Wltl a nd arid thn ird full lh ecrt U alrong and dfect

«n impr» .»lun «bal your memory «»revalle even when they aliuífltf thi> c«rdh

N'-w „turo ü, the ,h.r1y.o,M. «Utk'd .ardv í,.ve II fl ÍM"

" "'V* 'ard» la,, Up on ,h4. pwUfnd 0(U(. „^í,, «o i""M'n/' 1,1 - ^ You a,., loohng .,« ihe .ame order yoo u<«d

' """ n t. ZZ^T TIi>U 'hMy ,w"'M " "!;

mnimonk a y 203

for «he Ibird le,«, huí aíter MH.,nK man . recognl/e IhU. 1 ,m',ht'

)ífering an ullimal« !.->« oí ytmr memory, i,lm

en<e I lave «onieone ñame «ny on.. (,l llw 4, h " 1,1 ""ll wrltten down, and Iben «he. eriir„l. .,rd .•( rt,i• '"iH ' u"" lwv'

notódinlhat order Hav« anolher M**ui„, „„„,,.

M'tjuence lh

qulckly pro. - <1 lo ñame «h,. a,da |ymK .. / v"u Yo"

Mnally, írorn Ihe l„h, memo,./,d ordar («luí »pr,„| cw ,lur ublí, , rf "";";,,,'",Ur "»-"-"i•

lell all thlrly-oneol Ihem. w '


A, l've «laltfd, «hh U my praíern-d handling, bul you ihoukl rpad lh« One uatng /aro* íin»l( lo heder undemland Ihl* rmc ll.gln wltli ihlrly tarda nrranged ín mnemonl. ..rd.-r, ín»m I lo >1 I M,|*|n llial ,■,,„ .,„■ dboul i» memorÍ7x' Ihe order oí Uw rar.l*, ai u.me íanuai« KUiihler* .In Allri Mlllll' |<»|t>i» ^tllifíllri^ dOái M'Ví f.ll culi fll'llvcri •) l.llMf (lr.ll

Urur ImimU oí eiglit« ató* fmm lof! to rt^i«, luminK up vm h i .»r.l «i 11 i* cJcmIi, A< lu.illy, iIh* Mil hiind wlll rm*iwi>nJy ^vm < bul |tdu -.n'l mMivr (Plfi. 10). l

Aít MWWOflC9 lo |»fiinl In oiw ni tli» four luuui* l'r» tffwí (n mvmori" llic CiinJ* ln (liait hiind íiíuJ, wilh your bíi<k lurunl, mi ir llwm /.hI.Iim^ íoilf lo lili» hl.u ^ Vfllue ni r.u hC<lf«l lo ili h rilillir l}n fU^IOIW) FUfíl UíliU ' lh»' autllnu <»Agüln airui tppmt lo nurmort/4 0»'* r» ^i "I IhttüénU Ai* yon go

Ihrou^h ihl» (Wfi'n^f, «»pw latón lo wnir down tli*' rwmn of wvml group* ní Ihree ndjACtrnl Ctfftb <»1 ihb flnl ordíT

< /.ilhi?r Ihl' by Uylr»)' llw ínurili fwml ow llu- Ihird, Hw ovw ihr «crctind «nd Ihtf lot ()V«r ihr íir-»f lurn «rvr#yfli»ri|fi üiwn .i/vl,iNr more íalnc •huííÜn« and np<* Minr«uto, tlr-il twa plí^ 1 í,r 41 ,lírMr' toe c- up) it»i oni^on onr t iiiUm^ HÉu^n mi 0 W>

204 S Juan Tamariz

, ,h„ memorization and recitation of one of the two packets (this ReFT! JTht to the value of each card). And once more pretend ,0 htnC "i ! cards, as the spectators write down groups of three adja-

■11 the cards, as the spectator ».- t> r- ».ree ad)

W€W°n? Z , .his second order. Gather the two spreads, place one ov CCnt SLe more false shuffles combined with honest cuts.

first did. four face-up hands (the first three receiving eight TLd die last one getting seven). Ask the spectators who wrote down ' of „rds to note that these cards are no longer together, but lie, after ?Tr£uch shuffling" at different and distant positions. Pretend to memo-Te toe order of the cards and then recite a couple of hands (this time the caids go in straight mnemonic order). Gather the cards as before (fourth over third, and so on).

Now set aside the thirty-one cards you've been using, pick up the

Packet of twenty-one unstacked cards and proceed, as in the version with faros described earlier, to march to a stunning climax.*

Tell those who have listed the groups of cards to put the day's date on them and keep them. Explain that you have memorized all the orders of that dav for the rest of vour life. Tell them to ask you at any time in the hi hire—whenever they see you or communicate with you by phone, fax or e-mail—for one of those groups of cards, telling you the order in which the>- belong and the date of the performance ("because each day 1 deal with different curds m many different orders"), and you will be able to remember them. And it's true, isn't it?

\Shen anyone takes you up on this, you can respond accurately, and be the cause of more than one heart attack, to everyone else's delight. ncm ii

This antifaro handling is a very natural one, as it can be framed within the context of gamblers who memorize the cards dealt during a game. I enthusiastically recommend it.

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The Illustrated Key To The Tarot

The Illustrated Key To The Tarot

The pathology of the poet says that the undevout astronomer is mad the pathology of the very plain man says that the genius is mad and between these extremes, which stand for ten thousand analogous excesses, the sovereign reason takes the part of a moderator and does what it can. I do not think that there is a pathology of the occult dedications, but about their extravagances no one can question, and it is not less difficult than thankless to act as a moderator regarding them.

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