How To Hypnotize People

Continuing on from our previous chapter on ways to hypnotize someone with covert hypnosis -


We will assume that this young lady is dancing

in a certain ballroom where a young man stepped

on the train of her dress ; she turned and slapped

him. If we call to her, "Your dress has been

stepped on and torn," will she turn and slap an

imaginary man behind her? No. We will get no

more action than a frown on her face, as we have

failed to put the thought in action ; the thought of

her dress being torn was made up of the feeling of

the pull, the hearing it tear, and perhaps the seeing

of it (perhaps it was torn); three senses being

affected. As we can deceive only the sight of a

hypnotized subject, we can cause her to throw out

a picture of a torn place in her dress, but as we

failed to make her feel it tear, or to hear it tear, we

have failed to put the thought in action by failing

to affect two senses. This is the true way to hypnotize someone.

To further illustrate that a subject is "normal,"

subservient to his picture and that the operator

causes only the eye to be deceived, we will assume

that there are on the stage a barber and a very

fastidious young man, who takes a great interest in

his shaving. We desire to put on a shaving act,

that is, one man to sit in a chair, the other to put

on him a barber's apron, using a one pound paint

brush and a large soup bowl full of lather to lather

the customer's face, and then to shave him with a

wooden razor that weighs at least a pound and a

half. Now, dear reader, which would you choose

for the barber and which for the customer? No

doubt, you would say, "Make the barber the bar-

ber and the fastidious young man the customer."

That would never do, for if you were giving an

exhibition before a public audience, within two

minutes many of the spectators would swear that

the barber was "faking." The sense highest culti-

vated in a barber is that of feeling. He sees the

picture, well and good, but when he tries to tip

back the chair it fails to tip, therefore feeling con-

tradicts his sight; when he picks up the paint

brush, feeling again contradicts sight; in fact,

everything he does, every feeling memory that is

actually associated and pronounced in him, is be-

ing contradicted (Hudson's subjective(?) mind),

and a smile will appear on the face of the actual

barber. Of course, if we wanted to hypnotize people,

we could always take this a step further.

But if we reverse them and cause the

fastidious young man who knows all the detail

through his eye, and not through the sense of

feeling, he will, seemingly, most perfectly go

through the entire process of shaving, as there is

no memory of feeling to be contradicted by the

actual contact with the tools furnished.

Again referring to the young ladies and the ball-

room. Number two, although given the same in-

spiration, will wonder how she happened to attend,

and is likely to ask for her wraps and desire to be

taken home. What will be the appearance of

number three when she opens her eyes? Her

face will be a blank and her eye without expression,

as we have failed to inspire her with a thought.

Hence, we learn that all expression is the result

(part) of thought. Having a thought of mirth, it

is impossible to look sad, to speak firmly, or to

give any action seriously. Knowing how to hypnotize

someone involves this concept.

Another point here ; simulation is impossible. No

person can simulate closely enough to force con-

viction, as it is impossible to furnish all the attri-

butes without having the actual thought. Tune a

dozen violins to G, draw the bow over one and the

others will respond ; if one is not tuned to the note,

there will be no response. Normal man, far more

sensitive than the finest tuned instrument, cannot

be deceived (made to respond). Let twenty sub-

jects be inspired with laughter and among them

one attempting to simulate, the audience will not

laugh, that one discord will prevent a response.

The indescribable tone must be there to force a

result and this can only be when it is the result of

a mirthful thought. Without the thought there

can be no expression, therefore no person can

"Faking" simulate the inspiration. You read much about

subjects who claim that they have deceived the

public and the operator by pretending, or to use a

common expression, they "faked." Let me as-

sure you that those persons deliberately lie. The

man does not live who can so overcome and "defy

such a positive law. I have led into hypnosis over

one hundred thousand persons and have yet to

meet the one who could deceive a ten year old lad.

The subject, to make you think he believes a fly

on his nose through the particular contraction of

the muscles of his face, the look in his eyes, and

the gesture of brushing it away, must have that

thought in his "mind." The method of putting

it there is what I call hypnosis. Call it whatever

you wish, we hypnotists are the only ones who do

this; and, furthermore, the only ones able to find

these fellows who claim they are able to "fake."

