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Ormond McGill

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Herausgeber: Crown House Publishing
Kategorie: Geisteswissenschaft
Sprache: Englisch

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This phenomenal work by the 'Dean of American Hypnotists' is the most comprehensive text ever to be published on stage hypnotism. It also has widespread therapeutic applications. "A masterwork on Stage Hypnosis" Gil Boyne, President, American Council of Hypnotist Examiners

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Veröffentlichungsjahr: 1994

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Leseprobe

The New Encyclopedia of Stage Hypnotism

Ormond McGill

Dedication

This book is dedicated to the memory of my delightful wife

DELIGHT McGILL

whose bright spark of creativity has contributed so much to the art of stage hypnotism

Title Page

Dedication

Foreword by Gil Boyne

Preface by Martin Roberts, Ph.D.

Part One: Mastering Hypnotism

Preface

Introduction

Chapter One Understanding Hypnotism

What is Hypnotism?

Characteristics of Hypnosis

Some Theory on Hypnotism

Chapter Two The Power of Suggestion

Chapter Three Presenting Suggestions that Influence

Means of Increasing the Influence of Suggestions

Chapter Four Your Hypnotic Power

Chapter Five Résumé of Hypnotic Phenomena

Phenomena of Hypnosis

Posthypnotic Phenomena

Chapter Six Questions and Answers about Hypnotism

Learning How to Use the Power of Suggestion

Chapter Seven Initial Hypnotic Training

Test One: Muscular Relaxation

Test Two: Drawing a Person Over Backward

Test Three: Drawing a Person Over Forward

Chapter Eight A Milestone in Personal Influence

Locking the Subject’s Hands Together

Modus Operandi for Performing the Test

Chapter Nine The Art of Waking Hypnosis

Chapter Ten Waking Hypnosis on the Stage

Harry Aron’s Arms-Rising-and-Falling Test

Hands and Fingers Testing

De Waldoza’s Show of Waking Hypnosis

Chapter Eleven Further Experiments in Waking Hypnosis

Stiffening the Subject’s Leg

Stiffening the Subject’s Arm

Fastening Open the Subject’s Mouth So He Cannot Close It

Causing the Subject To Forget His Name

Stuttering Test and Name Amnesia

The Hand-shaking Test

Fastening a Stick to the Subject’s Hands

Making it Impossible for the Subject to Sit Down

Making it Impossible for the Subject to Stand Up From His Chair

Variation and Amplification of the Various Tests

Learning How to Hypnotise by Hypnotising

Chapter Twelve Background for Hypnotising

The Depth Levels of Hypnosis

Hypnotism and the Suggestion of Sleep

Stage Dismissal Decorum

The Questions of Amnesia

On Concluding the Show

Chapter Thirteen A Basic Method of Hypnotising

The Hypnodisc

The Sleep Mood

The Hypnotic Induction

Chapter Fourteen Awakening the Subject

Chapter Fifteen The Ormond McGill Method

Chapter Sixteen The Relaxation Method

Chapter Seventeen The Ideomotor Method

Chapter Eighteen The Master Method of Hypnotism

The Interview

The Induction

The Awakening

The Rehypnotisation

A Pot-pourri of Hypnotising Methods

Chapter Nineteen The “Eye Blinking” Method

Chapter Twenty The “Visual Imagery” Method

Chapter Twenty-One The “Clock Dial” Method

Chapter Twenty-Two The “Light and Shadow” Method

Chapter Twenty-Three The “Body Rocking” Method

Chapter Twenty-Four The “Loss of Equilibrium” Method

Chapter Twenty-Five The “Pendulum Over Spiral” Method

Chapter Twenty-Six The “Arm Levitation” Method

Chapter Twenty-Seven The “Candy Induction” Method

Chapter Twenty-Eight The “Fatigue Out-of-Focus” Method

Chapter Twenty-Nine The “Musical” Method

The Music Method of Hypnotic Induction

Chapter Thirty The “Outside/Inside” Method

Chapter Thirty-One The Biofeedback Method

Chapter Thirty-Two The “Acupressure” Method

Chapter Thirty-Three The Marx Howell Nonverbal Hypnotic Induction

Chapter Thirty-Four The Chakra Colours Hypnotic Induction

Brain Waves

Chakra Colours

Hypnotic Method

Chapter Thirty-Five Ormond McGill’s “Guardian Angel” Stage Hypnotism Method

Chapter Thirty-Six A Condensation of 95 Methods of Hypnotising Gathered From Around the World

Chapter Thirty-Seven Instantaneous Method of Hypnotising

The Posthypnotic Method

The Expectancy Method

The Sudden-Jerk Method

The Toothache Method

The Head-Rap Method

The Release-From-Tension Method

From Waking Hypnosis Into Profound Hypnosis On The Instant!

Two “Sleeper” Methods of Instant Hypnotism

The “Hypnoheat” Method

Chapter Thirty-Eight Techniques for Deepening Hypnosis

The Staircase Technique

The Elevator Technique

Hypnotic Physical Movement Responses that Increase Depth of Hypnosis

Fractional Hypnotism Technique

Foreword

No man in the history of hypnotism has had more impact on stage hypnotism than has Ormond McGill. Hundreds of professionals have profited by his works.

In 1947, Ormond McGill wrote his original Encyclopedia of Genuine StageHypnotism, which was published by Abbott’s Magic Company of Colon, Michigan. The book has gone through five editions and has become known as a “bible” for stage hypnotists. It presents his work in the field from 1927 to 1947.

