door is opened]: Will you, young Whippersnapper, pay us the dime, and let us go?
Student offers to pay, while the voice gets weaker in the distance with “Milk below!” until it becomes inaudible.
A conversation may be held in a similar strain with cellarman: and, as a rule, the lower notes of the voice 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]: I 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?
Voice: Myself. [Aside] Make haste with the pot, Mary; he’s in such a hurry.

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 is 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.
No. II.
Voice No. 2.—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, direct their attention to the ceiling by pointing to it or by looking intently at it. Call loudly, and ask some question, as though you believed some 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.85 Then in exactly the same tone and pitch answer; but, in order that the same voice 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 the roof. Too much attention cannot be paid to the manner in which the breath is used in this voice. When speaking to the supposed person, expel the words with a deep, quick breath.
When answering in the imitative manner, 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 examples). When the voice is supposed to approach nearer, the sound must alter, to denote the progress of the movement. 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, contracting 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 articulate 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.”[2] This kind of articulation may be practised, by forming the words in the pharynx, and then sending them out of the mouth by sudden expulsions of the breath clean from the lungs at every word. This is most useful in ventriloquism, and to illustrate it we will take the man on the roof as an illustration. 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.
[2] It is very rarely that a ventriloquist shows a full face to his audience: it is only done 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.
Student: Are you up there, Jem?
86
Voice: Hallo! who’s that?
Student: It’s I! 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 another illustration, we will introduce the reader to
The Invisible Sweep.—This is a striking example of the second voice.
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 yourself.
Voice: I say, don’t; it’s so hot.
Student: Come down, then.
 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 providing him with dialogues, which, however simple they may be to read, have an extraordinary effect when properly spoken.
87
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 imitations of insect noises, the bee should be heard to hum gently at first, so as in a private party not likely to attract 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 bluebottle 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 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 bluebottle fly, it will be necessary for the sound to be made with the lips instead 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 bluebottle fly. These two instances will show how necessary it is for the ventriloquist to study minutely the different effects 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-handkerchief on the wall as though he had killed it; the sounds 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 also be imitated without much difficulty, and it causes a great deal of amusement. 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 ventriloquists 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. To imitate 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 a88 plane is made as though you were dwelling on the last part of the word hush—dwell upon the sh a little, as tsh, and then clip it short by causing the tongue to close with the palate, then over again. Letters will not convoy the peculiar sound of sawing—it must be studied from nature.
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 distant echo, unless its distance from the spot where the sound proceeds is at least 56½ 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, 56½ 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 for 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 an echo 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.
In giving the succeeding instructions, it must be borne in mind89 that the power and acuteness of hearing is possessed in a greater or less degree by different individuals, and depends upon the sensibility of the auric nerves. It 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 capable of appreciating as many as twenty-four thousand vibrations 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 octaves.
Sound first strikes the drum or tympanum, a thin membrane which closes the aperture of the ear; when this drum vibrates by the sonorous undulations of the external air; the vibrations are communicated by minute bones, muscles, and fluid in the cavity of the ear, and are then conveyed to the brain; and to show how absolutely 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 cars are stopped, the 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.
The sound vibrations made in the mouth are transmitted along this tube to the interior part of the organs of hearing. 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 ventriloquist be perfect, but he will become more proficient as he is able to study and understand the human voice. There is the language of emotion, or 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, laugh of sarcasm, ridicule, &c., which are made by man, and understood by fellow-men, whatever 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 practice is to try and imitate three or four people’s voices, and 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 times90 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 degrees 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.
