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M A S T E R K E Y T O H Y P N O T I S M

THEORY

PRINCIPLES

PRACTICE

ByKONRADI LEITNER

ILLUSTRATED ED ITIO N

In the very first lesson K onradi Leitner shows you the basic foundation of

Hypnotism . You at once grasp the fundam ental theory and principle and

become com petent to actually conduct your first hypnotic dem onstration.

T he lessons are really simple, written w ithout confusion or am biguous

words. A ctual photographs are used to illustrate the demonstrations.

T he cam era brings to you close up views of m ediums and the S T E P BY

S T E P process tha t enables you to achieve the same results. N ever before

have the graphic arts been employed to simplify H Y P N O T IS M .

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Breathing is tKe very first function of tKe Kuman being. Imm ediately

upon being born, all of us took a very deep breatK and tKat very first deep

breatK not only kindled tKe spark of life w itkin us, bu t also fanned tKe

flame tKat set our m entality into functioning. It m ay Kave been some time

before tKe m ind functioned as sucK witKin us, bu t it d id come into being

witK tKat vital first deep breatK.

Here, in tKis very latest and last word on tKe A rt and Sciences of

Hypnotism , witK tKe Key To I Ke M astery of tKe M ind, K onradi Leitner

sKows you tKat breatKing, tKe very Krst function of m ankind, is likewise

tKe very Krst function in tKe art and science of hypnotism,,—tKe very

cornerstone in knowledge of tKis art.

1 Kese powers of m ental m astery are witKin tKe grasp of tKe average

person of norm al intelligence. TKat witK sufficient practice one can become

proficient in tKe very simple procedure of producing “s l e e p ’ witKin

OtKers, is tKe revelation wKicK tKese pages will unfold.

FOR THE FIRST TIME, YOU

WILL BE SHOWN THROUGH THE MEDIUM OF

PHOTOGRAPHY AND APPLIED PSYCHOLOGY

THE STEP-BY-STEP PROCESS OF HYPNOSIS

THE B A C K G R O U N D A N D H I S T O RY OF H Y P N O T I S M

For over two thousand years m an has know n about hypnotism. In these centuries much has been w ritten on the art, the m aterial on the subject of hypnotism perhaps forming the greatest library on any single subject.

Like other sciences hypnotism during these long years has a t times been considered a miracle, at other times a fake. It has been proven that it is

neither.

D ow n through the ages all who have experienced the phenom ena of hypnotism have come to the same fundam ental conclusion: hypnotism is a natural phenom enon, a natural law founded upon deep breathing. Folklore of ancient lands, fiction and dram a have done m uch to create m any false impressions about hypnotism . Ihese untruths are more likely

to be believed by those who do not desire to search for the truth, which can only be found by diligent research, a labor to which but few are willing to devote their energy.

L iterature abounds in legends of hypnotic feats bu t the earnest student will look only to the record for the facts.

O f recent years m any of the ancient superstitions about hypnotism have been dispersed as the world of science and medicine accepted the natural laws of hypnotism and recognized them for the natural phenom enon they are.

O n e of the early experimenters w as Franz A nton M esm er, who, in Paris, about 1778, began the treatm ent of sick people w ith the aid of this art. Flowever, he did great harm to the art by m aking false claims and a ttem pting impossible cures.

D uring this early period of hypnotism , people did not have adequate opportunity for study. T he learned m en of tha t time h ad bu t limited m eans of research. Practically no reports of achievements were m ade up to that time in this field. T he credulous people of those times easily fell into the erroneous belief that hypnotism w as some form of witchcraft.

T oday while enlightened m an m ay challenge the theory of a science, he

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is nevertheless prepared and enabled to investigate. You can easily satisfy your curiosity about hypnotism by turning to the nearest dictionary; you will find this definition quoted from page 1059 of W e b ste r s N ew International D ictionary:

H Y P N O T IC ” : —hyp'no-tism (hip'no-tism ) , n. T he induction of a state resem bling sleep or somnam bulism, w hich is called hypnosis or hypnotic sleep; also loosely, the induced state, hypnosis. H ypnosis is a state resem bling norm al sleep in m any particulars, differing from it especially in a greater rapidity of pulse and respiration; in a tendency to general anaesthesia; in a m arked susceptibility to vasomotor changes, as in the functioning of the organs; and in extreme suggestibility, rendering the person in the hypnotic state am enable not only to suggestions affecting volitional acts, bu t to such vasomotor changes as to raising blisters or such functions as the induction of lactation. Suggestions m ade to hyp notic person to be acted upon during w aking hours are called posthypnotic suggestions. N orm ally the person aw akened from a hypnosis does not rem em ber w hat occurred during the sleep, although the memory m ay be brought about by post-hyp-notic suggestions. H ypnosis is induced either physiologically (as repeated stim ulation of reflexes) or by suggestions, ordinarily operative only upon a willing patient. Self-suggestion is capable of producing self-hypnotism or auto-hypnotism . T here are degrees of hypnosis w hich have been characterized as lethargic, cataleptic and somnam bulistic hypnosis and again simply as light and heavy hypnotic sleep, w ith corresponding variations in suggestibility.”

Psychoanalysts have long recognized the im portance of hypnotism a lthough they rarely use it in their professional work, their procedure being to delve into the past of their patient in an effort to discover the causes of m ental disturbances, thereby correcting the conditions caused by the neurosis.

In the study of psychology, students encounter experiences w ith hypnotism, for the very simple reason that the first and natu ral law of hypnosis

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m ust be thoroughly understood as being bu t one im portant phase of applied psychology.

