Popular Pastimes for Field and Fireside, or Amusements for young and old

by Caroline L. Smith

Games for Old and Young.

BLIND MAN’S BUFF is a popular, old-fashioned and delightful pastime, too well known to render any description of it necessary. A more quiet variety of blind man’s buff is played in the following manner: All the company arrange themselves around the room, one being blinded in the centre. Some one then either numbers them, or calls them by the names of different towns or cities. Each one must remember the name given him. Then the one who named them calls out to any two in the party, such as: “Two and Ten change places,” or, “Boston go to New York,” &c. Those called must quickly exchange places (on pain of a forfeit it they do not), the one blinded trying to catch them on their way. The caller must make them change places often, and from distant sides of the room, so as to give the blinder a good chance. If he catches any one in the act of changing his place, and calls his name correctly, the person so caught must take the part of blind-man until, in turn, he catches somebody else.

SHADOW BUFF.

Shadow Buff is a variation of blind man’s buff. Though not as generally known, it is equally amusing. A large piece of white cloth, or a linen or cotton sheet, is suspended smoothly at one end of the room, at a little distance from “Buffy,” who sits with his face towards the cloth, and his back to the company. Behind him a light must be so placed as to throw the shadows of persons passing between it and “Buffy” directly on the curtain. All other lights must be extinguished. The players then walk, one by one, slowly between the light and “Buffy” (who must not turn his head), limping, jumping, grimacing, or disguised as they please, so as to distort their shadows on the curtain. If “Buffy” can tell correctly to whom any shadow belongs (guessing once only at each person), the player whom he so discovers takes his place as “Buffy.”

BLIND MAN’S WAND.

This is another variety of the same game. The blind man carries a cane, which he reaches in every direction. Whoever it touches is bound, by the rules of the game, to take hold of it, and repeat whatever the blind man orders. The one who is caught can disguise his voice as he pleases. The blind man is allowed three guesses, and if he cannot discover the person touched by his voice, he must try another. This is an amusing change.

There is still another, called “Fettered Buff.” The person who is to catch his companions is not blinded, but his wrists are tied behind him, and he catches by running backwards. This form of the game is not recommended. The person so bound cannot balance himself easily, or guard himself, and is liable to injury from falling.

CHINESE SHADOWS.

This can be played only in the evening, by candle light. A white curtain should be fastened smoothly at one end of the room, as in “shadow buff.” Half the company must be spectators and half actors. The spectators must be seated facing the curtain. Two persons in front should hold a ribbon or stick across the curtain as high as they can easily reach, to mark the line on which the shadows are to move, or a line may be drawn across the curtain. The actors must stand behind the spectators, at a little distance, with a large supply of figures cut in paper, such as houses, trees, men, women, animals, birds, &c. These figures must be slowly passed along, one after the other, in the manner you wish the shadows to fall on the curtain. It is easy to make them advance, retreat, &c., while you hold conversation for them. Those who are skillful in the use of these shadows, can make them represent a battle, game, contra dance, &c. The figures of inanimate things must not be moved; birds can be suspended on the ends of strings, and swung about irregularly, from time to time. The effect is not unlike a magic lantern. When the actors have played long enough, they must change places with the spectators.

“THE COMICAL CONCERT.”

This game, when well played, is extremely diverting. The players are arranged as an orchestra, and each one undertakes to imitate some musical instrument. One pretends to play the violin, by stretching out her left arm, and moving her right hand across it, as if she were drawing a bow; another doubles up her hands and puts them to her mouth, to imitate a horn; another moves her fingers on a table, to imitate a piano; another takes the back of a chair and touches the rounds, as if they were the strings of a harp; another motions as if beating a drum; another holds a stick, after the manner of a guitar, and pretends to play upon it; another appears to be turning a hand-organ; another plays a flute, trombone, or any instrument he fancies—even a jewsharp. This is but half the game. Each musician should, while playing, make a sound with his mouth, in imitation of his instrument, thus:

Rub-a-dub, goes the drum;
Twang, twang, goes the harp
Toot, too, hoo, goes the horn;
Tweedle-dee, tweedle-dee, goes the violin, &c.

If all play with spirit it makes a laughable jumble. The leader must stand facing the orchestra, with a long stick, beating time, in an absurd imitation of some famous leader. In the midst of the noise and fun, he suddenly stops, and pointing his wand of office to one of the players, asks, abruptly, “Why don’t you play better?” The one spoken to must answer instantly, and with suitable reference to the nature of his instrument. For instance, the drummer could say one of his drumsticks is broken; the harper, that a string is loose; the pianist, that a key is broken or out of tune; the violinist, that a string is broken, &c. If they hesitate a moment, or give an unsuitable answer, or if they repeat an excuse already made, they must pay a forfeit or take a new instrument. While one is answering, all must stop playing. When the leader waves aloft his wand, all must commence again, and play till he speaks to some one else; so on till they are weary. Sometimes it is a rule that all who laugh must pay a forfeit. There are many forfeits in that case.

THE MENAGERIE.

This is a noisy game. All the actors in the play must take seats around the room, while some one or two of the number must be chosen to give out the parts. The persons so chosen whisper in the ear of each one the name of some animal he is to imitate. When all are ready and the signal is given by one chosen for the purpose, each one commences to utter sounds in imitation of the animal named to him. Those who fail must pay some penalty. It cannot be called a “concord of sweet sounds,” but such a game will give life to a too quiet company on a stormy Winter evening.

QUAKER MEETING.

