_Inside a coffee-room. Two or three friends are seated with their
coffee and pipes, when one, who has just returned from foreign lands,
begins relating some of his adventures._
_Smith._--"Yes, my boys, glad as I am to get back to my own country,
I should not like to be without the remembrance of all that I have
witnessed in the far-off lands I have been visiting."
_Brown._--"Yes, friend, you must have had a brave heart to face
the thousand dangers to which no doubt you have been exposed. But
though it's getting late, we must, before parting, hear one of your
adventures. So proceed, comrade."
_Smith._--"Well, it's not worth while beginning a long tale when
there's not time to finish it, so I'll just sketch the sort of risk
one often runs in the wilds of the backwoods. My mates and I had been
out one day on a hunting expedition, when, returning home late at
night, I unfortunately got left behind. The darkness was so great that
my absence was not noticed, and before very long I found I had taken
the wrong track. I came to this conclusion because I heard nothing but
the tramp of my own horse's hoofs, when suddenly I felt that danger
was at hand. Almost before I could put my thoughts into words, I felt
something go bang close past my ear; then three Indians rushed upon
me. Instead of feeling fear, a kind of supernatural strength took
possession of me. I lifted my pistol and shot the man nearest to
me, the next I felled; when, strange to say, the third man just at
this moment turned round and fled. I suppose he heard the voices and
footsteps of my friends, who were, at last, coming in search of me. At
any rate he disappeared, when we all made the best of our way home,
truly thankful that my life had been spared."
_Jones._--"Well done, Smith! Next time we meet you must tell us of the
many escapes you have had, and wonderful scenes you have witnessed in
foreign parts."
The following, among other words, are suitable for charade acting:--
Adulation, Andrew, Arrowroot, Artichoke, Articulate; Bayonet,
Bellman, Bondmaid, Bonfire, Bookworm, Bracelet, Bridewell, Brimstone,
Brushwood; Cabin, Carpet, Castaway, Catacomb, Champaign, Chaplain,
Checkmate, Childhood, Cowslip, Cupboard, Cutlet; Daybreak, Dovetail,
Downfall, Dustman; Earrings, Earshot, Exciseman; Farewell, Footman;
Grandchild; Harebell, Handiwork, Handsome, Hardship, Helpless,
Highgate, Highwayman, Homesick, Hornbook; Illwill, Indigent, Indulgent,
Inmate, Insight, Intent, Intimate; Jewel, Jonquil, Joyful; Kindred,
Kneedeep; Label, Lawful, Leapyear, Lifelike, Loophole, Loveknot;
Madcap, Matchless, Milkmaid, Mistake, Misunderstand, Mohair, Moment,
Moonstruck; Namesake, Necklace, Nightmare, Nightshade, Ninepin, Nutmeg;
Orphanage, Outside, Oxeye; Padlock, Painful, Parsonage, Penmanship,
Pilgrim, Pilot, Pinchbeck, Purchase; Quarto, Quicklime, Quicksand,
Quickset, Quicksilver; Ragamuffin, Ringleader, Roundhead, Ruthful;
Scarlet, Season, Sentinel, Sightless, Skipjack, Sluggard, Sofa, Solo,
Somebody, Sonnet, Sparerib, Sparkling, Spectacle, Speculate, Speedwell,
Spinster, Starling, Statement, Stucco, Supplicate, Sweetmeat,
Sweetheart; Tactic, Tartar, Tenant, Tendon, Tenor, Threshold, Ticktack,
Tiresome, Toadstool, Token, Torment, Tractable, Triplet, Tunnel;
Upright, Uproar; Vampire, Vanguard; Waistcoat, Watchful, Watchman,
Waterfall, Wayward, Wedding, Wedlock, Welcome, Welfare, Wilful, Willow,
Workmanship; Yokemate, Youthful.
CLAIRVOYANT.
In this game one of the company standing outside the room is, strange
to say, able to describe what is passing inside. A dialogue such as
would have to be carried on between the principal players will best
describe the game, and show how it is to be played:--
"Do you quite remember how the room is furnished in which we are
sitting?"
"I do."
"Do you remember the colour of the chairs?"
"I do."
"Do you know the ornaments on the mantelpiece?"
"I do."
"And the vase of flowers?"
"I do."
"The old china in the cabinet?"
"Yes."
"The stuffed birds?"
"Yes."
"You think there is nothing in the room that has escaped your notice?"
"Nothing."
"Then please tell me which article I am now touching."
"You are touching the vase of flowers."
The vase of flowers being the only object preceded by the word _and_,
the clairvoyant knows that that is the object which will be touched.
The fun of the game, of course, consists in puzzling those of the
company to whom the secret is unknown.
THE COMIC CONCERT.
In this performance the company for the time imagine themselves to be a
band of musicians. The leader of the band is supposed to furnish each
of the performers with a different musical instrument. Consequently,
a violin, a harp, a flute, an accordion, a piano, a jew's-harp, and
anything else that would add to the noise, are all to be performed
upon at the same time. Provided with an instrument of some description
himself, the leader begins playing a tune on his imaginary violoncello,
or whatever else it may be, imitating the real sound as well as he
can both in action and voice. The others all do the same, the sight
presented being, as may well be imagined, exceedingly ludicrous, and
the noise almost deafening. In the midst of it, the leader quite
unexpectedly stops playing, and makes an entire change in his attitude
and tone of voice, substituting for his own instrument one belonging to
some one else. As soon as he does this, the performer who has been thus
unceremoniously deprived of his instrument takes that of his leader,
and performs on it instead. Thus the game is continued, every one being
expected to carefully watch the leader's actions, and to be prepared at
any time for making a sudden change.
CONSEQUENCES.
The old-fashioned game of Consequences is so well known that there are
doubtless few people who are not thoroughly acquainted with it. It is
played in the following manner:--Each person is first provided with
half a sheet of note paper and a lead pencil. The leader of the game
then requests that (1) _one or more adjectives_ may be written at the
top of each paper by its owner, and that, having done so, the paper
may be folded down about half an inch, so as to conceal what has been
written. Every one then passes the paper to the right-hand neighbour,
and proceeds to write on the sheet that has just been given him by
his left-hand neighbour, (2) the _name of a gentleman_, again folding
the paper down and passing it on to the right. Then (3) _one or more
adjectives_ are written; then (4) a _lady's name_; next (5) _where they
met_; next (6) _what he gave her_; next (7) _what he said to her_; next
(8) _what she said to him_; next (9) the _consequences_; and lastly
(10) _what the world said about it_.
Every time anything is written the paper must be turned down and passed
on to the right. As soon as every one has written what the world said
the papers are collected, and the leader will edify the company by
reading them all aloud. The result will be something of this kind,
or perhaps something even more absurd may be produced--"The _happy
energetic_ (1) _Mr. Simpkins_ (2) met the _modest_ (3) _Miss Robinson_
(4) in the _Thames Tunnel_ (5). He gave her a _sly glance_ (6), and
said to her, '_Do you love the moon?_' (7). She replied, '_Not if I
know it_' (8). The consequence was _they sang a duet_ (9), and the
world said, '_Wonders never cease_'" (10).
CONVEYANCES.
To do justice to this game it will be necessary for the players to call
to mind all they have ever read or heard about the various modes of
travelling in all the four quarters of the globe, because every little
detail will be of use.
The business commences by one of the company announcing that he intends
starting on a journey, when he is asked whether he will go by sea or by
land. To which quarter of the globe? Will he go north, south, east, or
west? and last of all--What conveyance does he intend to use?
After these four questions have been answered, the first player is
called upon to name the spot he intends to visit.
Mountain travelling may be described, the many ingenious methods of
which are so well known to visitors to Italy and Switzerland.
The wonderful railway up the Righi need not be forgotten; mule
travelling, arm-chairs carried by porters, and the dangerous-looking
ladders which the Swiss peasants mount and remount so fearlessly at all
times of the year, in order to scale the awful precipices, will each be
borne in mind. In the cold regions the sledges drawn by reindeer may be
employed, or the Greenland dogs, not forgetting the tremendous skates,
that have the appearance of small canoes, used by the Laplanders; and
also the stilts, which are used by some of the poor French people who
live in the west of their country. Indeed, it is amazing how many
different methods of conveyance have been contrived at one time or
another for the benefit of us human beings.
In Spain and other places there are the diligences; in Arabia the
camels; in China the junks; at Venice the gondolas.
Then, to come home, we have balloons, bicycles, wheelbarrows,
perambulators, and all kinds of carriages, so that no one need be long
in deciding what mode of travelling he shall for the time adopt. As
soon as the four questions have been answered, should the first player
be unable to name what country he will visit he must pay a forfeit, and
the opportunity is passed on to his neighbour.
This game may be made intensely amusing, as will be proved by trial;
and at the same time a very great amount of instruction may be derived
from it.
CRAMBO.
Two pieces of paper, unlike both in size and colour, are given to
each person. On one of them a noun must be written, and on the other
a question. Two gentlemen's hats must then be called for, into one of
which the nouns must be dropped, and into the other the questions,
and all well shuffled. The hats must then be handed round, until each
person is supplied with a question and a noun. The thing now to be done
is for each player to write an answer in rhyme to the question he finds
written on the one paper, bringing in the noun written on the other
paper.
Sometimes the questions and the nouns are so thoroughly inapplicable
to each other that it is impossible to produce anything like sensible
poetry. The player need not trouble about that, however, for the more
nonsensical the rhyme the greater the fun. Sometimes players are
fortunate enough to draw from the hats both noun and question that may
be easily linked together. A question once drawn was--"Why do summer
roses fade?" The noun drawn was butterfly, so that the following rhyme
was easily concocted:--
"Summer roses fade away,
The reason why I cannot say,
Unless it be because they try
To cheat the pretty butterfly."
CROSS QUESTIONS AND CROOKED ANSWERS.
This is a pleasant game, that may be enjoyed while sitting in a circle
round the fire. The person at either end, who is honoured by commencing
the game, must, in a whisper, ask a question of the player sitting next
to him, taking care to remember the answer he receives, and also the
question he himself asked. The second player must then do likewise, and
so on, until every one in the party has asked a question and received
an answer. The last person, of course, being under the necessity of
receiving the answer to his question from the first person. Every one
must then say aloud what was the question put to him, and what was
the answer he received to the question he asked--the two together, of
course, making nothing but nonsense, something like the following:--
Q. Who is your favourite author?
A. Beans and Bacon.
Q. Were you ever in love?
A. Cricket, decidedly.
Q. Are you an admirer of Oliver Cromwell?
A. Mark Twain.
Q. Why is a cow like an oyster?
A. Many a time.
Another way of playing this game is for one person to stand outside the
circle; then, when all the whispering is finished, to come forward and
ask a question of each person, receiving for his replies the answers
they all had given to the questions they asked each other. Or what is,
perhaps, a still better plan, both questions and answers may be written
on different coloured paper, and then, after being shuffled, may be
read aloud by the leader of the game.
"CUPID IS COMING."
In this game all the adverbs that can be thought of will need to be
brought into requisition. Seated in order round the room, the first
player begins by saying to his neighbour, "Cupid is coming." The
neighbour then says, "How is he coming?" To which the first player
replies by naming an adverb beginning with the letter A. This little
form of procedure is repeated by every player until every one in the
room has mentioned an adverb beginning with A. Next time Cupid is
declared to be coming Beautifully, Bashfully, Bountifully, etc.; then
Capriciously, Cautiously, Carefully, and so on, until the whole of the
alphabet has been gone through, by which time, no doubt, it will be
thought desirable to select another game.
THE CUSHION DANCE.
A hassock is placed end upwards in the middle of the floor, round which
the players form a circle with hands joined, having first divided
themselves into two equal parts.
The adversaries, facing each other, begin business by dancing round the
hassock a few times; then suddenly one side tries to pull the other
forward, so as to force one of their number to touch the hassock, and
to upset it.
The struggle that necessarily ensues is a source of great fun, causing
as much or even more merriment to spectators of the scene than to the
players themselves. At last, in spite of the utmost dexterity, down
goes the hassock or cushion, whichever it may be; some one's foot is
sure to touch it before very long, when the unfortunate individual is
dismissed from the circle, and compelled to pay a forfeit.
The advantages that the gentlemen have over the ladies in this game are
very great; they can leap over the stool and avoid it times without
number, while the ladies are continually impeded by their dresses. It
generally happens that two gentlemen are left to keep up the struggle,
which in most cases is a very prolonged one.
DEFINITIONS.