TKe art of hypnotism w as brought into disrepute by charlatans who alleged they were hypnotists, giving exhibitions on the vaudeville stage. H ere it w as used principally for am usem ent. 1 hese dem onstrations could be perform ed nowhere else except in a pre-arranged situation. C on trap tions, props, and devices w ith the aid of accomplices, brought about the most sensational effects.

A bout 25 years ago hypnotism w as recognized throughout central Europe as possessing great possibilities in assisting the m edical held. E arnest

practitioners were given every opportunity for experim entation and famous universities opened their laboratories for research on this field.

It w as a t this time that K onradi Leitner began giving interesting dem onstrations not only in hypnotism, bu t in applied psychology and m ental telepathy.

K onradi Leitner traveled throughout Europe, and the U nited States visiting m any of the great universities engaging in research. H is platform work attracted the attention of m any savants in kindred sciences.

T he mystery of the m ind and its workings can be easily understood and, in the following pages K onradi Leitner will show the basic or prim ary principles of hypnotism, giving you the keys to unlock the doors th a t stand betw een you and m astery of the mind.

Just as you learned your A -B -C to m aster the a lphabet, you learned the a lphabet to m aster the printed page. H ere is the A -B -C of hypnotism. Just as physical fitness is m an s param ount factor in his existence, of

equal im portance is m e n t a l h e a l t h . M a n ’s ability to rem em ber and to t h i n k , will m ake or break all the other factors in his life. His very existence . . . his physical life; economic status; social environm ent; profession or m echanical ability . . . all are inier-related and all depend upon his ability to control his im agination in the right direction.

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MENTAL MASTERY FOR SELF APPLICATION - AUTO-SUGGESTION

O ver a quarter of a century of intensive and constant daily work in applied psychology makes K onradi Leitner an authority in this field. N ot only his im m ediate work in his chosen profession, not only his extensive

research, hu t his successful dem onstrations and applications of the laws of hypnotism have earned him the plaudits of internationally fam ed men in all walks of life and professions.

A s practical exponent of applied psychology, K onradi Leitner is recognized as an outstanding dem onstrator, w riter and lecturer. H e has lectured and dem onstrated his theories and their applications throughout the world.

In bringing to the laym an the principles of hypnotism K onradi Leitner has only the desire that the mystery of hypnotism be brought out of the darkness of ignorance and mysticism into the broad light of tru th and practical knowledge.

Konradi Leitner dem onstrates before large gatherings that hypnotism is practical and can be applied by normal people of norm al ability.

In the audiences of num erous dem onstrations conducted by K onradi Leitner there have been m any prom inent men, outstanding in their re

spective fields, scientists, and specialists in every branch of the m edical world.

This book is the logical culm ination of Leitner s m any years of scientific research and will be concerned from here on w ith the reader who desires to accomplish m ental mastery. This book will bring to you all that you

seek in this field through its accom plishm ent of a genuine dem onstration.

A R E Y O U R E A D Y ?

D o not try to read this book through from cover to cover a t one reading. H ere are 25 lessons. 1 he first lesson m ust be m astered before you go on to the second. E ach lesson is designed to help you build up, w ithin yourself, the knowledge and power to become skilfull in the practice of Hypnotism.

p a g e 8

'Dean, S tu d en t:In my long years as an exponent and practitioner of A pplied Psychology, thousands have asked me these questions: “H ow D o You D o It? Could 1 Learn T o D o It?

To the first question I answer, Hypnotism, is based upon rhythmic deep breathing.

A n d to the second question I reply, “Yes, you loo, can practice hypnotism by learning this simple law.

In order to bring these lessons to the m any whom I can not reach through my platform work, I have employed the m edium of photography.

M y itinerary covers practically the entire U n ited States and I m ay be passing through your community at a time w hen it will be possible to meet my readers in person.

W h e n and where time permits, 1 will be happy to answ er communications addressed to me, care of the Publisher of this volume, an d w henever possible, I shall be glad to m ake an effort to appear publicly.

A nd now let us proceed w ith the business a t han d and start on Lesson N um ber O ne.


F A C E T H E A U D IE N C E

S tudy the dlustration of Prof. Leitner as the position in which you are to stand as you first appear before your audience in every performance you

are going to give. Look straight into the eyes of the members of your audience.

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L E S S O N N O . 1

W e a r simple, conservative dress, both in public and private life. Excess adornm ent and coloration D E T R A C T from your personality. People will look at your clotbes, not at Y O U w hen you over-adorn your person. U nder no circumstances should you divert attention from yourself to your apparel.

D o N O T dram atize yourself to the detraction of the dram atic effect of the exhibition of your powers. T he astounding dem onstration of your m ental m astery will be so forceful your audience will app laud you, not your appearance or your acting. Your ability as a m aster of m ental mystery will not require the camouflage of fancy dress or fake background scenery.

Be N A T U R A L in your movements. Your arms, hands, legs and body are only the vehicle to bring your M IN D to the center of the scene.

M ove w ith natu ra l grace. D o N O T assum e artificial mannerism s, gestures or expressions. T hey only interfere w ith you, your work and the concentration of your audience. Keep your m uscular activities under complete control, do not allow, at any time, any interruption to interfere w ith your norm al movements.

Know this:.—they are looking to you to give them something they have never seen before. T hey w ant you to show them your powers of m ental mastery. T heir complete confidence in you is proven by the very fact that they are there before you.

T here m ay be skeptics. A lways, from the beginning of things, there have been scoffers and sneerers. A n d alw ays these have been the first to a p p laud the facts they at first refused to recognize.

A nother im portant thing. W h e n you have m astered hypnotism and m ental mastery, you are culturally and m entally superior to those in your audience. You are N O T O N L Y the m aster of your own m ind, B U T you are going to dem onstrate that you are the m aster of their minds.

