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.
These points being disposed of, costume and make-up will be the next
consideration. As to the latter, the reader will find full instructions
in the chapter devoted to private theatricals. With respect to costume,
as the characters are seen for only a few moments, and in one position,
this point may be dealt with in a much more rough-and-ready manner
than would be advisable in the case of a regular dramatic performance.
The royal crown need only be golden, the royal robe need only be trimmed
with ermine-on the side toward the spectators; indeed, the proudest
of sovereigns, from the audience point of view, may, as seen from the
rear, be the humblest of citizens. Even on the side toward the
spectators a great deal of "make believe" is admissible. Seen through
the intervening gauze, the cheapest cotton velvet is equal to the
richest silk; glazed calico takes the place of satin; and even the
royal ermine may be admirably simulated by tails of black worsted
stitched on a ground of flannel. Lace may be manufactured from cut
paper, and a dollar's worth of tinsel will afford jewels for a congress
of sovereigns. Of course, there is not the least objection to his
wearing a crown of the purest gold, or diamonds of the finest possible
water (if he can get them), but they will not look one whit more
effective than the homely substitutes we have mentioned.
A "ghost effect" may, where necessary, be produced by the aid of a
magic lantern; the other lights of the tableau being lowered in order
to give sufficient distinctness to the reflection.
Dramatic tableaux may often be exhibited with advantage in two or more
"scenes"; the curtain being lowered for a moment in order to enable
the characters to assume a fresh position. Examples of this will be
found among the tableaux which follow.
Having indicated the general arrangements of _tableaux vivants_, we
append, for the reader's assistance, a selection of effective subjects,
both simply pictorial and dramatic.
I. DIGNITY AND IMPUDENCE.
(With background of plain drapery, remaining unchanged.)
A magnificent flunkey, in a gorgeous suit of livery, standing, with
left hand on hip, right hand in breast, side by side with a very small
and saucy "boy in buttons," upon whom he looks down superciliously.
Boy with both hands in trouser pockets and gazing up at his companion
with an expression of impertinent familiarity.
II. THE FORTUNE-TELLER
A pretty girl, in simple outdoor costume, standing sideways to the
spectators, with downcast eyes and a half-smiling, half-frightened
expression. The fortune-teller faces her and holds the young lady's
right hand in her left, while her own right hand holds a coin with
which she is apparently tracing the lines of the young lady's palm,
at the same time gazing with an arch expression into her face, as
though to note the effect of her predictions. The fortune-teller should
be in gipsy costume, a short, dark skirt and a hood of some brighter
material thrown carelessly over her head. She should be of a swarthy
complexion, with a good deal of color and jet-black hair.
III. FAITH
A large cross, apparently of white marble (really of deal, well washed
with whitening and size) occupies a diagonal position across the center
of the stage, facing slightly toward the left. Its base or plinth is
formed of two or three successive platforms or steps of the same
material. At the foot a woman kneels, clasping her arms around the
cross, as though she had just thrown herself into that position in
escaping from some danger. Her gaze should be directed upward. A loose
brown robe and hood, the latter thrown back off the head, will be the
most appropriate costume. Magnesium light from above.
IV. HOPE
A female figure, clothed in sober gray, and seated on a very
low stool, facing right and gazing heavenward. (If a "sky" background
is procurable, a single star should be visible, and should be the
object of her gaze.) Her right elbow rests upon her right knee, and
her right hand supports her chin. Her left hand hangs by her side, and
at her feet lies the emblematic anchor. Red light, not too strong.
V. CHARITY
A ragged boy, barefooted and clasping a wornout broom, sits huddled
on the ground left, but facing right. His arms are folded and rest on
his knees, and his head is bent down upon them, so as to hide his face.
A girl, in nun's costume, is touching him on the shoulder, and
apparently proffering help and sympathy.
VI. SINGLE LIFE
Scene, a tolerably well-furnished but untidy sitting-room, with numerous
traces of bachelor occupation, such as crossed foils on the wall, a
set of boxing-gloves under a side table, boots, hats and walking-sticks
lying about in various directions. On one corner of the table some one
has apparently breakfasted in rather higgledy-piggledy fashion. Near
the table sits a young man, with a short pipe in his mouth and one
foot bare, while he is endeavoring to darn an extremely dilapidated
sock.
VII. THE SAILOR'S FAREWELL
Scene, a cottage home. A young man, in sailor costume and with a bundle
on his shoulder, stands with his right hand on the latch of the door,
right center, but looking back with a sorrowful expression at his
wife--personated by a young lady in short black or blue skirt, red or
white blouse, and white mob-cap--who sits with her apron up to her
eyes in an apparent agony of grief. Three children are present, the
two elder crying for sympathy, the youngest sitting in a crib or cradle
and amusing himself with some toy, in apparent unconsciousness of his
father's approaching departure. Soft blue light from left. Music, "The
Minstrel Boy."
VIII. HOME AGAIN.
The same scene. Children a couple of years older. (This may be effected
by suppressing the youngest and introducing a fresh eldest, as much
like the others as possible.) The sailor of the last scene, slightly
more tanned, and with a fuller "made-up" beard, has apparently just
entered. The wife has both arms round his neck, her face being hidden
in his bosom. Of the children, the eldest has seized and is kissing
her father's hand, while the two younger each cling round one leg.
Soft red light. Music, "A Lass that Loves a Sailor," or "When Johnny
Comes Marching Home Again."
VARIOUS TABLEAUX
We subjoin a list of favorite subjects, leaving their actual arrangement
to the taste and intelligence of the reader. It will usually be safe
to follow the hints in good illustrations.
"Choosing the Wedding Gown." A charming scene after Mulready, from the
"Vicar of Wakefield."
"William Penn Signing the Treaty with the Indians."
