Cassell's Book of In-door Amusements, Card Games, and Fireside Fun

by Various

STOOL OF REPENTANCE.

The players seated round the room, a stool is placed in the centre, which one of the company volunteers to occupy while certain charges are being made against him. One person acting as Lord President then goes round the room, inquiring of each player what charge he or she has to make against the culprit, who is humbly sitting on the stool of repentance. All the accusations are whispered into the president's ear, who will do wisely, should the party be a large one, to be supplied with paper and pencil, and attach to each accusation the name of the person who makes it. All being in readiness, the president then begins by saying, "Prisoner on the stool of repentance, you are accused of (being conceited, or noisy, or vain &c.). Can you tell me the name of the person who makes this serious charge against you?" Should the prisoner guess rightly, the accuser must pay the forfeit, and prepare himself to take the place of culprit in the next game; but, on the other hand, should the prisoner guess wrongly, he must pay the forfeit himself, and keep his seat on the stool of repentance. It sometimes happens that when the prisoner has at an early stage of the proceedings guessed correctly, and by so doing has earned his freedom, he still wishes to hear the rest of the accusations. If such be the case, he is entitled to have his wish gratified, being willing, of course, to pay a forfeit for every mistake; and when all have been heard (if he has succeeded in guessing rightly more than once), he has the privilege of choosing the next culprit to occupy the seat that he has vacated.

TABLEAUX VIVANTS.

In the estimation of some people Tableaux Vivants possess even greater attractions than Charades, simply for the reason that in their representation no conversational power is required. The performers have to remain perfectly silent, looking rather than speaking their thoughts; proclaiming by the attitude in which they place themselves, and by the expression of their countenances, the tale they have to tell. To others, however, this silent acting is infinitely more difficult than the incessant talk and gesticulation required in Charade actors. Naturally active, and gifted with a ready flow of words, the ordeal of having to remain motionless and silent, for even three or four minutes, would be equal to the infliction upon themselves of absolute pain. Still we must not be led to think that individuals devoid of character are the most eligible to take part in Tableaux Vivants; no greater mistake could be made. The affair is sure to be a failure unless the actors not only have the most perfect command of feeling, but are able also to enter completely into the spirit of the subject they attempt to depict. It would be useless to expect a lady to personate Lady Macbeth who had never read the play, and who, therefore, knew nothing of the motives which prompted that ambitious woman in her guilty career. In order to give effect to the scene the subject must be familiar and thoroughly understood by the actors. There is seldom any difficulty in the selection of subjects. Historical remembrances are always acceptable, and can be made to speak very plainly for themselves, while fictitious and poetical scenes may be rendered simply charming. Speaking from experience, one of the prettiest Tableaux Vivants we ever saw was one taken from Shakspere's "Winter's Tale." As soon as the curtain was drawn aside, Hermione was seen on a raised pedestal, so lifeless and calm she might well have been mistaken for marble. Before her was standing Leontes, an old man, with his daughter, Perdita, hanging on his arm, both evidently struck dumb with amazement at the likeness of the Statue to her who for so many years they had believed to be dead; while Camillo, Florizel, and Polixenes, also stood gazing in wonder. The good Paulina, dressed as a Sicilian matron, stood behind the Statue, or rather on one side, as the exhibitor of it. Presently were heard strains of gentle music, when the Statue stepped gracefully from her elevation, gave her hand to Leontes, and was embraced by him. The curtain here was drawn forward again, hiding from our sight a picture that ever since has been printed indelibly upon our memory. For comic tableaux scenes from fairyland or from nursery rhymes, would answer the purpose admirably. Some young lady with long hair might be made to be seen kneeling as Fatima, before her cruel, hard-hearted husband, Blue Beard; he with her hair in one hand, and a drawn sword in the other, just about to commit the horrid deed; the sister meantime straining her eyes out of the window, to catch sight of her brothers, who she knows are coming with all speed to the rescue. As to dressing and scenery, they are matters that must be left to the taste and fancy of the managers of the concern, who will soon discover that the success of Tableaux, even more than Charades, depends very greatly upon dress and surroundings. Charades speak for themselves, but Tableaux are so soon over, that unless the actors assume somewhat of the dress of the characters they attempt to personate, the audience would not readily guess the subject chosen. There is little doubt that with both Charade performers, and with those who take part in Tableaux Vivants, the assumed dress gives an air of importance to the proceedings which would not otherwise exist, and acts like a kind of inspiration (upon young people especially), making them perhaps more thoroughly lose their own personality in trying to be for a time some one else.

THE TELESCOPIC GIANT.

Another method (besides that already described) of making a giant is to fasten a hat to the top of a broom or a long stick, and then a little below the hat to fix a small hoop to form the shoulders. A very long mantle of some description must then be firmly fastened on as gracefully as possible, under which a gentleman, the taller the better, must take his post, holding in his hand the stick. As may be imagined, the result is exceedingly ridiculous, owing to the giant being able to make himself tall or short, as it may suit his inclination. At one moment he may shoot himself out to a great height, then become quite small, chattering and gesticulating all the time, to make the affair more comical.

THINK OF A NUMBER.

Tell your neighbour to think of any number he likes, but not to tell you what it is. Tell him then to double it; when he has done that, let him add an even number to it, which you yourself must give him; after doing this he must halve the whole, then from what is left take away the number he first thought of. When he shall arrive so far, if his calculations have all been made correctly, you will be able to give him the exact remainder, which will simply be the half of the even number you told him to add to his own.

THIS AND THAT.

The trick in this game that must be understood by the two of the company who are to take the leading part in it, is nothing more than that the word that is to precede the article that has been chosen for guessing. For instance, one of the two players acquainted with the game goes out of the room while an article is chosen by one of the company as the object to be guessed. The absent one is then recalled, when the second player acquainted with the game remarks that something in this room has been touched, and requests him to name the article.