N ow , w hen you finish this lesson, close the book. P u t it aw ay for a little while and then re-read it, slowly, until you know every word of this lesson by heart. Perhaps you can best impress it on your m ind by writing it out and then reading your own writing.

M ake the m essage and spirit of hypnotism a vital force in your life . . . believe in it w ith your whole heart and soul.

PAGE 11


Stretch out your arms and breathe in harmony.” N o person can be hypnotized without his or her will. First step in hypnotism is

allowing yourself to be hypnotized.

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L E S S O N N O . 2

H ave your words ready on tKe tip of your tongue.

It is im portant, wKen appearing before an audience, tKat you Kave your words ready, not only in your mind, bu t on tKe tip of your tongue. A n actor, in a famous play, repeated Kis perform ance tKousands of times, yet in not one instance did Ke cKange Kis lines, Kis part, Kis costume, or even Kis expression. H e knew tKat tKe tones Ke used created tKe emotional response in Kis audience and never altered tKe pictures tKe autKor of tKe play desired to produce in tKe minds of tKose seeing tKe play.

H ere are tKe opening words you m ust learn by Keart. FKey are tested words and Kave been used successfully tKousands of times. TKey are p lanned to smootKIy introduce you and your ideas, to create confidence in your audiences and obtain tKeir complete co-operation wKen you require it.

W ith o u t any sudden direct or dram atic movement assum e tKe pose sKown in tKe pKotograpK and say, in a firm, natu ral tone of voice, witKout undue inflection or Kaste:

Ladies and Gentlemen, I am about to demonstrate the powers of h yp notism. T he word hypno’ means ‘sleep’ . . . hypnosis means sleep produced by deep rhythmic breathing. N o person can be hypnotized against his will. O n ly normal, healthy people can be hypnotized. It is imperative that you completely co-operate and be silent during my demonstration. I am using only the natural law in producing this phenomenon of hypnotism.

N ow go back and re-read tKe quotation m aterial. It is vitally im portant tKat you so memorize it tKat you will use it normally, naturally , autom atically and as it is set down as an introduction wKenever you give a dem onstration.

A ssum e tKe position sKown in tKe illustration on page 10 and practice tKis introduction in front of tKe mirror.

W rite tKis introduction out and carry it witb you. In spare moments, wKen you are alone, practice it constantly.

p a g e 1 3


“Your hands and fingers are interlocked . . . N o w move your hands over your head. Through following simple instructions that subject s m ind

becomes completely relaxed. A l l mental resistance disappears.

p a g e 1 4


L E S S O N N O . 3

Before proceeding w ith this lesson it m ight he well to learn this im portant fact about hypnotism, because it will only be through your thorough know ledge of this factor tha t will enable you to give a smooth, successful dem onstration.

A n alcoholic, epileptic or a person afflicted w ith an organic ailm ent can not and should not be hypnotized.

This im portant factor will be repeated later in the lessons, b u t it m ust be thoroughly understood from the start and deviation from this ruling m ay obstruct the success of your dem onstration.

A fter your introduction, and before you attem pt any dem onstration, discreetly m ake the following request:

“I must request persons who are over 65 years of age, or under 14 years of age, not to participate in this demonstration.

W a it a few moments after m aking that request. It is not likely that there be any present who fall into the above classification; however, be sure, be safe, be c e r ta in ,a lw a y s proceed w ith your dem onstrations cautiously and in accordance w ith the basic, primary, na tu ra l law w ithout w hich you can not dem onstrate hypnosis.

T he results of an experienced hypnotist in contact w ith abnorm al people cannot be dwelt upon in this brief prim er on hypnosis. O n ly after extensive study, considerable research and m uch experim entation in cooperation w ith members of the m edical profession, should hypnosis be considered in any w7ay except in dem onstration w ith absolutely normal people.

U nder no circumstances attem pt to employ hypnosis for the adjustm ent of m ental disturbances. Confine your dem onstrations, for safety sake, strictly to norm al people in the categories set forth in this lesson.

M aster these fundam entals. WVite them out carefully to fully absorb these facts in your own mind. R e-read and study this chapter until you know every w ord by heart.

H ere is the next suggestion to make, after you have completed your request:

“Everybody, please stand u p ”.

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You have complete control over your arms and hands.’ T h a t makes the subject completely oblivious of those limbs and her m ind can follow the leader freely to other things. “N o w you are to breathe in harmony with me. ”

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L E S S O N N O . 4You are now facing your audience. A ll kave stood up and are facing you. \ o u have delivered the suggestions given in Lesson No. 5.

Be patient. D o not appear to be in a hurry. Be calm, courteous, effective. G ive every person a chance to stand squarely upon fiis feet, well balanced and erect; straighten yourself up as a suggestion for all to square tkeir shoulders. W h e n all are erect, say slowly, bu t firmly: “remove everything from your hands . R e lax ”.

W a it until all h ave disposed of handbags, purses, cigars, cigarettes or w hatever they were holding in their hands as they stood up. D o all this slowly, w ith assurance, then, as the m em bers of your audience are fully, firmly balanced u p o n their feet again, you say the following:

“Everybody inhale deeply. H old your breath for 10 seconds '.

Practice holding your own breath , after inhaling for ten seconds. Tim e yourself w ith a w atch. Practice w ith a w atch until you instinctively, autom atically can space your own b reath for an accurate ten seconds. P ractice will m ake perfect.

A s you give the above suggestion, at the moment your audience completes the deep b reath count from 1 to 10 in time w ith the ticking of 10 seconds, at the spoken count of 10 say: “Exhale slowly .

Study the illustrations for these two movements as your guide for swaying your audience into co-operation with you.

