Produced by Joshua Hutchinson, Anne Soulard, Charles Franks
and the Online Distributed Proofreading Team.
ENTERTAINMENTS FOR HOME, CHURCH AND SCHOOL
BY FREDERICA SEEGER
EDITED BY THEODORE WATERS
ENTERTAINMENTS FOR HOME, CHURCH AND SCHOOL
CONTENTS
CHAPTER I—HOUSEHOLD GAMES AND AMUSEMENTS Going Shopping, Hit or Miss, Game of Rhymes, Most Improbable Story, Animated Art, Guessing Character, Tongue Twisters.
CHAPTER II—HOUSEHOLD GAMES AND AMUSEMENTS French Rhymes, Ant and Cricket, A Spoonful of Fun, How, When and Where, Grandfather's Trunk, Predicaments, Auction, Beast, Bird or Fish, Rotating Globe, etc.
CHAPTER III—HOUSEHOLD GAMES AND AMUSEMENTS Flags of All Nations, Game of Words, Prince of India, Exchange, Shadow Buff, Old Family Coach, The Tailless Donkey.
CHAPTER IV—HOUSEHOLD GAMES AND AMUSEMENTS Magic Music, Cushion Dance, Animal Blind Man's Buff, Musical Instruments, My Lady's Toilet, Going to Jerusalem.
CHAPTER V—HOUSEHOLD GAMES AND AMUSEMENTS Tortoise, Lemon Pig, Seasick Passengers, Enchanted Raisins, Family Giant, Animated Telescope, etc.
CHAPTER VI—HOUSEHOLD GAMES AND AMUSEMENTS The What Do You Think, Knight of the Whistle, "Can Do Little," Throwing Light.
CHAPTER VII—CHURCH AND SCHOOL SOCIALS Charades, "Cicero," "Attenuate," Suggested Words, "Metaphysician," Charades on the Grecian Islands.
CHAPTER VIII—CHURCH AND SCHOOL SOCIALS Living Pictures, Tableaux, Dignity and Impudence, Sailor's Farewell, Home Again, Various Tableaux.
CHAPTER IX—CHURCH AND SCHOOL SOCIALS Wax Works Gallery, Mrs. Jarley's Collection, Chinese Giant, Two-Headed Girl, Captain Kidd, Celebrated Dwarf, Yankee Cannibal, etc.
CHAPTER X—CHURCH AND SCHOOL SOCIALS Art Exhibitions, List of Exhibitors, "Artists," Curiosities, Explanations, Suggestions.
CHAPTER XI—OPTICAL ILLUSIONS Raising the Ghost, Magic Lantern Pictures, Phantasmagoria, Chinese Shadows, Wonderful Mirror, Multiplied Money.
CHAPTER XII—TABLE GAMES FOR ADULTS Dominoes, Backgammon, Checkers, Jenkins, Zoo, Stray Syllables, Chess.
CHAPTER XIII—OUTDOOR GAMES FOR ADULTS Lawn Tennis, Polo, Hockey, Golf, Archery, Ring Toss, Lawn Bowls.
CHAPTER XIV—HOLIDAY GAMES AND AMUSEMENTS New Years, Lincoln's Day, Valentine Party, Easter Egg Party, Hallowe'en Games, Flag Day, Thanksgiving, Christmas.
CHAPTER XV—OUTDOOR GAMES FOR GIRLS Basket Ball, Box Ball, Guess Ball, Target Ball, String Ball.
CHAPTER XVI—PASTIMES FOR CHILDREN Sun Dial, Mother, May I Play? Blind Man's Buff, Tug of War, Various Ball Games.
CHAPTER XVII—INDOOR GAMES FOR YOUNG CHILDREN Patch Work, Peanut Game, Soap Bubbles, Candy Pulls, Cook and Peas, Magic Music, Zoology.
CHAPTER XVIII—OUTDOOR GAMES FOR YOUNG CHILDREN Bean Bag Games, Skipping the Rope, Various Tag Games, Crossing the Brook.
CHAPTER XIX—SINGING GAMES FOR CHILDREN Moon and Stars, Bologna Man, Orchestra, Jack Be Nimble, Oats, Peas, Beans, Farmer in the Dell, London Bridge, etc.
CHAPTER XX—GAMES OF ARITHMETIC Thought Numbers, Mystical Nine, Magic Hundred, King and Counselor, Horse Shoe Nails, Dinner Party Puzzle, Baskets and Stones, etc.
CHAPTER XXI—ONE HUNDRED CONUNDRUMS Witty Questions, Facetious Puzzles, Ready Answers, Entertaining Play Upon Words.
INTRODUCTION.
Games are meant to amuse, but in addition to amusing, a good game, played in the right spirit, may have great educational value.
Now, this is distinctly a book of games and amusements.
There are games for indoors, scores of them, while there are other scores that can be enjoyed only in the open.
When young folks, and older folks, too, for that matter, meet for a pleasant evening, it is rather depressing to have them sit solemnly on stiff chairs in the company room and stare helplessly at one another, like folks awaiting a funeral service.
Now, if there is present, and there usually is, a bright girl, who knows the games in this book, and she starts in to "get the ball a-rolling," all will soon be enjoying themselves better than if they were watching a three-ring circus. And then the volleys of wholesome laughter that will roll out—why, they will be better for the digestion than all the medicines of all the doctors.
It will be noticed that some of the outdoor games, and others devised for indoors, require some apparatus, like tennis and croquet, or back-gammon boards and magic lanterns, but the majority need only the company, and—let it be added—the disposition to have a good time.
Within the covers of "Entertainments for Home, Church, and School," you will find condensed and clearly set forth the best of a library of books on amusements.
ENTERTAINMENTS FOR HOME, CHURCH AND SCHOOL
CHAPTER I
HOUSEHOLD GAMES AND AMUSEMENTS
GOING SHOPPING—HIT OR MISS—GAME OF RHYMES—MOST IMPROBABLE STORY— ANIMATED ART—GUESSING CHARACTERS—TONGUE TWISTERS
GOING SHOPPING
A lively game of "talk and touch." The company is seated in a circle, and one who understands the game commences by saying to his neighbor at the right:
"I have been shopping."
"What did you buy?" is the required response.
"A dress," "a book," "some flowers," "a pencil"—whatever the first speaker wishes, provided always that he can, in pronouncing the word, touch the object mentioned. Then the second player addresses his neighbor in similar manner, and so on around the circle until the secret of the game is discovered by all.
Whoever mentions an object without touching it, or names one that has already been given, pays a forfeit.
LIGHTING THE CANDLE
This feat is a very amusing one, and is performed as follows: Two persons kneel on the ground, facing each other. Each holds in his left hand a candle in a candlestick, at the same time grasping his right foot in his right hand. This position compels him to balance himself on his left knee. One of the candles is lighted; the other is not. The holders are required to light the unlighted candle from the lighted one. The conditions are simple enough, but one would hardly believe how often the performers will roll over on the floor before they succeed in lighting the candle. It will be found desirable to spread a newspaper on the floor between the combatants. Many spots of candle-grease will thus be intercepted, and the peace of mind of the lady of the house proportionately spared.
