Genuine East Indian Magic

The real magic of India is of two types (1) "Illusionary Magic" in which the magician causes the effect to appear within the mind of the observer. This magic is related to hypnotism in its effect, but is caused, it is said, by a psychic process rather than a psychological one. It is known as the intermediate magic. (2) "Creative Magic" is the magic of the Masters in which the processes of nature are influence directly by creative mind. It is known as the high magic. Also, in the High Magic the Yogis place Astral Plane Phenomena in which are developed the extra sensory perception (ESP) powers of the magician. In this text, you will learn the secret techniques for the practice of these magics, as explained by Sadhu Parimal Bandu.

As I wrote in The Secret World of Witchcraft, the real magic of India is rarely found in the big cosmopolitan centers visited by the tourists, it is performed mostly in the back country for the native population. Thus, magic of this type is but seldom seen by western eyes, and one must probe deep into out-of-the-way places to find it. But it is there for the seeking. It is in such remote villages that a performance of the legendary "East Indian Rope Trick" may be found.

The performance of this fabulous illusion usually takes place in the open air, at a busy place in the village where a crowd will quickly gather. Believe me, a crowd can gather more quickly in India than in any place else in the world. It's like magic in itself. The magician takes his seat, squatting on the ground in what is called "the lotus position," with his knees out to the sides and his feet twisted into his lap. Then he enters at once into a state of intensified concentration.

The magician's assistants, seated at one side, now begin a crescendo of sound on cymbals and dull-sounding drums, producing a weird rhythmic cadence. Accompanied by this rhythm, the magician begins a slow, monotonous chant that produces a drowsy, hypnotic effect on the crowd. The words of the chant always seem to end in the syllable of "aum-m-m-m," resembling the drowsy hum of the bumblebee. Gradually, slowly but surely, a monotonous vibrating rhythm is created which is felt as definitely as it is heard by the spectators.

Wintertime in the northern village of Guimarg, Kashmir, India. In the smaller towns the searcher can witness some of India's most remarkable magic accomplished through the power of may a.

As a prelude to the performance, various tricks of the Hindu fakirs are now presented (such as you have previously read). This conjuring stirs the imagination of the witnesses, captures attention, and builds the crowd. The performance of "The East Indian Rope Trick" is about to begin.

Having completed his introduction of Hindu conjuring, and with a large crowd now assembled, the magician takes a sharp stick and draws a circle some twenty feet in diameter into the dirt of the ground. Those who wish to witness "The Rope Trick" are invited to stand within this circle. Many do, but there are always those who do not dare. The magician is now concerned only with those who stand within "the charmed circle" for they are to see a miracle of magic. He returns to his lotus position and while accompaning himself with his montonous chants begins rocking his body in circular motions of rotations from his hips upwards. In India they call this "the hypnotic sway;" it is performed in imitation of the cobra as it charms its prey. Strangely it grips the attention of the spectators within the circle, and they watch in silence. If one amongst them could but take his eyes free of the magician for but a moment, it would be seen that the crowd sways in unison.

Unfolding his feet, the magician slowly rises and taking a sizeable coil of rope which has been presented to him by an assistant, he swirls it through the air. As if suddenly gripped by an unseen hand from the sky, its end is pulled swiftly upward, and it hangs in midair suspended between heaven and earth. A muffled gasp is heard from the spectators.

The magician pulls upon the rope and it seems solidly supported in the air. As the muffled drumming continues, the magician motions to a boy in the crowd to come forward and climb the rope. Hand over hand the lad mounts the rope

In the bach country where exhibitions of the real magic of India are found. Traveling down the lush waterways of the Kerala, one can go from one little town to the next seeking out some of India's great mysteries of magic.

until he finally straddles its tip high up in the sky. With a wave of his hand, the magician causes the boy to vanish from the top of the rope. The spectacle is beyond belief, and the spectators can but gaze in speechless awe.