It is these two prim ary suggestions upon w hich you base the very foundation for your dem onstration of hypnosis. D eep breathing, and unison breathing. You repeat this suggestion three times, in the following order:

‘ Inhale slowly . A t the end of the deep breath count 1 to 10 slowly, then Exhale .

T he illustrations on P age 48 show you how you can get your entire audience in harm ony and unison w ith you.

Your complete com m and of this preparatory conditioning of your aud ience is im portant to the success of your dem onstration. D o not smirk or smile. Impress your audience w ith your sincerity and seriousness by the authority of your voice and m anner. D O N O T attem pt to dram atize it; rather be helpful and sym pathetic in order to obtain complete co-operation of your audience.

A s you give your suggestions you inhale sharply, w atching carefully that

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Your hands are beginning to get tight. W h e n you hear me complete the count of 3 you will not be able to unlock your hands and fingers.” Already the subject’s will is under the control of the hypnotist. She cannot separate

her hands until she is permitted to do so.

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L E S S O N NO. 4 (C ontinued)

all in your audience are inhaling as you do, w ith you, exhale slowly, accenting the action w ith your arms, m aking the motion slowly hu t definitely.

S tudy the illustrations on P age 50 carefully. N ote the position of the arms in relation to the body, the position of the hands and fingers, holding your body erect, head up, eyes alert. S teady practice facing a mirror will m ake your perform ance perfect.

L E S S O N N O . 5

T his very simple lesson dem onstrates your complete control of your aud ience. Strive for perfection and you will be am azed how simple it really is to get the results you desire.In the preceding lesson you h ad your audience breathing deeply in h a rmony w ith you. A fter you have completed the third suggestion; say:

Stretch out your arms. Turn your palms to face each other .N ote illustrations on Pages 49, 50 and 51 : You do this motion slowly that your audience m ay follow you in the same action.

“Spread your fingers wide apart .Show your audience how to do it in accordance w ith the picture, which you have practiced for your own perfection. A s all have their arms extended and fingers spread w ide open, you say:

Breathe deeply, fill the very bottom of your lungs with air, exhale slowly . It is alw ays im portant that you carefully observe your audience; nod slightly at any delinquent, look sharply for tha t person who m ight not be in harm ony with you and fix your eyes upon him occasionally until he responds to your suggestions.

L E S S O N N O . 6

Slowly but firmly you issue the next suggestion:

“Breathe deeply. A S Y O U I N H A L E , R A I S E Y O U R A R M S ’’.R aise your own arm s as shown in the illustration on P age 12 and w hen all arms are raised say:“L O W E R Y O U R A R M S S L O W L Y A S Y O U E X H A L E ”.T he breathing motion m ust be in harm ony w ith the arm movem ent; the deep indraw n b reath completed as the arm s reach their most upw ard sweep; and exhale ended as arms are dow n at end of movement.T his suggestion m ust be completed I H R E E 1 IM E S, each time w ith all in ha rmony, as perfect unison is needed to produce the hypnosis.

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“Your body is swaying away from me. Breathe deeply. Important factor in the hypnotist’s control of his subject s will is his control of her breathing.

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L E S S O N N O . 7

Before reading this, observe the position of the bands in the illustration on P age 14. N ote that tbe fingers are interlocked. Interlock your own fingers as sbown, standing in front of a mirror. You m ust slowly bu t surely sbow tbis motion to your audience that they do likewise.

Say, slowly: ‘ Interlock your fingers as I do .

O p e n your fingers w idely then pressing your palm s together interlock them slowly tha t your audience m ay follow you. W ith all hands interlocked say:

“N o w turn your hands outward, away from you, palms outward and stretch out your arms .

B reathe .deeply for ten seconds (count 1 to 10). “Inhale . “Exhale

G o over this idea again. It is an im portant part of the foundation of your dem onstration. T here is a specific reason for each successive step you have m ade up to this point. C heck back over your first six lessons once more, and be sure you have perfectly memorized all you have learned up to now about the simple law of hypnotism.

L E S S O N N O . 8 See Picture on Page 16

It is im portant tha t all in your audience are in harm ony w ith you and in rhythm w ith your movements. A t all times you m ust lead and dom inate the movements. Your audience will respond to your suggestions w hen given in an authoritative, com m anding voice, but, remember, you m ustl e a d , not D IC T A T E . N ow say:

‘Harmonize your breathing with the movement of your arms. Your hands and fingers are interlocked. N o w move your hands over your heads. Very well done! G ood work1 Breathe deeply .

This is very im portant. Practice it carefully, thoroughly.

T here is a definite reason w hy you should repeat the wTords as given here. Stay w ith the form ula that has proven successful. D o not alter or try to improve on w hat you have learned up to this point.

Keep practicing. K eep everlastingly at it and you will w in success. D o your practicing before a mirror, and as you achieve smoothness and control over your own motions and your pronunciation of your suggestions, begin your practice in front of some friendly persons, tha t you familiarize yourself w ith the presence of people as you practice your first steps in the dem onstration.

PAGE 2 1

Your body is swaying towards me. Breathe deeply. T h e power of suggestion is effective only as it holds the intense concentration of the subject

and his or her complete cooperation.

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L E S S O N N O . 9

N ow you kave your audience following your suggestions. T ke last lesson left them w itk their fingers interlocked, their arm s straightened out and breathing deeply as they raised and lowered their arms.

For your next suggestion you say:

“I am going to ask you to close your eyes . . . Slowly .

“A lr igh t! A rm s overhead. Breathe deeply. You have complete control over your arms and hands. Breathe deeply. Please close your eyes slowly. Breathe deeply .

D o N O T close your own eyes. Be sure tha t all in your audience have their eyes closed. Practice this suggestion carefully, be sure you have m astered it word for word that you may become a perfect hypnotist.