"The Drunkard's Home," "Signing the Pledge," "The Temperance Home."
See some good illustrations.
"Mary Queen of Scots and the Four Maries."
"Mr. Pecksniff Dismissing Tom Pinch."
"The Song of the Shirt."
"Little Red Riding-Hood."
"The Duel from the 'Corsican Brothers.'"
"Heloise in Her Cell."
"William Tell Shooting the Apple From His Son's Head," etc., etc., etc.
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.
The idea is that of a waxwork exhibition, the characters being
personated, after a burlesque fashion, by living performers. Each
"figure" is first duly described by the exhibitor, and then "wound up"
and made to go through certain characteristic movements.
The collection is supposed to be that of the far-famed Mrs. Jarley,
of "Old Curiosity Shop" celebrity. She may be assisted, if thought
desirable, by "Little Nell" and a couple of manservants, John and
Peter. The costume of Mrs. Jarley is a black or chintz dress, bright
shawl and huge bonnet; that of Little Nell may be a calico dress and
white apron, with hat slung over her arm. John and Peter may be dressed
in livery suits, and should be provided with watchman's rattle,
screwdriver, hammer, nails and oil-can. At the rise of the curtain the
figures are seen ranged in a semicircle at the back of the stage, and
Little Nell is discovered dusting them with a long feather brush. Mrs.
Jarley stands in front, and delivers her descriptive orations, directing
her men to bring forward each figure before she describes it. After
having been duly described, the figure is "wound" up, and goes through
its peculiar movement, and when it stops it is moved back to its place.
If the stage is small, or it is desired that the same actors shall
appear in various characters in succession, the figures may be exhibited
in successive groups or compartments, the curtain being lowered to
permit one party to retire and another to take their places. After the
whole of the figures of a given chamber have been described, the
assistants wind them all up, and they go through their various movements
simultaneously, to a pianoforte accompaniment, which should gradually
go faster, coming at last to a sudden stop, when the figures become
motionless and the curtain falls.
Mrs. Jarley may be made a silent character, sitting on one side, and
occasionally making believe to dust or arrange a figure, while the
"patter" is delivered by a male exhibitor. Or Mrs. Jarley may, if
preferred, be suppressed altogether, and the exhibitor appear as (say)
Artemus Ward, or in ordinary evening costume, without assuming any
special character. A good deal of fun may be made of the supposed
tendency of any particular figure to tip over, and the application,
by John and Peter, of wooden wedges, penny pieces, etc., under its
feet to keep it upright. Supposed defective working, causing the figure
to stop suddenly in the middle of its movements, and involving the
rewinding or oiling of its internal mechanism, will also produce a
good deal of amusement. The "winding up" may be done with a bed-winch,
a bottle-jack key, or the winch of a kitchen range, the click of the
mechanism being imitated by means of a watchman's rattle, or by the
even simpler expedient of drawing a piece of hard wood smartly along
a notched stick. (This, of course, should be done out of sight of the
audience.) The movement of the figure should be accompanied by the
piano, to a slow or lively measure, as may be most appropriate.
The arrangement being complete and the curtain raised, Mrs. Jarley
delivers her opening speech, about as follows:
"Ladies and gentlemen, you here behold Mrs. Jarley, one of the most
remarkable women of the world, who has traveled all over the country
with her curious Collection of Waxworks. These figures have been
gathered, at great expense, from every clime and country, and are here
shown together for the first time. I shall describe each one of them
for your benefit, and, after I have given you their history, I shall
have each one of them wound up, for they are all fitted with clockwork
inside, and they can thus go through the same motions they did when
living. In fact, they execute their movements so naturally that many
people have supposed them to be alive; but I assure you that they are
all made of wood and wax--blockheads every one.
"Without further prelude, I shall now introduce to your notice each
one of my figures, beginning, as usual, with the last one first."
I. THE CHINESE GIANT
A MAN OR WOMAN STANDING ON A HIGH STOOL, CHINTZ SKIRT AROUND THE WAIST,
LONG ENOUGH TO HIDE THE STOOL, CHINESE OVERDRESS, HAT, PIG-TAIL AND
MOUSTACHE
"This figure is universally allowed to be the tallest figure in my
collection; he originated in the two provinces of Oolong and Shanghi,
one province not being long enough to produce him. On account of his
extreme length it is impossible to give any adequate idea of him in
one entertainment, consequently he will be continued in our next.
"He was the inventor, projector and discoverer of Niagara Falls,
Bunker's Hill Monument and the Balm of Columbia. In fact, everything
was originally discovered by him or some other of the Chinese. The
portrait of this person, who was a high dignitary among them, may be
often seen depicted on a blue china plate, standing upon a bridge,
which leans upon nothing, at either end, and intently observing two
birds which are behind him in the distance.
"John, wind up the Giant."
The Giant bows low, then wags his head three times and bows as before,
and after a dozen motions slowly stops.
"You will observe that I have spared no expense in procuring wonders
of every sort, and here is my crowning effort or masterpiece--"
II. THE TWO-HEADED GIRL
"A remarkable freak of nature, which impresses the beholder with silent
awe. Observe the two heads and one body. See these fair faces, each
one lovelier than the other. No one can gaze upon them without a double
sensation 'of sorrow and of joy'--sorrow that such beauty and grace
were ever united, and joy that he has had the pleasure of contemplating
their union.
"Wind them up, Peter."
This figure is made by two young ladies standing back to back, wrapped
in one large skirt. They hold their arms out, with their hands hanging,
and slowly revolve when they are wound up.
