too well known to render any description of it necessary. A more quiet
variety of blind man’s buff is played in the following manner: All the
company arrange themselves around the room, one being blinded in the
centre. Some one then either numbers them, or calls them by the names
of different towns or cities. Each one must remember the name given
him. Then the one who named them calls out to any two in the party,
such as: “Two and Ten change places,” or, “Boston go to New York,” &c.
Those called must quickly exchange places (on pain of a forfeit it they
do not), the one blinded trying to catch them on their way. The caller
must make them change places often, and from distant sides of the room,
so as to give the blinder a good chance. If he catches any one in the
act of changing his place, and calls his name correctly, the person
so caught must take the part of blind-man until, in turn, he catches
somebody else.
SHADOW BUFF.
SHADOW Buff is a variation of blind man’s buff. Though not as generally
known, it is equally amusing. A large piece of white cloth, or a linen
or cotton sheet, is suspended smoothly at one end of the room, at a
little distance from “Buffy,” who sits with his face towards the cloth,
and his back to the company. Behind him a light must be so placed as to
throw the shadows of persons passing between it and “Buffy” directly
on the curtain. All other lights must be extinguished. The players
then walk, one by one, slowly between the light and “Buffy” (who must
not turn his head), limping, jumping, grimacing, or disguised as they
please, so as to distort their shadows on the curtain. If “Buffy” can
tell correctly to whom any shadow belongs (guessing once only at each
person), the player whom he so discovers takes his place as “Buffy.”
BLIND MAN’S WAND.
THIS is another variety of the same game. The blind man carries a cane,
which he reaches in every direction. Whoever it touches is bound, by
the rules of the game, to take hold of it, and repeat whatever the
blind man orders. The one who is caught can disguise his voice as he
pleases. The blind man is allowed three guesses, and if he cannot
discover the person touched by his voice, he must try another. This is
an amusing change.
There is still another, called “Fettered Buff.” The person who is to
catch his companions is not blinded, but his wrists are tied behind
him, and he catches by running backwards. This form of the game is
not recommended. The person so bound cannot balance himself easily, or
guard himself, and is liable to injury from falling.
CHINESE SHADOWS.
THIS can be played only in the evening, by candle light. A white
curtain should be fastened smoothly at one end of the room, as in
“shadow buff.” Half the company must be spectators and half actors.
The spectators must be seated facing the curtain. Two persons in front
should hold a ribbon or stick across the curtain as high as they can
easily reach, to mark the line on which the shadows are to move, or a
line may be drawn across the curtain. The actors must stand behind the
spectators, at a little distance, with a large supply of figures cut
in paper, such as houses, trees, men, women, animals, birds, &c. These
figures must be slowly passed along, one after the other, in the manner
you wish the shadows to fall on the curtain. It is easy to make them
advance, retreat, &c., while you hold conversation for them. Those who
are skillful in the use of these shadows, can make them represent a
battle, game, contra dance, &c. The figures of inanimate things must
not be moved; birds can be suspended on the ends of strings, and swung
about irregularly, from time to time. The effect is not unlike a magic
lantern. When the actors have played long enough, they must change
places with the spectators.
“THE COMICAL CONCERT.”
THIS game, when well played, is extremely diverting. The players are
arranged as an orchestra, and each one undertakes to imitate some
musical instrument. One pretends to play the violin, by stretching
out her left arm, and moving her right hand across it, as if she were
drawing a bow; another doubles up her hands and puts them to her mouth,
to imitate a horn; another moves her fingers on a table, to imitate a
piano; another takes the back of a chair and touches the rounds, as if
they were the strings of a harp; another motions as if beating a drum;
another holds a stick, after the manner of a guitar, and pretends to
play upon it; another appears to be turning a hand-organ; another plays
a flute, trombone, or any instrument he fancies—even a jewsharp. This
is but half the game. Each musician should, while playing, make a sound
with his mouth, in imitation of his instrument, thus:
Rub-a-dub, goes the drum;
Twang, twang, goes the harp
Toot, too, hoo, goes the horn;
Tweedle-dee, tweedle-dee, goes the violin, &c.
