How To Hypnotize Someone And Make Them Forget It

Continuing on from our previous chapter on how to hypnotize someone in 5 simple steps


Man is like a piano keyboard, played upon by his

environment ; as we touch the keys, so is the re-

sponse. Hit vigorously and there will be a cor-

responding result. When we strike key "A," do

the other notes refuse to respond, or have we failed

to force (suggest) them ?

My audiences have wondered why it is that when

I get a subject whom some one else has operated

on (as I call it "handled"), and he goes through

many gyrations while going into hypnosis, that I

say to him, "Now, my dear fellow, there is no need

of this 'monkey-shine.' You go quietly to sleep ;

otherwise, you and I will have trouble," after

which I have but little trouble with the subject, and

the people say, "That's funny; I wonder if he was

'faking?' How can he talk to them as he does?"

A hypnotized subject must comprehend ; that is,

his Abdominal Brain must respond and words

when given him must arouse thoughts. The oper-

ator should know how to use words with the

proper emphasis and construction.

The first attribute of all consciousness is "place,"

and the subject, when he opens his eyes, is always

in the place where he went to sleep unless that

place has been changed by the operator. There-

fore, first place the subject, then give him the attributes,

naming each sense, thus: "When you open your eyes, you will

find yourself in a certain place, and

you will see so and so, and you will hear so

and so, and you will feel so and so," covering feel-

ing, seeing, hearing, and feeling as to minor attri-


Inspiration Assuming that we desire the subject to go

through the actions of milking a table for a cow,

the inspiration should be as follows: "When you

open your eyes, you will find yourself seated on the

back porch of a farmhouse. You will see a small

cow before you in the yard. The cow requires

milking; there is a milk bucket at. your feet. You

will be careful with the cow, inasmuch as she is

very nervous, and as the flies bother her, she is

likely to switch her tail. You must refrain from

swearing as the ladies can hear any remarks which

you make." If you should say, "You must not

swear as there are ladies in the audience," what

would be the result? The subject, when he

opened his eyes, would sit still, because the word

"audience" rearouses the thought of where he went to

hypnotize someone.

One picture to sleep. Only one picture at a time can be held

at a time j n f- ne " m ind," and that picture must be thor-

oughly consistent, for if at any time through the

misunderstanding of correlation you step without

the picture, you will either get no effect or a

"dopy" subject.

Awakening If I hypnotize a subject can anyone other than

myself awaken him? Decidedly not. What will

awaken him ? My telling him that he is awake ( ?)

or my saying, "All right," and clapping my hands.

If anyone else tells him he is awake will he

awaken? No. Because he does not hear (respond

to) them. As far as the general public is con-

cerned, being in hypnosis consists only of taking

a thought from the operator's voice. If he could

hear (respond to) anyone else, he could hear

(respond to) all sounds and each and every sound

would arouse some thought, and he would be

wide-awake. The consciousness or realizing is

"being awake." Those put to sleep by magnetic

(?) passes can be awakened by another operator,

as the subject goes to sleep with his sense of feel-

ing acute, and has been taught that when he feels

upward strokes he will awaken. He has no way

of distinguishing ( ?) who is the one that is making

the strokes; yet a super-sensitive subject, very

familiar with the operator, will unconsciously be

able to distinguish, or, more properly, will respond.

What things can you most readily put a subject

at doing? Things likely to occur to him at any


Reader, I am still afraid you are not a hypnotist.

We will assume that you are a gentleman and

you have one of your companions, a gentleman,

hypnotized, seated in a parlor that is filled with

your lady friends. You desire him to take off his

coat. What would you say to him? You would

say, "W T hen you open your eyes, you will find that

your coat is on inside out." What would he do?

Being a gentleman, and in the presence of ladies,

he would look abashed and might go into the hall

and change his coat, but we desire him to take his

coat off in the parlor before the ladies. What

must we do ? Give him a new environment. Tell

him that when he opens his eyes he will find him-

self in his bedroom, it is evening, and excessively

warm. "Now open your eyes." Is he now in the

parlor filled with ladies, or is he in his own room ?

Man is ruled by his environment. First place your

man, then give him the attributes.

A bad In a city I visited last winter a doctor informed

inspiration me that the year before a hypnotist had visited

their city, given some very enjoyable performances,

besides putting a man to sleep in a window; that

he thought the hypnotist was a fraud inasmuch as

that one day he was in the store where the fellow

was sleeping, and the hypnotist said, "Doctor, feel

of the man in the window, he is stiff." The doctor

said, "And when I felt of him I very decidedly felt

him become rigid, which satisfied me that the

operator was a fraud."