III. THE SEWING-WOMAN
"John, bring out the Sewing-Woman, and let the ladies behold the
unfortunate seamstress who died from pricking her finger with a needle
while sewing on Sunday. You see that the work which she holds is stained
with gore, which drips from her finger onto the floor. (Which is
poetry!) This forms a sad and melancholy warning to all heads of
families immediately to purchase the best sewing-machines, for this
accident never could have happened had she not been without one of
those excellent machines, such as no family should be without."
Costume: Optional.
When wound up, the figure sews very stiffly and stops slowly.
IV. CAPTAIN KIDD AND HIS VICTIM
"Ladies and Gentlemen: Permit me to call your attention to this
beautiful group, which has lately been added, at an enormous expense,
to my collection. You here behold the first privateer and the first
victim of his murderous propensities. Captain Kidd, the robber of the
main, is supposed to have originated somewhere down east. His whole
life being spent upon the stormy deep, he amassed an immense fortune,
and buried it in the sand along the flower-clad banks of Cape Cod, by
which course he invented the savings banks, now so common along shore.
Having hidden away so much property, which, like so many modern
investments, never can be unearthed, he was known as a great
_sea-cretur_. Before him kneels his lovely and innocent victim, the
Lady Blousabella Infantina, who was several times taken and murdered
by this bloodthirsty tyrant, which accounts for the calm look of
resignation depicted upon her lovely countenance.
"Wind 'em up, John."
Costumes: Captain Kidd--white pantaloons, blue shirt, sailor hat, pistol
and sword.
Victim--Lady with flowing hair, white dress. Movement--The captain's
sword moves up and down, and the victim's arms go in unison.
V. THE SIAMESE TWINS
Two gentlemen dressed alike in ordinary costume, with a large bone
(attached by wire or string) between them. One arm of each over the
other's neck. Pugnacious expression of countenance.
"The wonderful Siamese Twins compose the next group. These remarkable
brothers lived together in the greatest harmony, though there was
always a bone of contention between them. They were never seen apart,
such was their brotherly fondness. They married young, both being
opposed to a single life. The short one is not quite so tall as his
brother, although their ages are about the same. One of them was born
in the Island of Borneo, the other on the southern extremity of Cape
Cod."
When wound up they begin to fight, continue for a moment and stop
suddenly.
VI. THE CELEBRATED DWARF
BOY WITH RED CLOAK, LONG WHITE WIG, BOWL AND SPOON
"This wonderful child has created some interest in the medical and
scientific world, from the fact that he was thirteen years old when
he was born, and kept on growing older and older until he died, at the
somewhat advanced age of two hundred and ninety-seven, in consequence
of eating too freely of pies and cakes, his favorite food. He measured
exactly two feet and seven inches from the crown of his head to the
sole of his foot, and two feet and ten inches back again. Was first
discovered ten miles from any land and twelve miles from any water,
making the enormous total of ninety-one, which figure was never before
reached by any previous exhibition. Wind him up, John."
Dwarf eats very stiffly with a large spoon in his right hand; in his
left hand he holds a bowl, which falls on the floor after a moment and
is broken.
"John, get your tools and screw up that dwarf's hand, for it has become
so loose that it costs a fortune for the crockery he breaks."
John screws up the hand, gets a new bowl, and again winds up the figure,
which now moves with much greater energy.
VII. THE VOCALIST
"Bring out the Vocalist. I now call your attention to the most costly
of all my figures. This wonderful automaton singer represents Signorina
Squallini, the unrivaled vocalist, whose notes are current in every
market, and sway all hearts at her own sweet will.
"Wind her up and let her liquid notes pour forth."
She gesticulates wildly, and sings a few notes in a very extravagant
manner, then stops with a hoarse sound.
Mrs. J.: "John, this figure needs oiling. Why do you not attend to
your duties better?"
John gets oilcan, which he applies to each ear of the figure, which
strikes a high note and sings with much expression and many trills,
then makes a gurgling sound, as if running down, and suddenly stops
again.
Costume: Evening dress.
VIII. THE YANKEE
Description: A tall, thin man, clean shaven, but for a tuft on chin,
dressed in black, with broad-brimmed straw hat. He is seated on a low
rocking-chair, with his legs resting on the back of another chair. He
holds a wooden stick, which he is whittling with a jackknife.
"You here behold a specimen of our irrepressible, indomitable native
Yankee, who has been everywhere, seen everything and knows everything.
He has explored the arid jungles of Africa, drawn forth the spotted
cobra by his prehensile tail, snowballed the Russian bear on the snowy
slopes of Alpine forests, and sold wooden nutmegs to the unsuspecting
innocents of Patagonia. He has peddled patent medicines in the Desert
of Sahara, and hung his hat and carved his name on the extreme top of
the North Pole. The only difficulty I find in describing him is that
I cannot tell what he cannot do. I will therefore set him in motion,
as he hates to be quiet."
When, wound up he pushes his hat back on his head and begins to whittle.
IX. THE CANNIBAL
"Here you behold a curious cannibal from the Feejee Islands, first
discovered by Captain Cook, who came very near being cooked by him.
In that case, the worthy captain would never have completed his
celebrated voyage round the world. This individual was greatly
interested in the cause of foreign missions. Indeed, he received the
missionaries gladly and gave them a place near his heart. He was finally
converted by a very tough tract-distributor, who had been brought up
in a Bloomsbury boarding-house, and was induced to become civilized.
One of his evidences of a change of life was shown by his statement
that he now had but one wife, like the English. 'What have you done
with the other twelve which you said you had a month ago?' asked the
tract distributor. 'Oh, I have eaten them!' replied the gentle savage.
This cannibal was very fond of children, especially those of a tender
age; he holds in his hand a war-club, with which he prepared his daily
meals, also a warwhoop, which is an original one."
Costume: Brown jersey and drawers, face and hands colored to match,
very short skirt, feather headdress, large rings in nose and ears. One
hand holds a war-club, the other a child's hoop.