HIT OR MISS
Great amusement is excited by this game when played in the presence of a company of guests. Spread a sheet upon the floor and place two chairs upon it. Seat two of the party in the chairs within reach of each other and blindfold them. Give each a saucer of cracker or bread crumbs and a spoon, then request them to feed each other. The frantic efforts of each victim to reach his fellow sufferer's mouth is truly absurd—the crumbs finding lodgment in the hair, ears and neck much oftener than the mouth. Sometimes bibs are fastened around the necks of the victims for protection.
CROSS QUESTIONS
The company is divided into two equal parts and blank cards and pencils are distributed. One side writes questions on any subject desired, while the other prepares in like manner a set of haphazard answers. The question cards are then collected and distributed to the players on the other side, while their answer are divided among the questioners. The leader holding a question then reads it aloud, the first player on the other side reading the answer he holds. Some of the answers are highly amusing.
THE GAME OF RHYMES
A variation of the former game. The game is begun by a young lady or gentleman speaking a single line, to which the next nearest on the left must respond with another line to rhyme with the first. The next player gives a new line, of the same length, and the fourth supplies a rhyme in turn, and so on. The game is provocative of any amount of fun and nonsense. A sample may be given:
1st Player.—I think I see a brindle cow. 2d Player.—It's nothing but your dad's bow-wow. 3rd. Player.—He is chasing our black Tommy cat. 4th Player.—Poor puss had best get out of that, etc.
Any amount of nonsense may be indulged in a game of this sort, within proper limits. Clever players can easily give the game a most interesting turn and provoke rhymes that are original and witty. Thus, a subject once started, every phase of it may be touched upon before the round closes.
THE MOST IMPROBABLE STORY
The players are seated in a circle and are provided with pencils and paper. It is then announced that this is a competition, and that the one who writes the most improbable story in fifteen minutes wins a prize. The allotted time being up, the papers are collected and re-distributed so that each players receives another player's story. The stories are then read aloud and a committee decides which is the most improbable story. A prize is usually given the writer of this.
ANIMATED ART
A picture is selected showing a group of individuals and portraying some historical incident or event illustrative of the affairs of every-day life. The performers make up, each one to represent some character in the picture. Out of their number some one is chosen to act as stage manager and he poses the figures. Two rooms with folding-doors, or one room divided by a curtain, are required for this representation. A reflection, or footlight, will enhance the beauty of the picture.
GUESSING CHARACTERS
One of the party leaves the room, while the others decide upon some character, real or fictitious. The absentee is then recalled, and each in turn asks him a question referring to the character he has been elected to represent. When he guesses his identity, the player whose question has thrown the most light upon the subject has to go from the room.
For example: A goes from the room, and the company decides that he shall represent King Henry VIII. When he enters, No. 1 asks: "Which one of your wives did you love best?" No. 2 says: "Do you approve of a man marrying his deceased brother's wife?" No. 3 adds: "Were you very sorry your brother died?" etc., while A, after guessing various names, is led by some question to guess correctly, and the fortunate questioner is consequently sent from the room to have a new character assigned him in turn.
WHO IS MY NEIGHBOR?
One-half the company is blindfolded; these are then seated in such a way that each has a vacant chair at his right hand. The other half of the players gather in the middle of the room. This is done silently. The unblindfolded players will each one take one of the empty seats next to those who are blindfolded. When requested to speak or sing they must do so. It is permissible to disguise the voice. The blindfolded neighbor must guess who is speaking or singing. The bandages are not taken off until the wearer has guessed correctly the name of the person at his right. When he guesses correctly, the one whose name was guessed is blindfolded and takes the guesser's place.
The leader gives a signal, and the players who are unblindfolded walk softly to a vacant chair. The leader then plays a familiar air on an instrument, and says, "sing!" All must sing until he suddenly stops playing. The guessing goes on as before until the leader decides to stop it.
TONGUE-TWISTERS—ANY NUMBER OF PLAYERS
The amusing game of tongue-twisters is played thus: The leader gives out a sentence (one of the following), and each repeats it in turn, any player who gets tangled up in the pronunciation having to pay forfeit.
A haddock! a haddock! a black-spotted haddock, a black spot on the black back of the black-spotted haddock.
She sells sea shells.
She stood at the door of Mr. Smith's fish-sauce shop, welcoming him in.
The sea ceaseth and it sufficeth us.
Six thick thistle sticks.
The flesh of freshly fried flying fish.
A growing gleam glowing green. I saw Esau kissing Kate, the fact we all three saw, I saw Esau, he saw me, and she saw I saw Esau.
Swan swam over the sea; swim, swan, swim; Swan swam back again; well swum, Swan.
You snuff ship snuff, I snuff box snuff.
The bleak breeze blighted the bright broom blossoms.
High roller, low roller, rower.
Oliver Oglethorp ogled an owl and oyster. Did Oliver Oglethorp ogle an owl and oyster? If Oliver Oglethorp ogled an owl and oyster, where are the owl and oyster Oliver Oglethorp ogled?
Hobbs meets Snobbs and Nobbs; Hobbs bobs to Snobbs and Nobbs; Hobbs nobs with Snobbs and robs Nobbs' fob. "That is," says Nobbs, "the worse for Hobbs' jobs," and Snobbs sobs.
Susan shines shoes and socks; socks and shoes shine Susan. She ceaseth shining shoes and socks, for shoes and socks shocks Susan.
Robert Royley rolled a round roll round; a round roll Robert Rowley rolled round. Where rolled the round roll Robert Rowley rolled round?
Strict, strong Stephen Stringer snared slickly six sickly, silky snakes.
The Leith police dismisseth us.
She sun shines upon shop signs.
CHAPTER II
FRENCH RHYMES—ANT AND CRICKET—SPOONFUL OF FUN—HOW, WHEN AND WHERE— GRANDFATHER'S TRUNK—PREDICAMENTS—AUCTION—BEAST, BIRD, OR FISH—ROTATING GLOBE
BUTTON, BUTTON
The players sit around the room in a circle. The leader then holds a button between his hands, with the palms pressed together, so as to hide it. He goes around the circle, passing his hand between those of the players. As he does this, he says: "Hold fast to what I give you." He is careful not to let the players see into whose hands he passed the button. The circuit having been made, the leader says to the first player: "Button, button, who has the button?" The one questioned must answer, naming some one whom he thinks has it. So it continues until all have had a turn at answering the same question. Then the leader says: "Button, button, rise!" The button holder must do this.
FRENCH RHYMES
Each member of the company writes upon a slip of paper two words that rhyme. These are collected by one player and read aloud, and as they are read everybody writes them down upon new papers. Five or ten minutes being allowed, each player must write a poem introducing all the rhyming words in their original pairs. At the expiration of the given time the lines are read aloud. Suppose the words given are "man and than," "drops and copse," "went and intent," etc., these are easily framed into something like this:
Once on a time a brooklet drops, With splash and clash, through a shady copse; One day there chanced to pass a man, Who, deeming water better than Cider, down by the brooklet went, To dip some up was his intent.
Of course, the result is nonsense, but it is pleasant nonsense, and may be kept up indefinitely, to the entertainment of the participants.
