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INTRODUCTION 

Illusion

An illusion is a distortion of the senses, revealing how the brain normally organizes and interpretsensory stimulation. While illusions distort reality, they are generally shared by most people. Illusionmay occur with more of the human senses than vision, but visual illusions, optical illusions, are the moswell known and understood. The emphasis on visual illusions occurs because vision often dominates thother senses. For example, individuals watching a ventriloquist will perceive the voice is coming from thdummy since they are able to see the dummy mouth the words. Some illusions are based on generaassumptions the brain makes during perception. These assumptions are made using organizationaprinciples, like Gestalt, an individual's ability of depth perception and motion perception, and perceptuaconstancy. Other illusions occur because of biological sensory structures within the human body oconditions outside of the body within one’s physical environment.

The term illusion refers to a specific form of sensory distortion. Unlike a hallucination, which is distortion in the absence of a stimulus, an illusion describes a misinterpretation of a true sensation. Foexample, hearing voices regardless of the environment would be a hallucination, whereas hearing voicein the sound of running water (or other auditory source) would be an illusion.

Just like many other words often used in a different sense in spirituality the word "illusion" is used tdenote different aspects in Hindu Philosophy (Maya). Many Monist philosophies clearly demarcatillusion from truth and falsehood. As per Hindu advaita philosophy (experiencing all as "One") , Illusiois something which is not true and not false. Whereas in general usage it is common to assume thaillusion is false, Hindu philosophy makes a distinction between Maya (illusion) and falsehood. In terms othis philosophy Maya is true in itself but it is not true in comparison with the truth. As per thi

philosophy, illusion is not the opposite of truth or reality. It does not mean the world is not real. Thworld is only so much real as the image of a person in a mirror. The world is not real/true when compareto the reality. But the world is also not false. Falsehood is something which does not exist. if we applthis philosophy to the above example, the illusion is not actually illusion but is false. This is because igeneral usage people tend to consider illusion to be the same as falsehood. The truth of the world something which can only be experienced by removing the identity (ego).

Magic is a performing art that entertains an audience by creating illusions of seemingly impossible osupernatural feats, using purely natural means. These feats are called magic tricks, effects or illusion

One who performs such illusions is called a magician or an illusionist . Some performers may also breferred to by names reflecting the type of magical effects they present, such as prestidigitators, conjuror

mentalists, or escape artists. 

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  Levitation: The magician defies gravity, either by making something float in the air, or with thaid of another object (suspension) — a silver ball floats around a cloth, an assistant floats in midair, another is suspended from a broom, a scarf dances in a sealed bottle, the magician hovers few inches off the floor. There are many popular ways to create this illusion, including Asralevitation,  Looy's Sooperman, and King Levitation. Much more spectacular is the apparent fre

flight flying illusion that is often performed by David Copperfield . Harry Blackstone's floatinlight bulb, in which the light bulb floats over the heads of the public, is also spectacular.

  Penetration: The magician makes a solid object pass through another — a set of steel rings linand unlink, a candle penetrates an arm, swords pass through an assistant in a basket, a saltshakepenetrates the table-top, a man walks through a mirror. Sometimes referred to as "solid-throughsolid".

  Prediction: The magician predicts the choice of a spectator, or the outcome of an event undeseemingly impossible circumstances — a newspaper headline is predicted, the total amount oloose change in the spectator's pocket, a picture drawn on a slate.

1.2. Secrecy 

Traditionally, magicians refuse to reveal the methods behind their tricks to the audience. Reasons fosecrecy include the following:

  Exposure is claimed to "kill" magic as an art form and transforms it into mere intellectual puzzleand riddles. It is argued that once the secret of a trick is revealed to a person, that one can nlonger fully enjoy subsequent performances of that magic, as the amazement is missing

Sometimes the secret is so simple that the audience feels let down, and feels disappointed it wataken in so easily

  Keeping the secrets preserves the mystery of professional magicians.

Membership in professional magicians' organizations often requires a solemn commitment to thMagician's Oath never to reveal the secrets of magic to non-magicians. The Magician's Oath may varybut typically takes the following or similar form:

"As a magician I promise never to reveal the secret of any illusion to a non-magician, unless tha

one swears to uphold the Magician's Oath in turn. I promise never to perform any illusion for an

non-magician without first practicing the effect until I can perform it well enough to maintain th

illusion of magic." 

Once sworn to the Oath, one is considered a magician, and is expected to live up to this promiseMagicians who reveal secrets, either purposely or through insufficient practice, may find that othemagicians are unwilling to teach them any more secrets.

