The Real Way To Hypnotize Someone

Continuing on from our previous chapter on how to hypnotize people -


If you desire to send a person to a place of

which he knows nothing, as to the manner of going

you must necessarily give him full directions, so

nothing that is certain to occur can divert him.

So it is with a subject; he must know what to

expect and thus be freed of all fear that might be

aroused when the attributes occur, which otherwise

would cause an active mind. The falling of the

eyelids, of the head and the hands should arouse

no thought other than the one you are suggesting

to him through his ear, i. e., the thought of sleep.

This thought of sleep is one that can hypnotize someone

quite easily.

As two senses must be affected to impress a

thought, great care is necessary that whatever you

say you actually do, so the prospective subject can

see as well as hear it.

Special attention is drawn to the sentence, "If

you will do so your eyelids will get heavy and

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

remain closed." Only three in ten will close their

eyelids ; the other seven after giving you the stare

for some five minutes, must have their eyelids

closed for them. If yoU will note in the foregoing

sentence, I have said nothing about the eyelids

"not closing," but have made affirmations and

provided for the "not closing." When you say to

him, "Your eyelids will get heavy," you must then

close your eyelids. When you say, "remain

closed," your eyelids must be closed while saying

the words. When you say, "or if I close," while

uttering the words "I close," you must with your

ringers close your own eyes, taking care to imme-

diately remove the ringers; otherwise you would

convey through his eye the idea that you will hold

his eyes closed (suggested to him by seeing you

hold your own eyelids closed). Hence, if you

close them for him, when you remove your fingers,

the subject will open his eyes. When you use the

words, "head falls to the front," your head must

move forward; and when you say, "hands fall to

your sides," your hands must fall. So if you want

to hypnotize someone, know that giving a direct form

of hypnotic command like this is almost irresistible.

If you will notice, there are two ways of awaken-

ing mentioned here ; one is "When I tell you ;" the

other, "When I say ALL RIGHT and clap my

hands." (Which must be said with one breath.)

You use "ALL RIGHT and clap my hands;" the

doctor should use the other. The physician, de-

siring his patient to go away with some inspiration

given him, simply says, "When you open your

eyes you are awake," and so and so is the case ; for

an inspiration given in hypnosis can only be re-

sponded to in hypnosis. The operator in the par-

lor entertainment, when he has finished the per-

formance says, "All right," and claps his hands.

Why do I desire the subject to put his hands As to signs

togther? To see them fall. The hands will un-

consciously drift apart — the action will be entirely

involuntary, and after a pupil has watched a dozen

pairs of hands he will see that no one on earth can

deceive him, as it is utterly impossible to simulate

(consciously) an involuntary action. It is for the

same reason that I desire the head to fall to the

front — I wish to see it fall — knowing that when an Expression

action is part of a thought, to the degree that action of thought

takes place is to the extent that the thought is aroused

in tJie "mind." When the hands drop relaxed to

the sides, I know that the subject has forgotten or

lost his environment, and therefore is in hypnosis.

Now, I have told the subject exactly what would

happen. If my pupil will carefully analyze the

paragraph he will find that telling him to "Take

an easy position" is the first attribute I desire.

That to "look at the pencil," if the operator holds

it in the proper position, will force the eyes up-

turned, or converged ; that if he thinks of the pencil

he will furnish concentration. I then tell him as

to the closing of the eyes; and then, if I slip into

his "mind" the thought of sleep, I will have ac-

complished my purpose and have induced hypnosis.

This is the real key to know just exactly how to hypnotize someone.

Now stand to the left of your subject, holding a

lead pencil or your finger as in Plate III, and repeat

verbatim in a firm voice :

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

as you go deeper asleep your eyelids get heavy

and close." (Repeat until accomplished.)

The sentence of "Drowsy, sleepy, drowsy,

sleepy, et cetera, as you go deeper asleep your

eyelids get heavy and close," seems a long one.