This game is not fit for very young children, but among older ones, who
wish to enjoy a little quiet time together, it will suit their purpose
admirably. On a little slip of paper each member of the party writes
down a subject for definition. The slips are then handed to the leader,
who reads the subjects aloud, while each person copies them on a piece
of paper. Every one is then requested to give definitions, not only of
his own word, but of all the others, the whole being read aloud when
finished.
DUMB CRAMBO.
After dividing the company into two equal parts, one half leaves the
room; in their absence the remaining players fix upon a verb, to
be guessed by those who have gone out when they return. As soon as
the word is chosen, those outside the room are told with what word
it rhymes. A consultation ensues, when the absent ones come in and
silently act the word they think may be the right one. Supposing the
verb thought of should have rhymed with _Sell_, the others might come
in and begin felling imaginary trees with imaginary hatchets, but on no
account uttering a single syllable. If _Fell_ were the right word, the
spectators, on perceiving what the actors were attempting to do, would
clap their hands, as a signal that the word had been discovered. But
if _Tell_ or any other word had been thought of, the spectators would
begin to hiss loudly, which the actors would know indicated that they
were wrong, and that nothing remained for them but to try again. The
rule is that, while the acting is going on, the spectators as well as
the actors should be speechless. Should any one make a remark, or even
utter a single syllable, a forfeit must be paid.
DWARF.
Just as absurd and ridiculous as the representation of the Giant
(elsewhere explained) is that of the Dwarf, and to those who have never
before seen it performed the picture is certainly a most bewildering
one. The wonderful phenomenon is produced in the following manner:--On
a table in front of the company the dwarf makes his appearance, his
feet being the hands of one of the two gentlemen who have undertaken
to manage the affair. His head is the property of the same gentleman,
while his hands belong to the other gentleman, who thrusts them over
the shoulders of his companion to take the place of those that are
being made to act as feet. Stockings and shoes are of course put on
to these artificial feet, and the little figure is dressed up as
well as can be managed, in order to hide the comical way in which
the portions of the two individuals are united. For this purpose a
child's pinafore will be found as suitable as anything else. A third
person generally takes part in the proceedings as exhibitor, and comes
forward to introduce his little friend, perhaps as Count Borowlaski,
the Polish dwarf, who lived in the last century, and who was remarkable
for his intelligence and wit. This little creature was never more
than three feet high, although he lived to be quite old. He was also
very highly accomplished: he could dance, and played on the guitar
quite proficiently. Or he might be introduced as Nicholas Ferry, the
famous French dwarf, who was so small that when he was taken to church
to be christened his mother made a bed for him in her sabot, and so
comfortable was he in it that for the first six months of his life it
was made to serve as a cradle for the little fellow. Sense or nonsense
may of course be improvised on the spot, and made use of in order to
render the exhibition a success.
THE ELEMENTS.
Seated round the room, one of the company holds in his hand a ball,
round which should be fastened a string, so that it may be easily drawn
back again. Sometimes a ball of worsted is used, when a yard or two is
left unwound. The possessor of the ball then throws it first to one
person then to another, naming at the time one of the elements; and
each player as the ball touches him must, before ten can be counted,
mention an inhabitant of that element. Should any one speak when fire
is mentioned he must pay a forfeit.
THE FARMYARD.
If it were not understood that joking of all kinds is considered lawful
in most game playing, we might be inclined to think that in this game
of the Farmyard a little unfairness existed in one person being made so
completely the laughing-stock of all the rest. Still, as "in war all
things are fair," so it seems to be in amusements, most hearty players
evidently being quite willing to be either the laughers or the laughed
at. The master of the ceremony announces that he will whisper in the
ear of each person the name of an animal which, at some signal from
him, they must all imitate as loudly as possible. The fact is, however,
that to one person only he gives the name of an animal, and that is the
donkey; to every one else he gives the command to be perfectly silent.
After waiting a short time, that all may be in readiness, he makes the
expected signal, when, instead of a number of sounds, nothing is to
be heard but a loud bray. It is needless to remark that this game is
seldom called for a second time in one evening.
THE FEATHER.
A small flossy feather with very little stem must be procured. The
players then draw their chairs in a circle as closely together as
possible. One of the party begins the game by throwing the feather into
the air as high as possible above the centre of the ring formed. The
object of the game is to keep it from touching any one, as the player
whom it touches must pay a forfeit; and it is impossible to imagine the
excitement that can be produced by each player preventing the feather
from alighting upon him. The game must be heartily played to be fully
appreciated, not only by the real actors of the performance, but by the
spectators of the scene. Indeed, so absurd generally is the picture
presented, that it is difficult to say whether the players or the
watchers have the most fun.
FINDING THE RING.
The principle of the following puzzle is very similar to that contained
in "Think of a Number."
First of all a ring must be provided, after which you can request the
company to put it upon some one's finger, adding at the same time that
you will tell them who has it, and also upon which hand, and even upon
which finger it shall have been placed.
The ring being deposited on a certain finger, you must then ask some
one to make for you the necessary calculation.
Multiply the number of the person having the ring by 2; to that add 3.
Multiply this by 5; then add 8 if the ring be on the right hand, or 9
if on the left. Then multiply by 10, and add the number of the finger
(the thumb is 1); and, lastly, add 2.
Ask now for the result, from which subtract mentally 222, and the
remainder will give the answer.
For instance, supposing the ring were put on the fourth person, on the
left hand, and the first finger, remembering that the thumb counts 1.
The following is the kind of sum to be worked out:--
The number of the person multiplied by 2 8
Add 3 11
Multiply by 5 55
Add 9 for the left hand 64
Multiply by 10 640
Add the number of the finger 2 642
Add 2 644
----
Subtract 222
----
422
Which result proves it to be, beginning at the right-hand finger, the
second finger of the left hand of the fourth person.
When the number of the person wearing the ring is above 9, the
remainder will stand in four figures instead of three; in that case the
first two will indicate the person.
Like all games of mental calculation, the more quickly this is done the
better.
FLYING.
To play this game well it is necessary that there should be a good
spokesman in the company, who will find ample opportunity for his gift
of eloquence.
Simple as the game may appear to be, it is one that is generally played
with very great success.
Each member of the party wishing to take part in it must place the
right hand upon the left arm.
The leader then intimates that in the discourse with which he intends
to favour his friends, whenever he mentions a creature that can fly,
every right hand is to be raised and fluttered in the air in imitation
of a bird flying. At the mention of all animals that cannot fly, the
hands remain stationary. It is, of course, needless to say that the
leader will do his best to have the hands raised when other animals
are mentioned as well as flying ones, in order that a good number of
forfeits may be collected.
All being in readiness, he will begin in a style something like the
following:--
"One lovely morning in June I sallied forth to take the air. The
honey-suckle and roses were shedding a delicious perfume, the
_butterflies_ and _bees_ were flitting from flower to flower, the
_cuckoo's_ note resounded through the groves, and the _lark's_ sweet
trill was heard overhead. It seemed, indeed, that all _the birds of the
air_ (here all hands must be raised) were vieing with each other as to
whose song should be the loudest and the sweetest, when," &c.
Thus the game is carried on until as many forfeits as are deemed
desirable have been extracted from the company.
FORFEITS.
As an evening spent in playing round games would be thought incomplete
if at the end of it the forfeits were not redeemed, so our book of
amusements would be sadly lacking in interest if a list of forfeits
were not provided. Indeed, many young people think that the forfeits
are greater fun than the games themselves, and that the best part of
the evening begins when forfeit time arrives. Still, although we will
give a list of forfeits, it is by no means necessary that in the crying
of them none but certain prescribed ones should be used. The person
deputed to pronounce judgment on those of his friends who have had to
pay the forfeits may either invent something on the spur of the moment,
or make use of what he has seen in a book or may have stored in his
memory. Originality in such cases is often the best, simply because
the sentence is made to suit, or rather _not to suit_, the victim;
and the object of course of all these forfeit penances is to make the
performers of them look absurd. For those players, however, who in
preference to anything new still feel inclined to adopt the well-known
good old-fashioned forfeits, we will supply a list of as many as will
meet ordinary requirements.
1. _Bite an inch off the poker._--This is done by holding the poker the
distance of an inch from the mouth, and performing an imaginary bite.
2. _Kiss the lady you love best without any one knowing it._--To do
this the gentleman must of course kiss all the ladies present, the one
he most admires taking her turn among the rest.
3. _Lie down your full length on the floor, and rise with your arms
folded the whole time._
4. _Kneel to the wittiest, bow to the prettiest, and kiss the one
you love best._--These injunctions may, of course, be obeyed in the
letter or in the spirit, just as the person redeeming the forfeit feels
inclined to do.
5. _Put yourself through the keyhole._--To do this the word "Yourself"
is written upon a piece of paper, which is rolled up and passed through
the keyhole.
6. _Sit upon the fire._--The trick in this forfeit is like the last
one. Upon a piece of paper the words, "The fire," are written, and then
sat upon.
7. _Take one of your friends upstairs, and bring him down upon a
feather._--Any one acquainted with this forfeit is sure to choose the
stoutest person in the room as his companion to the higher regions. On
returning to the room the redeemer of the forfeit will be provided with
a soft feather, covered with down, which he will formally present to
his stout companion, obeying, therefore, the command to bring him down
upon a feather.
8. _Kiss a book inside and outside without opening it._--This is done
by first kissing the book in the room, then taking it outside and
kissing it there.
9. _Place a book, ornament, or any other very small article on the
floor, so that no one in the room can possibly jump over it._--The way
this is done is to place the article close to the wall.
10. _Shake a sixpence off the forehead._--It is astonishing how even
the most acute player may be deceived by this sixpenny imposition. The
presiding genius, holding in his fingers a sixpence, proceeds with an
air of great importance to fasten the coin upon the forehead of the
victim, by means of first wetting it, and then pressing it firmly just
above the eyes. As soon as the coin is considered to be firmly fixed,
he takes away his hands, and also the coin. The person operated upon
is then told to shake the sixpence down to the floor, without any aid
from his hands, and so strong generally is the impression made upon the
mind of the victim that the sixpence is still on the forehead, that the
shaking may be continued for several minutes before the deception be
discovered.
11. _Put one hand where the other cannot touch it._--This is done by
merely holding the right elbow with the left hand.
12. _Kiss the candlestick._--Request a young lady to hold a lighted
candle, and then steal a kiss from her.
13. _Laugh in one corner of the room, sing in another, cry in another,
and dance in another._
14. _Leave the room with two legs, and return with six._--To do this
you must go out of the room, and come back bringing a chair with you.
15. _Put four chairs in a row, take off your boots, and jump over
them._--This task would no doubt appear rather formidable for a young
lady to perform, until she is made to understand that it is not the
chairs, but the boots, she is expected to jump over.
16. _Blow a candle out blindfold._--This forfeit is very similar to
the game, elsewhere described, of Blowing out the Candle; still, there
is no reason why it should not take its place among the rest of the
forfeits. The victim is blindfolded, turned round a few times, and
then requested to blow out the light. When the performance is over,
the owner of the forfeit will no doubt have well deserved to have his
property returned to him, for if securely blindfolded the task will
have been no easy one. Another way of blowing out the candle is to
pass the flame rapidly backwards and forwards before the mouth of the
player, who must try to blow it out as it passes, a method that is
almost, if not quite, as difficult as the former one.
17. _The German band._--In this charming little musical entertainment,
three or four of the company can at the same time redeem their
forfeits. An imaginary musical instrument is given to each one--they
themselves must have no choice in the matter--and upon these
instruments they must perform as best they can.
18. _Ask a question, the answer to which cannot possibly be answered in
the negative._--The question, of course, is "What does y-e-s spell?"
19. _The Statue._--The unfortunate individual doomed to redeem his
forfeit by acting a statue must allow himself to be placed in one
position after another by different members of the company, and thus
remain stationary until permission is given him to alter it.
20. _The Sentence._--A certain number of letters are given to the
forfeit-payer, who must use each one in the order in which it is given
him for the commencement of a word. All the words, when made, must then
form a sentence--placing the words in their proper order exactly as the
letters with which they begin were given.
21. _Comparisons._--The gentleman or lady must compare some one in the
room to some object or another, and must then explain in which way he
or she resembles the object, and in which way differs from it. For
instance, a gentleman may compare a lady to a rose, because they are
both equally sweet; unlike the rose, however, the lady is of course,
without a thorn.