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However, it is considered permissible to reveal secrets to individuals who are determined to learn magiand become magicians. It is typically a sequential process of increasingly valuable and lesser knowsecrets. The secrets of almost all magical effects are available to the public through numerous books anmagazines devoted to magic, available from the specialized magic trade. In this sense, there are very fewclassical illusions left unrevealed, but this does not appear to have diminished the appeal of performances

In addition, magic is a living art, and new illusions are devised with surprising regularity. Sometimes 'new' illusion will be built on an illusion that is old enough to have become unfamiliar.

Some magicians have taken the position that revealing the methods used in certain works of magic caenhance the appreciation of the audience for cleverness of magic. Penn and Teller frequently performtricks using transparent props to reveal how they are done, for example, although they almost alwayinclude additional unexplained effects at the end that are made even more astonishing by the revealinprops being used .Often, what seems to be a revelation of a magical secret is merely another form omisdirection. For instance, a magician may explain to an audience member that the linking rings "have hole in them" and hand the volunteer two unlinked rings, which the volunteer finds to have become linkeas soon as he handles them. At this point the magician may shove his arm through the ring ('the hole ithe ring'), proclaiming: "See? Once you know that every ring has a hole, it's easy!"

1.3. Learning magic

Dedication to magic can teach confidence and creativity, as well as the work ethic associated with regulapractice and the responsibility that comes with devotion to an art. The teaching of performance magic waonce a secretive practice. Professional magicians were unwilling to share knowledge with anyone outsidthe profession  to prevent the laity from learning their secrets. This often made it difficult for an interesteapprentice to learn anything but the basics of magic. Some had strict rules against members discussinmagic secrets with anyone but established magicians. From the 1584 publication of Reginald Scot Discoverie of Witchcraft until the end of the 19th century, only a few books were available for magicianto learn the craft, whereas today mass-market books offer a myriad title. Persons interested in learning tperform magic can join magic clubs. Before a magician can join one of these clubs, they usually have taudition. The purpose is to show to the membership they are a magician and not just someone off thstreet wanting to discover magical secrets.

The world's largest magic organization is the International Brotherhood of Magicians; it publishes monthly journal, The Linking Ring. The oldest organization is the Society of American Magicians, owhich Houdini was a member and president for several years. The Magic Castle in Hollywood is home tthe Academy of Magical Arts. 

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1.3. Types of magic performance

Magic performances tend to fall into a few specialties or genres.

Stage illusions are performed for large audiences, typically within an auditorium. This type of magic i

distinguished by large-scale props, the use of assistants and often exotic animals such as elephants an

tigers. Some famous stage illusionists, past and present, include Harry Blackstone, Chung Ling Soo

David Copperfield. Platform magic (also known as cabaret magic or stand-up magic) is performed for

medium to large audience. Nightclub magic and comedy club magic are also examples of this form. Th

use of illusionettes (small tabletop illusions) is common. The term parlor magic is sometimes used but

considered by some to be pejorative. This genre includes the skilled manipulation of props such as billiar

balls, card fans, doves, rabbits, silks, and rope.

Micromagic (also known as close-up magic or table magic) is performed with the audience close to th

magician, sometimes even one-on-one. I t usually makes use of everyday items as props, such as cards

coins , and seemingly 'impromptu' effects. This may be called "table magic", particularly when performe

as dinner entertainment.

Escapology is the branch of magic that deals with escapes from confinement or restraints. Harry Houdin

is a well-known example of an escape artist or escapologist .

Mentalism creates the impression in the minds of the audience that the performer possesses speciapowers to read thoughts, predict events, control other minds, and similar feats. It can be presented on

stage, in a cabaret setting, before small close-up groups, or even for one spectator.

Theatrical séances simulate spiritualistic or mediumistic phenomena for theatrical effect. This genre o

stage magic has been misused at times by charlatans pretending to actually be in contact with spirits.

Online magic tricks were designed to function on a computer screen. The computer essentially replace

the magician. Some online magic tricks recreate traditional card tricks and require user participation

while others, like Plato's Cursed Triangle, are based on mathematical, geometrical and/or optica

illusions. One such online magic trick, called Esmeralda's Crystal Ball, became a viral phenomenon th

fooled so many computer users into believing that their computer had supernatural powers, that Snope

dedicated a page to debunking the trick.

Mathemagic  is a genre of stage magic that combines magic and mathematics. It is commonly used b

children's magicians and mentalists. 

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Gospel magic uses magic to catechize and evangelize. Gospel magic was first used by St. Don Bosco t

interest children in 19th century Turin, Italy to come back to school, to accept assistance and to atten

church.