In 1970, he wrote The Art of Stage Hypnotism, which presented his work from 1947 to 1970. The first edition was published by Lloyd Jones Magic Limited of Oakland, California, and the second edition by Borden Publishing Company of Alhambra, California. The book is now out of print, and is a collector’s treasure.

A check with the Library of Congress in Washington, DC, reveals that no copyright was ever obtained on the original book, and in 1977 a revised, copyrighted version of the first edition was published, entitled, Professional Stage Hypnotism.

Currently, Ormond McGill has written this masterwork on Stage Hypnotism, which is all-inclusive of his previous works combined with much new, up-to-the-minute material added for today’s mastery. Its coverage is encyclopedic in scope: Part One dealing with Mastering Hypnotising and Part Two dealing with Entertaining With Hypnotism, providing a book that is paramount in its field.

Ormond McGill was a pioneer in presenting hypnotism on television, and his contemporary work in hypnosis has earned him the reputation of “the Dean of American Hypnotists”, through an international reputation gained by his many performances and his excellent books on magic, hypnotism, meditation and mysticism, East and West. During the last decade, Ormond McGill, in addition to his stage performances as a certified clinical hypnotherapist, has turned his attention to instructional seminars introducing innovative techniques of Power Hypnosis Hypnotherapy.

I am pleased to write the Foreword to The New Encyclopedia of StageHypnotism, which joins the ranks of classical literary achievements in the domain of hypnotism. As the late Percy Abbott (ABBOTT’s “Magic Capital of the World” original publishers of the first edition) stated back in 1960, “Ormond, you and I will pass away, but there will always be an Encyclopedia of Genuine Stage Hypnotism.”

I believe it!

Gil Boyne, President, American Council of Hypnotists Examiners (ACHE), 1994

Ormond McGill on television with Art Linkletter in 1944, proving“People Are Funny” on the national Linkletter show.

Preface

This book has been long in the process of research, assembly and finally production. Gil Boyne in the Foreword to this book outlines the history of previous works by the author which have in themselves contributed to this compendium or encyclopedia of stage hypnosis. Work began on this project during the mid nineteen-eighties and the last piece of new material was added in early 1996.

This book could only have been produced by Ormond McGill whose personal knowledge of the subject is unsurpassed by any other living soul. Ormond at the time of publication is in his eighty-second year. During his life he has been an avid observer of the world about him and the people who populate it. He has been blessed with a memory for detail which is quite staggering. It is this wonderful memory of the hypnotic acts that he has witnessed coupled with an enquiring mind that have provided him with the knowledge to enable him to produce this outstanding work. Add to this his awe-inspiring knowledge of the world of magic, ESP and eastern religions and you have a recipe for something very special indeed.

Whilst Ormond is probably best known in North America, he has travelled the world widely, both performing and training others in his art. In 1995 he visited London, England, and conducted a number of workshops there. On the last night of his visit he gave a demonstration of his skill as a stage hypnotist by presenting his “act” to over one hundred students from his workshops. No one left the auditorium that evening without a profound respect for a true artist and a supreme performer. Later in 1995 he was the star guest of the National Guild of Hypnotists where he again presented his act but this time also with a number of his magic routines added for good measure. These shows left many of us hoping that we could be half as good as Ormond one day but, please God, long before we have reached his age!

Some of the acts and techniques described within the book are from Australia, England, Italy and other countries outside North America. It is therefore perhaps fitting that the production of the book itself should have been a collaborative venture by people and organisations from several nations. The author of course is an American, and indeed a major part of the original editorial work was undertaken by Abbott’s Magic Company of Colon, Michigan. Further work was then undertaken by The Anglo-American Book Company in Wales.

I should, on Ormond’s behalf, like to thank all those who have contributed to this book through the acts they have performed and the information they have provided that has made it possible. He would also like me to mention Glenys Roberts, Christopher Gough, David and Karen Bowman who contributed their time to the final production of the book and a great big thanks to Mark Williams for his wonderful artwork for the jacket.

The cosmopolitan nature of the development of this book has led to a number of problems with presentation and the English language. Winston Churchill, when Prime Minister of Great Britain during the second World War, described Britain and America as “one nation divided by a common language”. This book originally written mainly in American English is here presented in British English. However, as far as has been humanly practical all expressions unique to the American English have been retained.

Over the years there has been a great deal of criticism of stage hypnosis in various countries and territories within countries. Often this criticism has been based on ignorance or fear. I hope that this book will to some extent help to redress and dispel such criticism. Throughout this book the author constantly reminds the reader of the need for ecology in what he does and integrity in its application. Total respect for his subjects has always been paramount in Ormond’s performances. He also reminds us that cheap laughs are easy to get, but a skilled and professional performance is far more highly valued by your audience.

Finally, as much of my background in hypnosis has been in its clinical application, I hope that the book will go some way towards persuading my medical colleagues that whilst hypnosis has great potential in entertainment it actually has far greater potential when applied to healing. It is now well understood that many of today’s ills in the western world are associated with stress and the ever quickening pace of life. Often the pressure of modern living leads to breakdowns in health which clearly can be diagnosed as being psychosomatic in nature. In many cases hypnosis offers a really powerful and effective alternative to drug therapy. For the skilled eye and open mind this book also provides a number of clues as to how easily this may be achieved.