If all play with spirit it makes a laughable jumble. The leader must
stand facing the orchestra, with a long stick, beating time, in an
absurd imitation of some famous leader. In the midst of the noise and
fun, he suddenly stops, and pointing his wand of office to one of the
players, asks, abruptly, “Why don’t you play better?” The one spoken to
must answer instantly, and with suitable reference to the nature of his
instrument. For instance, the drummer could say one of his drumsticks
is broken; the harper, that a string is loose; the pianist, that a key
is broken or out of tune; the violinist, that a string is broken, &c.
If they hesitate a moment, or give an unsuitable answer, or if they
repeat an excuse already made, they must pay a forfeit or take a new
instrument. While one is answering, all must stop playing. When the
leader waves aloft his wand, all must commence again, and play till he
speaks to some one else; so on till they are weary. Sometimes it is a
rule that all who laugh must pay a forfeit. There are many forfeits in
that case.
THE MENAGERIE.
THIS is a noisy game. All the actors in the play must take seats around
the room, while some one or two of the number must be chosen to give
out the parts. The persons so chosen whisper in the ear of each one the
name of some animal he is to imitate. When all are ready and the signal
is given by one chosen for the purpose, each one commences to utter
sounds in imitation of the animal named to him. Those who fail must pay
some penalty. It cannot be called a “concord of sweet sounds,” but such
a game will give life to a too quiet company on a stormy Winter evening.
QUAKER MEETING.
THOSE who join the game take seats around the room, and one or more
whispers in the ear of each one some witty or absurd thing for him to
do. All must be quiet who are not playing. When all are ready, one
person claps his hands, and the first one must proceed to do what he
was told; the others must not speak or laugh, on penalty of a forfeit.
Each one in turn must act his or her part. It must all be in pantomime.
When all are through, each person must turn and shake hands with his or
her neighbor, saying: “Friend, how dost thee do?” It is important in
this game that the one who gives the parts should be full of humor and
of quick perceptions, so as to adapt the game to the persons playing.
The parts assigned may be of endless variety. One person may be
ordered to play a mock bravura on a table for a piano; another to gaze
in admiration of himself in a mirror and arrange his dress and hair;
another to act the scornful belle, while a gentleman acts the urgent
but despairing lover; one to dance a hornpipe, another to make a speech
by gestures, another to make grimaces in the face of every one in the
company, another to pretend terror and fright from some imaginary
animal, etc.
RESEMBLANCES.
ONE of the company taking part in this amusement rises, and addressing
his or her neighbor, proposes the following question: “What does
my thought resemble?” The person interrogated replies as he or she
pleases; then the questioner adds: “In what way does the object you
designate resemble that which I am thinking of?” If, as frequently
occurs, there exists no affinity, no resemblance between the two, a
pawn must be given by the person interrogated. Here is an example:
_Mary._—Tell me, Alice, what does my thought resemble?
_Alice._—A windmill.
_Mary._—I thought of Rogers’ poetry; what resemblance is there between
his poems and a windmill?
_Alice._—I can give an answer very readily; perhaps the very prettiest
little poem written by your poet begins, “Mine be a cot beside the
mill.”
_Mary._—That is right; it is now your turn, Annie. What does my
thought resemble?
_Annie._—A chandelier.
_Mary._—I thought of a partridge; how does a partridge resemble a
chandelier?
_Annie._—Dear me, I’m sure I cannot tell! I will give you my pawn.
This play, by the strange inconsistencies which it authorizes,
exercises the imagination, and brings into play a good deal of wit.
PUT IN A WORD.
SOME one in the company leaves the room, while those remaining select
a word, and then send for the person to return. She must ask some
question of the person nearest to her, to which the one spoken to
must make a prompt answer, and in answering he must make use of the
word selected. Sometimes an acute person will guess the word from the
answer given to her first question. Some awkward use or slight emphasis
may betray it, but generally she will go to a number and sometimes to
all present without guessing the word. In that case (unless some one
volunteers to take her place), she must go out again. If she discovers
the word, the one by whose answer she guessed it, leaves the room, and
those remaining choose a word and the game proceeds as before.
PROVERBS.
THE company select some one to leave the room; those remaining agree
upon a proverb, such as “All is not gold that glitters,” and then send
for the person to return to the room. She must ask questions of the
company in turn. The first person asked must include in his answer the
first word of the proverb, “all,” the next person, “is,” and so on
till they complete the proverb; if she has not guessed it, and there
are more in the company, the next person begins the proverb anew. The
one by whose answer the proverb is guessed must then leave the room.