CONSEQUENCES
The players are each provided with a slip of paper and a pencil. Each must write the name of some gentleman (who is known to the party), turn down the end of the paper on which the name is written, and pass the paper to the next neighbor. All must then write the name of some lady (also known), then change the papers again and write "where they met," "what he said," "what she said," "what the world said," and "the consequences," always passing the papers on. When all are written, each player must then read his paper.
Mr. Jones . . . . . . . . . And Miss Smith . . . . . . . . . Met on a roof . . . . . . . . . He said, "I trust you are not afraid." She said, "Not while you are here." World said, "It's a match." Consequences, "He sailed for Africa next morning," etc.
ANT AND CRICKET
One of the company being appointed to represent the Cricket, seats himself in the midst of the other players, who are the Ants, and writes upon a piece of paper the name of a certain grain, whatever kind he pleases. He then addresses the first Ant: "My dear neighbor, I am very hungry, and I have come to you for aid. What will you give me!" "A grain of rice, a kernel of corn, a worm," etc., replies the Ant, as he sees fit. The Cricket asks each in turn, and if one of them announces as his gift the word already written upon the paper, the Cricket declares himself satisfied and changes places with the Ant.
A SPOONFUL OF FUN
This is a German game. One of the players goes into the middle of a ring formed by the other players. He is blindfolded and has a large, wooden spoon for a wand. The players join hands and dance about him. There may be music, if it be so desired. When the signal is given to stop, all must stand still. The blindfolded one touches one of the players with his hand and tries to guess his identity. If he guesses correctly, that player must take his place. Stooping, kneeling, or tiptoeing may be resorted to, to conceal the identity of the players.
WHAT IS MY THOUGHT LIKE?
Though this is a very old game, it is well worth the playing. The leader asks each player in turn, "What is my thought like?" The one questioned gives any answer he desires. Each player is asked in turn and a list is kept of the replies. Finally the leader tells what his thought was, and asks each player in what way it resembles the thing he, or she, likened it to.
BIOGRAPHY
Each player receives a pencil and paper and takes a seat as one of the circle of players. The left-hand neighbor is the subject for his right-hand neighbor's biographical sketch. Any absurd happening will do, the more ridiculous the biography, the better. The wittiest one calls for a prize.
NICKNAMES OF CITIES
Certain cities have been nick-named, as Chicago, the Windy City; Philadelphia, the City of Brotherly Love, etc. The hostess requests her guests to wear something suggestive of the nickname of the city represented. Each guest writes on a piece of paper what cities he supposes the other guests are representing. A half hour is allowed, when a prize is awarded the one who has given the largest number of guesses correctly.
HOW, WHEN AND WHERE
One member of the company, leaving the room, a word admitting of more than one interpretation is chosen by the others. On his return, he asks each in succession, "How do you like it?" The player questioned being required to give an appropriate answer. He then inquires in similar manner, "When do you like it," and if the answer to that question still gives him no clue, proceeds to ask, "Where do you like it?"
When he at last discovers the word, the person whose answer has furnished him with the most information, must in turn leave the room and become the questioner.
We will suppose the word chosen to be "rain," which can also be taken as "reign" or "rein." The question, "How do you like it?" receives the answers, "tight," "heavy," "short," "warm," etc.
The question, "When do you like it?", "in summer," "when I am driving," "in the nineteenth century," etc.
"Where do you like it?", "in the United States," "on a horse," "in the sky," etc.
MY GRANDFATHER'S TRUNK—ANY NUMBER OF PLAYERS
A great game for young folks of a winter evening. The company being seated in a circle, somebody begins by saying, for instance:
No. 1. "I pack my grandfather's trunk with a pair of spectacles."
No. 2. "I pack my grandfather's trunk with a pair of spectacles and a silk hat." No. 3. "I pack my grandfather's trunk with a pair of spectacles, a silk hat and a dime novel." And so on, each person repeating all the articles already mentioned, besides adding a new one.
If any one fails to repeat the list correctly, he drops out of the game, which is continued until the contents of the trunk are unanimously declared too numerous to remember.
LOCATION
Location is geographical in character. Two captains are chosen. They choose sides until the party is equally divided. One captain begins the game by calling the name of a city. He then counts thirty. Before he has finished counting, his opposite opponent must tell where the city is located. If his answer be correct, he in turn names a place, and the second player in the opposite row must locate it before he counts thirty. Should any player fail to answer before thirty is counted, or answer incorrectly, he or she must drop out. When there is only one player left on either side, that one gets the prize.
PREDICAMENTS
Predicaments are thought out. The more ridiculous they are the better. They are written on sheets of paper. Each person has to write his idea of the best way out of a predicament. Then the papers are collected and read. Prizes are given if the hostess so desires.
PROGRESSIVE PUZZLES
Provide as many small, square cards as there are guests; also several pairs of scissors. The party seats itself in a circle. The cards and scissors are given out. Then each player cuts his card twice across, so as to make four pieces. The straight cuts must intersect each other. After the first cut, the pieces must be held together until the second cut has been made.
A player mixes his pieces and passes them to his right-hand neighbor. When the leader gives the signal, all the players put together the four pieces they have. The one who first succeeds calls out "ready." Then all stop and pass the cards on again. The successful player is given a mark on a tally card. The game goes on until a half hour has passed. The person receiving the most marks is entitled to a prize, or may become the leader, as preferred.
MIRTH
The leader for this game must have a contagious laugh. He throws a handkerchief into the air; when he does this, all must laugh heartily, until the handkerchief lies upon the ground, then the laughing must stop immediately. The player laughing after the handkerchief touches the ground is "out." This also happens to the one laughing too soon. The one left alone at last is the winner, and may become leader.
CRAMBO
Each player in the party is given two slips of paper and a pencil. On one slip he writes a question. This may be serious or absurd, as he wishes. On another paper he writes a word, this being a noun—either proper or common. The questions being mixed are distributed—the words likewise. The players write verses answering the questions and containing the words received.
AUCTION
Needed: Twenty, or more, packages, wrapped in paper.
Auction may be made a very merry game. It depends upon the auctioneer, however, to make the sales interesting; any articles may be chosen, though dolls, Teddy bears, etc., are suggested. The articles are catalogued. They are paid for with the beans given to the players with the catalogues.
BEAST, BIRD OR FISH
The players sit round in a circle, and one player, who is "it," points to some one, and says either "beast," "bird," or "fish." He then counts ten as quickly as possible. The person pointed to must name some "beast," "bird," or "fish" (whichever he was asked), before ten is reached. If he fails he must give a forfeit.
THE ROTATION OF THE GLOBE
When you next chance to eat an egg for breakfast, do not fail to try the following experiment. It is one which always succeeds, and is productive of much amusement to the company.
Moisten slightly with water the rim of your plate, and in the center paint with the yolk of the egg a sun with golden rays. By the aid of this simple apparatus, you will be in a position to illustrate, so clearly that a child can comprehend it, the double movement of the earth, which revolves simultaneously round the sun and on its own axis.