So if you want to hypnotize someone, it's best

to grasp this point.

The ordinary layman does not find them ; we find

them. We call it hypnotism.

To illustrate that a subject is normal, subservi-

ent to his picture, and that the claim made by

Hudson that we have two minds, objective and

subjective, which discriminate (an impossibility),

is incorrect : In the ridiculous side of this art, the

operator strives to emphasize and make use of day-

dreams. We will assume that there are twenty

subjects on the platform, all strangers to me. I

desire to have some of them play on brooms for

banjos. I carefully look them over and choose

those whose appearance would suggest that they

were accustomed to attending parties, dances, et

cetera, who have full foreheads and other signs

of being musically inclined. I am not looking for

those who play, as you will comprehend later, but

for those who have envied some player, for those

who have mentally taken the place of a player. If

I should say to them, "When you open your eyes,

you will find a banjo in your lap, and you will play

for us," and they open their eyes they would re-

fuse, saying, "We do not know how to play." Yet,

if I build around them a positive picture, being

careful to avoid any positive against their playing,

I can force 'them to respond, if at any time they

have had a desire to be a player. So I tell them

that "When you open your eyes you will find your-

self on the stage, there is a banjo in your lap. you

are a member of a banjo quartette ; the curtain is

up and it is your turn to move your chairs down the

stage, to tune up and in turn play and sing your

best song to entertain the ladies and children."

There being no positive against their playing, the

Producing day-dream will be reproduced. Of course, the re-

day-dreams su j t w iu k e ridiculous, but that is what we desire.

As to the mental condition of the players, each is

his own thought of a banjo player; they respond

to the audience, the applause. They could be al-

lowed to go home as they are, yet if some one on

the way should ask them to play they would be

likely to do so. When they arrived home, they

would carefully put away the supposed banjo, and

the next morning would ask how that broom hap-

pened to be where it was. The subject is perfectly

''normal," subservient to his picture, it being, if he

could tell it, "I am a banjo player. I am wide

awake ; my conduct must be consistent with what I

See com- believe a banjo player to be." Right here I will

prehension state t h a t I lack the ability to properly describe the

state of a subject ; his cerebrum is not active, he

simply responds, yet the explanation is not correct,

but would be if the subject was using his cerebrum.

For the ordinary reader the present explanation is

the more comprehensible. In other words, a banjo

player is a normal being, and although his clothes

may not fit the subject, yet the subject will try his

best to adapt himself to them. If one of the sub-

jects should be a banjo player, a puzzled look will

appear on his face the moment he tries to tune the

instrument, and he will hand me the broom saying

"I cannot play it ; it has no strings." The others

would not attempt to play it if it had strings.

Why? The moment the subject opens his eyes he

is normal, subservient to his picture, and the first

associated action of the player is to tune the instru-

ment. The capable player has a very decided

memory of the feeling of the strings, his touch is

normal; he can find no strings with his fingers

although he can see them, but as he plays with his

fingers they cannot be deceived, the force (cause,

suggestion) is lacking, and his touch not being

affected, no action is forced. Therefore is no need to

hypnotize people in this circumstance.

Those who do not know how to play have no

feeling memory; they see the strings and indis-

criminately finger them ; and, as there is no sugges-

tion to inform them that they are not players, they

continue. If there were strings on the broom,

the moment they touched them the idea that they

could not play would be forced into action and

they would refuse. Thus we can see that although

the operator may be able to bring up the mental

picture, he lacks the ability to furnish or make

good the emphasizing attributes of the other

senses that are necessary to force the completion

of any act that is not extremely congenial to the

subject, and no "abnormal" act is congenial. This is

the trick to hypnotize someone quite easily.