22. _The Excluded Vowels._--Pay five compliments to some lady in the
room. In the first one the letter _a_ must not occur, in the second the
letter _e_ must be absent, in the third there must be no _i_, in the
fourth no _o_, and in the fifth no _u_.
23. _Kiss your own shadow._--The most pleasant method of executing this
command is to hold a lighted candle so that your shadow may fall on a
young lady's face, when you must take the opportunity of snatching a
kiss.
24. _Form a blind judgment._--The person upon whom the sentence has
been passed must be blindfolded. The company are then made to pass
before him one by one, while he not only gives the name of each, but
also his opinion concerning them.
Not unfrequently the victim has to remain blindfold a very long time,
for even if the name should be guessed correctly, it is no easy matter
to form a just estimate of character, and unless his ideas meet with
the approbation of the company, his forfeit is withheld from him.
Great silence must be observed while the ordeal of examination is going
on. No one should speak, and all should step as lightly as possible.
25. _Act the dummy._--You must do whatever any of the company wish you
to perform without speaking a single word.
26. _The telegraphic message._--Send your lover's name by telegram to
the other end of the room. To do this you must whisper the favoured
name to the person sitting next to you, who will whisper it to his
neighbour, and so on until every one has been made acquainted with it.
27. _Act the Prussian soldier._--This penance is one that is generally
performed only by gentlemen. The uniform assumed is usually a coat
turned inside out, a hat made of a twisted newspaper, a bag of some
description for a cartridge-box, and soot moustaches.
Holding a walking-stick in a military style, the penitent goes up to a
lady, presents arms, and stamps three times with his feet.
Rising from her seat, the lady must accompany the gentleman to the
opposite side of the room, then whisper in his ear the name of the
gentleman for whom she has a special preference.
Without speaking the brave Prussian must march up to the favoured
gentleman, and escort him across the room to the side of the lady who
has avowed herself his admirer. The lady is, of course, saluted by the
object of her choice, after which she is taken back to the seat she
originally occupied. The soldier then, presenting arms, returns to the
gentleman, who whispers in his ear a favoured lady's name, to whom he
escorts her admirer. The proceeding is thus carried on, until some lady
is good enough to acknowledge her preference for the soldier himself
above all the other gentlemen, when, after saluting the lady, he is at
liberty to lay aside his military dress, and return to his seat.
28. "_'Twas I._"--The victim in this case is unmistakably doomed
to occupy a very humiliating position. He must go round the room,
inquiring of each person what object he has seen lately that has
particularly attracted his notice. The answer may be--a baby, a thief,
a donkey; whatever it is, the unfortunate redeemer of the forfeit must
remark--"'Twas I."
29. _The acrostic._--A word is given to you, the letters of which you
must convert into the first letters of a double set of adjectives, one
half expressing good qualities, the other half bad ones. When complete
you may present both good and bad qualities to the person you most
admire, as expressive of your estimate of his or her character. For
instance, should the word given you be Conduct. If a gentleman, you
might inform your lady that you consider her--
C areful.
O rderly.
N oble.
D elightful.
U seful.
C ompassionate.
T idy.
while at the same time you think her to be--
C aptious.
O bnoxious.
N iggardly.
D eceitful.
U ntidy.
C ross.
T ouchy.
30. _The three words._--The names of three articles are given to you,
when on the spur of the moment you must declare to what use you would
put them if they were in your possession for the benefit of the lady
you admire. Supposing the words to be, a penknife, a half-crown, and a
piece of string, you might say:--"With the penknife I would slay every
one who attempted to place any barrier between us; with the half-crown
I would pay the clergyman to perform the marriage ceremony; and with
the string I would tie our first pudding."
31. _Make a perfect woman._--To do this the player has to select from
the ladies present the personal features and traits of character that
he most admires in each, and imagine them combined in one individual.
Although the task is by no means one of the easiest, it may be made the
opportunity of paying delicate little compliments to several ladies at
once.
32. _Show the spirit of contrary._--The idea in this imposition is the
same as in the game of contrary. Whatever the player is told to do, he
must do just the contrary.
33. _Give good advice._--Go round the room, and to every one of the
company give a piece of good advice.
34. _Flattering speeches._--This penance is usually given to a
gentleman, though there is no reason why the ladies should always be
exempted from its performance. Should it be a gentleman, however, he
must make six, twelve, or as many flattering speeches as he is told to
a certain lady, without once making use of the letter L. For instance,
he may tell her she is handsome, perfect, good, wise, gracious, or
anything else he may choose to say, only whatever adjective he makes
use of must be spelt without the letter L.
35. _The deaf man._--This cruel punishment consists in the penitent
being made to stand in the middle of the room, acting the part of a
deaf man. In the meantime the company invite him to do certain things,
which they know will be very agreeable to him. To the first three
invitations he must reply--"I am deaf; I can't hear." To the fourth
invitation he must reply--"I can hear"; and, however disagreeable the
task may be, he must hasten to perform it. It is needless to say the
company generally contrive that the last invitation shall be anything
but pleasant.
36. _Act the parrot._--The player condemned to this penance must go
round the room, saying to every one of the company--"If I were a
parrot, what would you teach me to say?" No end of ridiculous things
may be suggested, but the rule is that every answer shall be repeated
by the parrot before putting another question.
37. _Make your will._--The victim in this case is commanded to say what
he will leave as a legacy to every one of his friends in the room. To
one he may leave his black hair, to another his eyebrows, to another
(perhaps a lady) his dress coat, to another his excellent common sense,
to another his wit, and so on until every one in the room has been
remembered.
38. _Spell Constantinople._--This trick, as most people are aware,
consists in calling out "No, no!" to the speller when he has got
as far as the last syllable but one. Thus he begins:--"C-o-n con,
s-t-a-n stan, t-i ti." Here voices are heard crying "No, no!" which
interruption, unless the victim be prepared for it, may lead him to
imagine that he has made a mistake.
39. _The natural historian._--Go to the first player, and ask him to
name his favourite animal. Whatever animal he may mention, you must
imitate its cry as loudly as you can. You then ask the second player to
do the same, and so on until you shall have imitated all the animals
mentioned, or until the company shall declare that you deserve to have
your forfeit returned to you.
40. _The blind dancers._--Among players who are not anxious to
prolong the ordeal of forfeit crying any longer than is necessary,
the following method of redeeming several forfeits at once may be
acceptable:--Eight victims are chosen to be blindfolded, and while
in this condition are requested to go through the first figure of a
quadrille.
41. _The cats' concert._--This is another method of redeeming any
number of forfeits at once. The players who have their forfeits to
redeem are requested to place themselves together in a group, when, at
a given signal from the leader, they all begin to sing any tune they
like. The effect, as may well be imagined, is far from soothing.
42. _Spelling backwards._--Spell some long word, such as hydrostatics,
&c., backwards.
GIANT.
The wonderful performance known as the Giant is accomplished by the
united efforts of two gentlemen, one of whom takes his position on the
shoulders of the other, sitting of course with one leg on each side
of his companion's neck. Cloaks, rugs, or coats of any description
are then arranged round the two figures in order to hide the real
state of things, so that when the Giant makes his appearance nothing
is to be seen but one huge figure. The lower gentleman who supports
his friend is expected to do little more than patiently to carry his
burden, though he may be called upon to exert himself a little in the
way of dancing should the Giant feel so inclined. The talking and
gesticulating business all devolves upon the gentleman perched aloft,
who may wear a mask, paint his face, or do anything else of the kind,
to avoid being identified by the company.
THE GIRAFFE.
A very good imitation of a Giraffe may be contrived, on the same
principles as those adopted in constructing the Baby Elephant. Provided
with an animal's head as nearly like that of a Giraffe as possible,
no more difficulty need be feared. First of all, the head must be
fastened to the end of a long stick. One of two performers must then
hold the stick aloft while his companion, standing close behind, must
place himself in a stooping position, so as to make the outline of
his own person like that of the lower part of the Giraffe's body. The
long stick will of course form the neck of the animal, and the first
performer will form the front part of the body. A cloth is then pinned
round the stick and round the bodies of the two performers, leaving
the legs, of course, to represent the legs of the Giraffe. A rope tail
must be stuck in by some means or other, and if cleverly managed, it is
astonishing what an excellent imitation of the real animal can thus be
manufactured.
THE GRAND MUFTI.
One person is appointed to have the dignity of Grand Mufti conferred
upon him, which means that, whatever ridiculous action he may choose to
perform, that is preceded by the words, "Thus says the Grand Mufti,"
every one else must follow his example. Nothing that he does, however,
unaccompanied by these words, is to be regarded; he may laugh, sneeze,
throw up his arms, or do anything else equally absurd, no one must
imitate what he does, unless he has uttered the words, "Thus says
the Grand Mufti." In order to lead the company astray, and that more
forfeits may be paid, the Mufti will no doubt occasionally alter the
order of the words, or change them in some way; but all must be on the
alert, and remain perfectly silent and motionless, whatever the Mufti
either says or does, unless he has been pleased in the first instance
to utter the proper words in their right order.
HANDS.
In this game the company generally divides into two parts, half being
players, while the rest do the work of guessing. A thimble is then
produced by one of the party, or something equally small, that may be
easily held in the hand. Seated by the side of the table the players
begin passing on the article from hand to hand. When the working has
been done sufficiently, the closed hands are all placed on the table
for the opponents sitting opposite to guess in succession whose hand
holds the treasure. As soon as the hiding-place is discovered, the
opposite side take their turn.
"HE CAN DO LITTLE WHO CAN'T DO THIS."
This simple game has been a puzzler to young people many and many a
time. With a stick in the left hand the player thumps on the floor,
at the same time saying, "He can do little who can't do this." Then,
passing the stick into the right hand, he gives it to the next person,
who, if unacquainted with the game, will, no doubt, thump with the
right hand. Of course, it is most natural to use the right hand for
everything, consequently few people suspect that the secret of the game
lies in simply taking the stick with your right hand when it is passed
to you, but knocking with your left.
HISS AND CLAP.
In this game, the gentlemen are all requested to leave the room, when
the ladies take their seats, leaving a vacant place on the right side
of every one for the gentlemen of their choice. Each gentleman in turn
is then summoned, and asked to guess which lady he imagines has chosen
him for her partner. Should he guess rightly he is allowed to take his
seat by the lady who has chosen him, while the company loudly clap
hands, in proof of their congratulations on his success; but should he
guess wrongly, he will be only too glad to disappear from the scene, so
loud will be the hisses of his friends.
"HOT BOILED BEANS."
In this game some small article is to be hidden, the player who has to
find it being sent out of the room while the hiding is being effected.
This being done, the invitation, "Hot Boiled Beans and Bacon, make
haste and come to supper," is given, upon which the searcher returns
to the room and begins to hunt for the hidden article. The progress of
the player is usually announced by assuring him that he is "very cold,"
"cold," "warmer," "warm," "hot," "very hot," or "burning," according as
he is far from or near to the article to be discovered.
HOT COCKLES.
A game not unlike Shadow Buff is that known by the peculiar title
of Hot Cockles. A handkerchief is tied over the eyes of one of the
company, who then lays his head on a chair, as if he were about to
submit to the punishment of being beheaded, and places his hand on his
back with the palm uppermost. Any of the party come behind him and give
him a slap on his open hand, he in the meantime trying to discover
whose hand it is that strikes.
HOUSE FURNISHERS.
In this game the company are to imagine themselves a number of hosts
and hostesses who are expecting the arrival of some friends, for
whose reception they are totally unprepared, as far as provisions
and household arrangements are concerned. Accordingly, each one must
volunteer to set out immediately, in order to procure some particular
article. First of all, the rooms must be furnished with tables, chairs,
beds, bedsteads, curtains, carpets, and fire-irons; then knives, forks,
and crockery of every kind must be obtained; and lastly, a good supply
of provisions--meat, wine, ale, fruit, vegetables, sugar, coffee,
tea--indeed, everything that would conduce to the comfort of the coming
visitors. Every made article must come direct from the place where it
has been manufactured, as must also the articles of produce from their
native soil.
"HOW DO YOU LIKE YOUR NEIGHBOUR?"
The company must seat themselves round the room, leaving plenty of
space in the middle for passing to and fro. One person left standing
then begins the game by putting the question, "How do you like your
neighbour?" to any one he pleases. The answer must be either "Not at
all" or "Very much." Should the reply be "Not at all," the lady or
gentleman is requested to say what other two members of the company
would be preferred instead as neighbours, when the new neighbours and
the old must immediately change places. During the transition the
questioner may endeavour to secure a seat for himself, leaving out
one of the four who have been struggling for seats to take the place
of questioner. When the reply "Very much" is given, every one in the
room must change places. The questioner, therefore, will easily find a
seat for himself, and the person left standing must take his place as
interrogator.