Why not make it shorter? Why not "Drowsy,

sleepy, your eyes shut"? Is not that the same

thing? No! "Drowsy, sleepy, et cetera, as you

go deeper asleep the eyelids get heavy and close,"

makes the closing of the eyelids one of the attri-

butes of the thought of sleep ; but when you say,

"Drowsy, sleepy, your eyes shut," you are trying

to force into the "mind" of the subject two sepa-

rate and distinct thoughts ; i. e., to sleep — to shut

his eyes — which is utterly impossible. Any oper-

ator who, in giving inspirations to the subject,

leaves out his "and's," "as's" and "but's," will fail,

inasmuch as the ideas must be thoroughly cor-

related and be one thought, because thoughts may

of themselves become ideas, or ideas become

thoughts. This is the perfect example on how to hypnotize someone.

We will assume that you held the pencil over the

subject's head for some half an hour and he failed

to take on hypnosis. What is wrong? If he As to failure

is not in an easy position (No. i), that is your fault.

Is his collar too high, is his head too far back, is his

back too close to a radiator or fireplace, et cetera?

Or, if a woman, is she laced too tight, do her shoes

pinch, et cetera? Why is any easy position the

first attribute of sleep? I mean by an "easy posi-

tion" one in which the sense of feeling is not mak-

ing discomfort a dominant idea ; for if so, it is im-

possible to fade away the thought of the environ-

ment ; therefore, before sleep can be induced, com-

fort through feeling must form itself into a natural

attribute of sleep. The upturned eye (No. 2) is

also for you to furnish. Are you holding the

pencil in the proper place ? If you strain the eye,

you lose No. 1. Has the time come to close the

eye (No. 4)? Is the subject concentrated? If

not, you cannot accomplish No. 5.

It is a poor art or science if we must wait half As to con-

an hour to discover whether the subject is con- centration

centrating or not.

Having fifteen to twenty-five subjects on the

stage and a restless audience waiting for an enter-

tainment, what could be accomplished if I had to

wait half an hour for each subject, to discover if

he was concentrating?

Every time one gets a new thought the eye blinks,

although the eye may blink without a change of

thought; but never a change of thought without the


Note. — Now, dear reader, when you stand be-

fore a mirror to experiment, remember that the

making of another idea dominant is not changing

the thought. You may think you can change

without blinking, but it is like people believing

that a person can go on the stage and "fake" for a

hypnotist, both of which are directly against a set

law and impossible. If the world could learn that

those attempting to deceive, deceive only them-

selves, there would be fewer failures in life.

The moving of the eyeball shows the reviewing

of the associated ideas and always occurs in those

who have large perceptives (heavy projection over

the eyes). They will think of the pencil but will

divide and study its attributes, i. e., cost, color,

form, et cetera, and are the subjects who require

several drills. Their hands will fall stiffly to their

sides (having taken on hypnosis about ninety-seven

per cent). For complete hypnosis, the hands must

fall limply. This is the key to hypnotize someone.

If the subject gives you the "baby stare," and

you fail to hypnotize him you had better — well, I

advise my pupils under such conditions to jump

into the river and say, "Here goes nothing."

Proof of The subject being in a collapsed state or re-

hypnosis laxed condition of the muscles, we know he is in

hypnosis, but as a great many will not accept any

thought of sleep without being stretched out, it is

policy to lay them on the floor, which nearly al-

ways consummates the required attribute. The

proof that he is in hypnosis is that he is relaxed.

Perhaps he can simulate it; I can hold my arm

relaxed? All right. Man can think of but one

thing at a time ; the subject's eyes are closed. I

take hold of his arm (he relaxes it) ; with my other

hand I quickly lift his leg, and, if he knew how to

simulate, he could not shift the action in time to

deceive anyone.