All that you have to do is to place the empty half-shell of your egg on the rim of the plate, and keeping this latter duly sloped, by a slight movement of the wrist as may be needful, you will see the eggshell begin to revolve rapidly on its own axis, at the same time traveling round the plate. It is hardly necessary to remark that the egg-shell will not travel uphill, and the plate must therefore be gradually shifted round, as well as sloped, so that the shell may always have an inch or two of descending plane before it.
The slight cohesion caused by the water which moistens the plate counteracts the centrifugal force and so prevents the eggshell falling off the edge of the plate.
ADVICE
Pencil and paper having been given the players, each writes a piece of advice and folds his paper. He passes it to his neighbor, who before opening it, tells whether he thinks the advice good or bad. If he guesses correctly, he scores a point. The game goes on this way, each at the table taking a turn, when new advices are written and passed along. This is done as many times as the hostess desires. The one getting the most points is winner.
WORDS
Each player receives a pencil and paper. He is then told to make as many words as he can from a given word of fifteen letters, or more. It is surprising how many words can be thus made. The winner is the one fashioning the greatest number of words. A book is given him as a prize.
CHAPTER III
GAME OF WORDS—PRINCE OF INDIA—EXCHANGE—SHADOW BUFF—TAILLESS DONKEY —THROWING THE HANDKERCHIEF
FLAGS OF ALL NATIONS
You can learn the colors of the flags of all nations by referring to a large dictionary, or to a book on flags. The flags are drawn with colored crayons, or painted in water colors, on a large water-color card, or a sheet of water-color paper. Large cards with numbers down the sides are given to each player, with a pencil. The card of flags is then hung where all can see it, and half an hour is allowed for all to guess the countries to which the flags belong. The answers are written on the individual cards, and the papers are signed with the names of the players.
A prize is given to the player who has the greatest number of correct answers.
ANOTHER GAME OF WORDS
The players, each of whom is supplied with paper and pencil, are divided equally into two sides, and the leader, having selected a word, suppose "notwithstanding," each party sets to work to see how many different words they can make of the same letters. (Thus from the word above suggested may be made "not, with, stand, standing, gin, ton, to, wig, wit, his, twit, tan, has, had, an, nod, tow, this, sat, that, sit, sin, tin, wink, what, who, wish, win, wan, won," and probably a host of others.) A scrutiny is then taken, all words common to both parties being struck out. The remainder are then compared, and the victory is adjudged to the one having the largest number of words.
GRAMMATICAL GAME
This is played by each person drawing, say, twenty letters haphazard, and trying to form them into a phrase or sentence, the palm of merit being awarded to the player who, at the same time, produces the most coherent phrase, and also succeeds in using the greatest proportion of the letters assigned to him.
MENAGERIE
This is a very funny game if the ringmaster keeps up a running fire of witty remarks. He stands in the circle of animals—otherwise guests—and, whip in hand, shows off his animals, and their tricks, singly, and in groups. The lion roars, as well as performs; the dog barks, and performs the tricks he is told to show off; the canary warbles its song; the bee buzzes; the donkey brays, balks and kicks, etc. At the end of the performance there is a grand circus parade, with music.
PRINCE OF INDIA
The players are numbered from one upward.
The leader stands in front of them and says: "The Prince of India has lost his pearl. Did you find it, number seven?" Upon this, number 7 replies, jumping to his feet quickly:
"I, sir, I?"
The leader replies, "Yes, you, sir!"
Number 7 says: "Not I, sir!"
Leader: "Who then, sir, if not you?"
Number 7: "Number 4, sir."
Number 4 jumps up, and says: "What, sir? I, I?"
Leader: "Yes, sir; you, you."
Number 4: "Not I, not I, sir."'
Leader: "Who then, sir?"
Number 4: "Number 2, sir."'
Then number 2 jumps to his feet.
This goes on until the leader reaches the last one in the circle. If he can repeat again "The Prince of India has lost his pearl," before this one can jump to his feet, they exchange places.
EXCHANGE
A blindfolded player stands in the center; the others are seated about him in a circle. Each one is numbered. The blindfolded player calls out two numbers, whereupon the players bearing those numbers exchange places, the blindfolded player trying meanwhile either to catch one of the players or to secure one of the chairs. Any player so caught must yield his chair to the catcher. No player may go outside of the circle formed by the chairs.
HUNT THE RING
All the players stand in a circle holding a long cord, which forms an endless band upon which a ring has been slipped before it was joined at the ends. This ring is passed rapidly from one player to another—always on the cord and concealed by the hand—while somebody in the center endeavors to seize the hands of the person who holds it, who, when actually caught, takes his place within the circle.
If the circle is very large, two rings may be slipped upon the cord, and two players placed in the center together.
A small key may be used instead of a ring, while still another variation is to have the concealed object a small whistle with a ring attached. When this is adopted, an amusing phase of the game is to secretly attach a string to the whistle and fasten this to the back of the player in the center by means of a bent pin at the other end of the string. Then while feigning to pass the whistle from hand to hand, it is occasionally seized and blown upon by some one in the ring, toward whom the victim is at that moment turning his back, causing that individual to be greatly puzzled.
SHADOW BLUFF
A sheet being stretched across one end of the room, one of the players being seated upon a low stool facing it, and with his eyes fixed upon it. The only light in the room must be a lamp placed upon a table in the center of the room. Between this lamp and the person on the stool, the players pass in succession, their shadows being thrown upon the sheet in strong relief. The victim of the moment endeavors to identify the other players by their respective shadows, and if he succeeds the detected party must take his place.
It is allowable to make detection as difficult as possible by means of any available disguise that does not conceal the whole person, any grimacing, contortion of form, etc.
GUESSING EYES AND NOSES
A sheet is fastened up between two doors. Holes are cut in it, and some of the party go behind the sheet and stand with their eyes at the holes, while the others must guess to whom the eyes belong. Failing to guess correctly, they must give a forfeit.
THE TAILLESS DONKEY
An amusing game, at which any size party may play and enjoy it for hours. Cut a large figure of a donkey, minus a tail, from dark paper or cloth, and pin it upon a sheet stretched tightly across a door-way. Each player is given a piece of paper, which would fit the donkey for a tail, if applied. On each tail is written the name of the person holding it. When all is ready, the players are blindfolded in turn—placed facing the donkey a few steps back in the room—then turned around rapidly two or three times, and told to advance with the tail held at arm's length, and with a pin previously inserted in the end, attach it to the figure of the donkey wherever they first touch it. When the whole curtain is adorned with tails—(not to mention all the furniture, family portraits, etc., in the vicinity)—and there are no more to pin on, the person who has succeeded in fastening the appendage the nearest to its natural dwelling place, receives a prize, and the player who has given the most eccentric position to the tail entrusted to his care, receives the "booby" prize, generally some gift of a nature to cause a good-humored laugh.
THROWING THE HANDKERCHIEF
A very old and still quite popular game. The company being seated around the room in a circle, some one stationed in the center throws an unfolded handkerchief to one of the seated players. Whoever receives it must instantly throw it to some one else, and so on, while the person in the center endeavors to catch the handkerchief in its passage from one player to another. If he catches it, as it touches somebody, that person must take his place in the center. If it is caught in the air, the player whose hands it last left enters the circle.
The handkerchief must not be knotted or twisted, but thrown loosely.