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 loud, 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 putting 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 any one with a good range of voice to attain proficiency in the art; the student always remembering (and it cannot be too often repeated) that to render a voice perspective, 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 expiration 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 appear 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 deceive 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 in the circle in which he moves.
Thus we have 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 of mimicry, which often approaches some of the minor attainments of ventriloquism. In every company some person may be found who, without any professional instruction, can give admirable imitations, of the voice, gait, and peculiarities of a friend or acquaintance; thus proving that Nature, to some extent, supplies the basis upon which, if we may use the phrase,91 the complete superstructure of vocal illusion may be raised. The possession of this quality would amount, comparatively, to little, without instruction and perseverance. Here, as in other respects, practice makes perfect; and, more than that, a diligent application 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 propounded will not only clear away imaginary difficulties from the path of the student, but entitle him, like ourselves, 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.
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 woodland 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.
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 semi-circular patch of the green pulpy substance of the leaf [as represented in the diagram], being careful to leave the fine membrane of outer skin of the leaf uninjured—and there is the instrument complete. It may require several experiments to make the first one, but once having discovered the right way, they are very easily manufactured. The reader may not be aware of the fact that the leaf of the leek has a fine transparent outer skin, which is quite tough, but by breaking and carefully examining 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 place 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 reward you for all your pains, for certainly to be able to carry a mocking bird, canary, thrush, cat-bird and sucking-pig in your vest pocket, is no small accomplishment.
When not using the instrument, it should be kept in a glass of water to prevent its drying.
THE
Hunters’ and Trappers’
COMPLETE GUIDE.
A MANUAL OF INSTRUCTION IN THE ART OF
HUNTING, TRAPPING AND FISHING.
This book will be found very valuable to those who have not had experience in these healthy, manly and profitable pursuits. The book is thorough in detail in every respect. The young sportsman can learn how to use the Gun or Rifle with ease and precision, and become an unerring shot. The mystery of making, setting and baiting Traps successfully, is shown.
The Best Methods of Catching all kinds of Fish,
Either in the Sea, Lake or River, is told practically and understandingly. The whole
Art of Managing and Training Dogs for Sporting Purposes,
and all about the care of Skins and Furs, so that they will fetch the highest market price, is given, with a vast amount of other valuable information relating to the Hunters Craft.
CONTENTS.
The Book is indispensable to all who delight to Fish, Hunt or Trap, either for sport or profit. The instructions will enable anyone to become thoroughly expert in the Sports and Pastimes of the River, Field or Forest. Illustrations are given, where needed, to elucidate matters, as in the construction of traps, &c.
This book will place many in a position to turn their spare time to a very profitable account. Furs and Skins are always in demand, and if properly caught and managed, sell for large prices.—Price 25 Cents.
Address all orders to
HURST & Co., 75 Nassau Street, N. Y.
CHEAPEST AND BEST IN THE WORLD.
THE N. Y. HOME MAGNET
Is a Beautifully Illustrated, Large, 32 Column Paper.
Published regularly every month, at the low rate of FIFTY CENTS A YEAR. The price is the only “cheap” thing about it. Handsomely illustrated. It is first class in every way, shape and manner.
BOYS will read it, for it has the best Hunting, Indian and Sea Stories; tells how to make traps, toys, bows and arrows, etc., etc.
GIRLS will like to have it, for it is brimful of superior Tales of the Affections and of Home Life; with any quantity of articles on Love-making, Household Management, Fashions, has Toilet Mysteries, Preserving, Cutting Dresses, Working Crochet, Lace, Braid, etc., etc.
MEN will like it for the vast amount of valuable information on every subject that can improve the mind, the morals and the habits. Giving all new phases of thought, all new inventions, and particularly those by which money can be easily made.
LADIES will like The Magnet, for in its columns will be found everything detailed that can go to embellish Home, and render it more attractive; teachings in every kind of culinary economy, and modes of making a little money go a good way in household management.
EVERYBODY will like The Magnet for in its columns will be found something to suit every taste, whether grave or gay; whether in search of amusement, instruction or profit, you will become for its perusal wiser, better and richer. Nothing is too light and amusing, nothing too grave, learned or useful to find a fit place in The Magnet’s varied pages.
These are a few of the subjects that will be found in every number of The Magnet:
And hundreds of other useful and profitable employments will be written upon and explained by experts, so that the reader can both inform his mind, and make money by what he learns from The Magnet.
TAKE SPECIAL NOTICE,
that THE HOME MAGNET will plainly show
How any one can make a Real Working Clock at a cost fifty cents.
How to Construct and Operate an Electric Telegraph, transmitting and receiving messages.
How to make a Microscope that will immensely magnify, at a cost of five cents.