Thank you, Ormond, dear friend, for investing so much of your time and energy in producing a truly wonderful book. God bless you, and may the cosmic force be with you.

Martin Roberts PhD Cranfield University, England

Part One

Mastering Hypnotism

Preface

FASCINATION. From time immemorial Mankind, under one name or another, has been fascinated by hypnotism. Like magic, hypnotism is shrouded with mystery for it presents the magic of the mind, and this is the most astonishing magic in the world. It is the magic of YOU. Stage hypnotism ranks among the most wonderful entertainment mediums for it is entertaining, with you observing others doing what you could do. It is a very personal form of entertainment. This book shows you how to become a master of that entertainment.

Every journey commences by taking the first step. Stage hypnotism is no exception to this fact. The New Encyclopedia of Stage Hypnotism maps your way to mastery of the art. Part One gives you the “know how” of mastering Hypnotism. It provides some background in understanding hypnotism and suggestion, and shows you how to develop hypnotic power. Then it takes you along, step-to-step, in learning how to hypnotise, and tells you what to do. Then you must put into practice what you learn, for with experience comes expertness. Part Two of the book shows you how to use that expertness to entertain with hypnotism.

The ability to hypnotise flawlessly comes with practice. The importance of practice in hypnotising cannot be over-emphasised. For that purpose, your first objective is to obtain subjects who are interested in your work and are willing to experiment with hypnosis. Through application you become skilled in the technique.

The New Encyclopedia of Stage Hypnotism teaches you both how to hypnotise and how to present a hypnotism show. Even though you have never hypnotised in your life, if you follow these instructions you will succeed and will become a hypnotic entertainer.

You will find these instructions combine the practical with the scientific. You learn to hypnotise by a gradual approach of advancing from experiments in waking hypnosis on to the deeper phenomena of hypnosis. This is a sensible way to learn hypnotism as the lighter stages of hypnosis are more readily induced than are the deeper trance stages (with most people).

Training by this progressive method of hypnotising shows the new students how to effectively use suggestion while you train your subject(s) in how to be hypnotised.

By following this procedure of performing simple tests first, you will find you will be able to hypnotise more people successfully, as through this handling your subjects will gain confidence in your ability, and you will gain confidence in yourself.

ADVANCE THROUGH THESE FIVE STEPS:

Knowledge of hypnotism Be sure you understand what you are to do before attempting to hypnotise anyone. Go about your work in a competent manner so it is obvious that you know what you are doing.Perseverance Success in hypnotising comes with experience in hypnotising. As a new student, do not expect to hypnotise everyone you try. You may succeed immediately with the very first person or you may not. If you do not succeed at once keep right on trying, for as sure as the sun shines you will eventually find a subject who responds. So persevere. You cannot fail if you follow these instructions carefully. And once you have hypnotised one or two persons you will soon find that you can influence the majority with whom you work.The first hypnosis Hypnotising successfully your first subject is the initial goal you must achieve. Just keep in mind that a good hypnotist might possibly try ten persons and not hypnotise one of them for a variety of reasons depending upon the situation. On the other hand, with different people under a different situation, the whole group might be hypnotised. You must learn to expect this variation in responsiveness. In time you will minimize it. In this training, learn your processes as well as you do your ABCs. Then proceed directly to practising with people, as often as you can. You are bound to succeed. Once the ice has been broken and you have successfully hypnotised a few persons, you will have confidence in yourself, and you will be amazed at your own success.Understanding the power of suggestion The skillful use of suggestion is the “key” to effective hypnotising as it is both the means of producing the state of hypnosis and of controlling the state it produces. Indeed, it is the key to understanding hypnotism, as hypnotism is a hyper-suggestible state of mind. In such regard, speak positively and directly to your subjects. In this text, careful attention is given to how to present suggestions that influence, i.e. the power of suggestion.You cannot fail If you perform correctly, there is no such word as fail. Study conscientiously and you will be on your way to a successful career in hypnotism.

Ormond McGill Palo Alto, CA 1993

Introduction

Stage hypnotism provides fascinating entertainment. It combines the mysterious with human interest producing a behavioural programme that is amazing, amusing and thought provoking.

Properly presented stage hypnotism provides quality entertainment which emphasises the work done in medical and academic fields, and lifts the science of hypnotism to the status of an art.

Few forms of entertaining are more basically appealing than the hypnotic exhibition, as people like people; and, as the hypnotism show is devoted entirely to audience participation entertainment, the show is very interesting to watch and every programme is different since the cast on stage is different.

There is something so warmly human, and at the same time verging on the magical which causes hypnotism to stand unique on the entertainment spectrum. An audience will be literally convulsed with laughter in watching the fun-filled antics of hypnotised subject on stage; a few minutes later, that same audience will lean forward in their seats staring in wonder at the mental phenomena unfolding before their eyes.

The hypnotism stage show is an action show based on the greatest wonder and mystery of all the human mind. Hypnotism demonstrates the magic-of-the-mind.

This book provides consecutive instructions in how to become an expert hypnotic entertainer presenting a remarkable programme for all manner of performing situations. The performer will find a wealth of information for presenting successfully stage hypnotism. The non-performer will find a wealth of knowledge about the psychology of hypnotism and its practical application, as stage hypnotism provides the opportunity to acquaint thousands of people with the science/art through the medium of entertainment. Making knowledge entertaining is the best way to learn.