"HOW, WHEN, AND WHERE?"
In this game, like the last, a word is chosen by the company,
containing as many meanings as possible, the person who has volunteered
to be the questioner having previously gone out of the room. On being
recalled, the person who has been out begins by asking each of his
friends how they like it.
Supposing the word "cord" to have been chosen, the first player might
answer _slight_, the next _sweet_, meaning _chord_, the next _loud_,
the next _strong_, and so on until all have said _how_ they liked
it. The questioner then recommences his interrogations at the first
player by inquiring "_When_ do you like it?" Replies to this question
something like the following may be given:--"When I am preparing to
take a journey;" "When I am in church;" "When I am driving;" "When I
feel musical." Then to the last question--"Where do you like it?" the
company may reply--"In a piano;" "In the garden;" "Not round my neck;"
"Always at hand," &c. No doubt long before all the questions have been
answered the word that has been chosen will have been discovered.
HUNT THE RING.
The game of Hunt the Ring is perhaps better liked than Hunt the
Slipper, on account of its being in the estimation of most people more
convenient and manageable. Either a ring or a small key may be used for
the purpose. Whichever it is, a string must be passed through it, and
the ends fastened in a knot, forming thus a circular band. The company
then stand in a circle, allowing the string to pass through the hands
of each person, and enabling every one to slide the ring easily along
from one to the other. The object of the player standing inside the
circle is to stop it in its progress, which, in most cases, he finds a
rather difficult task. The game is also frequently played without any
string, when every one tries, of course, to pass the ring round very
rapidly, without being detected by the hunter.
HUNT THE SLIPPER.
This surely must be one of our oldest games, and one, no doubt, that
our grandmothers and grandfathers played at when they were children.
The players all seat themselves, like so many tailors, on the floor in
a ring, so that their toes all meet. A slipper (the smaller the better)
is then produced, and given by the person outside to one sitting in
the circle, with instructions that it must be mended by a certain day.
Finding it not finished at the time appointed, the pretended owner
declares that he must have it as it is, and thereupon commences the
hunt. How it is carried on is no doubt too well known to need further
explanation.
HUNT THE WHISTLE.
This game is always successful, and a source of very great amusement if
only some one ignorant of the secret can be found who will volunteer
to act as hunter. Such person is first requested to kneel down while
some lady goes through the ceremony of conferring upon him the order
of knighthood. During the process, the whistle, attached to a piece
of ribbon, is pinned to the coat of the newly-made knight. He is
then told to rise and go in quest of the whistle, which is in the
possession of one of the party. The hunt now begins, the players all
trying to deceive their victim in every way imaginable, and to make him
think that they are passing the whistle from one to another. On every
possible occasion, of course, the whistle should be sounded, until the
deluded knight has made the discovery that the object of his search is
fastened to himself.
"I APPRENTICED MY SON."
The shortest way of describing this game will be to give an
illustration of the manner in which it is played. John: "I apprenticed
my son to a grocer, and the first thing he sold was half-a-pound of C."
_Nellie_: Coffee?--No.
_Sam_: Cocoa?--No.
_Tom_: Cayenne Pepper?--No.
_Edith_: Chicory?--Yes.
Edith being the guesser of the right article, is entitled to be the
next to apprentice her son. One guess only in turn is allowed to each
player.
"I LOVE MY LOVE."
"I Love my Love" is played alphabetically, like "Cupid is Coming,"
though more ingenuity is required in it, simply because a number of
words, instead of one adverb only, have quickly to be conjured up. In
order to show clearly how the game is played, we will imagine ourselves
to be the first of the players, who would have to proceed in a manner
something like the following:--"I love my love with an 'A,' because she
is amiable; I hate her with an 'A,' because she is arrogant. I took her
to the sign of the Angel, and treated her to Apples and Apricots. Her
name is Annie, and she comes from Australia." The next player takes
"B," the next "C," and so on, until the whole of the alphabet has been
gone through.
This simple game must be one of no recent invention if the tale be true
told by Mr. Foote, the celebrated wit. He narrates that one day the
Ladies Cheere, Fielding, and Hill were amusing themselves by playing
at the children's game of "I love my love." Lady Cheere began by
saying, "I love my love with an N, because he is a 'Night'" (Knight);
Lady Fielding followed with, "I love my love with a G, because he is
a 'Gustus'" (Justice); and Lady Hill added, "I love my love with an
F, because he is a 'Fizishun'" (Physician). So much for the spelling
powers of the ladies in the olden times.
"JACK'S ALIVE."
No one at all inclined to be slow in their movements need offer to take
part in the game of "Jack's Alive," for quickness and promptitude of
action are indispensable to its success. A piece of paper, or, better
still, a long piece of firewood, is put into the fire until it is in
a blazing condition when taken out. The first player, blowing out the
flame, passes it to his neighbour, saying, "Jack's alive." It is then
passed on to the next, and to all the company in succession, each one
trying to get rid of it before the spark has died out. Every one to
whom it is offered must take it immediately the words "Jack's alive"
are uttered, or a forfeit must be paid; and the one in whose hands
Jack really expires must produce a forfeit. In some cases boys have
actually been known, when playing at this game, to improve each other's
appearance by marking black moustaches and eyebrows, &c.; but as such
proceedings have nothing whatever to do with the real "Jack's Alive,"
we feel sure that none of our readers will ever practise this foolish
habit.
THE JOLLY MILLER.
The Jolly Miller is a game that may be played either in the open air
or in the drawing-room, therefore it may be allowed to take its place
among the list of round games. Not being generally considered, however,
one of the most refined of recreations, a good large empty room, or a
servants' hall, will be quite as suitable for its performance as the
drawing-room. Each gentleman chooses a lady for a partner, excepting
one who may be kind enough to volunteer to be the miller. This solitary
one takes his stand in the middle of the room, while his companions in
couples arm in arm walk round him singing the following lines:--
"There was a jolly miller who lived by himself.
As the wheel went round he made his wealth;
One hand in the copper and the other in the bag,
As the wheel went round he made his grab."
At the word "grab" every one must change partners, and while the
transition is going on the miller has the opportunity given him of
securing for himself one of the ladies. Should he succeed in doing so,
the one necessarily left without a partner must take the place of the
Jolly Miller, when he, like his predecessor, must occupy his lonely
position until he is fortunate enough to steal a young lady from one of
his friends.
JUDGE AND JURY.
The first thing to be done in this game is to select a judge and three
jurymen. A piece of paper is then given to each of the remaining
company, who, after due consideration, must write down the name of some
one in history, the incidents of whose life they recollect sufficiently
to be able to narrate. All having made their selection, the papers are
presented to the judge, who calls upon one after another to submit
to an examination. Supposing the first player to have chosen Guy
Fawkes, he would be asked in what year he was born, in whose reign,
to what country he belonged, what he did to make himself remarkable,
what great men were his contemporaries, and anything else that might
occur to the judge. No one, of course, with a superficial knowledge of
history should accept the position of judge, nor yet that of juryman.
If agreeable to the company, living characters may be personified,
still historical ones are generally the most interesting, and it is
astonishing how much instruction as well as real amusement may be drawn
from the game.
THE MAGIC ANSWER.
It is necessary that this game should be understood by two of the
company who mean to take the lead in it, and that an agreement should
be made between them as to what course to pursue. One of these leaders
goes out of the room while the rest of the company choose a word for
him to guess on his return. The agreement made is that the word thought
of shall be named immediately after the mention of anything with four
legs. Therefore the conversation carried on between the two actors in
the ceremony would be something like the following:--
Q. "Was the word thought of a tree?"
A. "No."
Q. "Was it a book?"
A. "No."
Q. "Was it a canary?"
A. "No."
Q. "Was it the Queen?"
A. "No."
Q. "Was it a river?"
A. "No."
Q. "Was it a rabbit?"
A. "No."
Q. "Was it a purse?"
A. "Yes."
MAGICAL MUSIC.
This is a game in which music is made to take a prominent part. On one
of the company volunteering to leave the room, some particular article
agreed upon is hidden. On being recalled, the person, ignorant of the
hiding-place, must commence a diligent search, taking the piano as his
guide. The loud tones will mean that he is very near the object of his
search, and the soft tones that he is far from it. Another method of
playing the same game is for the person who has been out of the room to
try to discover on his return what the remainder of the company desire
him to do. It may be to pick up something from the floor, to take off
his coat, to look at himself in the glass, or anything else as absurd.
The only clue afforded him of solving the riddle must be the loud or
soft tones of the music.
THE MAGIC HATS.
Though the following trick cannot exactly be designated a Round Game,
it may be performed by one of the company with great success during
an interval of rest from playing. The performer begins by placing his
own hat, along with another which he has borrowed, on the table, crown
upwards. He then requests that the sugar-basin may be produced, from
which on its arrival a lump is selected and given to him. Taking it
in his fingers he promises, by some wonderful process, that he will
swallow the sugar, and then, within a very short time, will let its
position be under one of the two hats on the table, the company may
decide which hat it shall be. It is generally suspected that a second
lump of sugar will be taken from the basin, if it can be done without
observation, consequently all eyes are fixed upon it. Instead of that,
after swallowing the sugar the performer places the selected hat upon
his own head, thus, of course, fulfilling his undertaking.
THE MAGIC WAND.
This being a game of mystery, there is not only a peculiar charm
attached to it on that account, but it can also be made exceedingly
attractive by the voluntary artistic movements of the performer. As in
the Resting Wand, not only the leader must understand the game, but one
of the company also must be in league with him, so that the two may
understand each other, and work together. The person thus acting with
the leader announces to the company that he will retire while a word
is fixed upon, to be written on the floor when he returns by means of
the magic wand. This done, a word is chosen, the person who retired
is summoned, and the performance commences. The leader then begins by
flourishing his wand in the air, and imitating as much as possible the
tricks of a conjuror. He also makes an appearance of writing on the
floor, at the same time speaking to his friend in short sentences.
The letter at the beginning of the first sentence must be the first
consonant of the word that has been chosen by the company, the second
consonant must be at the beginning of the second sentence, and so on;
the vowels occurring between being expressed by thumps on the floor
with the wand. "A" is expressed by one thump, "E" by two thumps, "I" by
three, "O" by four, and "U" by five thumps. One good decided thump at
the end signifies that the word is complete.
An illustration will, perhaps, best explain our meaning. We will
suppose the word _Christmas_ to have been chosen. If so, the performer
might first begin by waving his stick aloft, then he must commence
writing, as if with great care, on the ground, at the same time
remarking, "_C_ome quickly, fellow-worker, and prepare for thy duty."
Here must be a slight pause, followed by the second sentence. "_H_ow
difficult thy task will be, I dare not tell." Another pause, then
the third sentence. "_R_emember, nothing can be really well done
without labour." We have now got C H R. _I_ being the next letter,
is represented by three loud thumps with the stick. The conjuror
here, assuming a puzzled air, might observe, "_S_urely we shall not
be baffled." A pause, and then, "_T_rust me, I will help all I can."
After another pause, "_M_ark my wand with care." The letter _A_ coming
now, one good thump is given on the floor; then, with the words "Speak
quickly, friend, say the word," followed by one good thump, the
mysterious business is concluded, the accomplice, no doubt, easily
detecting that _Christmas_ was the word chosen.
"THE MINISTER'S CAT."
This is a game that is played alphabetically, in a manner somewhat
resembling "Cupid is coming" and "I love my love." The first player
begins by saying, "The minister's cat" is an "ambitious cat," the next
an "artful cat," and so on, until all have named an adjective beginning
with A. The next time of going round the adjectives must begin with B,
the next time C, and so on until the whole of the alphabet has been
gone through.
MIXED-UP POETRY.
A great amount of fun may be obtained from this game of mixing up
poetry, which is nothing more than selecting lines from different
authors, and arranging them so as to make rhyme. The specimen below,
prepared by Kitty Carrol, will illustrate our meaning:--
There was a sound of revelry by night,
Away down south where I was born;
Let dogs delight to bark and bite,
Cows in the meadow and sheep in the corn.
A chieftain to the Highlands bound,
His father's hope, his mother's joy,
Found something smooth and hard and round,
John Brown's little Indian boy.