L E S S O N N O . 1 0 See Picture on Page 18

T he success of your next suggestion will determ ine how success fully you have m astered the preceding lessons. W h e n your dem onstration has reached to this point you are ready to exercise the power of mass hypnosis. Should you have 25 % of your audience under your control after the next suggestion you will be doing very well.

Say: W h e n your eyes are closed you are not subject to distraction. You will have complete control over your arms and hands .

Ftere is the suggestion you m ake:

“Your eyes are closed—N o w breath deeply ,—In unison—Keep your arms over your h e a d ^ Y o u r hands and fingers are in terlocked^Breathe in har- m o n y ^ Y o u r hands are beginning to get tight . . . N o w . . .

‘ W h e n you hear me complete the count of 3 you will not be able to unlockyour hand and fingers . . . Breathe in unison . N o w I start to count . . .

O n e ^ ' Your hands are beginning to feel tight . . .

TwOr-* “Your arms and hands are beginning to feel stiff .

W h e n I count to 3 you cannot unlock your hands:

O n e . . . T w o . . . Three .

“You cannot unlock your hands .

You feel physically, mentally relaxed-—But you cannot open your hands .

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“Look deep into m y eyes. W h e n you see m y two eyes becoming one big eye close your eyes slowly. ’ Mr. Leitner utilizes the

phenomena of the senses.

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L E S S O N N O . 11

A s you completed tke last suggestion you will have found certain persons in your audience who definitely cannot unlock their hands; they will rem ain w ith their hands tightly clasped, their eyes still softly closed.

Say to these p e o p le s

“Everybody, open their eyes” . A nd then you add: “Those persons who cannot open their hands, please step forward. Come right up here and stand alongside of me . Everyone else, please be seated .

Should you suspect any person in your audience becoming uneasy about those whose hands are locked, say, “Please do not be alarmed, stay seated and leave the mediums to me .

A s these step forward, assist them gently to a position behind your table, retaining orderly control of your audience at all times. If on a platform assist the mediums up to your side. W h e n all are gathered behind your table, s a y ^

“N ow , please be seated ’ and assist each one to a chair. Those are your mediums. T hey are im portant to you. Show by your regard tha t you are appreciative of their cooperation. Be hum ble before them to gain their complete confidence.

Be graceful and natural in your treatm ent of your m ediums. C om m and their attention b u t do not be D IC T A T O R IA L , nor in any w ay arouse resentm ent or antagonism ; do not perm it undue levity. You earn the complete confidence of your m ediums only through your complete confidence in yourself, your belief, faith and knowledge of hypnotism and m ental mastery.


For the next suggestion and dem onstration you will require certain objects which you should arrange to have on h an d before you start. For this movement you need a candle and m atches. Be sure you have them on hand.

R egardless of how few or how m any m edium s are sitting behind you, you continue standing in the position shown in the photographs on Pages 18 and 48. Rem em ber that these positions have been well worked out; they are the result of experiences in thousands of dem onstrations. T he illustrations show you how you cannot fail to do only the right thing all the time.

p a g e 2 5


T h e medium has now advanced further into the stage of hypnotic sleep. It is the “Lethargic phase of hypnotism. O n ly normal,

healthy people can he hypnotized.

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L E S S O N NO. 1 2 (C ontinued )

Speaking slowly and distinctly, say:

Ladies and Gentlemen: observe carefully what I am now about to do. Fix your eyes and mind on this candle. There will be nothing to embarass you. A l l I am going to do is to light the candle , (doing so, qu ick ly ).

I will count from one to three. A t three I will blow out the candle and you will relax your hands and open your fingers. Oner—‘two, T H R E E open your fingers”, (Blow out the candle.)

Be constantly w atching your mediums, and be particularly sharp and quick in noticing who was the last person to unclasp his or her fingers. Tha t person will be your best medium of the group.

It m ight be well for your own good to carefully check and recheck your practice of this motion. Perhaps once again go over all the lessons up to date.

D id you understand w hat happened in the minds of your audience during Lesson Ten, E leven and this one? D o you realize how and w hy you are able to execute a m ass-hypnosis? T he reason w as given in the first words in the introduction to this book.

L E S S O N N O . 1 3 See Picture on Page 24

In your group of m ediums there invariably is one L A S T person to unclasp the hands. You discover him by intently w atching the hands ol all the

m em bers of your group. Select him by your gaze, politely say:

“W i l l you please stand up arid step forward? T h a n k you .

G uide the person to a place beside you at your table.

Looking directly into the eyes of your medium, say:

“ Relax. N o w you are to breathe in harmony with me .

O bserve your m edium s breathing, go into rhythmic breathing, now you both are breathing in unison. Say, soothingly, confidently, and as though confidentially, yet firmly that all in the audience m ay hear it:

“ Look into my eyes. Breathe deeply. W h e n you see my two eyes becoming one B IG eye close your eyes slowly, but not until you see only the one B IG eye. Breathe deeply, look deep into my eyes, breathe deeply, that s fine, w hen you see O N E EY E dose your eyes softly, gently, breathe deeply, w hen you see the O N E big eye, tell me!

p a g e 2 7

“You are completely relaxed. Every muscle in your body is at rest. You can hear every word I am saying.

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You m ay be required to repeat tbe last suggestion several times.

A t no time are you to burry your work or attem pt to rash tbe medium. R em ain calm, certain of yourself and in complete control of yourself.

A s your m edium is breathing deeply w itb you, you m ay observe the m edium beginning to sway forw ard and backw ard gently. It is a sign tba t tbe first stage of hypnosis has been reached.

N o two m edium s m ay react alike. E ach individual m ust be considered individually. Be cautious. Be careful.