Movement: When wound up he brandishes his club and raises hoop to his
mouth.
X. BABES IN THE WOOD
Two men, the bigger the better, one dressed as a very small boy, the
other as a little girl; each holds a penny bun.
"In the next group you behold the Babes in the Wood, who had the
misfortune to have an uncle. This wicked man hired a villain to carry
these babes away into the wood and leave them to wander until death
put an end to their sorrow, and the little robins covered them up with
leaves. These lifelike figures represent the children just after taking
their leaves of the villain. By a master stroke of genius the artist
has shown very delicately that human nature is not utterly depraved,
for the villain has placed in the hand of each of the innocents a penny
bun as a parting present. I have been often asked 'why I did not have
a figure of the villain also added to the group?' but my reply always
is, 'Villains are too common to be any curiosity.'
"Wind 'em up, John."
Each Babe offers to the other a bite of bun alternately.
XI. LITTLE RED RIDING-HOOD
A young lady carrying a basket on her arm. Costume in accordance with
the story.
"Here you behold Little Red Riding-Hood, a model of grand filial
devotion, for she was so fond of her granny that she wandered through
the forest to take the old lady's luncheon, and was eaten by the wolf
for so doing, which is a warning to all children to be careful how
they do much for their grandmothers, unless they are rich and can leave
them something in their wills. This personage was an especial favorite
with children, who love to read about her, and shed tears over her
unhappy fate, although some of them think that had she been as smart
as her dress, she would have been too smart to have mistaken the wolf
for her grandmother, unless she had been a very homely old lady, or
he had been much better looking than most wolves."
When wound up, the figure curtseys and holds out her basket.
XII. LADY WITH GOLDEN LOCKS
Young lady with long hair, flowing over her shoulders, holds bottle
(labelled Mrs. Blank's Hair Restorer) and curling-tongs.
"This is one of the most expensive of my costly collection, for blonde
hair is very high, and you see how heavy and long are the golden locks
which adorn her beautiful face. I cannot pass this figure without
saying a few words in praise of the wonderful hair restorer, for this
image had grown so bald from the effect of long journeys by road or
rail that she was exhibited for two years as the Old Man of the
Mountain. One bottle of this wonderful fluid, however, restored her
hair to its present growth and beauty, and a little of the fluid being
accidentally spilled upon the pine box in which the figure was carried,
it immediately became an excellent hair trunk."
CHAPTER X.
CHURCH AND SCHOOL SOCIALS
ART EXHIBITIONS--LIST OF EXHIBITORS--"ARTISTS"--CURIOSITIES--EXPLANATIONS--
SUGGESTIONS
"ART" EXHIBITION
The elaborate "sell" which goes by this name used to be a regular
institution in church bazaars and might well be rejuvenated as a
novelty.
A regular printed catalogue is got up, containing apparently the names
of a collection of pictures or sculptures, each object duly numbered
and with the name of the artist appended. In some instances the name
of a (supposed) picture is followed by an appropriate quotation in
poetry or prose, after the orthodox fashion of art galleries. We append,
by way of illustration, a selection from the catalogue of a collection
which has met with great success: EXHIBITION OF THE WORKS OF LIVING
ARTISTS
PART I. WORKS OF ART
1. Horse Fair After Rosa Bonheur.
2. A Brush With a Cutter Off Deal Carpenter.
3. Caught in a Squall Off Yarmouth Fisher.
4. The Last of Poor Dog Tray Barker.
5. "He Will Return, I Know He Will" Lent by the Trustees of the Parish.
6. The Midnight Hour. C. Lock.
7. Heroes of Waterloo. Schumacher.
8. True to the Core. C. Odling.
9. "Spring, Spring, Beautiful Spring!" Mayne.
10. "Tears, Idle Tears." Strong.
11. The Midnight Assassin. F. Sharpe.
12. The Dripping Well. T. Inman.
13. Family Jars. Potter.
14. Never Too Late to Mend. S. Titch.
15. Past Healing. Kobler.
16. The First Sorrow. Smalchild.
17. Saved. S. Kinflint
18. Lost
19. First Love. Sweet.
20. The Death of the Camel. After Goodall.
21. His First Cigar. A. Young.
22. A Good Fellow Gone. M. I. Slade.
23. Portrait of a Gentleman. Anonymous.
24. Portrait of a Lady. Anonymous.
25. Our Churchwardens. Screw.
26. Portraits of the Reigning Sovereigns of Europe. (Taken by special
order). G. P. O.
27. Waifs of Ocean. Fish. "Strange things come up to look at us, The
Monsters of the deep."
28. The Last Man. Unknown.
29. Contribution from the Celebrated Sheepsbanks Collection. Butcher.
30. The Light of Other Days. Dimm.
31. The Meet of Her Majesty's Hounds. Pratt.
32. Water Scene. "And I hear Those waters rolling from the mountain
springs With a sweet inland murmur."
33. The Maiden's Joy. Bachelor.
34. The Fall. Adam.
35. Motherhood.
"She laid it where the sunbeams fall
Unscanned upon the broken wall,
Without a tear, without a groan,
She laid it near a mighty stone
Which some rude swain had haply cast
Thither in sports, long ages past.
There in its cool and quiet bed,
She set her burden down and fled;
Nor flung, all eager to escape,
One glance upon the perfect shape
That lay, still warm and fresh and fair,
But motionless and soundless there."
--C. S. Calverley.
36. A Friendly Party on Hampstead Heath. Moke.
37. Borrowed Plumes. Wigg.
38. Out for the Night. Anonymous.
39. Something to Adore. Anonymous.
40. The Weaned Grinder. Mayne Force. "Change and decay in all around
I see."