However hypnotism must never be regarded as a toy that one plays with. The human mind is a delicate instrument which must be handled with great care. The hypnotist has a legal and a moral obligation to approach the performance of hypnotism in a completely ethical manner and to appreciate that the most important person in his (or her) presentation is the subject(s) and not himself.

Chapter One

Understanding Hypnotism

Before you can learn to do anything well, you have to have some knowledge of what you do. And so …

What is Hypnotism?

Hypnotism is much like electricity. No one knows for sure just what it is, but we use it anyway. Assuredly it has power. Basically hypnosis may be regarded as a state of mind conducive to subconscious behaviour rather than more normally regarded conscious behaviour. Hypnotism is the means of inducing that subconsciously responsive state of mind. Possibly hypnosis is best understood by regarding it as a way of programming the mind so that it functions through the automatic nervous system rather than the sympathetic nervous system of the body, as is most noticeably the case in everyday behaviour.

Gaining some understanding of the characteristics and theory of hypnosis will both make you a better hypnotist and provide interesting material to explain to your audience during the course of your show. The more you can educate while you entertain the better stage hypnotist you will be.

Characteristics of Hypnosis

Absolute Fixation of Attention

According to experiments published in the American Journal of Psychology, entering the state of hypnosis consists in gradually limiting the field of attention until a perfectly concentrated and unvarying focus is reached. Attention in the waking and hypnotic state is represented, in one case, by a wide curve with a broad hump in it (as illustrated in Graph A), representing the fact that we are conscious to many different stimuli at the same time in varying degrees of intensity with the peak of the hump at the focus of attention, and, in the other case, by a single spikelike peak in an otherwise flat curve (illustrated in Graph B). Entering hypnosis has resulted in so narrowing the field of attention that only a very small range of stimuli is perceived, and this range is determined by the suggestions of the hypnotist.

Hyperacuity of Senses Within the Field of Attention

Numerous experiments on seeing, hearing, feeling and other sensory perceptions show that they are much more accurate and active when attention is directed to them in the hypnotic state. The logical powers of the mind are also greatly enhanced, and deductions may be performed with remarkable accuracy. The comparison between the waking and hypnotic state is the same as the comparison between a shotgun and a rifle.

Artificial Control of Reflexes and Subconscious Nervous Activity

By hypnotic suggestion the pulse rate may be altered, an area of the body anaesthetized, menstrual periods be regulated, time of childbirth determined, and such automatic bodily functions controlled.

Loss of Autonomy Resulting From Diminishing Conscious Control

The hypnotised person elects to relinquish his autonomy and chooses to allow the hypnotist to direct his course of action, as long as the suggestions presented do not run counter to powerful tendencies or the moral nature of the subject. When such suggestions are given, the subject either refuses to respond to them or frequently will “awaken” from the hypnosis.

Susceptibility to Posthypnotic Responses

Suggestions given under hypnosis for actions to be performed after the subject awakens will be performed, if the subject was deeply enough entranced, often with amnesia resulting, provided that these suggestions do not violate the conditions mentioned in the foregoing characteristic.

From a study of the characteristics of the hypnotic state here listed, it is obvious that whatever method is employed to produce hypnosis, it must include factors that will produce hyperacuity of the faculties of the individual hypnotised, and which will give control over subconscious nervous activity, simultaneously providing a response to the posthypnotic influence.

Some Theory on Hypnotism

There was a time in the history of hypnotism when the practice was shrouded in much mystery and it was believed that the hypnotist was all-powerful with complete dominance over the subject.

Then the pendulum swung to the opposite extreme and there was a tendency to oversimplify hypnotic phenomena as being entirely induced by the subject in himself. The role of the hypnotist being relegated as being scarcely more than a “recording” presenting the suggestions.

Today, the pendulum of understanding of hypnotism has sought the middle road in regarding both the hypnotist and the subject as important factors in the production of hypnosis. It is a dynamic situation developed between hypnotist and subject.

In other words, the hypnotic situation can be regarded as one of cooperation and trust between hypnotist and the subject in which each has a special role to perform to achieve together a most remarkable mental condition of the state of mind termed hypnosis (trance).

In relation to stage hypnotism, there are mainly two facets of the phenomenon of pertinent interest:1. Waking Hypnosis (Waking Suggestion Experiments); 2. Artificial Somnambulism (referred to as Hypnosis). Both of these facets call into action the subconscious phase of mind. Hypnosis can be considered a means of producing a trance and/or trancelike state which can be regarded as a “shift of consciousness”. Most Waking Hypnosis calls into action behaviour prior to the complete shift of consciousness while Somnambulistic Hypnosis calls into action subjective behaviour after the shift of consciousness has occurred. However, this shifting from objective consciousness to subjective consciousness can be of such a subtle nature that it is often difficult to differentiate between the two, other than by observation of the intensity of the phenomena produced. There is a blending, which is why the stage hypnotist will often find it to his advantage to start with experiments in Waking Hypnosis prior to proceeding on to deeper phenomena. Such provides a learning process, enabling the mind of the subject to move gracefully from conscious to subconscious activity.

Basically hypnosis can be regarded as a state of mind produced by the transference from one level of consciousness to another; a state with capacities for mental activities distinctly its own directly keyed to the automatic nervous system rather than the sympathetic (central nervous system), as was previously observed, productive of the state of mind of somnambulism, i.e. subconscious behaviour.