Those who join the game take seats around the room, and one or more whispers in the ear of each one some witty or absurd thing for him to do. All must be quiet who are not playing. When all are ready, one person claps his hands, and the first one must proceed to do what he was told; the others must not speak or laugh, on penalty of a forfeit. Each one in turn must act his or her part. It must all be in pantomime. When all are through, each person must turn and shake hands with his or her neighbor, saying: “Friend, how dost thee do?” It is important in this game that the one who gives the parts should be full of humor and of quick perceptions, so as to adapt the game to the persons playing. The parts assigned may be of endless variety. One person may be ordered to play a mock bravura on a table for a piano; another to gaze in admiration of himself in a mirror and arrange his dress and hair; another to act the scornful belle, while a gentleman acts the urgent but despairing lover; one to dance a hornpipe, another to make a speech by gestures, another to make grimaces in the face of every one in the company, another to pretend terror and fright from some imaginary animal, etc.

RESEMBLANCES.

One of the company taking part in this amusement rises, and addressing his or her neighbor, proposes the following question: “What does my thought resemble?” The person interrogated replies as he or she pleases; then the questioner adds: “In what way does the object you designate resemble that which I am thinking of?” If, as frequently occurs, there exists no affinity, no resemblance between the two, a pawn must be given by the person interrogated. Here is an example:

Mary.—Tell me, Alice, what does my thought resemble?

Alice.—A windmill.

Mary.—I thought of Rogers’ poetry; what resemblance is there between his poems and a windmill?

Alice.—I can give an answer very readily; perhaps the very prettiest little poem written by your poet begins, “Mine be a cot beside the mill.”

Mary.—That is right; it is now your turn, Annie. What does my thought resemble?

Annie.—A chandelier.

Mary.—I thought of a partridge; how does a partridge resemble a chandelier?

Annie.—Dear me, I’m sure I cannot tell! I will give you my pawn.

This play, by the strange inconsistencies which it authorizes, exercises the imagination, and brings into play a good deal of wit.

PUT IN A WORD.

Some one in the company leaves the room, while those remaining select a word, and then send for the person to return. She must ask some question of the person nearest to her, to which the one spoken to must make a prompt answer, and in answering he must make use of the word selected. Sometimes an acute person will guess the word from the answer given to her first question. Some awkward use or slight emphasis may betray it, but generally she will go to a number and sometimes to all present without guessing the word. In that case (unless some one volunteers to take her place), she must go out again. If she discovers the word, the one by whose answer she guessed it, leaves the room, and those remaining choose a word and the game proceeds as before.

PROVERBS.

The company select some one to leave the room; those remaining agree upon a proverb, such as “All is not gold that glitters,” and then send for the person to return to the room. She must ask questions of the company in turn. The first person asked must include in his answer the first word of the proverb, “all,” the next person, “is,” and so on till they complete the proverb; if she has not guessed it, and there are more in the company, the next person begins the proverb anew. The one by whose answer the proverb is guessed must then leave the room. This game requires considerable ingenuity and readiness. The proverbs selected should be familiar ones, such as “Make hay while the sun shines,” “When poverty comes in at the door love flies out at the window,” “A fool is wise in his own conceit,” “A stitch in time saves nine,” “Never look a gift horse in the mouth,” “All’s well that ends well,” “A bird in the hand is worth two in the bush.”

GAME OF CHARACTERS.

A person chosen leaves the room. Those remaining select some familiar character either in history or of the present day, for the absent one to personate. When he returns, the person nearest him addresses him by a question, as if he were the character selected. In like manner, each person in the company in turn asks a question. The one at whose questions he guesses the character must take his place and leave the room in turn. For instance, “Napoleon the present emperor of France” is selected. When the person returns, the first questioner exclaims, “Are you not in constant fear of being killed?” The next, “Are you really happy?” The third, “Why are you so despotic?” The fourth, “Do you believe in fatalism?” Fifth, “Do you worship the memory of your uncle?” “Why do you not like us Americans?” etc., etc. This play is often very amusing and tact is required to ask questions that apply to the character and are not too plain.

LAWYER.

All who take part in the play assemble and choose a lawyer. The chairs in the room are arranged in two rows, as in a contra dance. If there are an equal number of gentlemen and ladies, the former choose their partners. The gentlemen take seats opposite the ladies. The lawyer proceeds to ask such questions as he chooses. The person addressed must never answer, but his partner must answer for him. If either make a mistake, he or she must change places with the lawyer, and ask the questions. If the lawyer is ready in asking questions, turning quickly from one person to another, he can very soon catch some one.

CONSEQUENCES.

This is a quiet game. All assemble around a table. Each person must have a half sheet of note paper and a pencil. All are requested to write an adjective expressing either a good or bad quality in a man’s character. Each one then turns over and creases down the place written upon, and all change papers. Each one then writes a gentleman’s name, and turns it down, and all change papers again. Then another word of quality applying to a lady, is written, and all the papers are turned down and changed as before. Then a lady’s name is written. Then a place where they met; then what he said to her; then what she said to him; what he gave to her; and what she gave to him; then the “consequences.” The paper must be turned down every time and changed, and no one must read what the others have written. When all are finished, some person collects and reads the papers. Some are absurd, and others happen very correctly. For instance, they might read thus: “The clumsy Mr. Snooks met the beautiful Miss Primrose at a ball. He asked her if she liked turnips; she sighed and hung her head, and said, ‘If mamma is willing.’ He gave her a bouquet; she gave him a box on the ear. The consequences were too sad to relate.” A party of merry girls and boys will like this game for a variety.

FOX AND GEESE.