The magician then calls upon the boy to reappear, but there is no response. He increases his demands, but to no avail. Then, grasping a sword, the magician, himself, climbs the rope. Arriving at its tip he disappears into thin air. Only the magically suspended rope is now seen by the witnesses, but shouts and cries of pain are heard from the atmosphere high above the upturned faces of the crowd.

Suddenly the severed arm of the boy drops from the sky above and falls to the ground. The crowd leaps back! Another arm quickly follows, then the severed right and left leg, the cut up torso of the boy and his mangled head drop to the ground. It is a gastly sight.

As mysteriously as he vanished, the magician reappears at the top of the rope and descends it to the ground. Aided by his assistants, the magician gathers up the dismembered portions of the boy's body and places the pieces in

A combination of England and India is observed in this magnificent structure, The Victoria Memorial. Located in Calcutta, it was built by the British Viceroy, Lord Curzon, during the reign of Queen Victoria. Designed entirely in marble, it attempts in one breath to suggest both St. Paul's Cathedral of London and the Taj Mahal of ancient Delhi.

A combination of England and India is observed in this magnificent structure, The Victoria Memorial. Located in Calcutta, it was built by the British Viceroy, Lord Curzon, during the reign of Queen Victoria. Designed entirely in marble, it attempts in one breath to suggest both St. Paul's Cathedral of London and the Taj Mahal of ancient Delhi.

a basket. The basket is placed beneath the suspended rope. With a clap of the magician's hands the rope drops into the basket and at the same moment, the boy stands up from same, alive, well, and his body perfect.

The remarkable "East Indian Rope Trick" is over.

Without question "The East Indian Rope Trick" is the world's most famous feat of magic. It is talked about, written about, and conjectured about, yet surprisingly it has been seen but by a very few outside of India, however those few world travellers are sufficient for it is a never-to-be-forgotten experience that stirs the imagination of everyone. With the performance of magic of such an amazing nature, it is to be little wondered that speculation has arisen asserting the audience must be hypnotized to see such an occurrence. I asked Parimal Bandu about this, he nodded slowly and said, "Yes, it is hypnotism of an oriental kind, but it is quite different from the psychological hypnotism you know in the west. In India, it is what we call 'maya.' "

I have mentioned maya in my previous books in this trilogy. Maya is indeed a type of hypnotism, but of a unique oriental type that is produced through the use of suggestion combined with the visualized and projected concentrated thought of the magician to conjure up illusions within the mind(s) of the spectator(s). Combined with crowd psychology, with it accompanying hynotic effects, the results are startling. It is this principle of maya which is much used by the intermediate magicians of India to produce their most effective magic.

To appreciate maya one must recognize that telepathy (which is only now being given serious study in the Occident) has been an accepted part of oriental psychology for centuries. Every English person, who has lived in India, knows of the native "mental telegraph" by which important news is transferred. The history of England's rule in India is filled with many instances of this. News and general information were flashed from one end of India to the other, even before the days of radio. Let there be an uprising, a rebellion, or even a minor disturbance in some remote and inaccessable corner of India, and, before the day is past, natives in other parts of the land, often thousands of miles away, will be found to be fully acquainted with the fact.

On tour in India, Virgil and Julie (The Great Virgil Show) performing a stage version of the legendary "East Indian Rope Trick."

Through long years of association with it, eastern people have become far more sensitive to telepathy than people of the west. There is a general mental attitude of the acceptance of extra sensory phenomena that seems to make the oriental mind most receptive to thought vibrations. The general sensitivity, developed over many centuries, produces in the masses a blending, fusing, or harmonizing of thought called "thought contagion." All crowds of people feel this, but the East Indian people are especially open to it.

What is more, it has been discovered that when crowds of people are gathered together a peculiar amalgamation of their respective mental activities occurs. Mental action and reaction within massed crowds, usually below the threshold of consciousness, produces an average mental attitude; the various individuals adopt this average attitude in place of their own. Crowds of people under this influence lose their individuality and respond to group psychology and manipulation.