How to Build and Set to Work a real Steam Engine.
How to Make the Apparatus for Photography, and how to take Pictures of every style easily, successfully and profitably.
How to Construct and Operate a Galvanic Battery, and apply it so as to practically plate any articles with Copper, Silver or Gold; and to take beautiful facsimiles of medals and coins; as well as explain how to deposit metals upon leaves, insects, etc.
How to Make and Work a Lathe. With the art of Wood Turning fully illustrated.
The art of Glass Blowing, instructing any one to make a thousand and one novel and interesting subjects from a piece of glass.
Bear in mind, that these processes, which we engage to teach in The Magnet, are plain, practical things, so that the learner can turn his knowledge to use, and make money by the exercise of the skills that he acquires.
50 CENTS A YEAR. Remember that this is all you have to pay to get this Paper for a Whole Year.
Many and many an article will appear in The Magnet that may put thousands of dollars in your pockets; for it will be full of new, valuable receipts and suggestions.
Do not Forget.—Every subscriber gets a Valuable Premium. One can be selected from a List of Twelve, comprising beautiful Chromos, Good Books and Useful Novelties. No delay in filling orders.
Send stamp for our Agents’ Terms, List of Premiums and Specimen Copy of The Home Magnet.
Remember, that we give more actual value to our subscribers than any other paper has ever offered. DO NOT FAIL to send Fifty Cents and get the most Lively, Spirited and Unique Paper ever issued, for a WHOLE YEAR, with a VALUABLE PREMIUM, worth much more than the price asked for the Paper alone. Address
HURST & COMPANY, Publishers,
75 and 77 Nassau Street, N. Y.
The Book of Knowledge
AND
Sure Guide to Rapid Wealth.
Fortunes are made every day by the manufacturing and selling of some of the articles here given. Directions are given for making all kinds of Cosmetics, Lotions, Ointments, Patent Medicines, Soaps, Cements, etc. The secrets used by Metal workers, how to make Gold, Silver and the various precious stones, with many practical directions for working and using the commoner metals. The secrets of the Liquor trade are fully detailed, and the choicest receipts and formulas are given for the making of different kinds of liquors, including the new method of making Cider without Apples, all without the use of poisons or poisonous drugs. It is arranged and divided into departments for the use of
No one, whatever be his position in life, can fail to find something in this book that will repay a hundredfold its price. Many of the receipts have been advertised and sold for sums ranging from 25 cents to ten dollars. We send the whole book, postage free, for 25 cents.
Singing Made Easy.
This book shows how any one with an ordinary voice can, by proper management, as here indicated, become proficient in singing. It explains the pure Italian method of producing and cultivating the voice, the management of the breath and voice organs, the best way of improving the ear, how to sing a ballad, with much other valuable information equally useful to Professional Singers and Amateurs. Price 20 cents.
RIDDLES, CONUNDRUMS AND PUZZLES.
The choicest, newest and best collection of Riddles, Conundrums, Charades, Enigmas, Anagrams, Rebusses, Transpositions, Puzzles, Problems, Paradoxes and other entertaining matter, ever published. Here is Fun for the Mirthful, Food for the Curious, and Matter for the Thoughtful. Price 20 cents.
Address all orders to
HURST & Co., 75 Nassau Street, N. Y.
Fortune Telling Made Easy;
or,
THE DREAMERS’ SURE GUIDE.
CONTAINING PLAIN, CORRECT AND CERTAIN RULES FOR FORETELLING WHAT
IS GOING TO HAPPEN.
BY THE CELEBRATED GABRIEL,
The Astrologer of the 19th Century.
A Complete Oracle of Destiny.
In this Book you have all that was ever made known by the ancient Egyptians, Assyrians, Persians, Greeks, Chinese and Hindoos relating to the occult sciences. Much has been procured from overlooked sources, and transcribed from the original hieroglyphics. The substance, also, of all that has been, brought to light by the researches and investigations of modern Astrologers and Professors is here laid before the reader in a plain and intelligible manner.
This Book contains:
The celebrated Grecian Oracle of Destiny.—The renowned Egyptian Fortune Telling Tablets.—The Great Hindoo Trial of Destiny.—Palmistry, the art of telling fortunes by the lines on the hand.—Fifty-two Grecian observations on moles.—How to make the Dumb Cake.—The birth of children, and foretelling other events by the moon’s age and the days of the week.—To know if your love of a person will be mutual.—Charms, Spells and Incantations.—To procure Dreams, Tokens, and other insights into futurity.—Fast of St. Agnes—The Nine Keys.—Magic Rose.—Cupid’s Nosegay.—The Ring and the Olive Branch.—Love’s Cordial.—The Witches Chain.—Love Letters.—Strange Bed.—To see a future husband.—To know what fortune your future husband will have.—The Lovers’ Charm.—Hymenial Charm.—For a girl to ascertain if she will soon marry.—Physiognomy; the art of discovering a person’s disposition by their features.—How to tell a person’s character by means of Cabalistic calculations.—Fortune-telling by means of a tea or coffee cup—How to read your fortune by the white of an egg.—To choose a husband by the hair.—Lucky days.—Fortune telling by dice.—Fortune telling by cards.—Dreams and their interpretation.—A complete dictionary of dreams.
This Book will acquaint you truthfully about
The book is, in fact, a perfect Oracle of Fate, and may be consulted with certainty upon all matters that relate to your present or future prospects.
Price 25 Cents.
☛ Sent by Mail to any address, on receipt of Price.
NEW AND INDISPENSABLE MANUALS.
“THE ‘MAGNET’ HAND-BOOKS.”
These books are the very best ever issued upon the various subjects of which they treat. Each volume is complete and perfect, and thoroughly practical. Each book contains 100 pages large 12mo., well printed and bound in handsome illuminated covers. PRICE TWENTY-FIVE CENTS EACH.