That was not the case, the operator did not know

how to give his inspiration ; the subject necessarily

is forced to respond to the operator when the

operator's voice is firm. When he said to the

doctor, "Feel of him, he is stiff," he told the sub-

ject, "When the doctor feels of you, become stiff."

Correct But if he had said to the doctor, "The subject is

inspiration stiff, feel of him," when the doctor got hold of him

he would have found him stiff.

Frauds (?) The alleged fraudulent hypnotists are simply

fools who do not know how to convince their

audiences or handle their subjects. Subjects can-

not "fake." When you credit the hypnotist with

being able to teach the element that goes on the

stage to act their parts, you credit both with hav-

ing more intelligence than our best stage managers

and actors, and my experience teaches me that

their faces would instantly deny any such credence.

One "authority," in Chicago, concludes his work Authority

by doubting hypnosis. Quotations from him

show his lack of knowledge of the Law of Sugges-

tion. The following example was the one that

shook his faith most: The subject was lying in

hypnosis on an operating table, and several spec-

tators were challenged to awaken him. They tried

many ways and failed, then asked if they might spit

in the subject's face. The "authority" said, "Yes,

you may spit in his face if you wish." They did so,

and the subject immediately awakened, thus satis-

fying the "authority" that the subject had not

been in hypnosis. Dear reader, need I explain

this? If so, throw the book away or go and give

yourself to the authorities having charge of a

school for imbeciles.

In the "handling" of subjects two tones should Two tones

be used, one for the inspiration, and one to em-

phasize (force) minor actions.

In my early days, while giving exhibitions in the

South, at the conclusion of an entertainment a

Southern gentleman came onto the stage with a

friend and said, "Mr. Santanelli, this gentleman

does not believe that young man was hypnotized.

Will you "hypnotize" that nigger (pointing to one)

and prevent him from picking up this one hundred

dollar bill? If he picks it up, he can have it." I

"hypnotized" the negro, put the one hundred dol-

lar bill at his feet and told him he could not pick it

up. The negro immediately became cataleptic,

rigid, and failed to move. I wanted him to stoop

and put his hand on the bill and attempt to pick it

up, knowing that if he could not pick it up he must

shove it to the floor, so I said "Oh, yes you can ; go

ahead, pick it up." The negro failed to respond

for a moment, then bent over and took hold of the

bill ; I saw that he had responded to my last remark

as an inspiration, so I immediately called to him

that he could not move. Cold chills passed up my

back, as I could not afford to lose one hundred

dollars ; and, of course, would not have allowed my

friend to do so provided I had it. Since then I

always use two tones, for fear of the subject mis-

taking or not comprehending (responding to) the

difference in the tones, I always finish in this man-

ner : "Go ahead, pick it up. Go on, but you can-


No stages There are no stages in so-called hypnosis. The

subject is either hypnotized or awake.

Catalepsy Catalepsy is not a stage of the hypnosis, it is

simply an inspired condition. Any subject can be

made cataleptic if he knows how to become so.

The inspiration I give to produce catalepsy is as

follows : "Put your feet together, put your hands

to your sides. When I call 'now' you will take a

long breath, pull your muscles together and you

will be stiff, stiff as iron." It is very rarely that a

subject fails to respond to this. Sometimes they

will draw their knees and arms up, not knowing

how to become rigid in the position I give them.

Many operators tell a subject to hold his arm up

and then that he cannot take it down, and the spec-

tator, noting the tightening of his muscles when

he gets the inspiration that he cannot put his arm

down, believes the subject to be "faking." If the

operator will remember that all negations are Negations

affirmations against, and would first put the

muscles at the tension or in the position he wants

them and then deny, there would be no such action.

Tell a subject to hold his arm up and close his fist ;

the muscles are now contracted, and by telling him

he cannot put it down, you are really saying to him

to keep the muscles in the position they are in. If

you wish to produce a condition of the muscles,

first put the muscles into the desired position and

infer that he cannot release them, because if he

cannot, he must hold the position.

How many ways are there of inducing hypnosis ?

Only one. Understanding this is the key to understanding

how to hypnotize someone discreetly.