This game is a very old one, but it is too good not to be always remembered. Arrange the company in this form, all facing inward:—

The stars represent persons; the one outside the circle, but next to it, is the goose; the one most distant from the circle, the fox. When the game commences, the goose starts and places himself or herself in front of one of the two stars. Then the outside one becomes the goose, and the object of the fox is to touch the outside one of three; if he succeeds, they change places, and the one caught becomes the fox. Every one must be on the alert, and change as quickly as possible. I have seen this game, on a stormy day at the seashore, played with great zeal by old gentlemen, judges, lawyers, ministers, mothers, fathers and children. One gray-haired gentleman was the fleetest fox of all; no one could escape him, and his laugh made all hearts glad. Green old age is beautiful to see, and the youthful are always made happier by its genial sympathy.

STAGE-COACH.

All who join this game should be seated, with the exception of the story-teller. If there are vacant chairs, they should either be turned over or taken out of the room. A person with a quick memory and a flow of words, should be selected for the office of story-teller. When all are seated, he or she passes around the circle, giving a name to each individual. When the story is told, the one whose name is mentioned must rise and whirl around. When “stage-coach” is mentioned, all must rise and turn around; when it is said the “stage-coach tips over,” all must change places, and the story-teller then takes his chance to secure a seat, and the one who is left without any seat must go on with the story—the former story-teller taking the name of the person who takes his place. If any one fails to turn around or change places according to the rules of the game, a forfeit must be paid. The common way of telling the story is to describe the “Fidget family, on a journey in a stage-coach.” The following names are generally given to the company: Mr. and Mrs. Fidget, the baby and nurse, Miss Fidget and Master Fidget, and maiden aunt; gingerbread, band-box, trunks, bundles, off horse, nigh horse, driver, whip, reins, driver’s seat, cushions, door, curtains, wheels, footman, &c. You must adapt your names to the number playing. In telling the story, it makes more fun to keep one or two (who will bear the joke) constantly whirling. The story and names are at the will of the story-teller.

HUNT THE FOX.

Take partners, and stand as in a contra dance. The lady at the head is the fox; her partner the hunter. At a signal, she starts and runs down the line, her partner following; she can pass through the lines as she pleases, the players standing far enough apart to allow her to pass easily. The hunter must follow the exact course of the fox; if he varies, he must pay a forfeit. When the fox is caught, the first couple goes to the foot, and the next couple goes through with the same. This and “Follow the Leader” are favorite games for Thanksgiving evenings. Old and young join.

SNEEZING.

All who join this game assemble in a circle. The leader gives one of these syllables, “Ash-ish-osh,” to each one. Thus, to the first person, “Ash;” the second, “ish;” third, “osh;” fourth, “ash,” and so on through all the company. The leader must then stand in the centre and count four, slowly. When he pronounces four, all must sound their syllables at once. The effect is very amusing; it sounds like a prolonged sneeze.

THE READY WRITER.

This game can be played by any number of persons, each one having a pencil and paper. The leader of the game gives to each one (or each player chooses) a letter in the alphabet. Each player then writes a sentence of five, six or seven words, each word commencing with the letter given him. When all have finished, each one in turn reads his sentence. If any one fails, he or she must recite some poetry and pay a forfeit. This game often produces most amusing and instructive effects. Sometimes the leader requires each player to go through the alphabet, as follows:

Avoid avarice, as an asp.
Britons! be bold! be brave!
Constant crime causes careless consciences.
Do defer doing dirty deeds.
Even every engineer engaged escaped.
Fawning favorites fear fortune’s freaks.
God’s goodness gives great gifts.
Happy homes have happy hearts.
It is instruction I intend.
Keep kind, kinsfolk! keep kind!
Jockeys joyfully joking jaded jackasses.
Little lambs love long lanes.
Many men make much money.
Name nine noisy noblemen now.
Ostentation often operates on opulence.
Perfect piety produces pretty practices.
Quit, quibbling quacks, quarreling, quickly.
Round rough rocks ragged rascals run.
Such stings sting so sharply.
Try to turn topsy-turvy.
Up! up! ungrateful, unjust usurper!
Verily, verily, vice vilifies virtue.
Willing wives will wash well.
Yes, yet you yawned yesterday.
Zeal! zeal! zealous zary, zeal!

RHYMING WORDS IN PANTOMIME.

All who desire to join in this charming pastime must be seated in a circle, in order that each player can have a clear view of all the other players. One of the company must be selected to commence the game. He must think of some word which can be easily rhymed by other words, and give out only the termination of the word to the other players, saying “I have thought of a word that rhymes with ——, can any of you guess it?” The players must next speak in answer to the leader’s question, but whoever thinks of a word to rhyme with the given termination must strive to act out the word he thinks of in pantomime, as plainly as possible, and the leader must closely watch the player who is acting the word, and as soon as he guesses what the person acting is trying to represent, if it is not the word selected, he must say, “It is not ——,” (calling out the word represented) “that I thought of,” and so on as each player acts out a word, the leader must call out the word represented until the right word is acted. The leader must then resign his place, and the person who acted out the right word must be the leader and think of a word, giving out the termination to be rhymed with. An example will here be given to assist those ignorant of this game.

Suppose the person who first selects a word chooses “sting” and gives out “ing” to be rhymed with. One of the players makes a motion with his hands of ringing a bell. The leader says, “It is not ring, to ring a bell.” Another player will by signs indicate a ring on the finger. The leader exclaims, “It is not a finger-ring.” One of the players will imitate wringing of clothes. The leader says, “It is not wring.” Another represents singing, and is told “it is not sing.” A player will perhaps imitate a bee stinging. Then the leader exclaims, “Sting is the word, I resign my place to you.” Perhaps a few examples of rhyming words easily acted may be useful, which will be given here.