CHAPTER IV
MAGIC MUSIC—CUSHION DANCE—ANIMAL BLINDMAN'S BLUFF—MY LADY'S TOILET —GOING TO JERUSALEM
MAGIC MUSIC
A beautiful game, which amuses even the mere spectator as much as it does the players. One of the company sits at the piano while another leaves the room. The rest of the party then hide some article, previously agreed upon, and recall the absent player. At his entrance the pianist begins playing some lively air, very softly, keeping up a sort of musical commentary upon his search, playing louder as he approaches the goal, and softer when he wanders away from it. In this way he is guided to at last discover the object of his search.
CUSHION DANCE
The cushions are set upright in a circle on the floor. The players then join hands, and form a ring round them. The circle formed by the cushions should be almost as large as the ring formed by the players, and the cushions may be placed at a considerable distance apart. The players in the ring dance round; and each player, as he dances, tries to make his neighbors knock over the cushions. He, however, avoids knocking over any himself. The players should not break the ring, as the penalty to one letting go hands is expulsion from the ring. If it is preferred, Indian clubs placed on end may be substituted for the cushions.
MUSICAL INSTRUMENTS
The players sit in a circle and form an orchestra. The conductor stands in the center. A tune is decided on, and the instruments are selected. Then the conductor beats time, and each player imitates as well as he can the sound of his instrument, and the motion used in playing it. Suddenly the conductor turns to one of the players and asks, "What is the matter with your instrument?" and immediately counts ten. Before he finishes counting, the player who has been questioned must begin an answer which is appropriate to his instrument. If his answer is inappropriate, or if it is not begun before the counting stops, he must change places with the conductor.
Whenever the conductor claps his hands the music must stop, and the players must remain in the attitudes in which they were when he gave the signal. Any one who fails to stop humming, or who changes his position, must become leader.
The same conductor may continue throughout the game. The person who fails in any of the requirements of the game then pays a forfeit.
ANIMAL BLINDMAN'S BLUFF
A blindfolded player stands in the center of a circle with a wand, stick, or cane in his hand. The other players dance around him in a circle until he taps three times on the floor with the cane, when all must stand still. The blindfolded one points his cane in any direction. The one directly opposite it must make a noise like an animal. From this the person in the center of the ring guesses the other's identity. If he does so, there is an exchange of places.
MY LADY'S TOILET
This is a French game. In it each player is named for some article of "My Lady's Toilet," such as her gown, her hat, her gloves, etc. The players sit in a circle, and when the leader mentions an article of the toilet, the one who is named for it must rush to the center of the ring before the platter stops spinning there. If successful, he or she takes the place of the spinner in the center of the ring. If unsuccessful, the person returns to his or her place.
The leader may keep up the interest of the game by comments on the toilettes. This is most interesting in story form.
A variation of this game introduces the word ball. Whenever this is spoken of, the players must jump up and change places, the spinner trying to secure a seat in the general confusion. The odd player becomes a spinner.
MARY AND JOHN
The players—all but two—form a circle and clasp hands. Two odd players in the center are called, "Mary" and "John." The object of the game is for John to catch Mary. As he is blindfolded, he can only locate her in her stealthy movements by the sound of her muffled voice. When he says, "Mary, where are you?" she must answer as often as he questions her.
Mary may stoop or tiptoe, or resort to any means to escape capture, except leaving the ring.
When Mary is captured she is blindfolded and John takes her seat.
So the game goes on after Mary has chosen a new John.
GOING TO JERUSALEM
This is a piano game, but does not require great skill. One person goes to the piano, while the others arrange in a line as many chairs, less one, as there are players, the chairs alternately facing opposite directions. Then, as the pianist begins to play, the others commence marching around the line of chairs, keeping time to the music. When this suddenly ceases, everybody tries to sit down, but as there is one less chair than players, somebody is left standing, and must remain out of the game. Then another chair is removed, and the march continues, until the chairs decrease to one, and the players to two.
Whichever of these succeeds in seating himself as the music stops, has won the game.
"WHAT D'YE BUY?"
This game may be played by any number from three to thirteen. There are a dozen good-sized pieces of cardboard, each bearing a colored illustration of one of the "trades" following, viz.: a milliner, a fishmonger, a greengrocer, plumber, a music-seller, a toyman, mason, a pastry-cook, a hardware-man, a tailor, a poulterer, and a doctor. Besides these there are a number of smaller tickets, half a dozen to each trade. Each of these has the name of the particular trade, and also the name of some article in which the particular tradesman in question may be considered to deal. A book accompanies the cards, containing a nonsense story, with a blank at the end of each sentence.
One of the players is chosen as leader, and the others each select a trade, receiving the appropriate picture, and the six cards containing the names of the articles in which the tradesman deals. He places his "sign" before him on the table, and holds the remainder of his cards in his hand. The leader then reads the story, and whenever he comes to one of the blanks, he glances towards one of the other players, who must immediately, under penalty of a forfeit, supply the blank with some article he sells, at the same time laying down the card bearing its name. The incongruity of the article named with the context make the fun of the game, which is heightened by the vigilance which each player must exercise in order to avoid a forfeit. Where the number of players is very small, each may undertake two or more trades.
We will give an illustration. The concluding words indicate the trade of the person at whom the leader glances to fill up a given hiatus.
"Ladies and gentlemen, I propose to relate some curious adventures which befell me and my wife Peggy the other day, but as I am troubled with a complaint called 'Non mi ricordo,' or the 'Can't remembers,' I shall want each of you to tell me what you sell; therefore, when I stop and look at one of you, you must be brisk in recommending your goods. Whoever does not name something before I count 'three' must pay a forfeit. Attention!
"Last Friday week I was awakened very early in the morning by a loud knocking at my door in Humguffin Court. I got up in a great fright, and put on"—(looks at Toyman, who replies, "A fool's cap and bells," and lays down that card).
"When I got downstairs, who should be there but a fat porter, with a knot, on which he carried"—(Poulterer) "a pound of pork sausages."
"'Hallo!' said I, 'my fellow, what do you want at this time of day?' He answered"—(Fishmonger) "'A cod's head and shoulders.'"
"'Get along with you,' I said; 'there's my neighbor, Dr. Drenchall, I see, wants'"—(Butcher) "'a sheep's head.'"
"I now went up to shave, but my soap-dish was gone, and the maid brought me instead"—(Milliner) "a lady's chip hat."
"My razor had been taken to chop firewood, so I used"—(Greengrocer) "a cucumber."
"I then washed my face in"—(Doctor) "a cup of quinine," "cleaned my teeth with"—(Fishmonger) "a fresh herring," and "combed my hair with"—(Pastrycook) "a jam tart."
"My best coat was taken possession of by pussy and kittens, so I whipped on"—(Hardware-man) "a dripping pan."
"The monkey, seeing how funny I looked, snatched off my wig, and clapped on my head"—(Poulterer) "a fat hen."
"I now awoke my wife, and asked her what she had nice for breakfast; she said"—(Doctor) "a mustard plaster."
"Then I scolded Sukey, the servant, and called her"—(Poulterer) "a tough old turkey."
"But she saucily told me I was no better than"—(Music-seller) "an old fiddle."