My good friend Parimal Bandu in India explained this to me. A crowd of natives around an oriental magician soon respond to "thought contagion" and become submerged in the average mental atmosphere. This condition of psychic receptivity is greatly conducive to the success of the wonder worker.

In the production of this form of magic, Bandu told me, the magician employs the power of "concentrated visualization," energized by what is called "prana." By directing his will, the magician causes his mental images to project themselves as real to the vision of his audience. In this way, he produces an illusion—a form of which the Adepts call maya, whereby the senses of the observers report as fact things that have no real existence. In other words, the magician creates and projects a powerful and concentrated thought form, which to the observers seems temporarily to exist as reality. Here, at last, is the real secret of the famous "East Indian Rope Trick."

Telepathy has an important place in relation to oriental wisdom and you will learn more of using this maya as you delve deeper into the real magic of India.

It is held by the Hindu Sages that there is-no magic that is supernatural. The supernatural belongs to the superstitious, while real magic is supernormal. In otherwords, magic is above and beyond the normal occurrences in nature but functions always in complete accordance with her laws. The Adepts instruct that there are three principles of nature which combined correctly are the source and power of all magic. They are, viz.: 1 Akasha, the etheral substance pervading all space, and from which all material forms are produced. 2 Prana, the subtle energy which animates and energizes all nature. 3 Creative Mind, the mental element in which all designs are created in imagined form, after which they become materialized in objective form through the action of visualization, accompanied by the action of prana operating upon the akasha which is the essential and original state of matter.

The western student will recognize in these three principles the basis of all created matter as observed by science, the akasha being the all prevading atomic material in space from which all matter is formed, the prana as the energy force (including life) which animates and energizes all things, and Creative Mind as the designer of matter, as is expressed so well in the phrase, "What is to be must first be created in the unreality of imagination before it can

Dal Lake Srinagar, the Kashmir center of magic. When you visit this beautiful and remote area, you can live in these little houseboats right on the lake. The houseboats can be moved from one part of the lake to another. Srinagar is the base for visiting the rest of the valley.

become material reality." In one particular instance however, eastern thought has advanced beyond western thought in that while the Occident uses these factors in nature indirectly, oriental thought affirms they can be controlled directly by mind, and in that step forward we have magic. As this book deals in the oriental methods of using that magic, I will instruct you in the Yoga way. Accordingly, I will now outline each of these three basic principles in closer detail in order that you will understand this oriental wisdom and subsequently learn how to make use of these finer forces of nature.

The Principle of Akasha. In the Hindu teachings, it is held that there exists a universal material principle which is known as akasha. Akasha is the basis for all matter, yet it is not to be identified with matter in any of the forms by which we know it through our senses. Rather, it is the "subtle essence" from which all that we know and experience as matter is evolved and produced. It is held to pervade all space, and as such is omnipresent. It is taught that all forms of matter, from the rarest gasses to the most solid of metals are evolved from this subtle principle. Therefore, akasha is regarded as the essential base substance of all material things, from atoms to stars, from microscopic forms of life to man, and it may be molded and formed by Creative Mind through the agency of prana.

As such, it is the way that God, as the First Cause, created the Universe and all that is, and man as created in God's Own Image likewise has access to using this basic material for his own creations.

Akasha, in its original and elemental form, is held by the Yogi teachers to be undifferentiated, simple, ultimate, and without any of the qualities or properties manifested in its countless derivative forms which we know as matter. It is infinitely finer, more subtle, and more tenuous than any known form of matter—even the thinnest of gases; it is reported to pervade all space. It is held to be of "infinite thinness and rarity, subtleness and tenuousness." The finest gas or vapor is much more solid than it, as the most solid rock or metal is more solid than such gas or vapor. Its degree of fineness and nonsolidity is such as to be quite beyond the imagination of man. Akasha is held to be without life, mind, will, or consciousness, and to manifest the forms of these only under the influence of Creative Mind assisted by prana. To reiterate, as such, akasha becomes the infinite supply of basic material from which every material thing is formed in endless variety.