41. Repentance. G. Templar.
42. Maggie's Secret. Rossetter.
43. Somebody's Luggage. S. Canty.
44. Eusebius. B. Linkers.
45. Happy Childhood. Wackford Squeers.
46. Not Such a Fool as He Looks. The Exhibitor.
47. A Choice Collection of Old China.
48. A Fine Specimen of Local Quartz Discovered in the Possession of a
Workman.
During the Building of the New Town Hall.
49. The Skull of the Last of the Mohicans.
50. A Marble Group.
51. Bust.
52. The Puzzle.
53. The Instantaneous Kid Reviver.
54. The Earnest Entreaty.
EXPLANATION
Anyone not in the secret, perusing the above catalogue, would naturally
conclude that the descriptions referred to pictorial art of some kind
or other. But such is by no means the case. The visitor, on being
admitted, finds, in place of the expected pictures, shelves or tables
on which are arranged sundry very commonplace objects, each bearing
a numbered ticket. On close examination he finds that the numbers
correspond with those in the catalogue, and that No. 1, "Horse
Fair"--fare--is represented after a realistic fashion by a handful of
oats and a wisp of hay. No. 2, which he expected to find a spirited
marine sketch, is in reality only a toothbrush lying beside a
jack-plane; while the supposed companion picture, "Caught in a Squall
Off Yarmouth," is represented by a red herring. No. 4, "The Last of
Poor Dog Tray," is a sausage, and the exhibitor particularly begs that
no gentleman will on any account whistle while passing this picture.
No. 5, "He Will Return, I Know He Will," presumably the agonized cry
of a forsaken maiden, is in reality a poor-rate collector's paper,
marked "Fifth application." No. 6 is represented by a numbered ticket
only, with no object attached to it. The exhibitor explains that "The
Midnight Hour" has not yet arrived, but that any gentleman who likes
to wait till it does (which will be at twelve o'clock punctually), is
very welcome to do so. The "Heroes of Waterloo," Wellington and Blucher,
No. 7, are represented by a couple of boots known by those distinguished
names. 8, "True to the Core," is a rosy-cheeked apple. 9 is a coil of
watch spring. 10, "Tears, Idle Tears," on which the exhibitor feelingly
expatiates as a noble example of the imaginative in art, is an onion.
The space dedicated to No. 11 is occupied by the numbered ticket only,
the exhibitor explaining that "The Midnight Assassin" (who is stated
to be a large and lively flea) has strolled away and is wandering at
large about the room; and he adds an entreaty that any lady or gentleman
who may meet with him will immediately return him to his place in the
collection. "The Dripping Well" (No. 12) proves to be of the description
more usually known as a dripping-pan. "Family Jars," by Potter, is
found to consist of a pickle jar and jam pot. No. 14, "Never Too Late
to Mend," is a boot patched all over; while 15, "Past Healing," is its
fellow, too far gone to admit of like renovation. "The First Sorrow"
is a broken doll. "Saved" is a money box, containing twopence halfpenny,
mostly in farthings. The next is a vacant space, over which the
exhibitor passes with the casual remark, "No. 18, as you will observe,
is unfortunately lost." No. 19, "First Love," is a piece of taffy. 20,
"The Death of the Camel," is a straw, labeled "the last," and the
exhibitor explains that this is the identical straw that broke the
camel's back. "His First Cigar" is a mild Havana of brown paper. "A
Good Fellow Gone" is suggested, rather than represented, by an odd
glove. Nos. 23 and 24 are represented by two small mirrors, which are
handed to a lady and a gentleman respectively, with a few appropriate
remarks as to the extreme success of the likenesses, coupled with
critical remarks as to the "expression" in each case. "Our
Churchwardens" are a pair of long clay pipes. No. 26, "Portraits of
the Reigning Sovereigns of Europe," are represented by a few cancelled
foreign postage stamps. "The Monsters of the Deep," in No. 27, are
represented by a periwinkle and a shrimp. "The Last Man" (No. 28), is
at present missing from his place in the collection, but the exhibitor
explains that he will be seen going out just as the exhibition closes.
The "Contribution from the Sheepshanks Collection" (29), is a couple
of mutton bones; while "The Light of Other Days" (30) is an
old-fashioned lantern and tinder box. "The Meet (meat) of Her Majesty's
Hounds" is a piece of dog biscuit. No. 32 is a leaky can of water.
"The Maiden's Joy" (obviously) is a wedding ring. "The Fall" is a
lady's veil. No. 35, "Motherhood," is the gem of the collection, and
should be kept carefully hidden (say by a handkerchief thrown over it)
until the company have had time to read and appreciate Mr. Caverley's
graceful lines, when the veil is removed, and behold--an egg! No. 36,
"A Friendly Party on Hampstead Heath," is represented by three toy
donkeys. "Borrowed Plumes" are represented by a lady's false front.
"Out for the Night" is an extinguished candle. "Something to Adore"
is a rusty bolt. "The Wearied Grinder" is a back tooth of somebody's
very much the worse for wear. "Repentance" (No. 41) is represented by
a smashed hat and a bottle of sodawater. "Maggie's Secret" is a gray
hair, labeled "Her First." No. 43, "Somebody's Luggage," consists of
a broken comb and a paper collar. "Eusebius" is a pair of spectacles.
"Happy Childhood" is indicated by a lithe and "swishy" cane. When the
company arrive at No. 46, the corresponding object is apparently
missing. The exhibitor refers to his notes and says: "46--46? I see
they have written down against No. 46, 'The Exhibitor,' but I don't
see quite what they mean. Suppose we pass on to the curiosities, ladies
and gentlemen." No. 47 is merely some smashed crockery, and No. 48 a
pewter quart pot. No. 49 is again a vacant space, and the exhibitor
explains that "The Last of the Mohicans" has just gone home to his
tea, and has taken his skull with him. No. 50 is, as its name implies,
a group of marbles, of the school boy character. No. 51 is a paper bag
of peas, and, being too full, has "bust." "The Puzzle" (No. 52) is an
old guide book. "The Instantaneous Kid Reviver" is a baby's feeding
bottle; and the "Earnest Entreaty" is the request of the exhibitor
that the visitors will recommend the collection to their friends.