"I soon had enough of that, so I asked my wife to go with me to buy"—(Tailor) "a pair of trousers."
"But she said she must have her lunch first, which consisted of——" etc., etc., through half a dozen pages, the tradesmen supply more or less appropriate articles to fill up the gaps in the discourse.
CHAPTER V.
RAISIN TORTOISE—LEMON PIG—SEASICK PASSENGER—ENCHANTED RAISINS—LUMP OF SUGAR—MYSTERIOUS PRODUCTION—FAMILY GIANT
THE RAISIN TORTOISE
This noble animal is constructed as follows: A muscatel raisin forms the body, and small portions of the stalk of the same fruit the head and legs. With a little judgment in the selection of the pieces of stalk and the mode in which they are thrust into the body, it is surprising what a life-like tortoise may be thus produced. While the work of art in question is being handed round on a plate for admiration, the artist may further distinguish himself, if the wherewithal is obtainable, by constructing
THE LEMON PIG
The body of the pig consists of a lemon. The shape of this fruit renders it particularly well adapted for this purpose, the crease or shoulder at the small end of the lemon being just the right shape to form the head and neck of the pig. With three or four lemons to choose from, you cannot fail to find at least one which will answer the purpose exactly. The mouth and ears are made by cutting the ring with a penknife, the legs of short ends of lucifer matches, and the eyes either of black pins, thrust in up to the head, or grape stones.
THE SEASICK PASSENGER
The requirements for this touching picture are an orange, a pocket handkerchief or soft table napkin, and a narrow water goblet. The orange is first prepared by cutting in the rind with a penknife the best ears, nose, and mouth which the artist can compass, a couple of raisin-pips supplying the place of eyes. A pocket handkerchief is stretched lightly over the glass, and the prepared orange laid thereon. The pocket-handkerchief is then moved gently backward and forward over the top of the glass, imparting to the orange a rolling motion, and affording a laughable but striking caricature of the agonies of a seasick passenger.
THE ENCHANTED RAISINS
Take four raisins or bread-pills, and place them about a foot apart, so as to form a square on the table. Next fold a couple of table-napkins, each into a pad of five inches square. Take one of these in each hand, the fingers undermost and the thumb uppermost. Then inform the company that you are about to give them a lesson in the art of hanky-panky, etc., and in the course of your remarks, bring down the two napkins carelessly over the two raisins farthest from you. Leave the right-hand napkin on the table, but, in withdrawing the hand, bring away the raisin between the second and third fingers, and at the same moment remarking, "You must watch particularly how many raisins I place under each napkin." Lift the left napkin (as if merely to show that there is one raisin only beneath it), and transfer it to the palm of the outstretched right hand, behind which the raisin is now concealed. Without any perceptible pause, but at the same time without any appearance of haste, replace the folded napkin on raisin No. 2, and in so doing, leave raisin No. 1 beside it. Now take up raisin No. 3 (with the right hand). Put the hand under the table, and in doing so get raisin No. 3 between the second and third fingers, as much behind the hand as possible. Give a rap with the knuckles on the underside of the table, at the same time saying, "Pass!" and forthwith pick up the left-hand napkin with the left hand, showing the raisins 1 and 2 beneath it. All eyes are drawn to the two raisins on the table, and as the right hand comes into sight from beneath the table, the left quietly transfers the napkin to it, thereby effectually concealing the presence of raisin No. 3. The napkin is again laid over raisins 1 and 2, and No. 3 is secretly deposited with them. No. 4 is then taken in the right hand, and the process repeated, when three raisins are naturally discovered, the napkin being once more replaced, and No. 4 left with the rest. There are now four raisins under the left-hand napkin, and none under that on the right hand, though the spectators are persuaded that there is one under the latter, and only three under the former. The trick being now practically over, the performer may please himself as to the form of the denouement, and, having gone through any appropriate form of incantation, commands the imaginary one to go and join the other three, which is found to have taken place accordingly.
THE DEMON LUMP OF SUGAR
The performer commences by borrowing two hats, which he places, crowns upward, upon the table, drawing particular attention to the fact that there is nothing whatever under either of them. He next demands the loan of the family sugar basin, and requests some one to select from it a lump of sugar (preferably one of an unusual and easily distinguished shape), at the same time informing them that, by means of a secret process, only known to himself, he will undertake to swallow such lump of sugar before their eyes, and yet, after a few minutes' interval, bring it under either of the two hats they may choose. The company, having been prepared by the last trick to expect some ingenious piece of sleight-of-hand, are all on the qui vive to prevent any substitution of another lump of sugar, or any pretence of swallowing without actually doing so. However, the performer does unmistakably take the identical lump of sugar chosen and crushes it to pieces with his teeth. He then asks, with unabated confidence, under which of the two hats he shall bring it, and, the choice having been made, places the chosen hat on his own head, and in that way fulfills his undertaking.
THE MYSTERIOUS PRODUCTION
This is another feat of the genus "sell," and to produce due effect, should only be introduced after the performer has, by virtue of a little genuine magic, prepared the company to expect from him something a little out of the common. He begins by informing the spectators that he is about to show them a great mystery, a production of nature on which no human being has ever yet set eye, and which, when they have once seen, no human being will ever set eyes on again. When the general interest is sufficiently awakened, he takes a nut from the dish, and, having gravely cracked it, exhibits the kernel, and says, "Here is an object which you will admit no human being has ever seen, and which" (here he puts it into his mouth and gravely swallows it) "I am quite sure nobody will ever see again."
THE FAMILY GIANT
A very fair giant, for domestic purposes, may be produced by the simple expedient of seating a young lad astride on the shoulders of one of the older members of the company, and draping the combined figure with a long cloak or Inverness cape. The "head" portion may, of course, be "made up" as much as you please, the more complete the disguise the more effective being the giant. A ferocious-looking moustache and whiskers will greatly add to his appearance. If some ready-witted member of the party will undertake to act as showman, and exhibit the giant, holding a lively conversation with him, and calling attention to his gigantic idiosyncrasies, a great deal of fun may be produced. The joke should not, however, be very long continued, as the feelings of the "legs" have to be considered. If too long deprived of air and light they are apt to wax rebellious, and either carry the giant in the directions he would fain avoid, or even occasionally to strike together, and bring the giant's days to a sudden and undignified termination.
CHAPTER VI
THE WHAT-DO-YOU-THINK?—KNIGHT OF THE WHISTLE—"CAN DO LITTLE"— THROWING LIGHT
"THE WHAT-DO-YOU-THINK?"