Sun. Dun. Pun. Run. Gun. Fun. Spun. Bun.

Hair. Hare. Pair. Pear. Bear. Fair. Prayer. Flare.

Map. Cap. Lap. Rap. Snap. Trap. Flap. Clap.

Hill. Kill. Mill. Fill. Still. Rill. Sill. Bill.

Sheep. Deep. Weep. Keep. Creep. Reap. Cheap. Leap.

AN EXHIBITION OF THE MODERN GIANT.

This is rare sport, when well managed, and for a time the exhibition appears very mysterious to the uninitiated. A large sheet should be strained across some open door; folding doors are better adapted to this game, as they give a larger space for action.

The room in which the spectators are seated should be darkened; but in the room back of the curtain, where the Giant exhibits, should be placed on the floor, a bright lamp or candle, with a reflector, either of polished tin or a looking glass. Any one standing between the light and curtain, appears immense in all his proportions, as his reflection is cast upon the sheet. Let the person acting as the Giant first open his hands and spread his fingers wide, and let them appear at the bottom of the curtain, and gradually rise till the shadow of his whole body is exhibited between the light and the curtain. He will appear to rise from the cellar; then let him jump over the light, to the rear of the reflector, and it will seem as if he jumped upwards through the ceiling.

Many amusing scenes can be thus contrived, articles of furniture, etc., etc., can be called down from above by simply passing them over the light. Dolls can be used with great effect. The Giant can appear to swallow them—or destroy the pigmy race. Care should be taken to keep the profile on the screen or curtain as distinct as possible. Some call this game “The man in the moon came down too soon.”

THE SHADOW AT COMMAND.

This feat is performed by means of confederacy. Having privately apprised your confederate that when you strike one blow, it signifies the letter A; when you strike two, it means B; and so on for the rest of the alphabet; you state to the company that if any one will walk into the adjoining room, and have the door locked upon him, perhaps the animal may appear which another person may name. In order to deter every one except your confederate from accepting the offer, you announce at the same time that the person who volunteers to be shut up in the room must be possessed of considerable courage, or he had better not undertake it. Having thus gained your end, you give your confederate a lamp, which burns with a very dismal light, telling him, in the hearing of the company, to place it on the middle of the floor, and not to feel alarmed at what he may happen to see. You then usher him into the room, and lock the door. You next take a piece of blank paper and a pencil, and, giving them to one of the party, you tell him to write the name of any animal he wishes to appear to the person shut up in the room. This being done, you receive back the paper, and after showing it around to the company, you fold it up, burn it in the candle or lamp, and throw the ashes into a mortar (an iron one is the best), casting in at the same time a powder, which you state to be possessed of valuable properties. Having taken care to read what was written, you proceed to pound the ashes in the mortar, thus: Suppose the word written be “cat,” you begin by stirring the pestle around the mortar several times, and then strike three distinct blows, loud enough for your confederate to hear, and by which he knows that the first letter of the word is C. You next make some irregular evolutions of the pestle around the mortar, that it may not appear to the company that you give nothing but blows, and then strike one blow for A. Work the pestle about again, and then strike twenty blows, which he will know means T—finishing your manœuvre by working the pestle about the mortar, the object being to make the blows as little remarkable as possible. You then call aloud to your confederate, and ask him what he sees. At first he is to make no reply; after being interrogated several times, he asks if it is not a cat.

That no mistake be made, each party should repeat to himself the letters of the alphabet in the order of the blows. If he misses, you might go over, pretending you had forgotten some word in your incantations, as you can mumble to yourself when pounding. If your confederate is a good mimic, it would add to the amusement of all to mimic the sounds of the animal to appear to him.

I have seen this game differently performed. Your confederate, after any word has been chosen, returns to the room, and you give assurance that by your magical art you can inform him of the word. You then take a cane and draw a large circle, and at the same time repeat any absurd jingle or formula of words; then pretend to call up some ancient spirit, and by your raps on the floor tell your confederate your first letter. Then pretend to draw magical figures, and repeat anything you think of; pretend to listen for an answer; then call up some different spirit, and by your distinct raps express the second letter; and so on until the word is finished. This game can be made very amusing.

THE WIZARD OF THE EAST.

The principal performer attires himself in a robe, a paper cap, spectacles, and other appointments necessary to the outfit of the “Wizard of the East.” He is armed with a magic wand, by means of which he is supposed to exercise his mysterious calling, and with which he makes a circle on the ground, muttering at the same time the unearthly words of some potent spell. After communing profoundly for some moments with some imaginary familiar, he appears to have decided, and touches one of his confederates with his wand, ordering him to go to the other end of the room, and there blindfold his eyes. This order executed, and the audience satisfied that the confederate is really blindfolded, the wizard orders him to guess the person on whom his wand shall rest. The wizard then proceeds to touch several persons lightly with the wand, saying at each, “The wand moves,” and at length allows it to rest on the shoulder of the one who spoke last (the key to the trick), exclaiming, “The wand rests.” The confederate will at once name the person touched (who, also being a confederate, has purposely spoken last). The latter takes the place of the person blindfolded, and the wizard goes through with the same form; his confederate exciting them to talk, he again touches the one who spoke last; the confederate names him correctly, and the person touched is blindfolded in turn. Unless he understands the game, he will have only chance to guide him, and will rarely guess correctly. Those who fail, pay a forfeit. Sometimes one of the confederates takes the place of the wizard, and further mystifies the company. This game, though simple, often puzzles a room full.

