From: Steven Peliari, Master Hypnotist
Creator of The Art of Covert Hypnosis
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-
butes.
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
time.
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, "When 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-
not."
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-
tion."
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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