A subject being in all the conditions of sleep is

of no value to me, — the operator. I want one

seemingly awake. Consequently, I want now to

partially unbuild what I built. First, I give him

what I call the "Ear Test," the object of which is

to find if I can replace the thought (cylinder) of

sleep with another thought (cylinder) having a

perceptible action to it. Therefore, I say to him,

"Your right ear (touching it) smarts, burns, stings,

itches, and will stop only when you rub it a long

time with your right hand," making with my

mouth expressions of pain. If the subject rubs

his ear, I have a demonstration that I have changed

the thought. If I say to him, "Your ear smarts,

burns, stings, rub it," would I get any action?

No, he would simply ask me which ear, if his cere-

brum was active. Therefore, it is necessary for me

to designate the ear, or properly, to state which

ear, and touch it. I now tell him, "Your right ear,

or this ear (touching it), smarts, burns, stings and

itches, rub it." Will he rub it? He will not. but

will ask me why he should rub it, if his cerebrum

was active, but if I said to him as above mentioned,

"it will stop only when you rub it" he rubs it to

cause it to Plop, not because I told him to rub his

ear. which I failed to do. Man does nothing be-

cause he is told to. While he is rubbing the ear I

call to him, "The pain has stopped." Instantly he

ceases to rub it. Is the subject now in hypnosis ?

No, because he has the thought that the "pain has

ceased" instead of the thought of sleep. His

muscles are contracted into the position he hap-

pens to be in, the eye can be turned down ; the in-

experienced would say he was in hypnosis, the

same as when lying limp on the floor. My experi-

ence proves to me that he is not in hypnosis; he

has the thought of "no pain" which is a blank

thought similar to the thought of sleep, but you

will find that the muscles are in a different condi-

tion. So understanding this different condition is one

key to understanding how to hypnotize someone.

Voice rules The subject can only respond to my voice, he

being free of his actual environment. My voice now

being his environment, I must pull apart nearly all

that has just been brought together. To open his

closed eyes is the most powerful suggestion of be-

ing awake. If I could only teach the subject now

to open his eyes, to turn them down and still re-

spond to my voice only, he would be in the condi-

tion I desire. So I say to him in a firm voice :

Unbuilding "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 this.)

I then cause him to rub his knee in the same

manner as I cause him to rub his ear, by designa-

ting the knee as follows : "You have an awful pain

in this (touching it), the right knee, and it will

stop only when you rub it a long time with both

hands." While the subject is rubbing, I say,

"When you look at it it will be a thousand times worse.

Now open your eyes." If he opens his

eyes and continues to rub it, he is practically my

subject for the first time. In this way we play on

him a psychological trick; first bringing up in his

"mind" the thought of pain; then disassociating

the opening of the eyes with the idea of awaken-

ing, and substituting for it the idea of more pain.

We do not tell him that "When you look at it, it

will be a thousand times worse ; now look at it."

Because, if his cerebrum was active, he would re-

fuse to look at it. We tell him to open his eyes,

and if he opens them, he certainly will look at it.

We now say to the subject, "Close your eyes, the

pain has ceased;" then saying, "When you open

your eyes you will find yourself on the floor.

Naturally you will get up and sit on the chair.

The moment you sit down you will discover that

you have a very severe nose bleed ; now open your

eyes," the "now" being necessary as a conjunction

to connect it with the previous statement. Other-

wise, the subject would be likely to take the sen-

tence, "Open your eyes," as a separate thought, do

so and lie there on the floor with his eyes open.

The subject opens his eyes, gets up, sits on the

chair, and discovers his nose to be bleeding. Is

this subject now in hypnosis? Decidedly not.

His muscles are contracted, in response to his feel-

ing (environment) ; his eyes are open and in the

"normal" position; he is not necessarily in a com-

fortable position. Other than that his cerebrum

is inactive, or that the thought of a nose bleed has

been put into an automatic action through his ear,

no sense will respond to his environment unless it

has a relationship to his present thought; he will

continue to give action to all the variations of that

thought until the operator's voice changes it. This is the true

way to hypnotize someone.


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