The Principle of Prana. In the Hindu teachings, it is held that there exists a universal principle of energy which is known as prana. Prana as the universal energy source is dual in nature, it being the source of all motion, all force, and all active power. Also, it is the source of all vital energy, or life force. As prana is the energy source for the performance of all magic, it is important that you understand it well. Here is what oriental scholars have to say on the matter:

Yogi Ramacharaka states, "Prana is the name by which we designate that universal principle which is the essence of all motion, force, or energy whether manifested in gravitation, electricity, magnetism, the motion of the planets, and in all the activities of life, and in all forms of life from the highest to the lowest. It may be called the soul of energy, and it also is the principle which, when operating in certain ways, causes that form of activity which distinguishes life. It is the active principle in life; it is the vital force. Prana is all pervading. It is found in all things having life, and as the ancient teaching is that there is life in everything in the universe (both animate and inanimate), in that sense everything is living.

"Prana is in all forms of matter, yet it is not matter. Prana is in all forms of mind, yet it is not mind. Prana is in the air, yet it is not air. Prana is in every breath, yet it is not breath. Prana energizes all things, yet it is not those things in themselves. We can best understand the concept of prana by thinking of it as living force, or, more properly still, as the essence and principle of living force."

Swami Vivekananda says, "The universe is manufactured from its subtle material (akasha) by the power of prana. Prana is the infinite, omnipresent manifesting power of the universe. At the beginning and end of its especial cycle every material substance is resolved into its elemental and most subtle state or condition; all the forces of the universe are resolved back into prana. Thus, out of this prana is resolved everything that we call force; it is prana that is manifesting as motion in the operation of all things in obedience to the physical laws of nature, and it is prana that is manifesting in the actions of the body as the nerve currents, as thought-force. From the highest forms of thought down to the lowest physical force, everything is the manifestation of prana.

"To achieve the subtle perception of the finer forces which are operating in the physical body, we must first commence with the grosser perception and understand that the force which is setting the whole machine in motion is that of

Fakirs learn magic at an early age. Here a child magician performs the feat ofpassing a trident through the tongue.

A Fakir thrust a knife through the neck of a child magician. Blood runs freely, but moments later the child is unharmed. (Courtesy The Great Virgil Collection)

prana, the most obvious manifestation of which is the breath. Then, along with breath, we slowly enter the body, and are thus enabled to discover the subtle forces of the nerve currents which are moving all over the body. As soon as we discover the latter, and learn to feel them, we begin to get control of them which in turn gives us control over the body. The mind also is set in motion by these different nerve currents, so in our developing control of prana we ultimately reach the state where we have perfect control over the body and mind, and make both our servants. Knowledge is power, and we must first get this power by beginning at the beginning, and the beginning is the control of prana by means of Pranayama. Pranayama is the knowledge and control of prana.

"Pranayama opens to us the door of most remarkable powers. If one understood prana perfectly and could control it, every form of magic lies at his beck and call. He would be able to do all manner of amazing things, and be a magician of the highest sort. All because he would control prana. This is the aim of achievement in mastering Pranayama. When the magician becomes perfect in mastering prana, the finer forces of Nature will be under his control. When the uninformed see these powers they call them miracles, and the greatest miracle worker is he who has grasped prana as through it he grasps control of the finer forces of the universe both mental and physical. He who has control of prana has controlled his own mind, and the minds of others. He who has controlled prana has controlled his own body, and the bodies of others, because prana is the generalized manifestation of force."

The genuine Hindu magicians practice the methods of Pranayama, methods in which I will instruct you in this book, for the purpose of getting control of prana, and in direct ratio to the achievement of that control does one advance to the status of a Master.

And the control of prana has it purpose in matter of health as well, for by means of the control of prana is vitality increased, for prana is the creator and supporter of vitality. Prana exists in the atmosphere, and when one breathes into his lungs the air of that atmosphere he also breathes in prana. By means of certain Yoga methods, one can raise the degree of circulation of the prana in the blood and in the nerve currents and in the organs of the body bringing health and well being to the body. A detailed discussion and instructions for the application of these Yogi methods of health will be found carefully considered in relation to the practice of Yogi Therapeutics in Religious Mysteries of the Orient (pub. A. S. Barnes and Co., Inc. 1975).