When somnambulism occurs in spontaneous form it is known as “sleep walking” or “sleep talking”. The close alliance between natural somnambulism and hypnosis is obvious from the fact that but a few suggestions from the hypnotist will readily capture the attention of the natural somnambulist, and, through establishing a rapport, quickly transfer the former into hypnosis. The somnambulist then responds to the directions of the hypnotist.

Hypnotising may be said to be a means of deliberately induced somnambulism in the subject. It is well termed “artificial somnambulism”. Possibly it could be more accurately referred to as “guided somnambulism”.

The point of a rapport developing between the hypnotist and subject is important to consider as it is universal to hypnosis in providing the avenue of communication to the altered level of consciousness produced by the hypnotising process. It may be said that an en-rapport relationship exists throughout hypnosis, either between the subject and hypnotist in the case of hetero-hypnosis or with the subject with himself in the case of self-hypnosis.

Unique as the state of mind of hypnosis is, it is not an isolated function of mind. Manifestations of it are found in all walks of life and in all phases of society, from the most primitive to the most civilised. Native trance dances, voodoo and hexing are primitive applications of the state; faith cures, ecstasy and miraculous healings are religious applications; psychosomatic medicine and psychotherapy are psychological applications of the state. Each and all are at their roots the same, each being but a different road that leads to artificially induced somnambulism. This state of mind is characterised by extreme suggestibility focused strongly in the direction of the special suggestions played upon it.

A study of hypnotism will reveal some of the phenomena observable in a variety of abnormal psychological states as found in the insanities, i.e., delusions, illusions, hallucinations, catalepsies, personality alterations, etc. The major difference is that in insanity these mental aberrations are the product of a mind “running wild”, as it were, while in hypnosis such phenomena are produced under control and as directed … and there is a complete integration of the subject’s personality at all times. A study of the phenomena of hypnotism reveals many of the remarkable things the human mind is capable of accomplishing.

Chapter Two

The Power of Suggestion

Suggestion, in the hypnotic sense, is the subconscious realisation of an idea. The mastery of the effective use of suggestion is extremely important to your success as a stage hypnotist, as suggestions as previously mentioned is both the means of inducing the state of hypnosis and of controlling the state induced.

Suggestion provides the means of directing the subconscious phase of mind, so the more you become aware of the nature of the subconscious, the rules of suggestion operation and how to give suggestions that influence, the more expert hypnotist you will become. These thoughts on the power of suggestion will be helpful to your mastery of stage hypnotism:

The subconscious part of our mind may be likened to the storehouse of our memories. It is not unlike the “memory bank” of a computer in operation. It is where every experience we have had from earliest infancy to the last hour of life is filed. Recent research in hypnosis even reveals the possibility that memories of previous lifetimes are filed therein. These memories, however, are not passive; they are vitally active, each forming a thread in the texture of our personality, the total of these impressions being the nature of the individual.

The subconscious is also a dynamo. It is dominated by emotion, and emotion is the driving force of life. It is the energy source for conscious thought and action and for the performance of the vital functions of the body. The subconscious plays the role of supervisor over our body’s physical processes. Digestion, assimilation, the circulation of the blood, the actions of the lungs, the heart, the kidneys and all the vital organs are controlled by its agency. The subconscious never sleeps; indeed, during sleep it seems to be more alert and active than it is during our waking hours, and is on constant vigil to protect the individual.

The two facets of mind, conscious and subconscious, are in perpetual interaction. If we consciously think a thought (idea) and cause it to be accepted by the subconscious, the idea will spontaneously go into action to produce its effect. If it is a beautiful thought, we are so much the better. If it is a diseased thought we are so much the worse, because, unlike consciousness, the subconscious has no selective power. Whatever is presented to it is accepted and automatically acted upon. It is in the process of this transformation of a thought into an element of our life that we make use of the power of suggestion. Since the phenomenon is a normal part of the mind’s action, we can easily find evidence of its working in our daily experiences.

Remember this rule of operation: every suggestive idea which enters the consciousness, if it is accepted by the subconscious, is automatically transformed into a reality, and it becomes an element in one’s life. This rule is constantly manifested in stage hypnotism.

The thoughts we think determine not only our mental states, our sentiments and emotions but also the delicate actions and adjustments of our physical bodies. Trembling, palpitation, stammering, blushing and the variety of pathological states which occur in neuroses are all due to modifications and changes in the blood flow, in muscular action and in the working of the vital organs. These changes are not voluntary and conscious ones; they are determined by the capacities invested in the subconscious phase in our mind, and come to us often with a shock of surprise.

If we can get the subconscious to accept an idea, realisation follows automatically. But, for any idea to so enter subconsciousness it must be charged, to a greater or lesser extent, with emotion. This is where so many of the “thinking fads” fall down, for it is not the thinking of ideas that is of paramount importance, but the emotional drive that is given to the thought!

For this reason, ideas that are directly associated with our personal interest are the ones most likely to carry the greatest suggestive influence. Ideas related to health, success, money or a goal in life dear to our heart all carry emotional impact, and the greater the degree of emotion attached to it the more potently the Power of Suggestion can affect it.

The ready acceptance or rejection of an idea by the subconscious depends largely on the associations connected with the idea. Thus, an idea is most readily accepted when it ties in with similar emotionally charged ideas already seated within the mind, and tends to be rejected when it is contrary to ideas previously established.