TO BRING A PERSON DOWN UPON A FEATHER

This is a practical pun:—You desire any one to stand on a chair or table, and you tell him that notwithstanding his weight you will bring him down upon a feather. You then leave the room, and procuring a feather you give it to him, and tell him you have performed your promise, that you engaged to bring him down upon a feather, which you have done, for there is the feather, and if he looks he’ll find down upon it.

THE APPARENT IMPOSSIBILITY.

You profess yourself able to show any one what he never saw before, what you never saw, and what no one ever saw, and which after you two have seen, no one else ever shall see. After requesting the company to guess this riddle, and they have professed themselves unable to do so, produce a nut, and having cracked it, take out the kernel, and ask them if they have ever seen it before; of course they answer no; you reply, “Neither have I, and I think you will confess that nobody else has ever seen it, and now no one shall see it again;” saying which, you put the kernel into your mouth and eat it.

THE TURNED HEAD.

Let a lady be invested with as many wrappings as possible, but cloak, shawl, scarf, &c., must be put on wrong side before, so as to present the appearance of a “Turned Head.” She should be furnished with a muff, which she must hold behind her as nearly as possible in the usual manner, but her bonnet must be put on the proper way. Thus equipped she must enter the room backwards and pass around it in that manner. This can be used as a forfeit.

STATUARY.

Statuary, when personated by intelligent ladies and gentlemen, can be made very amusing. Some witty gentleman, well versed in statuary, takes the part of showman. He first selects from the company those he wishes to assist him, being careful to select only such as can best control their countenances. After obtaining a number of sheets, he takes possession of a parlor, shutting the rest of the company out. He then arranges his assistants as statuary around the room as quickly as possible, covering each one, or each group, with a sheet; then throws open the door, and invites the company to a rare exhibition of statuary. After making a grandiloquent speech he uncovers a group, and gives as absurd a description as possible; so on through the whole.

As fun is the chief object, take for example some tall plain gentleman and place him with bow in hand for Cupid. For Diogenes, take a large wash tub and a boy in it, &c. Another diversion is to cover some ladies and gentlemen all but one eye with a sheet; then let the company guess who they are.

HE CAN DO LITTLE WHO CAN’T DO THIS.

Arrange yourselves in a circle. The one who knows the game takes a cane in his left hand and pounds upon the floor with it, saying, “He can do little who can’t do this,” and passes the cane with his right hand to his right hand neighbor, who tries to do the same thing, but generally fails. The catch consists in quickly changing the cane from the left to the right hand before you pass it. Every one is then intent on your manner of pounding the cane on the floor. Change hands as carelessly as possible.

BROTHER! I AM BOBBED!

A person who understands the game proposes to another, who is ignorant of it, to be blinded with him and be “bobbed.” After being blindfolded they sit down in two chairs placed back to back. The one who knows the game then removes the bandage from his eyes and ties a knot in his handkerchief. The others join hands and go round them in a circle. The one not blindfolded carelessly hits the other with his handkerchief. The one struck of course, thinks himself hit by some one in the circle, and exclaims, “brother, I am bobbed.” The other says, “who bobbed you?” In answer he mentions the name of some one in the ring. They all call out, “you are wrong,” so he is bobbed till the fun is exhausted, he trying to guess the person who hit him and expecting to change places when he guesses correctly. The other pretends he is hit occasionally and calls out he is bobbed. It requires a good-natured person to take the joke pleasantly.

HOW DO YOU LIKE IT? WHEN DO YOU LIKE IT? AND WHERE WILL YOU PUT IT?

The difficulty of this game consists in guessing the meaning of two or more nouns, which sound alike but have different meanings, without any other help than the answers given to the above questions. It is played in the following manner. One of the company is sent out of the room and not recalled until her companions have agreed upon two words of similar sound, with which to puzzle her. When she comes in she asks, “How do you like it?” One answers, “very much indeed,” or “I don’t like it early in the morning;” another says, “It is too noisy;” another, “It is too fond of fine clothes,” &c. She then asks, “When do you like it?” One answers, “At all times;” another, “When I feel hungry for my dinner;” another, “I want it when walking alone;” another, “When I want some wood brought for my fire,” &c. Lastly she asks, “Where would you put it?” One says, “I would hang it;” another, “I would shut it up in a church-tower;” another, “I would take it to a ball-room,” &c.

From such answers a witty little girl may guess that belle was the chosen word, (belle, a fashionable lady, and bell, an instrument of sound.) Such as do not guess must pay a forfeit. Many words might be chosen for this game, such as hair, hare; reign, rain; date, a fruit and date a period of time; whip to strike with, and whip to eat; pear, pair; heir, air; ale, ail; mason a brick-layer, mason a member of a secret society; beer, bier; see and sea.

THE BIRD-CATCHER.

All who join this game must be seated in a circle, first choosing a bird-catcher, who takes his or her place in the centre. He can give the name of a bird to each person, or each can select one, but each one must represent some bird, and one of the number must personate an owl. The bird-catcher then tells a story, introducing the names of different birds. Every bird when mentioned must immediately make a chirrup, crow, screech or splutter, peculiar to its species. The slightest delay or mistake is punished by a forfeit. Each player, until the owl is mentioned, must rest his hands on his knees; but when the owl is called, each player must instantly clasp his hands behind him. The bird-catcher tries to seize the hand of one of the players before he raises it from his knee; if he succeeds, the person so caught must pay a forfeit or take the bird-catcher’s place, his name and place in the aviary being taken by the late officer. If he fails to entrap any one, he must pay a forfeit, and continue the story until he does, or has paid a certain number of forfeits; another then takes his place, either by lot or choice. The company must keep their hands behind them until some other bird is mentioned, when they must return them promptly. It is well to mention the owl twice in succession, but no one must change the second time; the owl must make his peculiar cry whenever he is mentioned. The following is a list of available birds, with sounds peculiar to them, taken from undoubted authorities:—

The Cock—“Cook a doodle doo.”