If the "showman" be possessed of a good fund of talk and a dash of dry
humor, the fun of the collection may be still further enhanced by his
explanations and criticisms of the various objects. Poor Artemus Ward's
celebrated lecture is an excellent model to copy; indeed, many of his
"bits" may be stolen bodily with very satisfactory result. Even without
the aid of a showman, the comparison of the poetical descriptions and
the sober reality will produce a good deal of fun; but, in this case,
the various blanks or vacant spaces to be filled up by explanation
must necessarily be omitted--a good many telling items being thereby
sacrificed.
CHAPTER XI.
OPTICAL ILLUSIONS
RAISING THE GHOST--MAGIC LANTERN PICTURES--PHANTASMAGORIA--CHINESE
SHADOWS--WONDERFUL MIRROR--MULTIPLIED MONEY
RAISING A GHOST
Place a small magic lantern in a box large enough to contain a small
swing dressing-glass, which will reflect the light thrown on it by the
lantern in such a way that it will pass out at the aperture made at
the top of the box, which aperture should be oval and of a size adapted
to the cone of light to pass through it. There should be a flap with
hinges, to cover the opening, that the inside of the box may not be
seen. There must be holes in that part of the box which is over the
lantern, to let out the smoke; and over this must be placed a
chafing-dish, of an oblong figure, large enough to hold several lighted
coals. This chafing-dish, for the better carrying on the deception,
may be inclosed in a painted tin box, about a foot high, with a hole
at top, and should stand on four feet, to let the smoke of the lantern
escape. There must also be a glass planned to move up and down in the
groove, and so managed by a cord and pulley that it may be raised up
and let down by the cord coming through the outside of the box. On
this glass the spectre (or any other figure you please) must be painted,
in a contracted or squat form, as the figure will reflect a greater
length than it is drawn. When you have lighted the lamp in the lantern
and placed the mirror in a proper direction, put the box on a table,
and, setting the chafing-dish in it, throw some incense in powder on
the coals. You then open the trap door and let down the glass in the
groove slowly, and when you perceive the smoke diminish, draw up the
glass, that the figure may disappear, and shut the trap-door. This
exhibition will afford much wonder. The lights in the room must be
extinguished, and the box should be placed on a high table, that the
aperture through which the light comes out may not be seen.
A MAGIC-LANTERN TRICK
The light of the magic-lantern and the color of images may not only
be painted on a cloth, but also reflected by a cloud of smoke. Provide
a box of wood or pasteboard, about four feet high and seven or eight
inches square at bottom, but diminishing as it ascends, so that its
aperture at the top be but six inches long and half an inch wide. At
the bottom of this box there must be a door that shuts quite close,
by which you are to place in the box a chafing-dish with hot coals,
on which is to be thrown incense, whose smoke goes out in a cloud at
the top of the box; on this cloud you are to throw the light that comes
out of the lantern, and which you bring into a smaller compass by
drawing out the movable tube. In this representation, the motion of
the smoke does not at all change the figures, which appear so
conspicuous that the spectator thinks he can grasp them with his hand.
In the experiment, some of the rays passing through the smoke, the
representation will be much less vivid than on the cloth; and if care
be not taken to reduce the light to its smallest focus, it will be
still more imperfect.
THE PHANTASMAGORIA
In showing the common magic-lantern, the spectators see a round circle
of light with the figures in the middle of it; but in the Phantasmagoria
they see the figures only, without any circle of light. The exhibition
is produced by a magic lantern, placed on that side of a
half-transparent screen which is opposite to that on which the
spectators are, instead of being on the same side, as in the ordinary
exhibition of the magic lantern. To favor the deception, the slides
are made perfectly opaque, except in those places that contain the
figures to be exhibited, and in these light parts the glass is covered
with a more or less transparent tint, according to the effect required.
The easiest way is to draw the figures with water colors on thin paper
and afterward varnish them. To imitate the natural motions of the
objects represented, several pieces of glass placed behind each other
are occasionally employed. By removing the lantern to different
distances, and at the same time altering, more or less distinct, at
the pleasure of the exhibitor; so that, to a person unacquainted with
the effect of optical instruments, these figures appear actually to
advance and recede. Transparent screens for the Phantasmagoria are
prepared by spreading white wax, dissolved in spirits of wine or oil
of turpentine, over thin muslin; a screen so prepared may be rolled
up without injury. A clearer screen may be produced by having the
muslin always strained upon a rectangular frame, and preparing it with
turpentine, instead of wax; but such a screen is not always convenient,
and cannot be rolled without cracking, and becoming in a short time
useless.
CHINESE SHADOWS
In a partition wall cut an aperture of any size; for example, four
feet in length and two in breadth, so that the lower edge may be about
five feet from the floor, and cover it with white Italian gauze,
varnished with gum-copal. Provide several frames of the same size as
the aperture, covered with the same kind of gauze, and delineate upon
the gauze different figures, such as landscapes and buildings, analogous
to the scenes which you intend to exhibit by means of small figures
representing men and animals. These figures are formed of pasteboard,
and their different parts are made movable, according to the effect
intended to be produced by their shadows, when moved backward and
forward behind the frames, at a small distance from them. To make them
act with more facility, small wires, fixed to their movable parts, are
bent backward and made to terminate in rings, through which the fingers
of the hand are put, while the figure is supported on the left by means
of another iron wire. In this manner they may be made to advance or
recede and to gesticulate, without the spectators observing the
mechanism by which they are moved; and as the shadow of these figures
is not observed on the paintings till they are opposite those parts
which are not strongly shaded, they may thus be concealed and made to
appear at the proper moments, and others may be occasionally substituted
in their stead.