The Yogis in their practice of Yoga are very interested in this health and healing phase of the magical powers. For such purpose, Yogis apply these same principles and direct them towards self-development and supernormal control of mind and body. The yogis function as the teachers, and their instructions take a variety of forms, which are designated as different types of Yoga.

The Principle of Creative Mind. In the Hindu teachings it is held that there exists a universal mental principle which is known as "Creative Mind." Its essence and elemental character may be described as being something like a blending or combination of imagination and will. Each individual is possessed of a portion of this Creative Mind, and is able to use it in the direction of visualization and projection upon the Material Principle (akasha) aided by the

A visit to Sonmarg, Kashmir, situated in the foothills of the Himalayas. Kashmir has been called "A PARADISE ON EARTH" at an elevation of nine hundred feet. Here in the Himalayas one can occasionally witness demonstrations of the high magic of India.

Energy Principle (prana) so as to create there in material form the reproduction of that which he has previously visualized in ideal ,form in his mind.

This Creative Mind Principle, present in man, is the instrument whereby he performs (consciously or unconsciously, for good or for harm to himself and others) his creative acts; it is the controlling instrument for the performance of all acts of genuine magic.

The Hindu teachings do not hold that this principle of Creative Mind is pure spirit, nor do they hold that it is identical with the ego or "I" of man. The "I" of the individual is held to be pure spirit (the soul) which is something over and above the mental faculties and instruments of expression. Accordingly, the Creative Mind is held to be entirely an instrument for the control of power as it is directed by the "I" of the individual. I will not attempt to follow oriental thought into the realm of pure spirit as it is outside the purpose of this volume of the trilogy. The student will find much on pure spirit manifestation discussed in Religious Mysteries of the Orient. Sufficient for the present consideration and instruction is to appreciate the self-evident fact that the individual "I" is the central essence and point of one's being, which he speaks of as self, from which proceeds all the physical and mental organs, parts, powers, talents, abilities, and faculties which are instruments or channels of expression and manifestation of his specific individuality. Among these instruments of expression for each individual stands most importantly the one known as Creative Mind.

The Creative Mind of Man, according to the Hindu teachings, as I have said, is a curious and interesting blending of the elements of imagination and will. The element of imagination, or "Image-Making," creates and produces the mental or ideal pattern upon and according to which the outward or objective form is reproduced and manufactured. The element oîwill serves to project and hold firmly fixed the ideal form visualized by the element of imagination, until upon and around it are deposited and formed the essential substance of the akasha, the m'aterial element from which all material forms and things are created and composed. In this process, the prana, or Energy-Principle is

employed in the creative work of manifesting the visualized ideal form as stated above.

In considering the elements combined in the Creative Mind Principle, the student must not fall into the error of thinking of the element of imagination as being that of mere fancy, or fanciful idle-thought thinking. Such idle fancying is but day-dreaming and is not the real essence of creative imagination. Creative imagination on the contrary, is the real constructive, inventive, designing, creative faculty of the mind. From it arise all great inventive work, all plans and designs, all artistic creations, in fact all models and plans and designs, all artistic creations, in fact all models and plans of things that are to be created and made into material reality. Also, it conceives the actual building processes by which such plans are carried out.

Creative imagination is thus seen as the great constructive and creative principle of the mind of man from which all of his achievements have developed, directly proceeding from the application of this inherent principle of his mentality.

As a portion of creative imagination belongs to each individual, obviously western people are no strangers to it. Indeed, creative imagination has been tremendously active in the Occident. One has but to look around at the many achievements in architectural masterpieces, inventions, even the conquest of space to instantly appreciate this. Every man-built structure is merely a material representation or reproduction of some man's or men's mental image. And every such mental image, design or plan that has ever been formed in the mind of man, was formed first in his creative imagination.