I place a hypnotized subject at a table, a non-

hypnotized man opposite to him, giving them a

pack of cards, and they begin playing. The man

opposite the subject undertakes to abuse him very

severely. I stand behind the hypnotized subject

and urge him on, till we get a quarrel. I hand him

a pasteboard dagger and he stabs the man he is

playing with. If he is given a steel dagger, he

fails to close his hand on it. Why? First, there

is no quarrel. His opponent lacks the tone; words

without tone are ineffectual and put no thought

in action. Therefore, the picture we have is one

of a simulated quarrel ; and the pasteboard dagger,

as it carries with it no ideas contrary to the picture,

is readily used ; but the moment we introduce the

steel dagger, we introduce an attribute foreign to

the picture, therefore inactive, there being no

action for the transforming, through touch, of the

suggestion of the dagger.

One more illustration: We desire to have the

subjects go through the act of fishing. If I simply

say to them "that when they open their eyes they

will go fishing," then tell them to open their eyes,

they will not respond, as they are still on the stage,

and there is no place thereon to fish. If I tell them

that when they open their eyes they will find them-

selves alongside of a fishing stream, they will not

respond even then; for, though man be alongside

of a stream, he cannot fish without the proper at-

tributes. Consequently, I must furnish each one

with bait, hooks, lines and rods. These attributes,

although ghosts, will force him to fish, provided he

knows how. The subject sees no audience, neither

can he hear one, for it is foreign to his picture. If

a person from the audience should step up and take

hold of the pole that is held by the inspired fisher-

man, he would not be seen ; but, through feeling,

the fisherman would have the idea that a big fish or

a tree or a log had caught his hook and conduct

himself accordingly. He sees the other fishermen,

and will talk to them. I am only another fisher-

man, nothing more to him. If I were, the ideas

associated would carry a picture of the stage. I

can allow him to go home ; he may show a string

of fish that he does not possess, and might scold if

they were not cooked as ordered. Otherwise, he

is perfectly rational, such as any fisherman ; he is

his thought of a fisherman, which is that of a

rational being. This doesn't mean to say the fisherman

wouldn't know how to hypnotize anyone he wanted to,

rather that he'd perhaps choose not to.

In all these scenes the subject is working in a

picture (environment) of ghosts, furnished by him-

self and aroused in his mind through the voice of

the operator. The thought cannot be changed by

other than the operator; the senses are free only

in relation to the thought, which, in most cases,

makes the subject seemingly super-sensitive.

Man is as a piano keyboard, played on by his

environment. When we touch "a", "g" does not

refuse to respond, but we fail to force it. To the

degree that we strike a note, is to the degree that

there is a response. Man responds according to

the degree of the force (suggestion) on two or

more senses.

A hypnotist is merely a guide — a leader — who

teaches a subject how to hypnotize himself, and all

sane persons can be taught to take on this condi-

tion. An operator stands in about this position :

If I should go to a city a stranger, and, standing on

the street corner, meet the brightest citizen and

ask him to show me the way to the postoffice, he

naturally would reply, "Certainly, follow me." I

reply, "I will not walk, neither will I ride." Why,

the man would look at me in disgust and ask how I

expected to reach the postoffice. So it is with

many who sit down to be hypnotized. They will

not give the operator their attention, yet expect

the operator to lead them where they will not

follow. Still standing on the street corner, I meet

a half-witted lad, whom it has taken ten years to

teach the way to the postoffice. I ask him to show

me the way. He replies, "Certainly; follow me."

If I were insane, drunken, or half-witted, I would

not be able to do so. I follow him and reach the

postoffice, not because the half-witted lad has a

stronger mind than the brightest citizen or myself,

but he knows the way, is willing to lead me, and I,

being capable of following do so, and consequently

reach the postoffice. On the way, I noted the sur-

roundings; the next time I can go there slowly

without a guide, and after half a dozen trips can

go as quickly as anyone in the town. So it is with

the subject. I teach him how to take on hypnosis,

and in a very short time he will require no prompt-

ing from the operator. It matters not whether

you place the thought of sleep with your voice or

by making passes over the subject, for the passes

are feeling suggestion and will induce the same

condition. You read of this wonderful "power"

being exerted over the telephone. It is very

simple. You have an office boy to whom you have

taught the way to the postoffice. Being down

town, it occurs to you that there may be some mail

for you at the postoffice. You go to the telephone

and ring up your office, tell the boy to go and get

your mail. If the lad is so disposed, he will ; other-

wise, he will not, and you cannot force him. The

same condition may be induced by writing to a

subject, that when he "finishes reading this letter,

he will go to sleep." As hypnosis is self-induced,

he can do so if so disposed. This is the key to learning

how to hypnotize people.