The Hen—“Cut, cut, cut, ca da cut.”

The Chicken—“Peep, peep, peep.”

The Turkey—“Gobble, obble obble.”

The Duck—“Quack, quack, quack.”

The Canary—“Pretty Dick.”

The Magpie—“Jack wants his dinner.”

The Sparrow—“Chip, chip.”

The Whippowill—“Whip po will.”

The Parrot—“Pretty Poll; Poll wants cracker.”

The Curlew—“Pe-wit, pe-wit.”

The Crow—“Caw, caw, caw.”

The Goose—“Hiss—s—s.”

The Raven—“Cro-a-ak.”

The Snowbird—“Chick-adee-dee.”

The Owl—“To-wit, to-wit, to-whoo.”

These sounds of course can be varied to suit the idea of the performer. Parrot and magpie can be made to speak as they wish. The raven may be made to say, “Never more,” according to Poe’s poem. But the sounds agreed upon at the beginning must not be changed during the game. Some amusement can be gained by giving appropriate names to different persons. The owl could be given to the most learned in the company. The best singer, the nightingale, could be represented by a few bars of Jenny Lind’s melodies. The magpie could be given to a great talker. When all are ready the bird-catcher might commence in the following manner:—

I went out the other morning with my gun and nets to catch a few birds. I did not intend robbing a farm yard, but on the top of a railing I saw a fine cock; (“Cock a doodle do,”) there was nobody looking and I couldn’t resist it—when up came an enormous turkey. (“Gobble, obble, obble.”) Oh! Oh! said I, a turkey, (“Gobble, obble, obble”)—well a turkey (“Gobble, obble, obble”) is worth more than a little sparrow, (“Chip, chip,”) and there is more to eat on it than on a curlew, (“Pewit, pewit,”) and as I had made up my mind to steal a cock, (“Cock a doodle do,”) why not a goose, (“His, s, s,”) or a turkey. (“Gobble, obble, obble.”) I crept up to him, when all of a sudden a rascally magpie (“Jack wants his dinner”) flew out of a bush, making such an abominable noise that all the birds in the air (general cry without moving the hands) took flight at once. Off went the turkey (“Gobble, obble, obble”) on one side and the cock (“Cock a doodle do”) on the other, scattering a flock of ducks. (“Quack, quack.”) There was not a single bird in sight but the owl. (“To whit! to whit! to whoo.”) All hands up. [A forfeit given either by the unlucky bird-catcher who has not succeeded in catching a hand, or by a bird whose hand he has caught; in either case, he who remains, or becomes bird-catcher, continues.] As I was saying, the owl [dead silence except the sound of the owl, all hands still behind] began making an extraordinary noise, no doubt thinking himself the nightingale, [the nightingale sings a bar from the “Daughter of the Regiment;” all hands down on the knees immediately. Forfeits from those too late, or in too great a hurry to replace them,] and all the birds in the air [general cry] flocked round again to see what the matter could be. Up came the crow, (“Caw, caw,”) the raven, (“Croak,” or “never more,” as agreed on) the wild duck, (“Quack! quack!”) even the farmer’s parrot, (“Pretty Poll,”) in fact, all the birds in the field, [dead silence.] “Oh! ho!” I said, “now I shall put some salt on you,” when to my horror, the beast of an owl—(“To whit, to whit, to whoo!”)—[all hands disappear as before, and the bird-catcher darts forward to catch some one. Whenever the bird-catcher says, “All the birds in the air”—every bird must answer at once.]

QUESTIONS AND ANSWERS.

All take partners and sit opposite each other. Then one person whispers a different question in the ear of each on one side of the room, and another gives an answer to each on the opposite side. The first couple commence. One asks the question whispered to him, his partner gives the answer whispered to her. Each couple take turn in giving the questions and answers. A lady should direct the gentlemen, and a gentleman the ladies. Each side asks the questions alternately, the side that first asked the questions next making the answers.

THE MAGIC WAND.

The magician, or the person who wields the wonderful wand, has a confederate who retires from the room. In his absence, the company (the magician being present) agree upon some piece of furniture or other article, by which the powers of the wand are to be tested. He is then called in and the magician points to various articles about the room. Whenever he points to any article except the one agreed upon, the confederate is sure to say “that is not it,” and he never fails to designate the right article when the wand is pointed towards it. This proceeding, which at first sight appears mysterious, is easily explained. When the magician points to the article agreed upon by the company he slightly changes the position of the forefinger of the hand in which he holds the wand, or makes some slight gesture previously agreed upon by him and his confederate. The confederate looks intently at every article pointed out and pretends to be thinking deeply, while the company are generally so intent on following his movements that they do not notice the almost imperceptible motions of the magician. If one of the company thinks he has detected the trick, he takes the confederate’s place, and sometimes finds himself mistaken. If the magician is a very mysterious personage he will be apt to magnetize the confederate at the beginning of the game.

The “Black Art” is another form of the same game. The magician next before pointing at the article agreed upon, points towards some object of a black color, and in that way gives the information to his confederate.

THE RHYMING GAME.