Man wants but little here below,
Oats, peas, beans, and barley;
This world is all a fleeting show,
Over the water to Charley.
There is a calm for those who weep
In famous London town;
Little Bo Peep she lost her sheep--
The bark that held a prince went down.
John Gilpin was a citizen
From India's coral strand;
Far from the busy haunts of men
There is a happy land.
Hark from the tombs a doleful sound;
Dear, dear, what can the matter be?
Shake the forum round and round,
Come to the sunset tree.
MUSICAL CHAIR.
It is no use attempting to play this game in anything but a good-sized
room; and, if possible, chairs that may be easily moved and not soon
broken should be chosen. Supposing there are fifteen players, fourteen
chairs must be placed in the middle of the room, every alternate one
having the seat the same way, and upon these the players must seat
themselves. One person, therefore, is left standing. The music then
begins, when the owners of the seats all march round until the music
stops, which it is generally made to do unexpectedly; at this instant
each person tries to secure a chair. Necessarily one player is left
without a seat; he is considered _out_, and, in addition, he must pay a
forfeit. One of the chairs is then taken away, and the game proceeds, a
chair being removed every time the music stops. One unfortunate person
is always left out in the cold, until at last one chair is struggled
for by the two remaining players, and the successful one of these is
considered to have earned the right to pronounce judgment on such as
have had to pay forfeits.
"MY MASTER HAS SENT ME UNTO YOU."
No better game than this can be chosen by those who are partial to a
little gentle exercise. Sitting in order round the room, the first
player begins by saying to his neighbour, "My master has sent me unto
you," at the same time working away with the right hand as if hammering
on his knee. The person to whom this remark is made must reply "What
to do?" In answer to which the first player says, "To work with one as
I do." The second player, then working in the same way, must turn to
his neighbour on the left, and carry on the same conversation with him,
and so on, until every one in the room is working away with the right
hand. The second time of going round the order is given to work with
two hands; after that with one foot as well, then with two feet, and
last of all with the head. Should any one be detected not keeping both
feet, hands, and head in constant motion while the game is going on, a
forfeit can be demanded.
NOUNS AND QUESTIONS.
_See_ "Crambo."
THE OBJECT GAME.
The party first divides itself into two equal parts. One person from
each side is chosen to go out of the room, and, after consulting
together, they fix upon any object they like for the rest to guess.
The company then seat themselves in two distinct circles, sufficiently
apart to prevent the remarks made in one circle from being overheard
by those in the other. The two representatives are now summoned,
and requested to take their places, one in each group, when a race
begins as to which group shall first find out what object of thought
has been fixed upon. The rule is that the number of questions asked
should be limited to twenty, though in many cases it is impossible to
adhere to this restriction; while, on the other hand, the object is
frequently guessed before the whole twenty questions have been asked.
No restriction is placed upon the objects to be thought of--a drop
of water, a ray of light, a crab's claw, a nail in the boot of some
great man, or anything else may be chosen. The object of the game is,
of course, to make the guessing as difficult as possible, so that the
struggle as to who shall be the winners may be a hard one.
THE OLD SOLDIER.
The game of Old Soldier, though unmistakably an old one, is always
welcome, especially to the little people. One of the company stands up
and personifies for the time the character of an old soldier, who is
destitute, ragged, and hungry. He goes round the room asking each one
in turn for relief, the rule being that in the answers given to him the
words "Yes," "No," "Black," or "White" must not be mentioned, neither
must any hesitation be allowed. Want of promptness in a reply must
be atoned for by the payment of a forfeit, just as much as would the
mention of one of the forbidden words.
ORANGES AND LEMONS.
Two of the company, one supposed to be an Englishman and the other a
Frenchman, stand face to face, holding each other's hands so as to form
a kind of bridge for the rest to pass under one by one. As the company
pass under the bridge, the couple holding hands sing the following
well-known rhyme:--
"Oranges and Lemons,
Say the bells of St. Clement's.
You owe me five farthings,
Say the bells of St. Martin's.
When will you pay me?
Say the bells of Old Bailey.
When I grow rich,
Say the bells of Shoreditch.
When will that be?
Say the bells of Stepney.
I'm sure I don't know,
Says the great bell of Bow.
Gay go up and gay go down
To ring the bells of London Town."
Just as the last player reaches the bridge, the bridge-holders utter
the words--
"Here comes a candle to light you to bed,
And here comes a chopper to chop off your head."
At the same time keeping the last player a prisoner. The captive is
then asked whether he will be English or French, and according to his
decision he is placed behind either the Frenchman or the Englishman.
Going round to their original starting place, the company again all
pass under the bridge, while the rhyme is again being sung, the last
one in the file, like his predecessor, being also detained and made
a prisoner, and being compelled, too, to choose which country he
will fight for. Thus the game proceeds until all have, one by one,
been captured, and consequently two long lines have been formed of
Englishmen and Frenchmen. The grand conclusion consists in these two
powers vieing with each other as to which is the stronger, the test
being that those who can pull their opponents from their position have
won the game.
ORIGINAL SKETCHES.
Each person must be supplied with paper and pencil. At the top of the
paper a small sketch is then drawn by every one, representing some
historical incident, either from English or foreign history, or any
other subject chosen. The proper way is for the subject to be announced
as soon as the papers are delivered, but, if preferred, no restriction
of any kind need be placed upon the artists; all may draw whatever they
like. We need not remark that the latter method renders the guessing
business a much more difficult affair. On the sketches being completed,
each player passes his paper to his left hand neighbour, who, after
closely examining it, writes down at the bottom of the paper what he
imagines the drawing is meant to represent. The paper is then folded
over so as to conceal the writing, and passed on again to the left,
every player examining each sketch as it reaches him, and putting down
what he thinks it is intended for; but on no account must any one look
at what has already been written. As soon as the sketches have been
scrutinised and pronounced upon by every player, they are collected,
and the various opinions are read aloud.
"OUR OLD GRANNIE DOESN'T LIKE TEA."
After being seated in order, the first player announces the fact that
"Our old Grannie doesn't like Tea." The person sitting next inquires
what it is the old lady likes in preference, the answer to the
question, if right, will name some article in which the letter T does
not occur. For instance, if Grannie can't eat potatoes, or carrots, or
vegetables, she may still be passionately fond of peas and beans and
cauliflowers. Coffee and cocoa, too, she is able to drink, although tea
has the effect of giving her indigestion and making her frightfully ill.
PAIRS.
Great fun may be extracted out of this game, and it is admirably
adapted to boys who (as most of us know) seem to take an intense
delight in making each other appear ridiculous. Each gentleman is
requested to choose a partner for himself. Should ladies be among the
company, it is needless to say that the game will be all the more
interesting, especially if there be a sufficient number to provide a
lady for each gentleman. One gentleman alone, who personates a lawyer,
walks up and down the room in front of the various couples, asking
questions of any one he pleases. The answers to his questions must
be answered, however, not by the person addressed, but by his or her
partner. It may, therefore, be easily imagined what inappropriate
replies may be given. For instance, the lawyer may ask a lady what
is her favourite occupation. The lady's partner, who must answer the
question while she herself remains perfectly silent, may say "dressing
dolls," "cricketing," "playing leap-frog," or anything else equally
wide of the mark. The lady must patiently hold her tongue, or incur
the penalty of paying a forfeit. Those who feel themselves libelled,
however, by the remarks made about them by their partners, have the
satisfaction of knowing that they will most likely have the opportunity
of retaliating before the game is over, because when their turn comes
to answer the questions addressed to their partners they can give tit
for tat.
PERSON AND OBJECT.
Two of the company leave the room together, and after due consultation
agree to think of some particular person, either historical or
otherwise, and about whom they shall be prepared to answer any question
which may be put to them by their friends. Not merely, however, as in
other games, is some particular person thought of, but also something
belonging to him; for instance, part of his dress, his favourite
dog, his friend, or perhaps some peculiarity by which he is so well
known that it has actually become part of himself; and on returning
to the room, one of the two who have been absent must represent the
person, and the other the object. In turn they must then submit to be
questioned by the company, who will alternately address themselves,
first to the person, then to the object. Supposing Mr. Gladstone to
be the person fixed upon, his axe might be chosen for the object,
or Cromwell and his wart, or Lord Beaconsfield and his little curl.
While the questioning is going on, the person must not volunteer any
information relative to the object, neither must the object give any
light relative to the person; each must accurately but briefly speak
for himself alone until the company succeed in guessing who and what
have been the subject of thought.
THE PORK-BUTCHER.
This game is very much like that of the Spanish Merchant, the only
difference being that instead of the players representing themselves
as Spanish merchants, they carry on for the time the business of
pork-butchers. The first player begins the game by saying, "I have
just killed a pig, and shall be glad to sell portions of it to any of
you. What part will you take?" he continues, addressing his right-hand
neighbour. The trick of the game is that whatever part the purchaser
shall choose, the corresponding part on his own person must, as he
names it, be touched by him.
POSTMAN'S KNOCK.
This game, sometimes used as a forfeit, is played in the following
manner:--First of all, some one is stationed at the door, inside the
room, to answer the repeated knocks that will be made. Another of the
company begins the game by going out of the room, and presently making
himself heard outside as postman, by giving a double knock. On the door
being opened he is asked for whom he has a letter, and how many pennies
the owner will have to pay for it. The person to whom the imaginary
letter is addressed must then go outside the room, and give the postman
his fee, not in pennies, but in kisses, after which he must take his
turn as postman.
PROVERBS.
In choosing a proverb for this game, the simpler ones will be found the
best, as those with long, prominent words are difficult to introduce.
One of the company having retired, a proverb is fixed upon. The absent
one is then called in, when he at once begins by asking a question
of each of the company, the first one of whom must mention in his
reply the first word in the proverb; the second player must mention
the second word, and so on, until all the words have been brought
in. Sometimes when the company is large, the proverb is repeated
twice in the same round, though when this is done the person who is
guessing should be told of the arrangement. As soon as the proverb is
discovered, the person whose word gave the clue to the mystery must be
the next guesser.
THE QUAKER'S MEETING.
Those of the company who wish to play arrange themselves in a straight
line on the floor, all kneeling on the right knee, while on the other
knee they must have their hands resting and twist their thumbs. Their
countenances must all wear a very solemn, woeful appearance; indeed,
the rule is that should even a smile be detected on the countenance of
any one a forfeit can be demanded. The following conversation is then
carried on, each sentence of which, both question and answer, must be
repeated in turn by every one of the players--all remembering that the
utmost gravity must be sustained throughout:--
"Well, friend, and how art thou?
Hast thou heard of Brother Obadiah's death?"
"No. How did he die?"
"With one finger up, (The player must here cease twisting his
thumbs, and hold up the forefinger of the
right hand).
With one eye shut, (Here he must shut the left eye).
And shoulder all awry."
"How did he die?"
"In this way."
When the conversation reaches this point the player at the top of the
row gives his neighbour a good strong push, which in time has the
effect of precipitating all the players on the floor, and thus turning
the solemn meeting into a very uproarious one.
THE RESTING WAND.
It is necessary in playing the Resting Wand that at least two people
should be acquainted with the mystery attached to it, and that they
should make an arrangement with each other beforehand to understand
each other's movements. One of these two persons is blindfolded, and
placed with his back to the company, while his companion, with a staff
in his hand, stands facing them. The latter of the two then begins an
animated conversation with his friends, trying when talking to them to
make frequent mention of their names. Stopping occasionally, he touches
some one with the wand, saying at the same time to his friend, who is
blindfolded, "On whom does the wand rest?" Strangers to the game will
not all at once perceive that the wand is always made to rest on the
person who was the last but one to speak, and that it is on account of
this arrangement that the blinded person is able to mystify his friends
by answering correctly the question, "On whom does the wand rest?"
RETSCH'S OUTLINES.
To those at all skilled artistically great fun may be extracted in the
following manner:--Each person must be provided with a piece of paper
and a pencil. Upon every paper the owner then scribbles a crooked or
straight line of any description and passes it on to the right-hand
neighbour. All are then expected to make the line on their paper the
foundation for a little picture of some kind; and although very often
the results are exceedingly absurd, it is possible on the other hand
for pretty little sketches to be thus produced. The original outline
must be drawn very thickly to distinguish it from the rest of the
figure, as in the woodcut.
[Illustration: RETSCH'S OUTLINES.]
THE REVIEWERS.