PARLOR PASTIMES;
or, The Whole Art of Amusing, for public or private entertainments. An entirely
new work by the celebrated Professor Raymond, on MAGIC, CONJURING, LEGERDEMAIN,
and PRESTIDIGITATION. It is a complete exposé of the Wizard’s Art.
No trick or illusion of importance is left unnoticed, and the instructions and explanations
are so simple and exhaustive that a child could perform them. This
book thoroughly elucidates and explains all the mysteries and wonders associated
with all kinds of magic and occult science. It tells how to make, operate and perform
with Coins, Cards, Fire works, Mechanical Devices and Magnetic Contrivances.
The book also contains a large collection of RIDDLES, CONUNDRUMS, CHARADES,
ENIGMAS, REBUSSES, PUZZLES, ACROSTICS, TRANSPOSITIONS, ANAGRAMS, PARADOXES,
AND PROBLEMS. A study of this interesting work would make any one thoroughly
expert in amusing either a public or private audience. Price 25 Cents.
HOW TO WRITE A LETTER.
A complete letter writer for ladies and gentlemen. This book is not a collection
of letters and examples, as is generally the case with all “Complete Letter Writers”
now in use, but is a book which actually tells how to write a letter upon any
subject out of the writer’s “own head.” It gives much very necessary information
relating to Punctuation, Spelling, Grammar, Writing for the Press, Legal Importance
of Letters, Love, Courtship and Marriage. It also contains the Art of
Rapid Writing, by the abbreviation of longhand and a Dictionary of Abbreviations.
This book is worth its weight in gold to all. No one can fail to be benefited
by some of the information it contains. It contains all the points and features
that are in other Letter-Writers, with very much that is new, original and
very important, and which cannot be got in any other book. Price 25 Cents.
THE AMERICAN BOOK OF GENTEEL BEHAVIOR.
A complete handbook of modern etiquette for ladies and gentlemen. A perusal
of this work will enable every one to rub off the rough husks of ill-breeding and
neglected education, and substitute for them gentlemanly ease, and graceful, ladylike
deportment, (as the case may be), so that their presence will be sought for,
and they will not only learn that great art of being thoroughly at home in all societies,
but will have the rarer gift of making everybody around them feel easy, contented
and happy. This work is fully up to the requirements of the times; it
describes the etiquette of our very best society.
Get at once this greatest Hand-Book of Modern Etiquette.—Price 25 Cents.
PERSONAL BEAUTY;
Or the whole art of attaining bodily vigor, physical developement, beauty of feature
and symmetry of form, with the science of Dressing with Taste, Elegance and
Economy. To those to whom Nature has been sparing in its gifts, suggestions
are here offered that will enable them to overcome these defects, and to become
beautiful, elegant and graceful, and to be admired and sought after by the opposite
sex.—Illustrated.—Price 25 Cents.
Copies of the above books sent to any part of the world on receipt of price.
Address HURST & CO., Publishers, 75 Nassau St., New York.
Obvious typographical errors have been silently corrected. Variations in hyphenation have been standardised but all other spelling and punctuation remains unchanged.
Trick 17, which has no specific title, has been added to the Table of Contents.The following corrections have been made.
Trick 8 Paragraph 4 – The cambric becomes calico in this paragraph. It has been changed back to cambric
Fig. 10 was originally labelled Fig 25.
Fig. 23 was originally labelled Fig 22.
End of the Project Gutenberg EBook of The Practical Magician and Ventriloquist's Guide, by Anonymous *** END OF THIS PROJECT GUTENBERG EBOOK THE PRACTICAL MAGICIAN *** ***** This file should be named 53235-h.htm or 53235-h.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/5/3/2/3/53235/ Produced by Chris Curnow, Les Galloway and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) Updated editions will replace the previous one--the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg-tm License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg-tm License must appear prominently whenever any copy of a Project Gutenberg-tm work (any work on which the phrase "Project Gutenberg" appears, or with which the phrase "Project Gutenberg" is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase "Project Gutenberg" associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg-tm License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg-tm License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original "Plain Vanilla ASCII" or other form. Any alternate format must include the full Project Gutenberg-tm License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg-tm works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg-tm electronic works provided that * You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, "Information about donations to the Project Gutenberg Literary Archive Foundation." * You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg-tm License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg-tm works. * You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. * You comply with all other terms of this agreement for free distribution of Project Gutenberg-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and The Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees.   LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's principal office is in Fairbanks, Alaska, with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116,<PHONE_NUMBER>. Email contact links and up to date contact information can be found at the Foundation's web site and official page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director<EMAIL_ADDRESS>Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart was the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our Web site which has the main PG search facility: www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.