Where several are passing an evening quietly together, this game may afford much amusement. It is played as follows: Each one of the company writes a single word on a slip of paper; the more unusual and difficult the word is to rhyme with, the more amusement it makes. These slips of paper are placed in a hat, and each one of the company, in turn, draws one, and then writes a couplet, in which the word drawn shall stand at the end of a line, and the word at the end of the other line shall rhyme with it. Of course, each may write as much more as he pleases. Where the company are witty and ready, and have a faculty of making verses easily, the game is a pleasant one. Epigrams on the company present, puns and good-natured hits, add much to the fun in this game.

THE GAME OF TWENTY QUESTIONS.

This is one of the best of the games, though but little known. Such men as Canning, Wyndham and Pitt have played it; the latter two, indeed, were especially fond of it; so it does not lack recommendation. The rules of the game and its description are briefly these:

Two persons (usually a lady and gentleman), chosen by the company, privately fix upon an article or subject. Two others are then chosen to discover the subject so agreed upon, and they must do this by asking twenty questions as to its nature and qualities. A fifth person is usually selected as umpire, who is made acquainted with the subject fixed upon, and whose duty it is to see that all the questions are fairly put and answered. The questions are to be put plainly, though in the alternative, if desired, and the answers must be plain and direct. The object of the thoughts must not be an abstract idea, or anything so occult, or scientific, or technical, as to be beyond the reasonable information of the company, but something well known to the present day, or to general history. It may be, for example, any name of renown, ancient or modern, or any well known work or memorial of art, but not a mere event, as a battle, for instance. Of course, the discovery, if made, is to be the fair result of mental inference from the questions and answers, not of signs passing, or juggling of any description.

Mr. Pitt is said to have once succeeded in this game, when the subject was The stone upon which Walworth, Lord Mayor of London, stood, when he struck down Wat. Tyler, in Richard II.’s time!

In a game in which Mr. Canning was the questioner, the questions and answers were as follows:—

First.—Does what you have thought of belong to the animal or vegetable kingdom?

Answer.—To the vegetable.

Second.—Is it manufactured, or unmanufactured?

Answer.—Manufactured.

Third.—Is it a solid, or a liquid?

Answer.—A solid.

Fourth.—Is it a thing entire in itself, or in parts?

Answer.—Entire.

Fifth.—Is it for private use, or public?

Answer.—Public.

Sixth.—Does it exist in England, or out of it?

Answer.—In England.

Seventh.—Is it single, or are there others of the same kind?

Answer.—Single.

Eighth.—Is it historical, or only existent at present?

Answer.—Both.

Ninth.—For ornament, or use?

Answer.—Both.

Tenth.—Has it any connection with the person of the king?

Answer.—No.

Eleventh.—Is it carried, or does it support itself?

Answer.—The former.

Twelfth.—Does it pass by succession? [Not answered, on account of uncertainty; but, by agreement, the question was counted one in the progress of the game.]

Thirteenth.—Was it used at the coronation?

Answer.—Yes.

Fourteenth.—In the hall or abbey?

Answer.—Probably, in both; certainly in the abbey.

Fifteenth.—Does it belong specially to the coronation, or is it used at other times?

Answer.—It is used at other times.

Sixteenth.—Is it exclusively of a vegetable nature, or is it not in some parts a compound of a vegetable and a mineral?

Answer.—Exclusively of a vegetable nature.

Seventeenth.—What is its shape? [Objected to, as too particular; withdrawn by the questioner and therefore not counted.]

Seventeenth, repeated.—Is it decorated, or simple? [Objected to, but objection not sustained.]

Answer.—Simple.

Eighteenth.—Is it used at the ordinary ceremonial of the House of Commons or House of Lords?

Answer.—No.

Nineteenth.—Is it ever used by either House?

Answer.—No.

Twentieth.—Is it generally stationary, or movable?

Answer.—Movable.

Answer, guessed correctly at the end of the twentieth question: “The wand of the Lord High Steward.”

GAME OF PHOTOGRAPH.

One person is chosen to preside. He must see that each player is provided with pencil and paper with which to write his replies to the questions announced by the president. The questions are put in the order here given, and the answers must be numbered to correspond with the questions.

Questions.

1. What virtue do you most admire?

2. What vice do you most abhor?

3. Who is your favorite prose author?

4. Who is your favorite poet?

5. Who is your favorite poetess?

6. What book do you prefer?

7. What is your favorite amusement?

8. What is your favorite economy?

9. What is your favorite extravagance?

10. What is your favorite color?

11. What is your favorite hour?

12. What is your favorite art?

13. What is your favorite picture?

14. What is your favorite statue?

15. What is your favorite season?

16. What is your favorite flower?

17. What is your favorite aim of life?

18. Who is your favorite hero?

19. Who is your favorite heroine?

20. Which is your favorite summer resort?

21. What is your favorite weakness?

22. What is the sweetest word in the world?

23. What is the saddest word?

24. What is your favorite man’s name?

25. What is your favorite woman’s name?

26. What is your prevailing characteristic?

27. What is your favorite piece of music?

28. What is your favorite occupation?

29. Which do you prefer, wealth or a competency?

30. Which is your favorite animal?

When all the answers have been written, the papers are collected by the President. No one is to see what answers have been written by any other person. After shuffling them together, the President reads them aloud, and each player guesses as to the authorship of each paper. Forfeits are sometimes collected, and the game prolonged in that way. This game cannot be well played except by persons who are well acquainted with each other.

YORK AND LANCASTER, OR THE WAR OF THE ROSES.

This game is commenced by the choice of two Commanders, either by lot or by vote. As it is necessary for the success of the game to select the most skillful as the Commanders, each player should carefully consider the merits of all the others before casting his vote. One Commander is called Duke of York, and the other Duke of Lancaster. The Commanders draw lots for the first choice of men, and each Duke selects alternately a man from the players till the whole are drawn.