Suggestions, it will be observed, are seen to be emotionally charged ideas, and this fact brings to attention another operating process of the power of suggestion: A suggestion is accepted when it is not countered by other suggestions already established in the mind.

If this operating process is true, how then is it possible for a person who has unwanted ideas (such as various bad habits) firmly established in his mind to make use of suggestion to counteract them?

On this point, we must look upon the subconscious as a tide which ebbs and flows. In sleep, it seems to submerge consciousness altogether, while at moments of full wakefulness the tide is at its lowest ebb. Between these two extremes are any number of intermediary levels. When we are drowsy, dreamy, lulled into a gentle reverie by music, etc., the subconscious tide is high. On the other hand, the more wakeful and alert we become the lower it sinks. The submergence of consciousness causes an outcropping of the subconscious. Hypnosis does this in a controlled manner.

This “outcropping of the subconscious” are desirable times in which to effectively implant suggestions in the mind and have them become part of one’s personality. During such times contrary associations do not seem to take place, and established suggestions in the mind lose their strength to resist the influx of new suggestions. The power and emotional drive of hypnotically inspired suggestions are such that the enrooted unwanted suggestions may be weeded out from the soil of mind and fresh ones planted, so that on the resumption of normal consciousness a new “flower of thought” will be growing in place of the old.

This brings us to another important process in the operation of suggestion: whenever the will is in conflict with an idea, the idea invariably wins the struggle.

You can prove this for yourself by performing a little experiment.

Take a plank of wood, about six inches wide and twelve feet long, and place it on the floor of your room. Now, try walking along the plank from one end to the other. You can do it easily. Now, take that very same plank and place it over the canyon between two tall buildings and try walking over it. You take a few timid steps out upon it; and, unless you make a hasty retreat, your life is in danger. Why this change in your reactions?

The new position of the plank has aroused in your mind the suggestion of the idea of falling, an idea that is coloured with the emotion of danger to your life. Immediately your subconscious goes into action and accepts the idea of a possible fall. With your will you try to battle against the impulse to fall. Logic tells you that you have just walked over that very same board so there is no reason why you can’t do it now just as you did before. But, reason about it as you will, the more you think about not falling, the more the counter-idea that you will fall is aroused. Were you to stubbornly persist in taking the risk, you could lose your life.

As the famous French autosuggestionist, Emil Coué expressed it: “We can now see that not only is the will incapable of vanquishing a thought, but that as fast as the will brings up its big guns, thought captures them and turns them against itself.”

This process has been called “The Law of Reversed Effort”: when the imagination and the will are in conflict, the imagination invariably gains the day. In the conflict between the will and the imagination, the force of the imagination is in direct ratio to the square of the will. Thus, the will turns out to be not the commanding monarch of life, as many people would have it, but a blind Samson, capable of either turning the mill or of pulling down the pillars.

Hypnosis provides an excellent means for programming the subconscious as it succeeds in avoiding this conflict between our ideas and our will. It replaces wrong thoughts by right thoughts, literally by not resisting the unwanted thoughts, but by overpowering “bad” thoughts by “good” thoughts. This procedure in no sense devaluates one’s “will power”, it merely relegates it to its proper place.

Will is under the direction of our consciousness; and, for it to operate effectively and efficiently, it must be in harmony with the ideas rooted in the subconscious. Of itself, will power can never uproot any subconsciously implanted ideas as it does not have that capacity. However, it can locate the ideas that are unwanted, it can locate thoughts that are needed, and it can direct the deliberate process that will result in an injurious idea’s removal and the implanting of a new and desirable one in its place.

It must be always remembered that the foregoing process of using conscious to benefit oneself in such regard can take place only through it cooperation with the innate capacities of the subconscious mind. Hypnosis provides our gardening tools for the successful cultivation of the fertile field of the subconscious to raise a full crop of better living and personal achievement.

NOTE TO HYPNOTIST: This information relative to subconscious mind and how suggestion psychologically performs is presented not only to increase your understanding of hypnosis and how it operates through the power of suggestions but equally is useful in providing you good patter material to use in your show, as the more you can inform your audience correctly on these matters, the more significance your show takes on, as you develop your skill as a stage hypnotist.

Chapter Three

Presenting Suggestionsthat Influence

Suggestions carry an amazing amount of influence. An incident is told of a college student who was killed by its power. At a fraternity initiation a young man was blindfolded, and, after the usual emotion arousing proceedings, was told that he was to have his head chopped off. His head was then placed on the block and viciously the knife slashed into his neck. It was actually only a wet towel, but the victim died of heart failure. His subconscious had accepted the idea that the knife was real, and when the towel descended it ended his life just as death would have followed a genuine decapitation.

The fact that suggestion can produce physical responses in our body can be easily shown by simply thinking of a sour lemon, and noticing how the thought spontaneously starts the flow of saliva within the mouth. Or think of itchy sensations about your body, and feel the itches commence. During your hypnotism show you can even use these simple experiments to illustrate to the audience how suggestions operate.

But not every person who takes part in a college initiation, as above described, would die as the result of the damp towel striking across the neck. This brings us to a basic law in the operation of this power. Every suggestive idea which enters the consciousness, if it is accepted by the subconscious, is automatically transformed by it into a reality and becomes an element in our life.