It is necessary, when the figures are made to act, to speak a dialogue,
suited to their gestures, and imitate the noise occasioned by different
circumstances. The paintings must be illuminated from behind by means
of a reverberating lamp, placed opposite to the center of the painting,
and distant from it about four or five feet. Various amusing scenes
may be represented in this manner by employing small figures of men
and animals, and making them move in as natural a way as possible,
which will depend on the address and practice of the person who exhibits
them.
A WONDERFUL MIRROR
Make two openings of a foot high and ten inches wide and about a foot
distant from each other, in the wainscoting of a wall; let them be at
the common height of a man's head; and in each of them place a
transparent glass, surrounded with a frame, like a common mirror.
Behind this partition place two mirrors, one on the outward side of
each opening, inclined to the wainscot at an angle of forty-five
degrees; let them both be eighteen inches square; let all the space
between them be enclosed by boards or pasteboard, painted black and
well closed, that no light may enter; let there be also two curtains
to cover them, which may be drawn aside at pleasure. When a person
looks into one of these supposed mirrors, instead of seeing his own
face he will perceive the object that is in the front of the other;
so that, if two persons present themselves at the same time before
these mirrors, instead of each one seeing himself, they will
reciprocally see each other. There should be a sconce with a candle
or lamp placed on each side of the two glasses in the wainscot, to
enlighten the faces of the persons who look in them, otherwise this
experiment will have no remarkable effect. This recreation may be
considerably improved by placing the two glasses in the wainscot in
adjoining rooms, and a number of persons being previously placed in
one room, when a stranger enters the other, you may tell him his face
is dirty, and desire him to look in the glass, which he will naturally
do; and on seeing a strange face he will draw back; but returning to
it, and seeing another, another and another, what his surprise will
be is more easy to conceive than express.
When one looks in a mirror placed perpendicularly to another, his face
will appear entirely deformed. If the mirror be a little inclined, so
as to make an angle of eighty degrees (that is, one-ninth part from
the perpendicular), he will then see all the parts of his face, except
the nose and forehead; if it be inclined to sixty degrees (that is,
one-third part), he will appear with three noses and six eyes; in
short, the apparent deformity will vary at each degree of inclination;
and when the glass comes to forty-five degrees (that is, half-way
down), the face will vanish. If, instead of placing the two mirrors
in this situation, they are so disposed that their junction may be
vertical, their different inclinations will produce other effects, as
the situation of the object relative to these mirrors is quite
different.
THE DISAPPEARING PAPER
Attach to a dark wall a round piece of paper an inch or two in diameter,
and, a little lower, at the distance of two feet on each side, make
two marks; then place yourself directly opposite to the paper, and
hold the end of your finger before your face in such a manner that
when the right eye is open it shall conceal the mark on the right; if
you then look with both eyes to the end of your finger, the paper,
which is not at all concealed by it from either of your eyes, will,
nevertheless, disappear.
MULTIPLIED MONEY
Take a large drinking-glass, of a conical form, that is, small at
bottom and wide at top, and, having put into it a dime, let it be half
filled with water; then place a plate upon the top of the glass, and
turn it quickly over, that the water may not get out; a piece of silver
as large as half a dollar will immediately appear on the plate, and
somewhat higher up another piece of the size of a dime.
MULTIPLYING SHADOWS
A dummy figure (suppose that of a witch, riding on the conventional
broomstick) is suspended by fine threads or wires on the screen remote
from the spectators. Behind this are ranged, one behind the other, and
at right angles to the screen, a row of lighted candles. Being all in
the same line, they throw one shadow only on the screen. The figure
is now made to oscillate slightly, so as to impart some little motion
to the shadow. One of the candles is now removed from its place in the
row, and waved gently about, now high, now low, the effect to the
spectators being that a second shadow springs out of the first, and
dances about it on the screen. A second and third candle is then
removed, and waved up and down, each candle as it leaves its place in
the line, producing a separate shadow. It is well to have three or
four assistants, each taking a candle in each hand.
CHAPTER XII
TABLE GAMES FOR ADULTS
DOMINOES--BACKGAMMON--CHECKERS--JENKINS--ZOO--STRAY SYLLABLES--CHESS
DOMINOES
At the beginning of the game the dominoes are thoroughly shuffled by
being turned face down and stirred round and round. The players then
draw at random as many bones as the game requires. These dominoes with
which the hand is to be played may stand on their edges in front of
the players or may be held in the hand, or both. It is usual to sort
them into suits as far as possible. The one who has drawn the highest
doublet usually plays or sets first.
The object in dominoes is either to block the game so that the adversary
cannot play or it is to make the two ends when added together equal
to some multiple of a given number, or it is to make both ends of the
line the same. The player first getting rid of all his pieces is
"Domino."
Dominoes are made in sets known by the number of pips on the highest
domino or bone in the set. The standard set is double-sixes and contains
twenty-eight bones. Some persons use double-nines. In the double-six
set there are seven "suits," each named after some number from six to
blank. In each of these suits there are seven bones, but each domino
in a suit, except the doublet, belongs to some other suit as well. The
lower figure on each domino shows the other suit to which it belongs.
All games of dominoes, except matadore, are based on the principle of
following suit or matching. The first player "sets" a certain domino,
and after that each player must play one of the same suit, the suit
called for being always that of the exposed or open end.
BACKGAMMON
The object of each player is to get all his men into his home table,
and as soon as they have all arrived to throw them off the board
altogether. The one that succeeds in doing this first wins the game.