Each player is provided with a piece of paper, on the top of which must
be written by every one the title of some book; a real title may be
chosen or an imaginary one. The papers must then all be folded down, so
that no one but the writer may know what is concealed underneath, and
passed on to the left neighbour. Below the fold a second title must be
added, the paper again folded down, and again passed on to the left. A
motto of some kind must come next, or a piece of poetry; and, lastly,
two or three opinions of the press. It perhaps might be as well to
observe that the great charm of the game consists in every contributor
being ignorant of what has previously been written, therefore,
the honour of all is depended upon not to look under the folds. A
collection of the papers is then made, and they are read aloud; the
results being something of this description:--
A FEW BRIGHT SPOTS IN HISTORY;
OR, THE MANX CAT.
BY A. WISEACRE.
"A thing of beauty is a joy for ever."
"We would strongly recommend this new and valuable work to all
lovers of geology, as one of the greatest helps they could possibly
procure."--_Morning Chronicle._
"No gentleman's library will be complete until this gem of literature
has its place on one of the book-shelves."--_Weekly Gazette._
THE WILD MAN OF THE WOODS;
OR, LOVE IN A COTTAGE.
BY SAM THE NEWSMAN.
"England, with all thy faults I love thee still,
My country!"
"It would be useless recommending this book for perusal to
any one not gifted by nature with the highest of intellectual
powers; no ordinary book could appreciate its hidden depth of
meaning."--_Westfield Review._
"A harmless little book, well adapted for children. There is nothing
to complain of in its moral tendency."--_Cornwall Leader._
JOHN AND HIS TWIN BROTHER;
OR, LIFE IN THE ARCTIC REGIONS.
"Be good, sweet maid, and let who can be clever;
Do lovely things, not dream them, all day long."
"We have read this book with intense interest, and cannot speak too
highly of it as a work of art."--_Working Man's Friend._
"An invaluable book for young housewives."--_Liverpool Guardian._
RHYMES.
This game is one that even very young children can understand. One
of the company thinks of a word rhyming with another word which he
mentions. The aim of the party then is to guess what the word thought
of can be. The rule is that no one should give a name to what they
guess, but describe it instead, and each of the company in turn is
entitled to a question. Should the word thought of be "bag," rhyming
with "rag," the questions must be put thus:--
"Is it a necessary part of a boot-lace?"
"No, it is not a tag."
"Is it the name of a horse?"
"No, it is not a nag."
"Is it the name of an elegant horned animal?"
"No, it is not a stag."
"Is it useful to schoolboys and girls?"
"Yes, it is a bag."
RULE OF CONTRARY.
Almost any number may play at this game if, instead of being supplied
with a pocket-handkerchief, as is generally the case, a small
tablecloth be used instead. All stand round, and each person takes hold
of the cloth with one hand. One person acting as leader, while holding
the cloth with the left hand, pretends with the right hand to make
mysterious characters on the cloth, at the same time pronouncing the
following rigmarole:--"Here we go round by the rule of contrary. When
I say 'Hold fast,' you must let go. When I say 'Let go,' you must hold
fast." Then crying either "Let go" or "Hold fast," the party must do
exactly contrary to what they are told; any one who should fail to do
so must pay a forfeit.
RUSSIAN GOSSIP.
This game is quite as interesting, and perhaps a little more modern
than many of those that have been so long established. First of all,
the young people take their seats next each other in a circle. The one
at the end then relates to his neighbour some little incident, a piece
of news he has heard, an anecdote, or anything else that may occur to
him. The neighbour then relates it to the next person, who relates it
to his neighbour, and so on until every one of the party has heard the
story. The last person who has been communicated with then repeats what
has been told him, and very amusing it generally is to find how totally
unlike the original the incident has become, after being cropped and
added to by the different narrators.
THE SCHOOLMASTER.
Among stirring games one that is always a success when played with
energy is that called The Schoolmaster. The one of the party who
volunteers to be master of the ceremony places himself in front of his
class, who are all seated in a row. If agreeable, he can examine his
subjects in all the different branches of education in succession,
or he may go from one to the other indiscriminately. Supposing,
however, he decides to begin with natural history, he will proceed
as follows:--Pointing to the pupil at the top of the class, he asks
the name of a bird beginning with C. Should the pupil not name a bird
beginning with this letter by the time the master has counted ten, it
is passed on immediately to the next, who, if successful, and calls out
"Cuckoo" or "Crow," &c., in time, goes above the one who has failed.
Authors, singers, actors, or anything else may be chosen, if the
schoolmaster should think proper, as subjects for examination; but,
whatever may be selected, the questions must follow each other with
very great rapidity, or the charm of the game will be wanting.
SHADOW BUFF.
This game, if well played, may be productive of much merriment. A
large white sheet is first hung securely on one side of the room, and
on a table some distance behind a very bright lamp must be placed.
All other lights being extinguished, one of the party takes a seat
on a low stool between the lamp and the sheet, but nearer the latter
than the former. One after another the company pass behind him, their
shadows of course falling upon the sheet as they pass. It is much more
difficult than most people would imagine to guess the original from
the shadow, especially as in this game it is allowable for the players
to disguise themselves to some slight extent. Gestures of any kind may
be practised, masks may be worn, false noses, or anything else of the
kind, to render the work of the guesser more difficult, for this always
tends very considerably to add to the general fun.
SHOUTING PROVERBS.
A game that is much more speedily despatched, and much more boisterous
than the ordinary game of Proverbs, is this one called Shouting
Proverbs. A proverb having been selected, one word of it is given to
each of the company, which he must shout clearly and distinctly when
told. The person to whom the proverb is unknown then stands as near
the company as they will permit him, while he says the words "Charge!
Present! Fire!" As soon as he utters the word "Fire!" the party all
shout their words together, and from this confusion of sounds he
is expected to guess the proverb. Generally the shouting has to be
repeated many times before the proverb can be detected.
"SIMON SAYS."
In this game an imaginary Simon is the presiding genius, and the
orders of no one but Simon are to be obeyed. The leader of the company
generally begins by saying, "Simon says, 'Thumbs up'" when every one
must immediately obey the command of Simon or incur the penalty of
paying a forfeit. Simon may then say, "Wink your left eye," "Blow your
nose," "Kiss your neighbour," or anything equally absurd. Whatever
Simon says must be done. No command, however, not prefaced by the words
"Simon says" is to be regarded. With the idea of winning forfeits, the
leader will endeavour to induce the company to do certain things not
authorised by Simon--indeed, the fun of the game consists in every one
doing the wrong thing instead of the right one, and in having a good
collection of forfeits.
THE SPANISH MERCHANT.
After seating themselves in order round the room the first player
begins by saying to his neighbours, "I'm a Spanish merchant." The
neighbour then replies, "What do you sell?" This question the first
player responds to by naming any article, which at the same time
he must touch. For instance, should he say he sells gold, he must
unobservedly touch some gold article--a piece of money, a gold ring,
a breast-pin, or anything else of gold. Silk, cloth, linen, carpets,
boots, glass, indeed any conceivable thing, may be articles of
merchandise; the only thing to be remembered is that whatever is chosen
must be touched.
THE SPANISH NOBLEMAN.
The company arrange themselves in a long straight line at one end of
the room, excepting one person, who is to be the nobleman, and he must
take his place at the other end of the room. Advancing to his friends,
the nobleman must then, sing the following lines:--
"I am a nobleman from Spain,
Coming to court your daughter Jane."
To which the rest reply:--
"Our daughter Jane is yet too young,
She has not learnt her mother's tongue."
The nobleman replies:--
"Be she young or be she old,
For her beauty she must be sold;
So fare you well, my ladies gay,
I'll call again another day."
The company then advance singing:--
"Turn back, turn back, you noble lord,
And brush your boots and spurs so bright."
Whereupon the Spanish Nobleman replies, with something of rebuke in his
tone:--
"My boots and spurs gave you no thought,
For in this land they were not bought,
Neither for silver nor for gold.
So fare you well, my ladies gay,
I'll call again another day."
All then advance, saying:--
"Turn back, turn back, you noble lord,
And choose the fairest in your sight."
The nobleman, fixing upon--supposing we say Kitty--then says:--
"The fairest one that I can see,
Is pretty Kitty: come to me."
The couple go back hand in hand rejoicing. The whole performance is
then re-commenced, but the second time, instead of only one nobleman
two noblemen advance, and the rigmarole is gone through again, ending
at last in another companion being induced to join the little band
of noblemen. Thus the game is carried on, until in the end all have
gradually been won over to the opposite side.
SPELLING BEE.
Not long ago the excitement about Spelling Bees was very great. Both
publicly and privately these entertainments were held for a very
considerable period; indeed, none of us felt sure on leaving our
homes whether we should not be called upon before our return to spell
no end of hard-sounding words that, hitherto, we had scarcely heard
of or seen. Consequently, the dictionaries were all in demand, and
young people, instead of giving all their time to light literature,
might have been seen privately hunting up such words as Phthisical,
Æsthetics, Dithyrambic, Isosceles, and others equally difficult, in
order that they might not be disgraced as bad spellers. Now the rage
has subsided, though no doubt the good produced by the Spelling Bees is
still to be felt. As a Round Game, the Spelling Bee is conducted much
the same as "The Schoolmaster," elsewhere described. The company take
their places as if in class, going up or down as they acquit themselves
creditably in the estimation of their master. The words must of course
be made difficult or easy, to suit the capacities of the spellers.
There would be no fun in exposing to general ridicule the ignorance of
a boy or girl whom illness may have made more backward in knowledge
than his or her schoolfellows.
SPOON MUSIC.
A very good effect may be produced in the following manner:--The
performers who are to assist in the entertainment must each be provided
with a wine-glass and a spoon. The accompanying air (or other) is
then played over, and when the pianist arrives at the passages marked
_spoons_, each glass is to be touched lightly on the edge with the
spoon. By way of variety, the second time the air is played clapping of
hands may take the place of the spoons; and the third time whistling
may be adopted. The fourth time a good hearty laugh from every one will
sound well, after which the game may begin again with the spoons.
The idea suggested may of course be carried out still further. Any air
may be selected, the playing of which may be interspersed, at suitable
intervals, by the jingling of spoons, laughing, and whistling.
If done with delicacy it is astonishing what a pleasing effect may be
produced, especially if the wine-glasses provided be of thin glass. In
the hands of adepts at the game the glass will be in no danger of being
broken, because the more gentle the touch the greater will be the
success achieved; nothing is needed but clear, gentle ringing notes,
sounded in harmony.
[Music]
THE STAGE COACH.
Now for a really stirring game, provided that in the party a few
energetic lively young people are to be found. Many a hearty laugh has
been heard from big people, as well as little ones, while the stage
coach has rattled along through the rain and snow and sunshine round
the drawing-room table. The leader tells every one to assume a name
connected in some way with a stage coach. Any of the four wheels,
the horses, the bridles, the whip, the windows, the cushions, any of
the passengers, or numerous other things, may be chosen. The objects
selected are generally written down on paper, linked with the name
of each owner, unless it be that the leader can trust to his memory
without any such assistance. He then begins his narrative, which must
be as lively and ridiculous as possible, telling how the stage coach
started, where from, where it was going, how many passengers there
were, what they were like, and so on. The narrator will find that one
thing suggests others to his mind; the difficulty will probably be to
narrate every incident that occurred as the conveyance rolled along.
We must not forget to say that the greatest part of the fun consists
in the jumping up, twirling round, and changing seats, that have to
be done while the narrative is proceeding. The names assumed by the
company are mentioned as frequently as possible, each of whom must
recognise the call by rising from his seat, turning round, and then
sitting down again. When the stage coach itself is mentioned by any one
all must change places, the person left without a seat being called
upon for a forfeit.
STOOL OF REPENTANCE.
The players seated round the room, a stool is placed in the centre,
which one of the company volunteers to occupy while certain charges
are being made against him. One person acting as Lord President then
goes round the room, inquiring of each player what charge he or she has
to make against the culprit, who is humbly sitting on the stool of
repentance. All the accusations are whispered into the president's ear,
who will do wisely, should the party be a large one, to be supplied
with paper and pencil, and attach to each accusation the name of the
person who makes it. All being in readiness, the president then begins
by saying, "Prisoner on the stool of repentance, you are accused of
(being conceited, or noisy, or vain &c.). Can you tell me the name
of the person who makes this serious charge against you?" Should the
prisoner guess rightly, the accuser must pay the forfeit, and prepare
himself to take the place of culprit in the next game; but, on the
other hand, should the prisoner guess wrongly, he must pay the forfeit
himself, and keep his seat on the stool of repentance. It sometimes
happens that when the prisoner has at an early stage of the proceedings
guessed correctly, and by so doing has earned his freedom, he still
wishes to hear the rest of the accusations. If such be the case, he is
entitled to have his wish gratified, being willing, of course, to pay
a forfeit for every mistake; and when all have been heard (if he has
succeeded in guessing rightly more than once), he has the privilege of
choosing the next culprit to occupy the seat that he has vacated.