The exhibitor begins, in proper showman style: "Ladies and gentlemen, I have the pleasure of exhibiting to your notice the celebrated 'What-do-you-think?' or Giant Uncle-Eater. You have all probably heard of the Ant-Eater. This is, as you will readily perceive, a member of the same family, but more so! He measures seven feet from the tip of his snout to the end of his tail, eight feet back again, five feet around the small of his waist, and has four feet of his own, making twenty-four in all. In his natural state he lives chiefly on blue-bottle flies and mixed pickles, but in captivity it is found that so rich a diet has a tendency to make him stout, and he is now fed exclusively on old corks and back numbers of some daily paper. His voice, which you may perhaps have an opportunity of hearing (here the 'What-do-you-think?' howls dismally), is in the key of B fiat, and is greatly admired. People come here before breakfast to hear it, and when they have heard it, they assure us that they never heard anything like it before. Some have even gone so far as to say that they never wish to hear anything like it again,"' etc. The "What-do-you-think?" is manufactured as follows: The performer, who should have black kid gloves on, places on his head a conical paper cap, worked up with the aid of the nursery paint box into a rough semblance of an animal's head. This being securely fastened on, he goes down on his hands and knees and a shaggy railway rug (of fur, if procurable) is thrown over him and secured round his neck, when the animal is complete.
THE KNIGHT OF THE WHISTLE
This is a capital game for everybody but the victim, and produces much fun. Some one who does not know the game is chosen to be Knight of the Whistle, and is commanded to kneel down and receive the honor of knighthood, which the leader (armed with a light cane, the drawing- room poker, or other substitute for a sword) confers by a slight stroke on the back. While placing him in position, opportunity is taken to attach to his back, by means of a bent pin or otherwise, a piece of string about a foot in length, to which is appended a small light whistle. Having been duly dubbed, in order to complete his dignity, he is informed that he must now go in quest of the whistle, which will be sounded at intervals, in order to guide him in his search. Meanwhile the other players gather in a circle round him, making believe to pass an imaginary object from hand to hand. The victim naturally believes that this imaginary object must be the long-lost whistle, and makes a dash for it accordingly, when the player who happens to be behind his back blows the actual whistle and instantly drops it again. Round flies the unhappy knight, and makes a fresh dash to seize the whistle, but in vain. No sooner has he turned to a fresh quarter than the ubiquitous whistle again sounds behind his back.
If the game is played smartly, and care taken not to pull the cord, the knight may often be kept revolving for a considerable period before he discovers the secret.
"HE CAN DO LITTLE."
This is another "sell" of almost childish simplicity, but we have seen people desperately puzzled over it, and even "give it up" in despair.
The leader takes a stick (or poker) in his left hand, thence transfers it to his right, and thumps three times on the floor, saying: "He can do little who can't do this." He then hands the stick to another person, who, as he supposes, goes through exactly the same performance; but if he does not know the game, is generally told, to his disgust, that he has incurred a forfeit, his imitation not having been exact.
The secret lies in the fact that the stick, when passed on, is first received in the left hand and thence transferred to the right before going through the performance.
"THROWING LIGHT."
Two of the company agree privately upon a word (which should be one susceptible of two or three meanings), and interchange remarks tending to throw light upon it. The rest of the players do their best to guess the word, but when any of them fancies he has succeeded, he does not publicly announce his guess, but makes such a remark as to indicate to the two initiated that he has discovered their secret. If they have any doubt that he has really guessed the word, they challenge him, i.e., require him to name it in a whisper. If this guess proves to be right, he joins in conversation, and assists in throwing light on the subject; but if, on the other hand, he is wrong, he must submit to have a handkerchief thrown over his head, and so remain until by some more fortunate observation he shall prove that he really possesses the secret.
We will give an example. Mr. A. and Miss B. have agreed on "bed" as the word, and proceed to throw light upon it, alternating upon its various meanings of a place of repose, a part of a garden, or the bed of a river.
Miss B. I don't know what your opinion may be, but I am never tired of it.
Mr. A. Well, for my part, I am never in a hurry, either to get to it or to leave it.
Miss B. How delightful it is after a long, tiring day!
Mr. A. Yes. But it is a pleasure that soon palls. The most luxurious person does not care for too much of it at a stretch.
Miss B. Oh, don't you think so. In early spring, for instance, with the dew upon the flowers!
Mr. A. Ah! you take the romantic view. But how would you like it beneath some rapid torrent or some broad majestic river?
Miss C. (thinks she sees her way, and hazards a remark). Or in a sauce?
Mr. A. I beg your pardon. Please tell me in a whisper what you suppose the word to be?
Miss C. (whispers) Fish! What! isn't that right?
Mr. A. I am afraid you must submit to a temporary eclipse. (Throws her handkerchief over her face.)
Mr. A. to Miss B. You mentioned spring, I think. For my own part, I prefer feathers.
Mr. D. (rashly concludes, from the combination of "spring" and "feathers," that spring chickens must be referred to). Surely you would have them plucked?
Mr. A. (looks puzzled). I think not May I ask you to name your guess?
Oh, no, quite out. I must trouble you for your pocket handkerchief.
Miss B. It is curious, isn't it, that they must be made afresh every day?
Mr. A. So it is; though I confess it never struck me in that light before. I don't fancy, however, that old Brown, the gardener, makes his quite so often.
Miss B. You may depend that he has it made for him, though.
Miss C. (from under the handkerchief). At any rate, according as he makes it, his fate will be affected accordingly. You know the proverb?
Mr. A. (removing the handkerchief). You have fairly earned your release. By the way, do you remember an old paradox upon this subject, "What nobody cares to give away, yet nobody wishes to keep?"
Miss E. Ah! now you have let out the secret. I certainly don't wish to keep mine for long together, but I would willingly give it away if I could get a better.
Miss B. Tell me your guess. (Miss E. whispers.) Yes, you have hit it.
I was afraid Mr. A.'s last "light" was rather too strong.
And so the game goes on, until every player is in the secret, or the few who may be still in the dark "give it up" and plead for mercy. This, however, is a rare occurrence, for, as the company in general become acquainted with the secret, the "lights" are flashed about in a rash and reckless manner, till the task of guessing becomes almost a matter of course to an ordinarily acute person.
CHAPTER VII
CHURCH AND SCHOOL SOCIALS
CHARADES: "CICERO"—"ATTENUATE"—SUGGESTED WORDS—"METAPHYSICIAN"— CHARADES ON THE GRECIAN ISLANDS
ACTING CHARADES
In some form or other the game of charades is played in almost every country under the sun. In acting charades the characters and situation are made to represent a play upon a word or words by portraying some feature which vividly brings such word or words to the mind.
Here is a popular one: Send one-half the company out of the room, into another which may be separated by double doors; portieres are best for the purpose. The party in the inner room think of some word which can be represented entire, in pantomime or tableau, and proceed to enact it. After they have made up, the door opens, and discloses half a dozen girls standing in a line, while one of the acting party announces that this striking tableau represents the name of a famous orator. The others failing to guess are told that Cicero (Sissy-row) is the orator represented.
Again, just as the clock strikes ten, the doors opening reveal a lady eating an apple or any convenient edible, while a gentleman who stands near points to the clock and then at her. This being correctly guessed to represent "attenuate" (at ten you ate), the other side goes from the room and the previous performers become the audience.
There are a host of words which with a little ingenuity may be turned to account. For example:
Ingratiate. (In gray she ate.) Catering. (Kate. Her ring.) Hero. (He row.) Tennessee. (Ten, I see.) The following are also good charade words: Knighthood, penitent, looking-glass, hornpipe, necklace, indolent, lighthouse, Hamlet, pantry, phantom, windfall, sweepstake, sackcloth, antidote, antimony, pearl powder, kingfisher, football, housekeeping, infancy, snowball, definite, bowstring, carpet, Sunday, Shylock, earwig, matrimony, cowhiding, welcome, friendship, horsemanship, coltsfoot, bridegroom, housemaid, curl-papers, crumpet.
