The art of ventriloquism, therefore, consists in the power of imitating all kinds of sound, not only in their ordinary character, but as modified by distance, obstructions, and other causes; and also in the power of executing those imitations by muscular exertions which cannot be seen by the spectators. But these powers, to whatever degree of perfection they may be possessed, would be of no avail if it were not for the incapacity of the ear to distinguish the directions of sounds—an incapacity not arising from any defect in the organ itself, but from the very nature of sound. If sound were propagated in straight lines, like light, and if the ear appreciated the direction of the one, as the eye does that of the other, the ventriloquist would exercise in vain all the powers of imitation and of internal utterance. Even in the present constitution of the ear, his art has its limits, beyond which he must be cautious of pushing it, unless he calls to his aid another principle, which, we believe, has not yet been tried. In order to explain this, we shall analyze some of the most common feats of ventriloquism. When M. Fitzjames imitated the watchman crying the hour in the street, and approaching nearer and nearer the house, till he came opposite the window, he threw up the window-sash, and asked the hour, which was immediately answered in the same tone, but clearer and louder; and upon shutting the window, the watchman’s voice became less audible, and all at once very faint, when the ventriloquist called out, in his own voice, that he had turned the corner. Now, as the artist was stationed at the window, and as the sound from a real watchman must necessarily have entered by the window, the difference between the two directions was considerably less than that which the ear is unable to appreciate. Had the ventriloquist stood at one window, and tried to make the sound of a watchman’s voice enter another window, he would have failed in his performance, because the difference of the two directions was too great. In like manner, when M. Alexandre introduced a boy from the street, and made him sing from his stomach the song of Malbrook, he placed his head as near as possible to the boy’s chest, under the pretence of listening, whereas the real object of it was to assimilate as much as possible the true and the fictitious direction of the sounds. Had he placed the boy at the distance of six or eight feet, the real singer would have been soon detected.

We have made several experiments with a view of determining the angle of uncertainty, or the angle within which the ear cannot discover the direction of sounds; but this is not easily done, for it varies with the state of the air and of surrounding objects. If the air is perfectly pure, and if no objects surround the sounding body, the angle of uncertainty will be less than under any other circumstances, as the sound suffers neither deviation nor reflection. If the sounding body is encircled with objects which reflect sound, the echoes arrive at the ear, at short distances, nearly at the same time with the direct sound; and as they form a single sound, the angle of uncertainty must then be much greater, for the sound really arrives at the ear from various quarters. The ventriloquist, therefore, might avail himself of this principle, and choose an apartment in which the reverberations from its different sides multiply the directions of the sounds which he utters, and thus facilitate his purpose of directing the imagination of his audience to the object from which he wishes these sounds to be thought to proceed.

Quarterly Review.

THE GATHERER

A snapper up of unconsidered trifles.

SHAKSPEARE

EPITAPH ON STERNE

How often wrongs our nomenclature, How our names differ from our nature, ’Tis easy to discern: “Here lies the quintessence of wit, For mirth and humour none so fit, And yet men call him—Stern—e!”

LADIES FORMERLY IN PARLIAMENT

(For the Mirror.)

Gurdon, in his Antiquities of Parliaments, says, “The ladies of birth and quality sat in council with the Saxon Wita’s.” “The Abbess Hilda (says Bede,) presided in an ecclesiastical synod.”

“In Wighfred’s great council at Beconceld, A.D. 694, the abbesses sat and deliberated, and five of them signed the decrees of that council along with the king, bishops, and nobles.”

“King Edgar’s charter to the Abbey of Crowland, A.D. 961, was with the consent of the nobles and abbesses, who subscribed the charter.”

“In Henry the Third’s and Edward the First’s time, four abbesses were summoned to parliament, viz. of Shaftesbury, Berking, St. Mary of Winchester, and of Wilton.”

“In the 35th of Edward III. were summoned by writ to parliament, to appear there by their proxies, viz. Mary Countess of Norfolk, Alienor Countess of Ormond, Anna Despenser, Phillippa Countess of March, Johanna Fitz Water, Agneta Countess of Pembroke, Mary de St. Paul Countess of Pembroke, Margaret de Roos, Matilda Countess of Oxford, Catherine Countess of Athol. These ladies were called Ad Colloquium et Tractatum, by their proxies, a privilege peculiar to the peerage to appear and act by proxy.”

P.T.W.

N.B. They no doubt manfully asserted their colloquial rights.

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The Mirror of Literature, Amusement, and Instruction. Volume 17, No. 484, April 9, 1831

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THE GATHERER

EPITAPH ON STERNE

LADIES FORMERLY IN PARLIAMENT

(For the Mirror.)

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