TABLEAUX VIVANTS.
In the estimation of some people Tableaux Vivants possess even greater
attractions than Charades, simply for the reason that in their
representation no conversational power is required. The performers
have to remain perfectly silent, looking rather than speaking their
thoughts; proclaiming by the attitude in which they place themselves,
and by the expression of their countenances, the tale they have to
tell. To others, however, this silent acting is infinitely more
difficult than the incessant talk and gesticulation required in Charade
actors. Naturally active, and gifted with a ready flow of words, the
ordeal of having to remain motionless and silent, for even three or
four minutes, would be equal to the infliction upon themselves of
absolute pain. Still we must not be led to think that individuals
devoid of character are the most eligible to take part in Tableaux
Vivants; no greater mistake could be made. The affair is sure to be a
failure unless the actors not only have the most perfect command of
feeling, but are able also to enter completely into the spirit of the
subject they attempt to depict. It would be useless to expect a lady to
personate Lady Macbeth who had never read the play, and who, therefore,
knew nothing of the motives which prompted that ambitious woman in her
guilty career. In order to give effect to the scene the subject must
be familiar and thoroughly understood by the actors. There is seldom
any difficulty in the selection of subjects. Historical remembrances
are always acceptable, and can be made to speak very plainly for
themselves, while fictitious and poetical scenes may be rendered simply
charming. Speaking from experience, one of the prettiest Tableaux
Vivants we ever saw was one taken from Shakspere's "Winter's Tale."
As soon as the curtain was drawn aside, Hermione was seen on a raised
pedestal, so lifeless and calm she might well have been mistaken for
marble. Before her was standing Leontes, an old man, with his daughter,
Perdita, hanging on his arm, both evidently struck dumb with amazement
at the likeness of the Statue to her who for so many years they had
believed to be dead; while Camillo, Florizel, and Polixenes, also stood
gazing in wonder. The good Paulina, dressed as a Sicilian matron, stood
behind the Statue, or rather on one side, as the exhibitor of it.
Presently were heard strains of gentle music, when the Statue stepped
gracefully from her elevation, gave her hand to Leontes, and was
embraced by him. The curtain here was drawn forward again, hiding from
our sight a picture that ever since has been printed indelibly upon
our memory. For comic tableaux scenes from fairyland or from nursery
rhymes, would answer the purpose admirably. Some young lady with long
hair might be made to be seen kneeling as Fatima, before her cruel,
hard-hearted husband, Blue Beard; he with her hair in one hand, and a
drawn sword in the other, just about to commit the horrid deed; the
sister meantime straining her eyes out of the window, to catch sight of
her brothers, who she knows are coming with all speed to the rescue.
As to dressing and scenery, they are matters that must be left to the
taste and fancy of the managers of the concern, who will soon discover
that the success of Tableaux, even more than Charades, depends very
greatly upon dress and surroundings. Charades speak for themselves,
but Tableaux are so soon over, that unless the actors assume somewhat
of the dress of the characters they attempt to personate, the audience
would not readily guess the subject chosen. There is little doubt
that with both Charade performers, and with those who take part in
Tableaux Vivants, the assumed dress gives an air of importance to the
proceedings which would not otherwise exist, and acts like a kind of
inspiration (upon young people especially), making them perhaps more
thoroughly lose their own personality in trying to be for a time some
one else.
THE TELESCOPIC GIANT.
Another method (besides that already described) of making a giant is
to fasten a hat to the top of a broom or a long stick, and then a
little below the hat to fix a small hoop to form the shoulders. A very
long mantle of some description must then be firmly fastened on as
gracefully as possible, under which a gentleman, the taller the better,
must take his post, holding in his hand the stick. As may be imagined,
the result is exceedingly ridiculous, owing to the giant being able
to make himself tall or short, as it may suit his inclination. At one
moment he may shoot himself out to a great height, then become quite
small, chattering and gesticulating all the time, to make the affair
more comical.
THINK OF A NUMBER.
Tell your neighbour to think of any number he likes, but not to tell
you what it is. Tell him then to double it; when he has done that, let
him add an even number to it, which you yourself must give him; after
doing this he must halve the whole, then from what is left take away
the number he first thought of. When he shall arrive so far, if his
calculations have all been made correctly, you will be able to give him
the exact remainder, which will simply be the half of the even number
you told him to add to his own.
THIS AND THAT.
The trick in this game that must be understood by the two of the
company who are to take the leading part in it, is nothing more than
that the word _that_ is to precede the article that has been chosen for
guessing. For instance, one of the two players acquainted with the game
goes out of the room while an article is chosen by one of the company
as _the object_ to be guessed. The absent one is then recalled, when
the second player acquainted with the game remarks that something in
this room has been touched, and requests him to name the article.
"Do you think it was this music book?"--"No."
"Was it the arm-chair?"--"No."
"Was it the writing desk? "--"No."
"Was it this chair?"--"No."
"Was it that bracket?"--"Yes."
The performance may be repeated until the secret has been discovered.
THROWING LIGHT.
This game is a wonderfully interesting one, though, like all others,
its success depends very greatly upon the amount of energy that is
thrown into it by the players. A word is chosen to be the subject of
conversation by two of the party, and must be known to themselves only.
It should be a word to which several meanings are attached, so that
the remarks made in reference to it may be ambiguous and puzzling to
the rest of the company. The two persons who know the word begin a
conversation, referring to the word in all its different meanings, the
others being allowed to add their remarks as soon as they have guessed
what the word is.
Supposing the word fixed upon to have been _Hare_, which is also spelt
in another way, the conversation could be very easily sustained in
something like the following style:--
_1st player._--"I saw one the other day when I was out driving in the
country."
_2nd player._--"I had one sent for a Christmas box."
_1st player._--"My own is dark brown."
_2nd player._--"And mine is nearly black."
_1st player._--"Do you like it hot or cold?"
_2nd player._--"Between the two, I think."
Here some one who has discovered the word may remark, "Don't we
read of some one in the Bible who might have lived longer if he had
not possessed quite so much of it?" Thus the chat runs on until the
players, one by one, as they guess the word, are entitled to take part
in the conversation. The penalty for making a mistake and joining in
the conversation before the right word has been discovered, is to have
a handkerchief thrown over the guilty person's head, which must be kept
on until the word is really found out. The words Lock, Ball (Bawl),
Deer, Key (Quay), Pen (Penn), Pain (Pane), Boy, Handel (Handle), Whale
(Wail), and similar words with two or three meanings, are such as will
be required.
TOILET.
We must not forget to name the old-fashioned game of the Toilet, which
no doubt, if the truth were known, came in, like Blind Man's Buff,
as far back as the time of William the Conqueror. The original idea
in connection with it is for each person to fix upon some article
indispensable to a lady's dress. Her fan, pocket-handkerchief, slipper,
scent-bottle, and so on are chosen, an article to each player. The
leader, supplied with a wooden trencher, generally begins by announcing
the fact that my lady is invited to a ball, consequently her wants
during the time of dressing will be very numerous. Probably the brush
and comb will first be called for to dress the lady's hair, when the
owner of these articles must respond to the call by taking up the
trencher before it has ceased spinning; it being the rule that every
one who makes a call shall spin the trencher. Instead of articles
of dress, flowers have frequently been chosen by young ladies, each
one representing her favourite flower, and in order to make the game
suitable for use among boys it may easily be still further altered,
according to fancy, the variations of course depending upon the
articles chosen. In all round games, however, boys and girls generally
play together, and it is usually found that a good girls' game is
equally attractive among the boys. It must not be forgotten, in playing
this game of Toilet, or Trencher, as it is also called, that when the
word "Toilet" is used, or any other word that is fixed upon instead,
every one of the company must change places. Should any one fail to do
this, a forfeit can be demanded as a penalty.
THE TRADES.
In this game each player chooses some trade. For instance, one may be a
carpenter, another a gardener, another a tailor, and so on. One person
must then be nominated King, and at a certain signal from him every one
must begin working at the trade he has chosen, imitating it by action
the best way he can. After working for some time, the King may, if he
chooses to do so, abandon his own trade and take up that of one of
the others. Should he do this, every one must stop working, excepting
the person whose trade he has adopted, and he must work at the King's
trade instead of his own, until the King is inclined to return to his
original occupation, when all may go on working as before.
Another game, quite as interesting as this one, though not perhaps
so well known, is also played under the name of Trades. Each person
fixes upon some trade which, for the time, he is supposed to follow.
The leader of the game, or one of the party gifted with inventive
faculties, then commences a narrative in which all the various branches
of business occupy a conspicuous place. For instance, the narrator may
recount to the company the amusing adventures of some old lady who set
out one morning to do the family shopping. She first called at the
_butcher's_. (Here the person who has chosen butchering as his trade
must immediately, before ten has been counted, name a joint of meat;)
and having extracted a promise from the _butcher_ (another joint of
meat must here be named) that her order shall be attended to at once,
she went on to the _greengrocer_. (Here the greengrocer must mention
something sold by him.) She then went on to the _baker's_, and having
bought all she wanted for dinner, thought she would call on her way
home at the _shoemaker's_ to inquire if her shoes were mended. In a
style of this kind the adventures of the old lady may be carried on to
any length, the interest of the game depending, as in all games, on
the amount of energy thrown into it. The great fun of the game also
consists in the trades being mentioned very frequently, so that every
one in the room may feel the necessity of being constantly on the
watch, knowing that the various articles they are supposed to have in
stock may at any moment be demanded of them.
THE TRAVELLER'S ALPHABET.
The players sitting in a row, the first says, "I am going on a journey
to Amsterdam," or any other place beginning with A. The person seated
next inquires, "What will you do there?" The verbs and nouns used in
the reply must begin with A. The next player must adopt B, the next C,
and so on, until the whole of the alphabet has been gone through; but
perhaps an example will, best illustrate our meaning:--
_John._--"I am going on a journey to Amsterdam."
_Effie._--"What will you do there?"
_John._--"I shall articulate ancient anthems."
_Effie._--"I am going to Buckingham."
_Will._--"What will you do there?"
_Effie._--"I shall bewilder the beautiful butterflies."
_Will._--"I am going to Cambridge."
_Mary._--"What will you do there?"
_Will._--"I shall chase crawling caterpillars."
_Mary._--"I am going to Dundee."
_Robin._--"What will you do there?"
_Mary._--"I shall drown the dreadful dogs."
_Robin._--"I am going to Eastbourne."
_Nora._--"What will you do there?"
_Robin._--"I shall enquire for empty egg-shells."
And so on to the end of the alphabet, or until another game shall be
called for.
TWENTY QUESTIONS.
In this game one person goes out of the room while the rest of the
company choose some subject which he will be expected to find out by
the time he has asked twenty questions. When he has received the twenty
answers to his questions, should he still be unable to discover the
subject of thought, he must not only produce a forfeit, but must also
for the second time be the one to go out of the room until something
else is thought of. Before doing so, however, the company may kindly
allow him to ask a few extra questions, the answers to which may
enlighten him on the first subject.
THE TWO HATS.
A similar game to this of the Two Hats is that known by the name of
the Game of Contrary, a description of which will be found on another
of our pages. One of the company comes forward holding in his hand two
hats, one of which he places on his own head, the other he gives to
one of his friends. The person to whom the hat is given must from the
moment he receives it make every action of his to be exactly opposite
to that of the owner of the other hat. For instance, should the latter
sit down his victim must immediately stand up, should he place the
hat on his head his friend must stand bare-headed, should he take it
off the other must put his hat on. This principle of contrary must
be carried out to the very utmost, not only as far as the hats are
concerned, but in every other way imaginable. When once the game is
entered upon, opportunities will readily present themselves of carrying
out the original idea, namely, that dictated by the rule of contrary.
"WHAT AM I DOING?"
Six, seven, eight, or more players take their seats in a straight
row. Behind them the person chosen to lead the game takes his stand.