We will take the word "windfall," as affording a ready illustration of the pantomime charade. "Wind" may be represented by a German band, puffing away at imaginary ophicleides and trombones, with distended cheeks and frantic energy, though in perfect silence. "Fall" may be portrayed by an elderly gentleman with umbrella up, who walks unsuspectingly on an ice slide and falls. The complete word "windfall" may be represented by a young man sitting alone, leaning his elbows on his hands, and having every appearance of being in the last stage of impecuniosity. To produce this effect, he may go through a pantomime of examining his purse and showing it empty, searching his pockets and turning them one by one inside out, shaking his head mournfully and sitting down again, throwing into his expression as much despair as he conveniently can. A letter carrier's whistle is heard; a servant enters with a legal-looking letter. The impecunious hero, tearing it open, produces from it a roll of stage banknotes, and forthwith gives way to demonstrations of the most extravagant delight, upon which the curtain falls.
In another the curtain rises (i.e., the folding-doors are thrown open), and a placard is seen denoting, "This is Madison Square," or any other place where professional men congregate. Two gentlemen in out-door costumes cross the stage from opposite sides and bow gravely on passing each other, one of them saying, as they do so, "Good morning, doctor." The curtain falls, and the audience are informed that the charade, which represents a word of six syllables, is complete in that scene. When the spectators have guessed or been told that the word is "met-a-physician," the curtain again rises on precisely the same scene, and the same performance, action for action, and word for word, is repeated over again. The audience hazard the same word "metaphysician" as the answer, but are informed that they are wrong—the word now represented having only three syllables, and they ultimately discover that the word is "metaphor" (met afore).
In another charade is seen a little toy wooden horse, such as can be bought for fifty cents. The spectators are told that this forms a word of two syllables, representing an island in the Aegean Sea. If the spectators are well up in ancient geography, they may possibly guess that Delos (deal hoss) is referred to. The curtain falls, and again rises on the same contemptible object, which is now stated to represent a second island in the same part of the world. The classical reader will at once see that Samos (same hoss) is intended. Again the curtain rises on the representation of an island. Two little wooden horses now occupy the scene, Pharos (pair 'oss) being the island referred to. Once more the curtain rises, this time on a group of charming damsels, each reclining in a woebegone attitude, surrounded by pill boxes and physic bottles, and apparently suffering from some painful malady. This scene represents a word of three syllables, and is stated to include all that has gone before. Cyclades (sick ladies), the name of the group to which Delos, Samos and Pharos belong, is of course the answer.
A comical charade is a performance representing the word "imitation." The spectators are informed that the charade about to be performed can be exhibited to only one person at a time. One person is accordingly admitted into the room in which the actors are congregated. The unhappy wight stares about him with curiosity, not unmingled with apprehension, fearing to be made the victim of some practical joke; nor is his comfort increased by finding that his every look or action is faithfully copied by each person present. This continues until he has either guessed or given up the word, when a fresh victim is admitted, and the new initiate becomes in turn one of the actors. Sometimes, however, the victim manages to turn the laugh against his persecutors. We have known a young lady, seeing through the joke, quietly take a chair and remain motionless, reducing the matter to a simple trial of patience between herself and the company.
CHAPTER VIII
CHURCH AND SCHOOL SOCIALS
LIVING PICTURES—TABLEAUX: DIGNITY AND IMPUDENCE—SAILOR'S FAREWELL—HOME AGAIN—VARIOUS TABLEAUX
LIVING PICTURES
There are few better amusements for a large party in the same house, with plenty of time on their hands, than the organization of tableaux vivants, or living representations. Tableaux, to be successfully represented, demand quite as much attention to detail as a theatrical performance, and scarcely less careful rehearsal. The first element of success is a competent stage manager. His artistic taste should be beyond all question, and his will should be law among the members of his corps. The essentials of a "living picture" are very much the same as those of a picture of the inanimate description, viz., form, color and arrangement. If, therefore, you can secure for the office of stage manager a gentleman of some artistic skill, by all means do so, as his technical knowledge will be found of the greatest possible service.
Before proceeding to plan your series of pictures, it will be necessary to provide the "frame" in which they are to be exhibited. If the room which you propose to use has folding doors, they will of course be used. A curtain, preferably of some dark color, should be hung on each side, and a lambrequin or valance across the top. Where circumstances admit, the directions we give elsewhere as to the construction of a stage and proscenium for private theatricals may be followed with advantage. In any case, a piece of fine gauze should be carefully stretched over the whole length and depth of the opening. This is found, by producing softer outlines, materially to enhance the pictorial effect. If it is practicable to have a raised stage, it will be found of great addition. Where this cannot be arranged, it is well to place a board, six inches in width, and covered with the same material as the rest of the frame, across the floor (on edge) from side to side, in the position which the footlights would ordinarily occupy.
The next consideration will be the curtain. The ordinary domestic curtains, hung by rings from a rod or pole, and opening in the middle, will serve as a makeshift; but where a really artistic series of tableaux is contemplated, the regular stage curtain of green baize is decidedly to be preferred.
The question of "background" will be the next point to be considered. Tableaux vivants may be divided into two classes, the dramatic, i.e., representing some incident, e.g., a duel, or a trial in a court of justice, and the simply artistic, viz., such as portray merely a group, allegorical or otherwise, without reference to any particular plot or story. For the former, an appropriate scene is required, varying with each tableau represented; for the latter, all that is necessary is a simple background of drapery, of such a tone of color as to harmonize with, and yet to give full prominence to, the group of actors. The material of the latter as also the covering of the floor, should be of woolen or velvet, so as to absorb rather than reflect light. A lustrous background, as of satin or glazed calico, will completely destroy the effect of an otherwise effective tableau.
The lighting is a point of very considerable importance—the conditions appropriate to an ordinary theatrical performance being here reversed. In an ordinary dramatic performance all shadow is a thing to be avoided, the point aimed at being to secure a strong bright light, uniformly distributed over the stage. In a tableau vivant, on the contrary, the skillful manipulation of light and shade is a valuable aid in producing artistic effect. Footlights should, in this case, either be dispensed with altogether or at any rate used very sparingly, the stronger light coming from one or the other side. A good deal of experiment and some little artistic taste will be necessary to attain the right balance in this particular. Where gas is available it will afford the readiest means of illumination. What is called a "string light," viz., a piece of gaspipe with fishtail burners at frequent intervals, connected with the permanent gas arrangements of the house by a piece of india rubber tube, and fixed in a vertical position behind each side of the temporary proscenium, will be found very effective; one or the other set of lights being turned up, as may be necessary. Where a green or red light is desired, the interposition of a strip of glass of that color, or of a "medium" of red or green silk or tammy, will give the necessary tone. Colored fires are supplied for the same purpose, but are subject to the drawback of being somewhat odoriferous in combustion. Where, as is sometimes the case, a strong white light is required, this may be produced by burning the end of a piece of magnesium wire in the flame of an ordinary candle.