If you lack a firm voice and assurance, you lack

the two most important attributes necessary to a

hypnotist, and you should refrain from attempting

to hypnotize. Your tone will fail to carry any

suggestion other than a positive against you and

will contradict the words you utter. If you have

assurance and a firm voice, know what hypnosis is,

that words of themselves put no thought in action,

that it is impossible to bring out of the mind of a

person what is not there, or to arouse any thought

unless tiuo senses are affected, you are prepared to

learn how to teach a subject to take on what is

known as "Hypnosis."

The first thing necessary is that the following

formula be learned word for word :

"Take an easy position. Put your hands to-

gether thus. I am going to ask you to look at the

end of this pencil. If you will do so and think of

it, your eyelids will get heavy and close, or, if I

close them for you, allow them to remain closed ;

then your head will fall to the front, your hands

will drop to your sides and you will forget where

you are. When I want you to awaken I will (tell

you) say ALL RIGHT and clap my hands. Do

you understand me?

"At no time will you feel sleepy, but by giving

me your undivided attention you will slowly forget

where you are.

"Drowsy, sleepy, drowsy, sleepy, drowsy, sleepy ;

as you go deeper asleep your eyelids get heavy and

close." (Repeat until accomplished.)

"This ear smarts, burns, stings and itches, and

will stop only when you rub it a long time with

your right hand. UGH! UGH! UGH!

"You open your eyes only when I tell you. You

awaken only when I say ALL, RIGHT and clap

my hands (I tell you). Now mind!" (Repeat


"You have an awful pain in this knee (thumb,

when a lady), and it will stop only when you rub it

a long time with both hands (right hand), UGH !

UGH !" While he is rubbing it say, "When you

look at it it will be a thousand times worse, now

open your eyes."

Knowing that Hypnosis consists of:

First, An easy position;

Second, Upturned or converged eyes;

Third, Concentration;

Fourth, Closed eyes;

Fifth, The substitution for the concentration of

the "locked in" thought of sleep ;* who are the

easiest to hypnotize ? Those possessing the great-

est concentration.

Can the insane or half-witted be hypnotized?

No ; they cannot concentrate.

Therefore, choose for your first subjects, those

with pronounced concentration, who are distin-

guishable by the fulness of their heads at the tem-

*It is necessary for the subject to comprehend this,

though not necessary for us to tell him in the foregoing-

specific manner.

Put your hands together To look at the end ot Will get heavy and Or if I close them

t h us . this pencil. close. for you.

Your hands will drop

to your sides.

Will say " all right" and

'clap my hands.

Experience has taught me that the professional

musician in a regular orchestra, the player of

classic music; a telegrapher, a first-class stenog-

rapher, or those whose business requires concen-

tration; and naturally slow correlators, are more

readily lead into hypnosis.

Seat your subject in a chair and stand directly

in front of him and repeat the following paragraph :

"Take an easy position. Put your hands to- How to

gether thus. (Plate II.) I am going to ask hypnotize

you to look at the end of this pencil. If you will

do so and think of it, your eyelids will get heavy

and close ; or, if I close them for you, allow them

to remain closed; then your head will fall to the

front, your hands will drop to your sides and you

will forget where you are. When I want you to

awaken I will (tell you) say ALL RIGHT and clap

my hands. (Suit the action to the word.) Do you

understand me ? At no time will you feel sleepy,

but by giving me your undivided attention you

will slowly forget where you are." Do you see now

how all this relates to how to hypnotize people?


Find out how you can learn how to hypnotize people


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