For every functionality in the left menu, there are search Tab and search result Tab. Below is the SDN List Tabs.
If you type "Joe smith" in sdn name field, It will create a where clause like this lower(snd_name) like '%joe smith%"
If you type "Joe, smith" in sdn name field, It will create a where clause like this lower(snd_name) like '%Joe, smith%"
This is standard SQL Query. The best practice is only type ONE word, for example "Joe", so all the name with "Joe" will be in the result list, which will include "Joe smith", "smith, Joe", "Joe x smith" etc.
For Free text lookup or file scan, It uses innovative indexing and search technology. Those names/messages are pre-processed and tokenized. It will search against name and name synonym. The space between the words will be ignored, the order of the words will affect its score, but NOT as important as its in the standard SQL Query.


@currency.symbol
@import models.Currency @(currency: Currency)
Symbol: @currency.symbol
Rank: @currency.rank
Price USD: @currency.price_usd
Price BitCoin: @currency.price_btc
Volume in USD in 24h: @currency.volume_usd_24h
Market cap USD: @currency.market_cap_usd
Available supply: @currency.available_supply
Total supply: @currency.total_supply
Max supply: @currency.max_supply
Percent change in 1h: @currency.percent_change_1h
Percent change in 24h: @currency.percent_change_24h
Percent change in 7d: @currency.percent_change_7d
Last updated: @currency.last_updated