Placing himself exactly behind the player seated on the top chair, he
then begins to conduct himself in the most absurd manner possible;
for instance, making some ridiculous grimace, shaking his fist, or
any other comical antic that may suggest itself to him. After doing
this for a minute or two, he then says to the player seated before
him, "What am I doing?" Should the unfortunate individual be unable to
answer correctly he must stand up, and until permission be given him to
desist, must imitate in silence the antics the nature of which he was
unable to discover. More frequently than not the guesses are quite wide
of the mark, consequently the spectacle is most laughable when five
or six of the company are all occupying the enviable position above
described.
"WHAT IS MY THOUGHT LIKE?"
This is a pleasant fireside game that, without requiring any very great
depth of thought, is made all the more interesting by the ready wit
and natural ability of the players. Some particular thing is fixed
upon by one of the company as a subject of thought. He then asks each
one in turn what his thought is like. They say anything they choose; a
rainbow, a waterfall, a monkey, an umbrella, or whatever may occur to
them. The leader then informs the company what his thought was, asking
each one in turn to draw a resemblance between it and the object fixed
upon as a comparison. It not unfrequently happens that the best reply
is given by one whose task appears to be the most difficult, owing
to the utter dissimilarity of the two objects compared; an ingenious
player being able to detect some point of resemblance between two
things so totally unlike each other as to be almost ridiculous.
As instances of really clever and apt answers, take the following--
"Why is love like a canal boat?"
"Because it's an internal transport."
"Why are lovers like apples?"
"Because they are often paired."
"Why is a Scottish dance like bitter beer?"
"Because there are so many hops in it."
"Why is the best coal like true love?"
"Because it always burns with a steady flame."
"Why is a thought like the sea?"
"Because it's a notion (an ocean)."
WHO WAS HE?
This game is not unlike the game of "Person and Object," though by many
people it is considered superior. The first player begins by mentioning
four distinguishing traits of either character or person belonging
to some remarkable individual of whom at that present moment he is
thinking. Supplied with these four facts the company are expected to
guess the name of the person at once, instead of having a number of
guesses, as in similar games of the kind; indeed, for every wrong guess
a forfeit can be claimed.
THE WILD BEAST SHOW.
As the leader of this game will require the help of at least two of the
party to assist him in his exhibition he should, if possible, select
those who have already been initiated into the mysteries of the game.
Retiring with his two or three friends into another apartment, he will
contrive some means of fixing his menagerie behind a large curtain.
In the absence of the curtain a kind of temporary screen might easily
be fixed, just to give the whole affair an appearance of importance.
On a small table a looking-glass should then be placed, but must be
hidden from view. The leader must then take his post at the door of his
establishment, and in an emphatic manner extol the beauty and value of
the animals he has on view, while his partisans, crouched behind the
curtain and out of sight, must, in the meantime, imitate loudly the
cries of different wild animals, aiming to make the _hee-haw_ of the
donkey more conspicuous than any other sound. Spectators are invited to
enter. On consenting to do so, each one is asked which animal he would
like to see first, and whatever he says, he is shown his own image in
the mirror. The great aim is to prevail upon the visitors to view the
magnificent donkey that is to be heard braying, when, of course, they
see nothing but their own face reflected in the looking-glass. This
game, though not one of the most refined, has had the charm, we may
say, hundreds of times of causing many a hearty laugh.
"YES OR NO?"
In this game one person goes out of the room, while the company fix
upon some object for him to discover. On being recalled, he may ask any
number of questions and any kind of questions, but the answers received
by him must be simply "Yes" or "No"--nothing more.
Another way of playing at the game, which renders it unnecessary for
any one to go out of the room, is for one of the company to think of
something. His friends then in turn each ask him a question, the reply
to which must be, as in the former method, nothing but "Yes" or "No,"
the questions of course continuing until the object of thought has been
discovered.
TOY GAMES AND TOY-MAKING.
In treating the subject of toy games adapted for in-door recreation,
it should be stated at the outset that many of the manufactured and
expensive toys which form the groundwork of an almost innumerable
number of games are not described with any detail, because descriptions
of these toys with their various uses are invariably supplied to their
purchasers, and further instruction here cannot be needed. To those who
can afford to procure a constant supply of new and original toys and
games, no better means of learning of their appearance can be had than
is supplied in the catalogues issued, for the most part gratuitously,
or at a very small cost, from time to time, by the leading firms
engaged in the toy trade.
As to the most simple toys, particularly those which can be made at
home by the exercise of a little skill and ingenuity, and at small
cost, it should always be remembered that the making of such simple
toys is in itself a recreation, and affords that variety of amusement
which makes recreation truly valuable. Again, there are many toys
provided by the purveyors of amusements for the youngsters, which can
neither be classified among toy games nor as toy-making; but it will
not be altogether out of place to mention them here by way, as it were,
of parenthesis. The toys more especially alluded to now are those
intended to find occupation for youngsters not blessed with playmates,
or who are sometimes without playmates.
There are toy bricks and toy building materials of endless descriptions
and varieties. By the way, a very amusing and ingenious trick may be
performed with a box of bricks familiar to all, that partakes of the
simplest character. The bricks referred to are those about two inches
long, an inch wide, and half an inch thick, and which are supplied in
boxes containing a large quantity of bricks all of that size. If these
bricks are set up on end at distances apart of about an inch and a
half to an inch and three-quarters, and the one at either end gently
touched, so as to fall on to the one placed next to it, the whole set
will gradually fall one after the other. The bricks may be arranged
serpentine fashion, winding backwards and forwards like a figure 8 or
letter S; but provided the distance named is adhered to the result will
be the same, and the effect of two or three hundred bricks leisurely
knocking each other down will, if the figure in which they are set up
be well arranged, have an almost comical appearance.
Then, again, there is the class of toys now known by the name of the
originator, "Crandall's toys," all of which are made on the principle
of fitting parts of the same structure together by joints. These toys
are being constantly extended and made more complicated, and they
afford amusement not only to those piecing them together, but also to a
numerous company of on-lookers.
Among the other leading toys for in-door recreation we would mention
"Noah's Arks," "Farm Yards," "Shops," "Railways," "Omnibuses," "Tram
Cars," "Wagons," "Horses" (an endless delight to the very young, and
which may be had in almost any form, from the simple wooden toy drawn
by a handle to that now so common, and which is mounted on a miniature
but well-made tricycle), animals of all sorts and noises, singing and
talking birds, miniature toy musical instruments, and other toys of
a never-ending variety made especially for the male portion of the
juvenile population, without mentioning here, in this Boys' Book,
those dolls and other toys intended for the amusement of the boys'
sisters and female cousins. As an illustration of the ingenuity of the
toy-producers, it may be stated that among the latest additions to
the more expensive of the mechanical toys is that known as the animal
album, of which we give an engraving. This book has represented on the
left-hand page the figure of some animal, and on the right-hand page
there is some text descriptive of the creature exhibited. On pulling
a small button attached to the book, the noise or sound peculiar to
the animal on the opened page will be emitted from under the opposite
leaf. In the woodcut the letterpress facing the portrait of Chanticleer
has been removed to show the mechanism for producing the cries of the
various animals.
In short, before proceeding to the description of those toys and toy
games selected for more detailed treatment, it may be observed that
the possession of toys is in itself a good thing; that the making of
and making use of them is better; that the capability of obtaining
amusement from those owned, be they simple or be they complicated, is
better still; but that it is best of all to be able also to be the
means of imparting amusement to those about us.
[Illustration: The Animal Album: a Talking Picture-Book.]
ÆOLIAN HARP.
This interesting little toy is best if made on a long box of very thin
deal wood, about four or six inches deep, a circle an inch and a half
in diameter, in which some small holes are to be drilled, being marked
on the upper side of the box. Bridges, like the bridge of an ordinary
violin or fiddle, are to be fastened on to each end of the upper side,
and over these bridges are to be passed a number of strings of very
fine cat-gut. The strings at one end are to be secured in the framework
of the box, and at the other on screw pins, which are themselves
fastened to the box. The strings can then be relaxed or tightened, as
desired, by turning these pins, and the notes emitted by the different
strings altered and arranged according to fancy. The instrument so
made should be blown upon or placed in a current of air where the
wind can pass freely over it, and then, according to the degrees of
strength with which the strings are blown upon, different sounds will
be produced.
ANIMATED SERPENT.
The animated serpent is a simple and pretty toy. To make it, obtain,
if possible, a piece of thin sheet copper or sheet brass, and if not,
a piece of card of firm substance, but not too thick. Draw upon the
material the form of a coiled-up serpent; cut out the serpent with the
point of a sharp pen-knife, and fasten a thread through the tip of the
tail. When this is done, fasten to the mantelpiece, or to some board to
be placed thereon, the other end of the thread, taking care that the
stove register is open. The weight of the serpent's body and head will
cause the coils and head to fall below the suspended tail, and then,
as a current of air is always passing up an open chimney, the serpent
will revolve with more or less rapidity, according to the strength
of the draught of air. It is well that the serpent when made should
be striped green, black, and yellow, and should have glass beads, to
represent eyes. Any situation in which there is a draught of air will
be suitable, as well as the chimney-piece, in showing off the toy when
made.
[Illustration: Animated Serpent.]
ANNULETTE.
_See_ "Parlour Croquet."
APPLE MILL.
This is a top-toy readily made with a nut, an apple or potato, a wooden
skewer, and a piece of string. First procure a good-sized Spanish or
Barcelona nut, and through it bore a small hole, carefully removing all
the kernel therefrom, and then make another small hole in one side of
the shell. Pare down an ordinary wooden meat-skewer until it is thin
enough to pass through the nut at the holes first bored therein, being
careful to leave a head to the skewer at the top to prevent it passing
entirely through the nut-shell. A piece of string should next be
attached to the skewer at a point just beneath the head, the opposite
end of which is to be passed through the hole in the side of the nut.
The string is then to be wound round the skewer as the string is wound
round an ordinary humming-top, leaving a small piece to pull. If an
apple or potato is then stuck upon the pointed end of the skewer, and
the string is pulled as when a humming-top is to be spun, the "apple
mill," as made above, will spin round with considerable velocity.
APPLE WOMAN.
This is an ingenious hand-trick, and consists in so dressing up the
hand as to make it represent an apple woman.
[Illustration: Apple Woman.]
Clench the fist, holding it knuckles upwards, covering the top joint of
the thumb with the top joints of the fingers. Draw on these portions
of the forefinger and thumb, forming the front of the clenched fist, a
face, using a few bold dots and lines to represent the eyes, eyebrows,
nose, &c. Make a cap to fit the hand, and drape a pocket-handkerchief
over all, fastening it as a shawl in front. The old woman so made may
be made to seem to speak by slightly moving the knuckle of the thumb up
and down, and to smoke by sticking a pipe between the forefinger and
the thumb, the space between which joints will represent the mouth. The
above illustration is a fair representation of the apple woman's face,
and a careful inspection will show how the thumb and fingers are to be
arranged.
BANDILOR.
This is a toy made of hard wood, and in appearance is not much unlike a
pulley with a very deep groove. A piece of string is to be wound round
the groove, a hole being made in the centre of the wood, through which
the end of the string has first to be secured. In playing with the
toy, the loose end of the string is to be held between the forefinger
and thumb, and the grooved piece of wood is to be let fall. The string
is thus unwound, and if the fall of the wood is suddenly checked by
a sharp jerk, the Bandilor will commence to rise, and in this way
may be made to continue alternately descending and ascending for a
considerable time. This toy is sometimes known by the name of Quiz.
BATTLEDORE AND SHUTTLECOCK.
This is a game equally for in-door and out-door recreation, but as the
mode of playing and the materials are fully described in CASSELL'S BOOK
OF SPORTS AND PASTIMES, it is only necessary here to refer the reader
to that work.
BELL AND HAMMER.
_See_ "Schimmel."
BIRD WHISTLES.
Whistles to imitate the songs of birds may be readily made in different
ways. Remove the spout from a small toy teapot, make a whistle at the
lower end of a quill, and fit that end to the hole of the teapot left
upon the spout being removed, then fill the teapot rather more than
half full of water, blow the whistle, and clear bird-like notes will be
sounded.
Another form of bird whistle may be made out of a piece of elder or
willow. Make in the middle of a piece of either of these woods a
whistle, the wood being, of course, first hollowed out. Place one end
of the whistle so made in the mouth, and the opposite end just under
the surface of a glass of water. By then blowing, the bird-like notes,
as with the quill and the teapot, will be obtained. These whistles may
be made of metal or glass as well as wood.
BIRDS, BEASTS, AND FISHES.
_See_ "Slate Games."
BOMBARDMENT.