In the qualifying phrase, if it is accepted by the subconscious, lies the heart of the power of suggestion. There are ways to present suggestions that will cause them to be most accepted; in such are found the secrets of how to present suggestions that influence.

Timing

Proper timing of the presentation of a suggestion by the hypnotist is important. In other words, you do not usually want to tell the subject that something is happening before it has happened. A good rule is that if you see indications that a certain reaction is going to take place at any moment, then you can suggest that it is taking place. Otherwise, and often this is preferable, you should introduce the event as a future possibility and work up to its occurrence more or less gradually.

Repetition

Repetition is the driving force of suggestion. It is cumulative in its effect. Further, it prevents the hypnotist getting ahead too fast and out of proper timing in giving his suggestions to the subject, as well as having a certain monotony about it that is, in itself, hypnotic in effect.

Delivery

Proper delivery of the suggestions is likewise fundamental to their acceptance. In this regard, tone, inflection and phrasing all have their places, the major purpose of all being to focus the subject’s attention on the suggested phenomena desired to occur. There are instances when a rapid-fire barrage of suggestions is indicated; conversely, there are times when a slower pace of insistence will prove most effective. There are times when it is well to challenge the subject to try to resist the influence, the very inability the subject finds in not being able to do so enforcing the effectiveness of the suggestion. And there are times when the very opposite of challenging is desired, an earnest persuasion providing the best suggestion.

How is one to know which delivery is best? In that “knowing” comes mastery of the art. Experience will be your teacher.

Means of Increasing the Influence of Suggestions

A. Combining of Suggestions

The combining of suggestions is compounding in effect. For example, to tell a subject that his arm is rigid and that he cannot bend it, but that when you snap your finger his arm will instantly relax and will drop into his lap, and when it falls into his lap he will go even more deeply into hypnosis is a compounding of suggestion. Notice how each suggestion used in combination reinforces the next building towards the desired response.

B. Training the Subject in Suggestive Responsiveness

Every individual has a certain potential to be influenced by suggestions. This potential may be increased or decreased by training through a graduating response to suggestion. If the suggestions succeed, the suggestibility ratio is increased; if they fail, the reverse is the case. For this reason, it is often well to train subjects in successful suggestive responsiveness by allowing them to proceed from simpler tests gradually on to the more difficult.

C. Voluntary Actions to Increase Suggestibility

A voluntary response to a suggestions has an influence in increasing an involuntary response. In the practical application to the performing hypnotist, the use of this principle lies in instructing the subject to do certain things that he must comply with before presenting hypnotic suggestions. For example, to sit down, to place his feet flat on the floor and rest his hands in his lap, etc., doing this or doing that, as the case may be, in relation to the performance. Obedience to such commands tends to get the subject to act upon your suggestions uncritically, which has a carry-over effect to the acceptance of your subsequent hypnotic suggestions.

D. Deep Breathing to Increase Suggestibility

This is a further refinement of a voluntary action increasing suggestibility in this case, deep, rhythmic breathing on the part of the subject, as requested by the hypnotist. Further, deep breathing floods the brain with oxygen producing a slight dizzying effect, producing a state of mind more open to suggestions.

E. The Counting Technique

Giving a certain number for the occurrence of a suggested action is effective in causing its response to occur. People are used to things happening at “the count of three”. The principle of stating that a suggested effect will occur at such and such a time on cue, as it were, often intensifies the suggestive influence.

F. Nonverbal Suggestions

These consist of all suggestive influences exerted by the operator other than verbal suggestions, i.e., such processes as gestures, body movements, breathing, pantomimes, etc., for example, the gestures of the hands in passes toward the subject carry such suggestive influence. The use of nonverbal suggestions is very important to the hypnotist, and their use should be developed to become an intimate part of his suggestive pattern combined with verbal suggestions.

G. Mass (Group) Suggestions

The influence of suggestion upon a group is frequently more marked than when working with a solo subject. The element of self-consciousness is eliminated when being part of a crowd; also the factor of imitation is present. Seeing the suggestions working upon another has a strong effect favouring its working upon oneself.

NOTE TO HYPNOTIST: Come to have a great appreciation for words. Words form the backbone of suggestions. Words are “triggers to action”. That is, we have become so conditioned to words that our response to them is automatic. The principles given in this chapter are important to your work as a stage hypnotist. The more effectively you learn how to present suggestions the more masterful a performer you will become.

Chapter Four

Your Hypnotic Power

Basically there are two ways of hypnotising: 1. Using the physiological method of the human energies (mesmerism); 2. The psychological method via suggestion. For most powerful results, these methods should be combined. This process of combining the physiological with the psychological is recommended throughout this text. It will make you a master stage hypnotist, as this combination gives you “Power Hypnosis”.

A hypnotic power resides within you to influence others. Everyone has the power. It is an influence which you can learn to exert under volitional control. As a stage hypnotist, you learn how to use this power for sensational effects upon the stage.

Power Hypnosis is the influence of mind upon mind, so, to understand its operation, you must first learn some things about the nature of mind. Mind is nothing tangible; it is nothing you can place your finger on; it is present in everyone. You know you have a mind, but do you really know what you have?

Mind is a process for producing thoughts, and thoughts are things. In other words, thoughts are forms of energy arranged in certain patterns. Some refer to such as “thought forms”. The more effectively you learn how to use your mind, the more powerful the “thought forms” you can produce, and powerful “thought forms” carry influence even across space.