Each of two players has fifteen men, known as black and white, and
each should have his own dice-box. Almost all of the folding checker
boards are marked on the reverse side for backgammon, and the fifteen
men of each color in a checker set are intended for backgammon players.
The two sides of the board nearer the players are called tables, and
the table with only two men on two of the points is called the inner
table. It is also the home table of the player who sits with that side
of the board nearer to him.
It does not matter which way the board is turned, as the arrow points
are alternately light and dark all the way round in either direction,
but it is usual to place the side of the board with only two men on
points nearest the window, so that there shall be a good light on the
home tables. The points in the home tables are known by their numbers,
which correspond to the faces of a die, and are called: ace point,
deuce point, trey point, four point, five point, and six point.
The point immediately across the bar which divides the two tables is
called the "bar point," not because it is next the bar, but because
it bars the two adverse men in your home table from running away with
double sixes if you can "make it up."
CHECKERS
The object of the game is to capture all the opponent's men and remove
them from the board, or else to pin them up in such a manner that he
cannot move. If neither player can accomplish this, the game is drawn.
A board divided into sixty-four squares is used. These are of dark and
light color. Each player receives twelve men, known as white and black.
At the beginning of the game the board is so placed that each player
shall have two of his men touching the edge of the board at his left.
The men are set on the black squares.
The squares upon the board are supposed to be numbered from one to
sixty-four, beginning at the upper left-hand corner upon the side of
the board occupied by the black men.
In giving the moves the first figures are the moves of a black man.
The next figures are the moves of a white man.
As the men never leave the color upon which they are first placed, all
moves must be diagonal. A man can move only one square at a time, and
only to a square which is in front of him diagonally and is not
occupied.
If a square to which a man might move is occupied by an adverse piece,
that piece can be jumped over if there is a vacant square immediately
beyond him. The capturing piece moves to this vacant square, and the
man jumped over is removed from the board. Two or more men may sometimes
be captured simultaneously. When a piece may be captured the player
is obliged to take it. If he does not, his adversary can compel him
to take back his move and make the capture, or can remove from the
board the piece that should have made the capture, or can let the
matter stand. If there are two different captures on the board at the
same time the player can take his choice of them.
JENKINS
Any number of players may play this game, which is common to almost
every nation, and is very interesting. Sides being formed, the players
seat themselves at a table, facing each other. It having been decided
who shall first hold the silver piece, the player who receives it holds
it in his closed hand under the table, as do all the players on his
side, when they receive it, and the piece is passed from hand to hand,
the object being to deceive the opposite players as to its whereabouts.
The captain of the side which has not the coin now calls: "Jenkins
says hands up," and all the hands come up, closed; then "Jenkins says
hands down," and all the hands fall, palms downward, on the table.
There should be much noise to drown the clink of the piece as it falls
on the table.
The opposing side now tries to guess the side which has not the coin.
The captain directs the players who have not the piece to take their
"hands off." None of his side may give this order. Should any do so
the coin is forfeited.
Should the captain make a mistake and call up a hand under which the
coin is hidden, the piece remains with the same side, and the number
of hands still on the table counts for the side which keeps the coin.
If the last hand left on the table covers the piece, it then goes to
the opposing players. It is necessary to set a score. The side which
makes these points wins the game.
BOUQUET
Each guest receives a slip of paper, on which is written the name of
a flower. When all are ready to begin, the hostess gives to each a
sheet of tissue paper of the color needed to make a designated flower;
also two sheets of green paper of different shades.
Thirty minutes are allowed for the making of the flowers. A pair of
scissors and a needle and thread must be given to each guest; also
some mucilage. The flowers are collected and a committee decides who
has made the most perfect flower. The one who has done so receives the
bouquet of flowers made by the guests.
ZOO
The names of animals are given the players. Each receives ten slips
of paper numbered from one to ten. These are arranged irregularly in
a pile. The slips are turned with the faces downward.
The first player turns up his upper slip so that the number is visible
and lays it down in front of him. In doing this, he must turn it away
from himself, so that the other players see it first; the next player
then does the same.
Should two slips coincide in number, they must each at once call each
other's names--the animal names given them. The one who first calls
the other's name gives away his slip to that other person, the object
being to get rid of one's slips as fast as possible. If the slip turned
up by the second player does not correspond in number to that turned
up by the first, he also lays it down in front of him; the third player
then turns his up, and this is continued around the circle until a
slip is turned that corresponds in number with any that has been turned
up, when those two players must immediately call each other's names.
The winner is the one who first gets rid of his slips.
SIMON SAYS
Any number of players seat themselves at a table. Each player makes
a fist of each hand, extending the thumb.
The leader says, "Simon says, 'Thumbs up'!" whereupon he places his
own fist on the table before him, with the thumbs upward. The players
do likewise. When the leader says, "Simon says, 'Thumbs down'," he
turns his own hand over so that the tips of the thumbs touch the table.
The others must imitate him.
He then says, "'My thumb wiggles-waggles." He suits the action to the
word, and the rest repeat his performance.
If at any time the leader omits the words "Simon says," and goes through
the movements only with the words "Thumbs up," "Thumbs down," or
"Wigle-waggle," the players must all keep their hands still and not
imitate his movements. Any player doing this pays a forfeit.
AUTHOR'S INITIALS
Each player writes on a piece of paper groups of words, each group
descriptive of some author, and each word beginning with one of his
initials in regular order. The player who guesses the largest number
of authors wins the game.
Example: Who is the just, gentle writer?
Answer: John Greenleaf Whittier.
Whose stories are read alike by old and young?
Answer: James Fennimore Cooper.
Who was the greatest humorist?
Answer: "Mark Twain."
SKETCHES