Street magic  is a form of street performing or busking that employs a hybrid of stage magic, platform

and close-up magic, usually performed 'in the round' or surrounded by the audience. Since the first DaviBlaine TV special Street Magic aired in 1997, the term "street magic" has also come to describe a style o

'guerilla' performance in which magicians approach and perform for unsuspecting members of the publi

on the street. Unlike traditional street magic, this style is almost purely designed for TV and gains it

impact from the wild reactions of the public.

Bizarre magic uses mystical, horror, fantasy and other similar themes in performance. Bizarre magic

typically performed in a close-up venue, although some performers have effectively presented it in a stag

setting.

Shock magic  is a genre of magic that shocks the audience. Sometimes referred to as "geek magic," i

takes its roots from circus sideshows, in which 'freakish' performances were shown to audience

Common shock magic or geek magic effects include eating razor blades, needle-through-arm, strin

through neck and pen-through-tongue.

Researching magic

Because of the secretive nature of magic, research can sometimes be a challenge. Many magic resourceare privately held and most libraries only have small populist collections of magicana. Howeve

organizations exist to band together independent collectors, writers, and researchers of magic history..Thhistory of magic performance is particularly notable as a key area of popular culture from the mid 19th tmid 20th centuries. Many performances and performers can be followed through newspapers of the time

Many books have been written about magic tricks; so many are written every year that at least one magiauthor has suggested that more books are written about magic than any other performing art. Although thbulk of these books are not seen on the shelves of libraries or public bookstores, the serious student cafind many titles through specialized stores catering to the needs of magical performer.

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: Harry Houdini 

Harry Houdini (born Erik Weisz; March 24, 1874 – October 31, 1926) son of a Hungarian rabbi, Houdinwas genuinely skilled in techniques such as lock picking and escaping straitjackets, but also made full usof the range of conjuring techniques, including fake equipment and collusion with individuals in thaudience. Houdini's show business savvy was great as well as his performance skill. He was an Americamagician and escapologist, stunt performer, actor and film producer noted for his sensational escape actHe was also a skeptic who set out to expose frauds purporting to be supernatural phenomena. There is Houdini Museum dedicated to him in Scranton, Pennsylvania.

Early life

Harry Houdini was born as Erik Weisz (he later spelled his birth name as Ehrich Weiss) in Budapes

Austria-Hungary, on March 24, 1874. From 1907 on, however, Houdini would claim in interviews thave been born in Appleton, Wisconsin, on April 6, 1874.

Weiss came to the United States on July 3, 1878, sailing on the SS Fresia with his mother (who wapregnant) and his four brothers. The family changed the Hungarian spelling of their German surname intWeiss (the German spelling) and the spelling of their son's name into Ehrich. Friends called him "Ehrieor "Harry".

As a child, Ehrich Weiss took several jobs, next becoming a champion cross country runner. He made hpublic début as a 9-year-old trapeze artist, calling himself "Ehrich, the Prince of the Air". Weiss became professional magician and began calling himself "Harry Houdini" because he was heavily influenced b

the French magician Jean Eugène Robert-Houdin, and his friend Jack Hayman told him, erroneously, thin French, adding an "i" to Houdin would mean "like Houdin" the great magician. In later life, Houdinwould claim that the first part of his new name, Harry, was a homage to Harry Kellar, whom Houdinadmired. In 1918 he registered for selective service as Harry Handcuff Houdini.

Magic career

At the outset, Houdini's magic career resulted in little success. He performed in dime museums an

sideshows, and even doubled as "The Wild Man" at a circus. Houdini focused initially on traditional car

tricks. At one point, he billed himself as the "King of Cards". But he soon began experimenting wit

escape acts. In 1893, while performing with his brother "Dash" at Coney Island as "The Houdin

Brothers", Harry met fellow performer Wilhelmina Beatrice (Bess) Rahner, whom he married. Besreplaced Dash in the act, which became known as "The Houdini’s." For the rest of Houdini's performin

career, Bess would work as his stage assistant.

Houdini's "big break" came in 1899 when he met manager Martin Beck  in rural Woodstock, IllinoiImpressed by Houdini's handcuffs act, Beck advised him to concentrate on escape acts and booked him o

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the Orpheum vaudeville circuit. Within months, he was performing at the top vaudeville houses in thcountry. In 1900, Beck arranged for Houdini to tour Europe. After some days of unsuccessful interviewin London, Houdini managed to interest Dundas Slater, then manager of the Alhambra Theatre, he gave demonstration of escape from handcuffs at Scotland Yard, and succeeded in baffling the police seffectively that he was booked at the Alhambra jail for six months.