Survey Questions
About You
Name (Required)
Link to Your Photo (Required)
Question 1
Have you ever tried to break a world record?
Choose an option
1 (strongly disagree)
2
3
4
5 (strongly agree)
Question 2
Do you love Javascript as much as I do?
Choose an option
1 (strongly disagree)
2
3
4
5 (strongly agree)
Question 3
The longest bridge in Europe is the Vasco da Gama Bridge.
Choose an option
1 (strongly disagree)
2
3
4
5 (strongly agree)
Question 4
Programmers have a tendency to report their problems incompletely.
Choose an option
1 (strongly disagree)
2
3
4
5 (strongly agree)
Question 5
Programmers spend approximately 30% of the time surfing the source code.
Choose an option
1 (strongly disagree)
2
3
4
5 (strongly agree)
Question 6
A common misconception about developers is that they’ve all been programming since childhood.
Choose an option
1 (strongly disagree)
2
3
4
5 (strongly agree)
Question 7
The first “pre-computers” were powered by steam.
Choose an option
1 (strongly disagree)
2
3
4
5 (strongly agree)
Question 8
Developers seek other forms of help before talking to coworkers.
Choose an option
1 (strongly disagree)
2
3
4
5 (strongly agree)
Question 9
Developers slow to ask for help when facing problems.
Choose an option
1 (strongly disagree)
2
3
4
5 (strongly agree)
Question 10
Like other intellectual activities, the task of programming and how people learn to program computers is well studied.
Choose an option
1 (strongly disagree)
2
3
4
5 (strongly agree)
Submit
Best Match
×