Be observing.

Notice how different types of m ediums respond to your suggestions and in w hat m anner different types of people react. T hrough this knowledge you will soon be able to distinguish those who are likely to be good m ediums, as well as those incapable of co-operating w ith your demon- trations.

C ontinue speaking in a soothing m anner, saying:

Breathe deeply until you see one eye. A s you see the one eye, close your eyes slowly, naturally. R E L A X Y O U R LIPS . Inhale. Exhale. Breathe deeply ”.

L E S S O N N O . 1 4 See Pictures on Pages 20 and 22.

W ith your m edium slowly b u t surely swaying backw ard and forward, swaying more and more under your control, be prepared for the next steps and next suggestions to m ake successful the am azing dem onstration you are now prepared to dem onstrate in front of your audience.

C oncentrate on your medium, forget your audience. Your audience will take care of itself, it is up to you to take care of yourself and your medium.

Say:

“Breathe deeply. Inhale. Exhale. Your body is swaying toward me, n o w ” (pause one second) “now swaying, swaying away from me.

Study the illustrations carefully. Be sure you are in exactly the same position as show n you in the photographs of K onradi Leitner. T his is the exact position he is in w hen he gives his am azing perform ances that have thrilled audiences of thousands.

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N e x t stage in the hypnotic process is the Cataleptic phase. “You are going into a deep sleep. Breathe deep ly^s l ipp ing deeper

and deeper into hypnotic sleep.

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Your m edium m ay be ob eying every suggestion, yet w itkin your medium s mind there m ay be lurking some skepticism, some suspicion tbat m ust be rem oved and cleared aw ay to enable you to assum e absolute control, allowing no m ental interference w ith your suggestions.

It is im portant to convince your m edium of your complete sincerity, bonor and confidence in your own powers. Still looking directly into tbe closed eyes of your medium, say:

“After this experiment you will feel physically and mentally refreshed, perfectly well in every respect and there will he absolutely no after-effect or memory of it .

It is very im portant tba t you firmly and definitely im plant tbis suggestion in tbe m ind of your medium. It completely clears aw ay any doubt or misunderstanding . D o not rusb your medium, do not burry yourself. T reat your medium w itb great patience and tbe m edium will in turn rew ard you witb complete cooperation and obedience to all your suggestions.


Keep your gaze constantly upon your m edium s eye. D o not relax your attention for even a split second. N ote tbe breathing of your m edium and be sure you are botb breathing in barm ony, botb deeply, inbaling and exbaling in unison.

D uring tbis period your m edium is swaying bodily, to ancl from you. You rem ain in tbe fixed position as illustrated on P ages 20 and 22.

You m ust rem ain relaxed physically, continually concentrating your a ttention on your medium. Say slowly:

“Breathe deeply. Inhale. Exhale. Breathe deep ly”.

L E S S O N N O . 1 7In the event that you are not physically able to lift your m edium from the floor to the table you should have an assistant trained to help you as you carry out the next suggestion.

You should be able to, or your assistant should be trained to quickly, gently, lift your m edium to the table as this lesson show's. It should be perform ed w ith swift yet gentle action w ith the m inimum am ount of effort and exertion. It m ight be well to practice on a person willing to serve as a m edium for the practice.

p a g e 31


Even in this deep sleep the suggestion of the hypnotist penetrates. “You are holding a rose and you smell its sweet fragrance. ’ T h e subject goes

through the motions even though asleep.

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A s you observe your m edium swaying further backw ard w itb eacb motion, you will note tbe eyes grow dim. T hen lift the body gently b u t firmly onto the table.P lace your hands upon the m edium as shown in the illustration on P age 26. Be very careful not to d isarrange the clothing; practice to so handle the m edium that the clothing appears na tu ra l as the m edium reclines upon the table.In the event your m edium is a lady, gently cross the ankles, after the body is reclined on the table.D o all this w ith authority, firmly, quickly.Rem em ber d isarranged clothing m ay detract from your dem onstration. A w kw ardness m ay distract the attention of your audience from your dem onstration to your actions w hich m ust be smooth, sure and certain at all times. Your m edium has now advanced further into the stage of hypnotic sleep and is unab le to co-operate with you except to carry out your suggestions.

L E S S O N N O . 1 8 See Pictures on Pages 28, 30 and 32.

Your m edium is reclined upon the table.See the position that you m ust occupy as you go through w ith the next suggestion. From here on you m ust proceed with the utm ost caution. Partia l, perhaps• complete hypnosis has set in.

A s you become more expert, you will be able to recognize and identify the various stages or depths of the hypnosis. A n d above all things, never get flustered.C ontinue b reath ing deeply yourself, looking steadfastly into the closed eyes of your m edium , say:

You are completely relaxed. Every muscle in your body is at rest. You can hear every word 1 am saying. Breathe deeply. Your head is slowly bending towards your right shoulder.You are resting most comfortably. You feel very sleepy. You are going to sleep. Breathe deeply. Your right hand is slowly rising upwards. Higher and higher you raise your right hand. Breathe deeply. Your thumb and index finger are closing together. T h e y are closing over the stem of a rose. You are holding a rose between your fingers.Breathe deeply. N o w you are moving the rose to your nose to smell its sweet fragrance. You are smelling a sweet scented rose. Breathe deeply .

PAGE 3 3


L E S S O N N O . 1 9 See Picture on Page 50.

In tke preceding lesson you proved your control of your m edium through the step-by-step’ suggestions. Realize, as you progress through these lessons you have gradually developed within yourself an understanding of w hy and how other persons are subject to your hypnotic control and m ental mastery.