Houdini became widely known as "The Handcuff King." He toured England, Scotland, the NetherlandGermany, France, and Russia. In each city, Houdini would challenge local police to restrain him witshackles and lock him in their jails. In many of these challenge escapes, Houdini would first be strippenude and searched. In Moscow, Houdini escaped from a Siberian prison transport van. Houdini publiclstated that, had he been unable to free himself, he would have had to travel to Siberia, where the only kewas kept. In Cologne, he sued a police officer, who claimed he made his escapes via bribery. Houdinwon the case when he opened the judge's safe (he would later say the judge had forgotten to lock it). Withis new-found wealth and success, Houdini purchased a dress said to have been made for Queen VictoriHe then arranged a grand reception where he presented his mother in the dress to all their relativeHoudini said it was the happiest day of his life. In 1904, Houdini returned to the U.S.

From 1907 and throughout the 1910s, Houdini performed with great success in the United States. Hwould free himself from jails, handcuffs, chains, ropes, and straitjackets, often while hanging from a ropin plain sight of street audiences. Because of imitators and a dwindling audience, on January 25, 190Houdini put his "handcuff act" behind him and began escaping from a locked, water-filled milk can. Thpossibility of failure and death thrilled his audiences.

Rather than promote the idea that he was assisted by spirits, as did the Davenport Brothers and otherHoudini's advertisements showed him making his escapes via dematerializing, although Houdini himsenever claimed to have supernatural powers.

In 1912, Houdini introduced perhaps his most famous act, the Chinese Water Torture Cell, in which hwas suspended upside-down in a locked glass-and-steel cabinet full to overflowing with water. The acrequired that Houdini hold his breath for more than three minutes. Houdini performed the escape for threst of his career. Despite two Hollywood movies depicting Houdini dying in the Torture Cell, the escaphad nothing to do with his demise. Houdini explained some of his tricks in books written for the magibrotherhood throughout his career. In which , he revealed how many locks and handcuffs could be openewith properly applied force, others with shoestrings. Other times, he carried concealed lock picks or keybeing able to regurgitate small keys at will. When tied down in ropes or straitjackets, he gained wigglroom by enlarging his shoulders and chest, moving his arms slightly away from his body, and thedislocating his shoulders.

His straitjacket escape was originally performed behind curtains, with him popping out free at the endHowever, Houdini's brother, who was also an escape artist billing himself as Theodore Hardeen, aftebeing accused of having someone sneak in and let him out and being challenged to escape without thcurtain, discovered that audiences were more impressed and entertained when the curtains wereliminated so they could watch him struggle to get out. They both performed straitjacket escapes danglinupside-down from the roof of a building for publicity on more than one occasion.

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For most of his career, Houdini performed his act as a headliner in vaudeville. For many years, he was thhighest-paid performer in American vaudeville. One of Houdini's most notable non-escape stage illusionwas performed at New York's Hippodrome Theater when he vanished a full-grown elephant (with ittrainer) from a stage, beneath which was a swimming pool. In 1923, Houdini became president oMartinka & Co., America's oldest magic company. The business is still in operation today.

Notable escapes

Mirror handcuff challenge 

In 1904, the London Daily Mirror newspaper challenged Houdini to escape from a special handcuff that claimed had taken Nathaniel Hart, a locksmith from Birmingham, seven years to make. Houdini acceptethe challenge for March 17 during a matinée performance at London's Hippodrome theater. It wareported that 4000 people and more than 100 journalists turned out for the much-hyped event. The escapattempt dragged on for over an hour, during which Houdini emerged from his "ghost house" (a smascreen used to conceal the method of his escape) several times. On one occasion, he asked if the cuf

could be removed so he could take off his coat. The  Mirror representative, Frank Parker, refused, sayinHoudini could gain an advantage if he saw how the cuff was unlocked. Houdini promptly took out a penknife and, holding the knife in his teeth, used it to cut his coat from his body. Some 56 minutes lateHoudini's wife appeared on stage and gave him a kiss. It is believed that in her mouth was the key tunlock the special handcuff. Houdini then went back behind the curtain. After an hour and ten minuteHoudini emerged free. As he was paraded on the shoulders of the cheering crowd, he broke down anwept. Houdini later said it was the most difficult escape of his career.