When I was in Utica last winter, on the second

day of my return engagement, a lad called on me

•and said, "Mr. Santanelli, how many ways do you

know how to hypnotize?"

I replied, "But one, my lad."

He looked surprised, saying, "Why that is

strange, I know of nineteen ways."

"Good for you, lad. Can you lay them out on

the floor as I do?"

"No, sir, that is the funny part of it ; I cannot get

any of them asleep. You have only one way; I

have watched you nightly and so far you only failed

to hypnotize two, and three-fourths of them were

new ones every night. What is your way?"

"The right way."

"Well, can 'some' of mine be right?"

"No, there is but one way, and that is the right

way; that is the reason your nineteen ways are

failures, none of them are right." If hypnosis con-

sists of five attributes, the shortest, quickest

method of bringing these five together is the right

way. All others are wrong. A Chicago firm pub-

lishes fifty ways, or the promise of teaching fifty

ways, to induce hypnosis. That is in the line of

modern science (?).

"Still, Mr. Santanelli, I have hypnotized many

subjects without using any of the attributes you

name as necessary to hypnosis; how is that?"

"Very simple, my dear sir. First, you do not

hypnotize ; you lead another into hypnosis. After

a subject has once been taught the way to the post-

office, he can go without any guidance on your

part. Twenty-seven per cent of mankind are what

is known as "sensitives" — somnambulists, sleep-

walkers. Unconsciously knowing the way into

hypnosis any method you use is satisfactory. You

can tell him to go to the postoffice over the tele-

phone, you can tell him every time he hears the

whistle of the factory he will go to the postoffice ;

there are a hundred suggestions that may cause

him to go to the postoffice. So it is with the

sensitive, he knows the way; your method is

nothing. You can only hypnotize ( ?) three in ten ;

with my method I can "hypnotize" one hundred

of one hundred, provided they give me their atten-


Auto-suggestion can only exist in the case of a

sleep-walker, proven by the fact that he responds

to no one's voice. It is spontaneous, and is the

nearest to being self.

In my experience, subjects have pre-inspired

themselves with the thought of leaving the stage,

which each time was successful. This is one aspect

that can be used to hypnotize someone. The first hap-

pened in a little town in Tennessee. My reader

must understand this, that a certain portion of

my evening entertainments were always the same ;

that is, I laid the subjects on the floor, produced

the catalepsy, built the "log-pile," then caused

them to rub their ears, then their knees, and then

lake a seat on the chairs. In the instance I have Pre-inspira-

in mind, the young man, who was some twenty- tl0n

two years of age, although not larger than a lad

of twelve, came onto the stage several nights and

proved himself to be an extremely clever subject.

I think it was on the fifth night when he was laid

on the floor, after having been used in the "log-

pile," he immediately got up and joined his com-

panions in the orchestra seats. I was greatly sur-

prised. No comment was made, but that night

after I went to the hotel I did considerable

"thinking," and at last concluded as to how he

succeeded in doing so.

I was so successful in the city that I remained

over ai d played the following week, and on

Wednesday night this young man and his friends

were again in the opera house. I invited him

to come onto the stage. He said, "No." I asked

him why, and he replied, "You will make it hot

for me."

"No, I will not. I would like you to come up

and repeat the experiment." He looked at me a

moment and said, "This is not a trick?"

"No, I wish to see if you can repeat what you

did last Friday. It is a matter of science. You

have proven your side of it, and I want to see

what I can do with mine."

The young man came onto the stage, took on

hypnosis and when I awakened him, some thirty

minutes later, and asked him why he hadn't taken

his seat, he looked puzzled, and said, "I don't

know." I did; do you, dear reader?

The form of pre-inspired thought that this

young man took was this : "After I am laid on the

floor in the unbuilding of the 'log-pile,' I will

awaken." Now, mind, he was to awaken when he

was laid on the floor out of the "log-pile." I

omitted putting him in the "log-pile," therefore

the suggestion that was to awaken him did not

occur, hence no awakening. There is no effect

without a cause (suggestion), of course without

understanding this cause and effect model, you cannot

begin to hypnotize someone.

Last winter, in Erie, three subjects left the stage

one night during the "statuary," in the latter part

of the second week of my engagement. They had

watched the performances all of the first week

and had been on the stage several nights, were

good subjects, and this night took a pre-inspira-

tion that at the fourth inspiration given in the

"statuary" they would awaken. They did so, left

the stage, said the whole thing was a "fake," but

failed to impress any of the audience.


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