As commented, a unique point in which the oriental sages advance beyond western man in his creative use of imagination is in the premise that blended with will, it can create material representations of itself directly independent of the need for laborious physical proceedings of manufacturing. In other words, the Hindu teachings hold that mind, when advanced enough, has the power of materializing physical creation directly itself. The achievement of this is the aim of every magician, the skill is but rarily obtained except in advanced Adepthood, but it is said to be there as part of man's mental inheritance to be used when he evolves sufficiently to make use of this godlike ability.

The achievement of that power is the basis of The High Magic of India and Tibet (both of which are synonymous as many of the more advanced East Indian Sages seek the solitude of the high mountains in Tibetian monasteries for pursuing their studies) in which nature is directly controlled by mind. Sadhu Parimal Bandu presents a study of this high magic (which he termed The Sacred Magic of Tibet) in The Secret World of Witchcraft—see chapter twelve, pages 160-168.

The Hindu teachings inform us that all magic creations of any kind are first designed in the image-making faculty of imagination of the magician. The clearer and stronger such mental images, the stronger and clearer will be the effect produced in the form or activity reproduced in the physical world. Accordingly, they teach that in concentrated visualization (the formation of strong concentration upon mental pictures) is found the first step of the process of magical materialization. The Hindu mystics devote much study, great care, and time to cultivation of this power of concentrated visualization. By

Eleven thousand seven hundred and fifty feet in the Himalayas at the Kedamath Temple along the pathway trod by pilgrims yearly. Many Yogis join the travellers and proceed onward into the mountain vastness to the Tibetan monasteries to study the high magic.

employing the crystal ball for this purpose they acquire a marvelous proficiency in the skill; you will also be instructed in the skill.

The element of Will, when it is combined with imagination in Creative Mind is of obvious importance; it is the driving force of achievement. Will, according to the teachings of the Hindu Sages, is the instrument whereby the visualized picture of the magician is projected upon the askasha, and then held firmly there until the materialization is completed. In this process of projection certain techniques must be employed. These will be taught you in subsequent chapters of this volume.

The Hindu teaching informs us that the visualized mental-picture may be projected by the trained will to great distances in space. It is taught that an Adept may by "will projection" cause his visualized mental picture to appear in places as he wishes; there to materialize itself by mean of the employment of sufficient prana. The mental-picture so projected is then "held firm" by the will until the manifestation is complete. Distance is never any barrier to mind. This principle, in varying degrees of performance, is employed consciously or unconsciously, as the case may be, by every person performing any act of magical procedure, no matter under what name the process is applied and manifested. It is one of the basic processes for the operation of genuine magic.

In all works related to the real magic, one will find references made frequently to the human will and its powers, but very little instruction has ever been given as to how the will must be developed and trained to be properly used in such processes. You will be given this instruction. For the moment, just bear in mind the fundamental fact that the will is employed to support and "back up" the visualized mental-image after having been employed to project the image toward the scene of its future activity. Such is the action of will in magic.

Imagination and will are "the magic twins" of the Principle of Creative Mind. When energized by prana such are drawn into the mind and nervous system of the magician to a powerful degree producing genuine East Indian Magic. Of such is the teachings of the oriental Masters.

You now have knowledge of the three types of magic of India, viz.: 1 Hindu Fakir Magic. 2 Illusionary Magic of Maya. 3 Creative Magic. You also have knowledge of the trinity of the sources of magical power, viz.: 1 Akasha. 2 Prana. 3 Creative Mind. Also, there is a fourth which is related to the third that pertains to the extra sensory powers of the magician. You will learn how to develop these powers for the performance of real magic.

As I glanced up from my notes, Parimal Bandhu looked directly at me and said, "Let me emphasize the importance of what I have told you by putting it in the words of the great teachers who exclaim, '0, student, learn well of the basics of akasha, prana, and creative mind for such are the foundation stones for the performance of all magics.' "

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  • filibert
    How to make IndianRope20TrickRemoteControlMagicTricks .?
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