Milk Can Escape 

In 1901, Houdini introduced his own original invention, the Milk Can Escape. In this effect, Houdin

would be handcuffed and sealed inside an over-sized milk can filled with water and make his escapbehind a curtain. As part of the effect, Houdini would invite members of the audience to hold their breatalong with him while he was inside the can. Advertised with dramatic posters that proclaimed "FailurMeans A Drowning Death", the escape proved to be a sensation. Houdini soon modified the escape tinclude the milk can being locked inside a wooden chest, being chained or padlocked, and even insidanother Milk can. Houdini only performed the milk can escape as a regular part of his act for four yearsbut it remains one of the effects most associated with the escape artist. Houdini's brother, TheodorHardeen, continued to perform the milk can (and the wooden chest variation) into the 1940s.

Chinese Water Torture Cell 

In 1912, the vast number of imitators prompted Houdini to replace his Milk Can act with the ChinesWater Torture Cell. In this escape, Houdini's feet would be locked in stocks, and he would be lowereupside down into a tank filled with water. The mahogany and metal cell featured a glass front, througwhich audiences could clearly see Houdini. The stocks would be locked to the top of the cell, and curtain would conceal his escape. In the earliest version of the Torture Cell, a metal cage was lowereinto the cell, and Houdini was enclosed inside that. While making the escape more difficult (the cagprevented Houdini from turning), the cage bars also offered protection should the front glass break. Thoriginal cell was built in England, where Houdini first performed the escape for an audience of on

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person as part of a one-act play he called "Houdini Upside Down". This was so he could copyright theffect and have grounds to sue imitators (which he did). While the escape was advertised as "The ChinesWater Torture Cell" or "The Water Torture Cell", Houdini always referred to it as "the Upside Down" o"USD". The first public performance of the USD was at the Circus Busch in Berlin, on September 211912. Houdini continued to perform the escape until his death in 1926.

 Suspended strait jacket escape 

One of Houdini's most popular publicity stunts was to have himself strapped into a regulation straitjackeand suspended by his ankles from a tall building or crane. Houdini would then make his escape in fuview of the assembled crowd. After flinging his body in the air, he escaped from the straitjacket. Startinfrom when he was hoisted up in the air by the crane, to when the straitjacket was completely off, it toohim two minutes and thirty-seven seconds. Houdini performed the escape with a visible safety wire on hiankle so that he could be pulled away from the building if necessary. The idea for the upside-down escapwas given to Houdini by a young boy named Randolph Osborne Douglas , when the two met at performance at Sheffield's Empire Theatre.

Buried Alive stunt 

Throughout his career, Houdini performed three variations on a "Buried Alive" stunt/escape. The first wanear Santa Ana, California in 1917, and it almost cost Houdini his life. Houdini was buried, without casket, in a pit of earth six feet deep. He became exhausted and panicky trying to dig his way to thsurface and called for help. When his hand finally broke the surface, he fell unconscious and had to bpulled from the grave by his assistants. Houdini wrote in his diary that the escape was "very dangerousand that "the weight of the earth is killing."

Houdini's final Buried Alive was an elaborate stage escape that was to feature in his full evening show

The stunt would see Houdini escape after being strapped in a strait-jacket, sealed in a casket, and theburied in a large tank filled with sand. The stunt was to be the feature escape of his 1927 season, buHoudini died on October 31, 1926. The bronze casket Houdini created for Buried Alive was used ttransport Houdini's body from Detroit back to New York following his death on Halloween.

Debunking spiritualists 

In the 1920s, after the death of his mother, Cecelia, he turned his energies toward debunking selfmedium proclaimed psychics and mediums, a pursuit that would inspire and be followed by later-da

conjurers. Houdini's training in magic allowed him to expose frauds who had successfully fooled manscientists and academics. He was a member of a Scientific American committee that offered a cash prizto any medium who could successfully demonstrate supernatural abilities. None were able to do so, anthe prize was never collected. The first to be tested was medium George Valentine of  Wilkes BarrPennsylvania. As his fame as a "ghost buster" grew, Houdini took to attending séances in disguisaccompanied by a reporter and police officer. Possibly the most famous medium whom he debunked wathe Boston Mina Crandon, also known as "Margery".

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Before Houdini died, he and his wife, Bess, agreed that if Houdini's spirit came back to earth, he woulutter "Rosabelle believe" as a secret codeword to prove that it was actually him. This was a phrase from play that Bess performed in when the couple first met. Bess Houdini, the magician's widow, held yearlséances on Halloween for ten years after Houdini's death, but Houdini's spirit never appeared ancommunicated the passphrase. In 1936, after a last unsuccessful séance on the roof of the Knickerbocke

Hotel, she put out the candle that she had kept burning beside a photograph of Houdini since his deathlater saying in 1943 that "ten years is long enough to wait for any man." The tradition of holding a séancfor Houdini continues by magicians throughout the world to this day.

