times, it has already become automatic, so that the fakir has to apply neither the imagination or the akasa or the act the spectators want to see. It is sufficient for him to utter the akasa formula
to hold the people spellbound, and afterwards he express the desired occurrence packed into short sentences or tantras in a low voice, in turns, and the audience will perceive one picture after another in the same order. The fact that these formulas are genuine incantations
sounds absolutely incredible, since such a secret is handed down traditionally from family to family for hundreds of years. Not even the owners of such a formula knows exactly what sort of powers he is going to release. All he knows is that this or that will happen if he expresses the respective words, and he does not bother himself about the cause of it. Performances like these are very much admired indeed, mainly by people who haven’t got the faintest idea of the higher laws of magic. In India such a performance of an illusionist is nothing else but a matter of mere money. Making a snapshot of an experiment like this would be a disappointment because nothing at all of the marvelous scenes
would be seen on the film, except the fakir and his partner sitting there smiling politely. This seemingly miraculous experiment is easily explained in the light of the magic laws and therefore must be left to the individual to work at such things or even to specialize in them. But for the magician’s development and rise, such experiments are absolutely useless. I only mention them to put the magician in the picture and let him find the explanation from the magical point of view.
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