You first discovered that rhythm ic breathing accom plished a harm ony of minds, in mass hypnosis, w ith yourself as the com m anding leader.

You next discovered tha t in an average audience there w ould be one person subject to your m ental m astery and who becomes a perfect medium for your hypnotic suggestions.

R egardless of the size of your audience there will alw ays be one person of least help to you, one person of most help to you. L earn to distinguish these types quickly, immediately, accurately; alw ays select that medium best suited for complete cooperation for a smooth, successful dem onstration.Your m edium is fully reclined upon the table, slowly slipping deeper and deeper into a hypnotic sleep.

Com m andingly, say:

You found pleasure in the sweet smell of that beautiful rose. N ow , once again you will lift it to your nostrils. Smell deeply of it. It smells like gasoline. T he odor stifles you like gas and you throw it away from you. T h a t ’s rightr— throw that rose away . . . breathe deeply for fresh air.

Now , once more you will again have a flower between your fingers . . . it is a different flower this lime and you will want to smell it . . . as you smell this flower your personality goes back to your childhood . . . breathe deeply of the flower and you are now eight years old . . . you remember a classroom where you went to school . . . you see the children in the classroom . . . there is a former playmate you used to go with . . . write his or her name in the air with the flower as if it were a piece of chalk and you were writing that name on the blackboard . . .

W r i te slowly . . . now say that name out loud so we all can hear you speak that name . . . breathe deeply . . . what is the name of that p laymate? Breathe deeply . Speak slowly . . . pronounce the name slowly and clearly . . .

D o N O T try to rush yourself through this lesson. T he flowers you sug-

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Tha t od or of tohacco will change to the odor of gasoline. ' W e l l , we re certain she doesn’t like the odor of gasoline. N o suggestion here that it is unpleasant, it is her own dislike that is manifested, not that of the hypnotist.



gested, appeared in tke hypnotic dream to your medium, who, in tke kypnosis actually experienced tke suggestions given by you.

It is im portant that you thoroughly understood the motions m ade in this lesson. Your m edium will respond to your suggestions w hen they are w ithin the range of the norm al conduct of the medium.

A t no time should you in terrupt the unison in breathing of yourself and your m edium . Both should breathe deeply, slowly, at no time increase the tempo of the rhythm .

L E S S O N N O . 2 0 See Pictures on Pages 34 and 56.

In this lesson, through suggestion, you will have your m edium actually go through a sensation, purely im aginative, purely a dream , because a t no time will tbe actual sensation be anything more than a suggestion, created by you through your com m and of hypnotic power.

Perhaps the most baffling phase of hypnotism to the laym an, and least understood by the average person is the “post-hypnotic pow er’

M any m ay ask, “W h y , after a person awakens from a hypnosis, are they still under the influence of the hypnotic suggestion?

T he answ er is tha t the m edium is not fully relieved until after the last “suggestion” has been finally carried out or completed by the medium.

It is im portant, as you will discover in this lesson, to have your m edium execute tke post-hypnotic suggestion quickly; upon its completion tke m edium fully aw akens, bu t until tke last suggestion is acted out, tke m edium is still w itkin a partial kypnosis.

For tke purpose of a dram atic dem onstration, two post-kypnotic suggestions are given kere. A t tkis point you are entirely on your own.

T ke suggestions skould be worked out carefully ahead of time by yourself, in language tha t you can completely com m and and th a t will be u nderstood by your medium. N ever use long or un in te llig ib le words and be sure your pronunciation is correct, because thought transference is only as fast as the time betw een the spoken word and the heard word, w hich is bu t the time w ithin the flash or space required for the sound of your voice to travel, in these instances perhaps only a few inches from your m outh to the ears of your medium.

In the cigarette smoking sequence you will require a cigarette, w hich you

p a g e 3 7


Your personality goes back to your age of 6, and you are writing your first name for the first time. She writes it in the same jerky gestures and

lack of coordination as she did w hen she first started school.

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L E S S O N N O . 20 (Continued)

will obtain from a member of your audience. It is always important that every move you make, every word you say, be clear and plain to your audience.

W k e n you receive a cigarette or any otker object from your audience, be certain to bold it kigk and clearly visible at all times. D o not permit tbe slightest suspicion to creep in tbat you are in any way doing anything to tke article. T k e re is absolutely no need for hocus-pocus in tke art of kypnotism and you must at all times be honest and etbical, setting up for yourself tke kigkest possible standards of conduct so you can truly earn confidence.

In tke first of tke two post-kypnotic suggestions you will again re-create, in tke medium s mind, tke sensations of pleasure and displeasure. So strongly will tkese sensations react tkat you will do well to carefully observe every action made by your medium tbat you may attain tke utmost perfection in any variation you make of it.

T k e last suggestion applied to your medium in tkis lesson left your medium in tbe mentality of an eight year old school child, writing a playmate s name in the air and speaking aloud a name perhaps not even thought of by the medium for many years.

A fter the performance is completed you might mention the playmate s name to the medium who will have difficulty reca lling it when fully recovered from the hypnosis.

Proceed with the post-hypnotic suggestions as follows:

I now transfer you back to your present age. You will have a great desire to smoke a cigarette .T u rn to your audience and requesting, ask:

W ill someone please provide me with a cigarette? Any brand will do . R e a c h for the first one offered, holding it gently in upraised finger tips, and still holding the cigarette high and in plain view proceed to place tke upper end into tke nostril of your medium, wko is still in a reclining position on tke table. Say , gently:

You are smelling fine tobacco. Breathe deeply. It smells just like a pleasant smoke tastes to you. W h en I count three that odor of tobacco will change to the odor of gasoline. One, two T H R E E ”.Your medium will reach for the cigarette and toss it away angrily. W a t c h your medium carefully every second.

p a g e 3 9

T h e hypnotist can even induce hearty laughter—he is not limited to slow, lethargic movements. You are in a movie and seeing Charlie Chaplin.