 Appearance and voice

Unlike the image of the classic magician, Houdini was short and stocky and typically appeared on stagin a long frock coat and tie. Most biographers peg his height as 5 ft 5 in, but descriptions vary. Houdinwas also said to be slightly bow-legged, which aided in his ability to gain slack during his rope escape

In the 1997 biography Houdini: The Career of Ehrich Weiss, the author summarizes how reporterdescribed Houdini's appearance during his early career:

‘’They stressed his smallness— "somewhat undersized" — and angular, vivid features: "He issmooth-shaven with a keen, sharp-chinned, sharp-cheek boned face, bright blue eyes and thick,curly, black hair." Some sensed how much his complexly expressive smile was the outlet of hischarismatic stage presence. It communicated to audiences at once warm amiability, pleasure inperforming, and, more subtly, imperious self-assurance. Several reporters tried to capture thecharming effect, describing him as "happy-looking", "pleasant-faced", "good natured at all times","the young Hungarian magician with the pleasant smile and easy confidence".

Houdini made the only known recordings of his voice on Edison wax cylinders on October 29, 1914, iFlatbush, New York. On them, Houdini practices several different introductory speeches for his famouChinese Water Torture Cell. He also invites his sister, Gladys, to recite a poem. Houdini then recites thsame poem in German. The six wax cylinders were discovered in the collection of magician JohMulholland after his death in 1970. They are part of the David Copperfield collection.

 Artifacts

Houdini's brother, Theodore Hardeen, who returned to performing after Houdini's death, inherited hbrother's effects and props. Houdini's will stipulated that all the effects should be "burned and destroyed

upon Hardeen's death. Hardeen sold much of the collection to magician and Houdini enthusiast SidneHollis Radner during the 1940s, including the Water Torture Cell. Radner allowed choice pieces of thcollection to be displayed at The Houdini Magical Hall of Fame in Niagara Falls, Canada. In 1995, a firdestroyed the museum. While the Water Torture Cell was reported to have been destroyed, its metframe remained, and the cell was restored by illusion builder John Gaughan. Many of the props containein the museum such as the Mirror Handcuffs, Houdini's original packing crate, a Milk Can, and straitjacket, survived the fire and were auctioned off in 1999 and 2008.

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Death

Harry Houdini died of  peritonitis, secondary to a ruptured appendix. Eyewitnesses to an incident iMontreal gave rise to speculation that Houdini's death was caused by a McGill University student, Gordon Whitehead, who delivered multiple blows to Houdini's abdomen to test Houdini's claim that h

was able to take any blow to the body above the waist without injury.

The eyewitnesses, students named Jacques Price and Sam Smilovitz (sometimes called Jack Price anSam Smiley), proffered accounts of the incident that generally corroborated one another. The following iPrice's description of events:

Houdini was reclining on his couch after his performance, having an art student sketch him. WheWhitehead came in and asked if it was true that Houdini could take any blow to the stomach, Houdinreplied groggily in the affirmative. In this instance, he was hit three times before Houdini could tighten uhis stomach muscles to avoid serious injury. Whitehead reportedly continued hitting Houdini severamore times and Houdini acted as though he were in some pain.

Houdini reportedly stated that if he had time to prepare himself properly he would have been in a betteposition to take the blows. He had apparently been suffering from appendicitis for several days prior anyet refused medical treatment. His appendix would likely have burst on its own without the traumAlthough in serious pain, Houdini continued to travel without seeking medical attention.

When Houdini arrived at the Garrick Theater in Detroit, Michigan on October 24, 1926, for what woulbe his last performance, he had a fever of 104 °F (40 °C). Despite a diagnosis of acute appendicitisHoudini took the stage. He was reported to have passed out during the show, but was revived ancontinued. Afterwards, he was hospitalized at Detroit's Grace Hospital. 

Houdini died of peritonitis from a ruptured appendix at 1:26 p.m. in Room 401 on October 31, aged 52.

After taking statements from Price and Smilovitz, Houdini's insurance company concluded that the deatwas due to the dressing-room incident and paid double indemnity. 

Houdini's funeral was held on November 4, 1926, in New York, with more than 2,000 mourners iattendance. He was interred in the Machpelah Cemetery in Queens, New York, with the crest of thSociety of American Magicians inscribed on his gravesite. To this day the Society holds a broken wanceremony at the grave site in November. Houdini's widow, Bess, died on February 11, 1943, aged 67, iNeedles, California. She had expressed a wish to be buried next to him but instead was interred at thGate of Heaven Cemetery in Westchester, New York, as her Catholic family refused to allow her to b

buried in a Jewish cemetery out of concern for her soul.