Each party marks out its fort by drawing semicircular lines; the forts should be in line, twenty paces apart, and each of them sufficiently large to hold easily one of the armies. Twenty paces in front of each fort should be drawn a semicircle larger than the fort, which is called the prison, the prisons and forts thus marking the four corners of a square.

The two Dukes then draw lots to decide which shall commence the game. If the Duke of York wins, he sends out one of his red-rose men, usually a new player, who must run at least beyond the line of the prison before he returns. As soon as he has started the other Duke sends out one of his men to pursue, and, if possible, to touch the red-rose runner before he can regain his own fort. If this is accomplished, the successful runner returns to his fort, while the vanquished party must go to the enemy’s prison, from which he cannot stir until some one from his own side releases him, by touching him in spite of the enemy. This is not an easy task, as in order to reach the enemy’s prison, the player must pass by the enemy’s fort. It is allowable for the prisoner to stretch his hand as far towards his rescuer as possible, but he must keep his body within the bounds; and if several prisoners are taken, it is sufficient for one to remain within the prison, while the rest, by joining hands, make a chain towards the player who is trying to release them. [The Commanders in the commencement of the game must decide if they will allow this latter mode of escape.] When a rescue is thus accomplished, both the prisoner and his rescuer return to their fort, no one being allowed to touch them until they have reached then fort and again started out.

But the game is not restricted to the two originally sent out. As soon as either Duke sees one of his men pressed by an opponent, he sends out a third, who is in his turn pursued by another from the opposing side; each being allowed to touch any who have preceded, but none who have left their fort after him. The war soon becomes exciting; prisoners are made and released, the two Dukes watching the game, and rarely exposing themselves, except in cases of emergency, but directing the whole proceedings. The game is considered won, when one party has succeeded in imprisoning the whole of the other side.

Much depends upon the Commanders, who sometimes, by a bold dash, rescue the most important of their men, and thereby turn the fate of the battle; or when the attention of the opposite side is occupied by some hardly-contested struggle, send out a player who walks quietly up to the prison, and without attracting the notice of the opposing party, lets out a prisoner. No player is permitted to touch more than one person until he has returned to his fort; when he can sally out again, armed with fresh strength, like Antæus of old, who could not be conquered at wrestling because whenever he touched the ground his strength was renewed by his Mother Earth.

POST-OFFICE.

This family game is instructive as well as amusing. Each one present writes a poem, anecdote, essay, or a letter to some person either present or absent. The articles written should be concise and must in all cases be original. Any one who chooses to do so can disguise his handwriting. The papers, as they are completed, are carefully folded and directed, and then deposited in a covered box placed on the table.

The post-master must be chosen by the company. He has the right to open all the letters and papers, first announcing to whom each is directed, and reads them aloud. After the reading, the papers are distributed according to the directions written upon them.

Young people who write for the “family portfolio” soon become very much interested in it, and find themselves acquiring a ready use of the pen.

HANDWRITING UPON THE WALL.

Cut the word or words to be shown, out of a thick card or pasteboard; place it before a lighted lamp, and the writing will be distinctly seen upon the wall of the room.

GRACES.

This also is an old game, but should be revived, as it is as beneficial as many of the exercises in the gymnasium, and quite as graceful. It is of German origin, and can be played in the open air, or in any hall or long room.

To play the game you need four smooth, round sticks nearly three-quarters of a yard long. The stick at one end should be just large enough to be grasped firmly by the hand, and should be tapered gradually to the end. These sticks, or grace wands, may be prettily painted and wound near the large end, where they are held, with fancy ribbons. The hoops are from ten to twelve inches in diameter, made of some light wood, as bamboo, covered with bright colored silks and wound with silver cord or some tinsel chenille.

The game is usually played by only two players, each taking two wands and one hoop, and standing at a distance from each other; the two wands are held in the hands across each other like open scissors. The object is to throw and catch the hoop upon these wands. When trying to catch the hoop the sticks are held like scissors shut, and are opened apart when the hoop is thrown from you. If you can crown your opponent without her catching the hoop, a kiss is the old-established forfeit. The object of the game, as in “Shuttlecock and Battledoor,” is to keep both hoops flying without once touching the floor. Beginners had better first play with only one hoop.

FAMILY NEWSPAPER.

This is an excellent pastime for a large family, or several families can unite in it. Choose the most ready writer, and the person of the best judgment among your number, for the editor. He must also be a good penman. Your paper can be a weekly or a monthly journal as you please. Every member of the family must contribute one or more articles for the paper, either serious, laughable, instructive or absurd pieces, and give to the editor in season for him to arrange his paper, and publish it at the appointed time. Such as wish to conceal their authorship must notify the editor, and he is bound in honor not to reveal the name of any writer without his permission. Large sheets can be procured, or two or more small ones can be used together. The paper can then be read aloud to the family, or each can read it separately. The family paper will be found to add another link to the home chain. All the papers thus prepared should be carefully preserved, and in after years they will prove a source of pleasure. Most vividly will they bring by-gone days before you.

A friend of mine lately told me of a newspaper of this description, edited by a nephew only eleven years of age. She said that its perfect regularity and neatness were beautiful to see. He printed the whole with a pen, and it was arranged in proper newspaper form. The leading editorials first, followed by a letter from abroad, anecdotes, terrible accidents, telegraph news, marriages, deaths, advertisements, etc., etc. He was one of a family of nine. Every member of the family wrote for it, even a little girl of six wrote an anecdote about her pet lamb.

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