Here is her reaction to the comedian.

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H ere comes the concluding part of your performance. In it you will give

a dem onstration of a semi-aroused m edium carrying out a post-hypnotic suggestion. You can work up your own idea on this, provided however

you practice it very carefully hefore-hand.

Rem em ber, you are giving a scientific dem onstration and any effort at clownish horseplay m ay not only fail to function, bu t will cast reflection on your ability and claim to m ental mastery.

In working out your own idea of a post-hypnotic suggestion you should

work out the words that are agreeable to your medium. U se affirmatives, tha t is, those things to which the normal person can agree; never negatives or debatab le phrases that w ould cause the m edium to disagree and m entally dispute you.

A lthough your medium is in a hypnotic sleep, the m edium at all times retains norm al poise and W IL L N O T carry out any suggestions that seem immoral or unnatural. W h a t the normal person will not do w hen awake, he will N O T D O in a hypnotic state.

Should the hypnotist give any suggestion to the medium, w hich in the m edium s experience is not normal, that suggestion im m ediately sets up antagonism betw een the m edium and the hypnotist. T he m edium will not

commit a violation of norm al good conduct, perform an overt act or violate good taste,

L E S S O N N O . 2 2

Say to reclining m edium:

Breathe deeply. N o w w hen I next say to you *rain makes the grass grow* you will awaken and rise from the table. You will return to your seat, walking slowly. A fter sitting there for a few seconds you will have a desire to smoke. You will reach for a cigarette and light it. T he first two puffs will taste nice and then the next puff will taste like you had gasoline in your mouth and you put the cigarette ou t” .

PAGE 4 1


This photograph shows the state of “Lethargy,” one of the earlier phases in the hypnotic process. It is a state of absolute inert sleep. T h e muscles contract in response to the slightest touch, friction or pressure. T h e face is without expression, insensibility is complete. N o pain is felt from the heat of the flame, yet the arms have contracted as a result of external pressure.

PAGE A 1



T he *key* words for tfie aw akening can he changed as you think hest. P erhaps you will discover some phrase that is particularly popular in your community, or a seasonal word, or words particularly appropriate for your medium. Should you know your m edium enjoys a pet hobby, use a phrase about that hobby, bu t the key Words m ust be distinctive, must be affirmative, preferably of a p leasant nature.

Be careful about using political, topical phrases or slang, as these may arouse resentm ent and antagonism . M any people abhor slang in any form. Sometimes even a patriotic phrase m ay result in an unp leasan t memory.

1 he phrase, Rem em ber Pearl Harbor m ay call to the listener the horrors of the brutal w ar, or bring up thoughts of revenge against the enem y; these become negative thou ghts.

D o you thoroughly understand the im portance of p leasant key words for post-hypnotic suggestions?

L E S S O N N O . 2 4

In the following post-hypnotic suggestion you are a t liberty to change the key words and vary the suggestion to be carried out. You are talking to your m edium :

Alright, breathe deeply. I will give you a second and final hypnotic suggestion, which, after you have carried out, will aw aken you completely and you will be totally free of any suggestion or after effects except that you will feel refreshed from this brief sleep you are now enjoying ’.

“A fter your experience with the cigarette that turns the smoke into the taste of gasoline, you will arise from your chair, walk across the room to the person sitting farthest away from you, you will go up to that person and kiss him heartily on the forehead and shout as loud as you can ‘H appy N e w Year . You will then return to your seat and be absolutely free of any suggestion or after-effect as the result of this demonstration .

“A l l right, breathe deep ly’ .

T hen you say: R ain makes the grass grow ”.

Your m edium will sit up, get up and return to his seat. H e will reach for a cigarette, fight it and react as you suggested. T hen the second posthypnotic suggestion will be carried out.

p a g e 4 3


In the hypnotic state of “ Catalepsy,” the subject is rigid and fixed, his eyes wide open. T h e nerves of the eye, too, are rigid and insensitive.

PAGE 44



W h ile in this last suggestion you are free to work out your own plan, clo N O T F O R G E T to include in your work the final suggestion that the m edium will be absolutely free from any after-affects of the hypnosis other than being refreshed. Im plant firmly in your m edium s m ind a complete freedom from further suggestion. Stress this importantly, both before and after your dem onstration, not only to your medium, bu t to the m em bers of your audience.

You have now completed the twenty five lessons. H ave you carefully studied and completed each one before proceeding lo the next one?

These lessons are so few, and each one so brief, it m ay not be plausible that you can m aster hypnotism so easily. B ut you see you had only one simple, basic natu ral law to learn and master. Breathe deeply <—r rhythmic, in-unison breathing is the foundation stone of tha t law.

P u t in plenty of practice. Keep everlastingly at it to w in success. In your first public dem onstration, arrange to have an agreeable, sym pathetic audience.

D o not invite an antagonistic person who will offer a constant challenge to your efforts until you are skilled in your performance.

U pon concluding your perform ance, courteously thank your m edium and your audience for their co-operation. Be simple in your choice of words, express your gratitude plainly and sincerely.

Yours for Success,

PAGE 4 5


T h e m edium has no sensation of pain at this point. It s the realization of a dentist’s dream,—and of his patient s, also.

PAGE 46

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M A S S H Y P N O S IS

PAGE 4 7


HYPNOTIC SUGGESTION

MASS HYPNOSIS

PAGE 4 8

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TURN YOUR PALMS TO FACE EACH OTHER

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P H O T O G R A P H I C

I L L U S T R A T I O N S

SHOW YOU HOW

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