The brain acts like an electrical transformer in stepping up the current, while the nervous system provides the wires which conveys the current throughout the body. Mind produces thoughts which the brain amplifies. The stronger the amplification the more powerful are the thoughts which can influence others directly.

The operation is like the process of induction, in which two coils of wire are spaced apart. One coil is electrically charged with an impulse and it is transmitted through space to the other coil. Each resonates to the same tune, as it were. In the Orient, the concept is presented in a more romantic manner. Mind is likened to a lake of still water. The hypnotist causes ripples to occur in his lake and the person towards whom his thoughts are directed obtains similar ripples in their lake.

Some have called this powerful transmission of thought from one person to another “thought projection”. The mental energy used appears to be of two types: magnetic energy (referred to as “raw energy”) generated within the body and telepathic energy generated within the mind. The raw energy gives the power while telepathic energy gives the direction. The two work together as a unit in applying Power Hypnosis. The operation of the two energies in combination is what Mesmer referred to as “animal magnetism”. Mesmer may have been off on some of his theories, but beyond question he was a great hypnotist.

A “thought form” is mental energy with a purpose. In the case of stage hypnotism it is Power Hypnosis used to produce striking hypnotic results upon the stage with an eager audience watching. For a “thought form” to be powerful it must be charged with energy, and that energy comes from the hypnotist. Actually, it comes from the body of the hypnotist, for it is a physical thing. That is, it is physical as far as your method of producing it and experiencing it is concerned, although I rather suspect there are more subtle aspects involved as well. However, as this is a practical book in demonstrational hypnotism, you will be given a physical exercise to develop the energy. Do this:

Begin by looking upon your body as your personal reservoir of energy collected from the universe. Consider your body as functioning like an electrical condenser to store energy, which may be discharged for specific purposes, as directed by the mind. The purpose you are learning to use it for is to hypnotise profoundly your subjects.

Now, close your eyes and think of the universe as being like a great ocean of energy, and you are like an inlet of that ocean. The energy of the universe is there for your taking, to use it as you will. Energy is vibration and vibration is motion.

Sit in a chair, extend your arms in front of yourself, and start shaking your hands vigorously. Shake them in any direction, any way they want to go. Just shake them wildly, in absolute freedom. You start with effort, but soon the shaking will become effortless, and it will seem to occur almost by itself. As you do this, allow your mind to grow calm and experience yourself as the shaking continues. The time will come when it seems that it is no longer your hands that are shaking, rather it is you who are shaking both inside and outside.

When you become the shaking rather than just doing the shaking, you will begin to feel yourself filling with energy; an energy that somehow seems both mental and physical, at one and the same time. After you have become the shaking of your hands, and have had enough of this activity for awhile, relax your hands in your lap, and rest a bit. You are now ready to perform another associated process which brings the shaking to your entire body, in an automatic way, bringing you great quantities of this vital energy.

Stand erect, close your eyes, and allow your whole body to vibrate. You will find this easy to do, as you have already started the energy flowing throughout your body. So, now just allow your whole body to become energy, allowing your body to melt and dissolve its boundaries. Just stand relaxed, loose and natural. You do not have to do anything; you are simply there waiting for something to happen; all you have to do is cooperate with it and allow it. The cooperation should not become too direct, it should not be a pushing; it should remain just an allowing. You will find that your body will start making movements on its own. What movements it makes depends on you; all persons are different. Possibly your head will twitch and your body will start shaking in different ways. Just allow it to take on the shaking freely, and shake any way it wants to go.

Possibly your body will make subtle movements like a little dance, your hands move, your legs move seemingly on their own, and your entire body starts shaking with subconscious movements all over, and all you have to do is allow the shaking to happen. The energy is very subtle, so do not resist it. Just allow it to develop on its own; and, as it does, think of the shaking as being the energy of the universe coming into you.

When you have had enough of this automatic shaking of your body just stop. You can stop anytime you please. Now, stand still with your eyes closed and breathe deeply and fully while directing this energy towards your brain. Visualise your brain as glowing like a ball of energy, and from the brain passing through every nerve of your body, permeating every fibre of your being.

Use your imagination in doing this. In your mind’s eye see the energy you have brought into your body flowing throughout your entire body. You are alive with energy. Never be afraid to use your imagination. Imagination is the creative power of the mind. Everything starts in the imagination. Now, how do you feel? You will feel yourself alive with vital energy. Test it for yourself:

Extend your arms and direct the energy into your hands, and you will feel your fingers tingle, as though an electrical current were passing out of them. Bring the fingertips of each hand towards the other, spaced about an inch apart. You will experience the flow of energy between your hands. Touch your fingertips together in front of a black cloth; then separate them a little, and move them back and forth an inch each way. Observe what is there. You will see lines of “misty radiance” flowing between them.

This is the “raw energy” of the hypnotist. When you place on this energy telepathic energy (thought forms) the latter riding piggyback, as it were, it is then that you have Power Hypnosis.

Telepathic energy is the product of thought. Every thought produces an electric-like discharge in the brain, and an electrical discharge produces a wave. A thought wave is much like a radio wave, only more subtle, and it can be transmitted through space from one person to another. When this transmitted “thought form” is powered by the raw energy applied to the hypnotising process, the result is Power Hypnosis.

Telepathic energy is not difficult to produce, as its production is an automatic function of mind. Every thought produces it. However, it can be strengthened by attention and will.