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Proposed exhumation

On March 22, 2007, his great-nephew (the grandson of Houdini's brother Theo) George Hardee

announced that the courts would be asked to allow exhumation of Houdini's body. The purpose was tlook for evidence that Houdini was poisoned by Spiritualists, as suggested in The Secret Life of HoudinIn a statement given to the Houdini Museum in Scranton, the family of Bess Houdini opposed thapplication and suggested it was a publicity ploy for the book. The Washington Post added to the furor b"revealing" that the press conference was not orchestrated by the family of Houdini, but by Secret Lif

authors William Kulash and Larry Sloman, who hired the PR firm Dan Klores Communications tpromote the book. In 2008 it was revealed the parties involved never filed legal papers to perform aexhumation.

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: David Copperfield

David Copperfield (born David Seth Kotkin; September 16, 1956) is an American illusionist, describeby Forbes in 2006 as the most commercially successful magician in history. Best known for hicombination of storytelling and illusion, Copperfield has so far sold 40 million tickets and grossed ove$1 billion.

Early years

Copperfield was born David Seth Kotkin in Metuchen, New Jersey, the son of Jewish parents, Rebeccan insurance adjuster, and Hyman Kotkin, who owned and operated a men's haberdashery in Metuchecalled Korby's. Copperfield's mother was born in Jerusalem, Israel, while his paternal grandparents werJewish immigrants from Russia (present-day Ukraine).

When Copperfield was 10, he began practicing magic as "Davino the Boy Magician" in his neighborhoodand at the age of 14, became the youngest person ever admitted to the Society of American MagicianShy and a loner, the young Copperfield saw magic as a way of fitting in and, later, as a way to get girlsAs a teenager, Copperfield became fascinated with Broadway and frequently sneaked into showespecially musicals featuring Stephen Sondheim or Bob Fosse. By age 16, he was teaching a course imagic at New York University. 

Career and business interests

At age 18, he enrolled at Fordham University, and was cast in the lead role of the Chicago-based musicaThe Magic Man (written by Barbara D'Amato and directed by Holland, MI's John Tammi) three weekinto his freshman year, adopting his new stage name "David Copperfield" from the Charles Dickens booof the same name. At age 19, he was headlining at the Pagoda Hotel in Honolulu, Hawaii. 

Copperfield's career in television began in earnest when he was discovered by Joseph Cates, a producer oBroadway shows and television specials. Cates produced a magic special in 1977 on ABC called "ThMagic of ABC" hosted by Copperfield, as well as several of "The Magic of David Copperfield" specialon CBS between 1978 and 1998. There have been 20 Copperfield TV specials between 1977 and 2001.

Copperfield played the character of "Ken the Magician" in the 1980 horror film Terror Train. He alsmade an uncredited appearance in the 1994 film Prêt-à-Porter. Most of his media appearances have bee

through television specials and guest spots on television programs. His illusions have included making thStatue of Liberty disappear,  flying, levitating over the Grand Canyon, and walking through the GreWall of China. 

In 1996, Copperfield joined forces with Dean Koontz, Joyce Carol Oates, Ray Bradbury and others foDavid Copperfield’s Tales of the Impossible, an anthology of original fiction set in the world of mag iand illusion. A second volume was later published in 1997, called David Copperfield's BeyonImagination. In addition to the 2 books, David also wrote an essay as part of the "This I Believe" serie

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from NPR and the This I Believe, Inc.Also during 1996, in collaboration with Francis Ford CoppolDavid Ives, and Eiko Ishioka, Copperfield's Broadway show "Dreams & Nightmares" broke box officrecords.

Copperfield notes that his role models were not magicians and that "My idols were Gene Kelly and Fre

Astaire and Orson Welles and Walt Disney ... they took their individual art forms and they moved peoplwith them ... I wanted to do the same thing with magic. I wanted to take magic and make it romantic andmake it sexy and make it funny and make it goofy ... all the different things that a songwriter gets texpress or a filmmaker gets to express ...."

On 7 May 2009, Copperfield was dropped by Michael Jackson from Jackson's residency at the O2 Arenafter an alleged row over money. Copperfield wanted $1 million (£666,000) per show. Copperfield deniethe reports of a row, saying "don't believe everything you read." News of Copperfield's collaboration witJackson first surfaced on April 1, 2009, and has since been reported by several websites as a possiblApril Fool's prank.

In August 2009, Copperfield brought his show to Australia.

