P.-C. Sorkar in his book "Sorkar in Illusion Art" quotes the message of the artist N. K. Roerich:
"We talked about yogis and various psychic phenomena. Some of the guests looked incredulously at Gorky, who was silent, and expected sharp criticism on his part. But his statement amazed many. With inner kindness he said:
"The Indians are a great people. I will tell you about my personal experience. Once in the Caucasus I met a Hindu, about whom there were many wonderful stories. At that time, I was distrustful. Finally we met, and everything I tell you I saw with my own eyes. He took a long string, threw it into the air, and to my surprise, she stayed upright ... "
The literature of book volumes about the riddles of India is higher than Everest. This is not surprising, because the population of this country is older, enlightened, and very exotic from the point of view of even the current European.
The real discovery of India for Europeans and North Americans began with the arrival of Englishmen in this country. Through the gentlemen, with their numerous and influential newspapers and publishers, the world became widely acquainted with previously unseen Indian curiosities.
Gentlemen and in India were active and tireless as usual: a lot of sport, hunting, gin, war, intrigue, "blood." And the abundance of English diaries and letters to relatives and friends in the good old England.
Thanks to the British, the focus with the Indian rope became widely.
photo from this book
The description of this ancient (at lphoto from this bookeast 500 years!) Focus in general is standard and differs only in the dramatic details and the abundance of "blood".
Fakir spreads the carpet, takes the rope, and then throws it straight up. And then the rope suddenly becomes rigid and straight, like a pole, and its end is hidden in the sky. Fakir forces the boy to climb up the rope, but he stubborn. The fakir is angry, and then the boy obeys.
All this is played out long and time-consuming, and therefore the audience's attention is dulled.
Fakir takes a knife and climbs the rope after the boy. Hearing cries are heard and bloody body parts fall on the carpet. The spectators are horrified ... The fakir descends with a bloody knife, and suddenly he is horrified at what he has done. He is surrounded by assistants, with consolations.
After this deliberate turmoil, the fakir suddenly utters a "magic word". And the boy appears among the crowd of onlookers alive and unharmed with a mug for collecting money. Stunned spectators lavishly donate their coins into it.
Researchers from the very beginning understood that there was no killing of the boy, of course. Fakir hid under the clothes shaved parts of the body of a large monkey, wrapped in bloody rags. Their audience accepted the hands and feet of the young assistant. This is all very logical and permissible. However, with the rope, which was frozen in the air, the researchers were completely unclear. What kind of force kept him in a strictly upright position?