This is a paragraph.
This text is important! This text is bold This text is italic This text is emphasizedHere is a quote from WWF's website:
For 50 years, WWF has been protecting the future of nature. The world's leading conservation organization, WWF works in 100 countries and is supported by 1.2 million members in the United States and close to 5 million globally.
WWF's goal is to: Build a future where people live in harmony with nature.
| Firstname | Lastname | Age |
|---|---|---|
| Jill | Smith | 50 |
| Eve | Jackson | 94 |


| Internal ID | Type | nlapiSubmitField | Label | Required | Help |
| addr1 |
text |
false |
Address 1 |
false |
Enter the street address of this subsidiary. |
| addr2 |
text |
false |
Address 2 |
false |
Enter the street address of this subsidiary. |
| addr3 |
text |
false |
|
false |
|
| addressee |
text |
false |
Addressee |
false |
Enter the name of this subsidiary as it should appear on shipping labels and
return addresses. |
| addrphone |
phone |
false |
Phone |
false |
|
| addrtext |
address |
false |
Address |
false |
|
| attention |
text |
false |
Attention |
false |
Enter the name of person that should be notified of shipment or return arrivals. |
| caseupdatetemplate |
select |
false |
Case Update |
false |
|
| checklayout |
select |
false |
Check Default Chart Type |
true |
|
| city |
text |
false |
City |
false |
Enter the city this subsidiary is located in. |
| country |
select |
false |
Country |
true |
Enter the country this subsidiary is located in. |
| currency |
select |
false |
Currency |
true |
Set the base currency used by this subsidiary. If you do not set a currency, the currency of the parent is used. |
| edition |
text |
false |
Edition |
false |
This field shows the edition of NetSuite used by this subsidiary. |
| email |
text |
false |
Return Email Address |
false |
Enter the return email address for this subsidiary. |
| externalid |
text |
false |
ExternalId |
false |
|
| fax |
text |
false |
Fax |
false |
Enter the fax number for this subsidiary. |
| federalidnumber |
text |
false |
Employer Identification Number (EIN) |
false |
|
| fiscalcalendar |
select |
false |
Fiscal Calendar |
true |
|
| heading0 |
text |
false |
Case Email Setup |
false |
|
| heading1 |
text |
false |
Customer Notification Templates |
false |
|
| heading2 |
text |
false |
Employee Notification Templates |
false |
|
| intercoaccount |
select |
false |
Intercompany Account |
false |
|
| iselimination |
checkbox |
false |
Elimination |
false |
|
| isinactive |
checkbox |
false |
Subsidiary is Inactive |
false |
|
| languagelocale |
select |
false |
Language |
true |
|
| legalname |
text |
false |
Legal Name |
false |
|
| logo |
select |
false |
Subsidiary Logo (Forms) |
false |
Set the logo that should appear on printed and emailed transaction forms for this subsidiary. If you do not set a logo here, the logo for the parent subsidiary or company is used. To upload a logo into NetSuite, click Add New next to the Logo field in the UI. Be sure to check the Available Without Login box. |
| name |
text |
false |
Name |
true |
|
| override |
checkbox |
false |
Override |
false |
Check this box to edit the address in the Address field. |
| pagelogo |
select |
false |
Subsidiary Logo (Pages) |
false |
|
| parent |
select |
false |
Subsubsidiary of |
true |
Set this field to the direct parent of the subsidiary.
In order to retrieve a list of available values for this field, use the GetSelectValue operation.
Setting a parent subsidiary sets your company hierarchy which is shown in the subsidiaries list. |
| returnaddr |
address |
false |
Address |
false |
|
| returnaddress1 |
text |
false |
Address1 |
false |
|
| returnaddress2 |
text |
false |
Address2 |
false |
|
| returncity |
text |
false |
City |
false |
|
| returncountry |
select |
false |
Country |
false |
|
| returnstate |
text |
false |
County/State/Province |
false |
|
| returnzip |
text |
false |
Postal Code |
false |
|
| roundtime |
select |
false |
Round Time Entry Duration |
false |
|
| shipaddr |
address |
false |
Address |
false |
|
| shipaddress1 |
text |
false |
Address1 |
false |
|
| shipaddress2 |
text |
false |
Address2 |
false |
|
| shipcity |
text |
false |
City |
false |
|
| shipcountry |
select |
false |
Country |
false |
|
| shipstate |
text |
false |
County/State/Province |
false |
|
| shipzip |
text |
false |
Postal Code |
false |
|
| showsubsidiaryname |
checkbox |
false |
Always Display Subsidiary Name |
false |
|
| ssnortin |
text |
false |
SSN or TIN (Social Security Number, Tax ID Number) |
false |
|
| state |
text |
false |
State/Province |
false |
Choose the state or province this subsidiary is located in. |
| taxfiscalcalendar |
select |
false |
Tax Fiscal Calendar |
true |
|
| tranprefix |
text |
false |
Transaction Prefix |
false |
|
| url |
text |
false |
Web Site |
false |
Set this subsidiary�s Web site address or URL. |
| zip |
text |
false |
Zip |
false |
Enter the postal code for this subsidiary. |
| Internal ID | Type | Label |
| accountingbook |
select |
Accounting Book |
| accountingbookcurrency |
select |
Accounting Book Currency |
| address1 |
text |
Address 1 |
| address2 |
text |
Address 2 |
| address3 |
text |
Address 3 |
| anonymouscustomerinboundemail |
text |
Anonymous Customer - Inbound Email |
| anonymouscustomeronlineforms |
text |
Anonymous Customer - Online Forms |
| caseassignmenttemplate |
text |
Employee Notification Template - Case Assignment |
| caseautomaticclosuretemplate |
text |
Customer Notification Template - Automatic Case Closure |
| casecopyemployeetemplate |
text |
Employee Notification Template - Copy Employee |
| casecreationtemplate |
text |
Customer Notification Template - Case Creation |
| caseescalationtemplate |
text |
Employee Notification Template - Escalation |
| caseupdatetemplate |
text |
Customer Notification Template - Case Update |
| city |
text |
City |
| companynameforsupportmessages |
text |
Company Name for Support Messages |
| country |
select |
Country |
| currency |
select |
Currency |
| email |
email |
Email |
| employeecaseupdatetemplate |
text |
Employee Notification Template - Case Update |
| externalid |
select |
External ID |
| fax |
phone |
Fax |
| formulacurrency |
currency |
Formula (Currency) |
| formuladate |
date |
Formula (Date) |
| formuladatetime |
datetime |
Formula (Date/Time) |
| formulanumeric |
float |
Formula (Numeric) |
| formulapercent |
percent |
Formula (Percent) |
| formulatext |
text |
Formula (Text) |
| internalid |
select |
Internal ID |
| iselimination |
checkbox |
Elimination |
| isinactive |
checkbox |
Inactive |
| legalname |
text |
Legal Name |
| mainsupportemailaddress |
email |
Main Support Email Address |
| name |
text |
Name |
| namenohierarchy |
text |
Name (no hierarchy) |
| phone |
phone |
Phone |
| state |
select |
State/Province |
| taxidnum |
text |
Tax ID |
| tranprefix |
text |
Transaction Prefix |
| url |
url |
Web Site |
| zip |
text |
Zip |


Nagu School Of Education
Student Management
Students List
Add Student
Student First Name
Student Last Name
Student Email
Edit
update
delete


If this checkbox is selected, the soft wrap characters will wrap, wrapped will be shown in the active logical line only.
Otherwise, soft wraps characters will be shown at the end of each line, and at the beginning of each next line.