Copperfield was engaged to supermodel Claudia Schiffer for six years, but the couple separated in 199citing work schedules.

International Museum and Library of the Conjuring Arts

Copperfield owns the International Museum and Library of the Conjuring Arts, which houses the worldlargest collection of historically significant magic memorabilia, books and artifacts. Begun in 1991 whe

Copperfield purchased the Mullholland Library of Conjuring and the Allied Arts, which contained thworld's largest collection of Houdini memorabilia, the museum comprises 5,000 cubic feet anapproximately 80,000 items of magic memorabilia, including Houdini's Water Torture Cabinet and hiMetamorphosis Trunk, Orson Welles' Buzz Saw Illusion and automata created by Robert-Houdin. 

The museum is not open to the public; tours are reserved for "colleagues, fellow magicians, and serioucollectors". Located in a warehouse at Copperfield's headquarters in Las Vegas, the museum is enterevia a secret door in what was described by actor Hugh Jackman as a "sex shop" and by Forbes as a "maiorder lingerie warehouse".."'It doesn't need to be secret, it needs to be respected,' he said. 'If a scholar o journalist needs a piece of magic history, it's there.'" 

Musha Cay and the Islands of Copperfield Bay

In 2006 Copperfield bought eleven Bahamian islands called Musha Cay. Rechristened "The Islands oCopperfield Bay,’’ the islands are a private resort. Guests have reportedly included Oprah Winfrey anJohn Travolta, and Google co-founder Sergey Brin was married there.

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 Accidents and injuries

On March 11, 1984, while rehearsing an illusion called "Escape from Death" where he was shackled anhandcuffed in a tank of water, Copperfield became tangled in the chains and started taking in water anbanging into the sides of the tank. He was pulled from the water after 1 minute 20 second

hyperventilating and in shock, and taken to a Burbank hospital, and found to have pulled tendons in armand legs. He was in a wheelchair for a week and used a cane for a period thereafter.

Doing a rope trick, Copperfield accidentally cut off the tip of his finger with sharp scissors. He warushed to hospital and the fingertip was re-attached.

On December 17, 2008, during a live performance in Las Vegas, one of Copperfield's assistants wasucked into the spinning blades of a 12 feet (3.7 m) high industrial fan that Copperfield walks throughThe assistant sustained multiple fractures to his arm, lacerations that required stitching, and severbleeding. Copperfield canceled the rest of the performance and offered the audience members refunds.

Charitable activities : Project Magic

In 1982, Copperfield founded Project Magic, a rehabilitation program to help disabled patients regain loor damaged dexterity skills by using sleight-of-hand magic as a method of physical therapy. The programhas been accredited by the American Occupational Therapy Association, and is in use in over 110hospitals throughout 30 countries worldwide. Copperfield made an appearance on Oprah Radio in Apr2008 to talk with Oprah Radio host Dr. Mehmet Oz about how the use of magic can help disabled people

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Conclusion

Illusionism is an art that shares the physical space with the viewer. For centuries, curious peopl

and men of science have investigated illusions as a way to understand how the human brain works

Illusionists believe that the material world is wholly or nearly wholly an illusion. So we come to think

what is still real and what is an illusion? An illusionist may fool your senses but do they really fool ou

 judgment?

Illusionism is the position that free will does not exist. Humanity has been, unfortunately deceive

about the free will issue, and this seems to be a condition of civilized morality and personal value.

It’s only up to us whether we believe an illusion or see it for what it is: a distortion of reality. Buthe magic always remains in our minds as something perfect, a vivid memory of what we all wish w

could do in some situations of life. That is why an illusion should never be revealed. Of course we ar

curious about how it’s done, but once you find out whatever you wanted to know, the magic is gone

Some truths should never be found out. Some illusions should never be destroyed. Some people shoul

learn to just live and enjoy everything that surrounds them whether it is real or just an illusion. It is ou

decision.

Bibliography:

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  Maurine, Christopher and Milbourne, Christopher The Illustrated History of Magic (1996).

  Milbourne, Christopher Panorama of Magic (1962).

 Nadis, Fred, ed. Wonder shows: performing science, magic, and religion in America RutgersUniversity Press, 2006

  Daniel, Noel, (ed); Mike, Caveney and Jim, Steinmeyer (eds) Magic. 1400-1950s. Los Angeles:Taschen (2009).

  Dunninger, Joseph. The Complete Encyclopedia of Magic.

  Kalush, William; Sloman, Larry The Secret Life of Houdini: The Making of America's First 

Superhero. October 2006.

  http://www.davidcopperfield.com/html/