An open-source non-profit personal data visualization framework to help you make sense of your life and compare hypotheses about what affects your well-being
It's free!
Choose from our growing list of supported devices and APIs. Importing your data is easy.
As you keep adding more different data types, the picture of your life will unfold.
Long term and short term trends sometimes tell different stories.
Awareness is a muscle. Fluxtream gives you the tools you need to exercise it.
Embarking upon the practice of self-tracking and self-reflection is like learning to cook or play a sport. Leveraging the right tools is important, but they are only part of the process. It is richer and more enjoyable when sharing the journey with others.


Jhemm Fighters
Game Over!
's final stats
Class:
Health:
Energy:
's final stats
Class:
Health:
Energy:
Play Again?


 So, once again, wordbit.com gets a makeover.
For a long time, wordbit.com pointed to my tumblr blog. But, I’ve since found that tumblr isn’t for me. Total respect for the platform and the people on it, but I found that longish text entries were passed over in favour of animated gifs and youtube videos. I do love these things, but I’m also a writer, and need a place to express myself outside of any constraint or cultural influence. In short, I found myself longing for the freedom of Wordpress. So, I’ve decided to come home.
But, it wasn’t enough to return to the old ways. The aesthetic that appeals to me now is clean and uncluttered. I’m putting the focus squarely on the words, the typography, the text. So, I’ve stripped away anything superfluous. Say goodbye to comments, categories, tags, blogrolls, about me pages, and meta this and that and so on. And what a relief to just write without worrying about these trappings. Because that’s what they are - just distractions that take you away from the communication experience. Mmmmm…. I like that. Communication experience - the unfiltered thought transference between writer and reader - that somewhat sacred exchange only fully realized today in good old-fashioned paper novels.
So, here we are - kicking it old school, like a stripped-down livejournal. Back to just good old writing - pouring it all out for whoever is interested. No Twitter. No Facebook. No social anything. Just you and me. I love it. And dear reader, I hope you do too.


Null value area ignored in calculation: 85.646030 Plan area used in calculation: 105.759143 Surface area calculation(low, high, avg): 28.115397 30.514015 29.314706 Current region plan area: 105.920275 Estimated region Surface Area: 29.359369


Start: {{time.startTime}}
Close: {{time.endTime}}
{{address.street}} {{address.city}}, {{address.country}}
{{ address.contactNumber}}
{{address.supportEmail}}


Selected Publications
Halverson, R. & Owen, V.E. (2014). Game-Based Assessment: An Integrated Model to Capture Evidence of Learning in Play. International Journal of Learning Technology [Special Issue: Game-Based Learning].
Owen, V. E., & Halverson, R. (2013). ADAGE: Assessment Data Aggregator for Game Environments. In Williams, C., Ochsner, A., Dietmeier, J., & Steinkuehler, C. (Eds.) Proceedings of the Games, Learning, and Society Conference. Pittsburgh, PA: ETC Press.
Owen, V.E., Ramirez, D., Salmon, A. & Halverson, R. (2013, June). Gameplay As Assessment: Exploring In-Game Failure, Success and Learning Using ADAGE (Assessment Data Aggregator for Game Environments). Presented at the 9th Annual Games+Learning+Society Conference, Madison, WI.
Owen, V.E., Halverson, R., Shapiro, R.B., Harris, S., Rothschild, M., & Bell-Gawne, K. (2013, April). Game-Based Assessment: An Integrated Model to Capture Evidence of Learning in Play. Presented at the 2013 American Educational Research Association Annual Meeting. San Francisco, CA.


Fill your world with endless
Gallaria
Upload The Design And Get Instant Quote
We will review your design and provide the best price in the market
We Would Like To Hear From You