This game requires considerable ingenuity and readiness. The proverbs
selected should be familiar ones, such as “Make hay while the sun
shines,” “When poverty comes in at the door love flies out at the
window,” “A fool is wise in his own conceit,” “A stitch in time saves
nine,” “Never look a gift horse in the mouth,” “All’s well that ends
well,” “A bird in the hand is worth two in the bush.”
GAME OF CHARACTERS.
A PERSON chosen leaves the room. Those remaining select some familiar
character either in history or of the present day, for the absent one
to personate. When he returns, the person nearest him addresses him
by a question, as if he were the character selected. In like manner,
each person in the company in turn asks a question. The one at whose
questions he guesses the character must take his place and leave the
room in turn. For instance, “Napoleon the present emperor of France”
is selected. When the person returns, the first questioner exclaims,
“Are you not in constant fear of being killed?” The next, “Are you
really happy?” The third, “Why are you so despotic?” The fourth, “Do
you believe in fatalism?” Fifth, “Do you worship the memory of your
uncle?” “Why do you not like us Americans?” etc., etc. This play is
often very amusing and tact is required to ask questions that apply to
the character and are not too plain.
LAWYER.
ALL who take part in the play assemble and choose a lawyer. The chairs
in the room are arranged in two rows, as in a contra dance. If there
are an equal number of gentlemen and ladies, the former choose their
partners. The gentlemen take seats opposite the ladies. The lawyer
proceeds to ask such questions as he chooses. The person addressed
must never answer, but his partner must answer for him. If either make
a mistake, he or she must change places with the lawyer, and ask the
questions. If the lawyer is ready in asking questions, turning quickly
from one person to another, he can very soon catch some one.
CONSEQUENCES.
THIS is a quiet game. All assemble around a table. Each person must
have a half sheet of note paper and a pencil. All are requested to
write an adjective expressing either a good or bad quality in a man’s
character. Each one then turns over and creases down the place written
upon, and all change papers. Each one then writes a gentleman’s name,
and turns it down, and all change papers again. Then another word of
quality applying to a lady, is written, and all the papers are turned
down and changed as before. Then a lady’s name is written. Then a place
where they met; then what he said to her; then what she said to him;
what he gave to her; and what she gave to him; then the “consequences.”
The paper must be turned down every time and changed, and no one must
read what the others have written. When all are finished, some person
collects and reads the papers. Some are absurd, and others happen very
correctly. For instance, they might read thus: “The clumsy Mr. Snooks
met the beautiful Miss Primrose at a ball. He asked her if she liked
turnips; she sighed and hung her head, and said, ‘If mamma is willing.’
He gave her a bouquet; she gave him a box on the ear. The consequences
were too sad to relate.” A party of merry girls and boys will like this
game for a variety.
FOX AND GEESE.
THIS game is a very old one, but it is too good not to be always
remembered. Arrange the company in this form, all facing inward:—
[Illustration]
The stars represent persons; the one outside the circle, but next to
it, is the goose; the one most distant from the circle, the fox. When
the game commences, the goose starts and places himself or herself in
front of one of the two stars. Then the outside one becomes the goose,
and the object of the fox is to touch the outside one of three; if
he succeeds, they change places, and the one caught becomes the fox.
Every one must be on the alert, and change as quickly as possible. I
have seen this game, on a stormy day at the seashore, played with great
zeal by old gentlemen, judges, lawyers, ministers, mothers, fathers and
children. One gray-haired gentleman was the fleetest fox of all; no one
could escape him, and his laugh made all hearts glad. Green old age
is beautiful to see, and the youthful are always made happier by its
genial sympathy.
STAGE-COACH.
ALL who join this game should be seated, with the exception of the
story-teller. If there are vacant chairs, they should either be turned
over or taken out of the room. A person with a quick memory and a flow
of words, should be selected for the office of story-teller. When all
are seated, he or she passes around the circle, giving a name to each
individual. When the story is told, the one whose name is mentioned
must rise and whirl around. When “stage-coach” is mentioned, all must
rise and turn around; when it is said the “stage-coach tips over,”
all must change places, and the story-teller then takes his chance to
secure a seat, and the one who is left without any seat must go on
with the story—the former story-teller taking the name of the person
who takes his place. If any one fails to turn around or change places
according to the rules of the game, a forfeit must be paid. The common
way of telling the story is to describe the “Fidget family, on a
journey in a stage-coach.” The following names are generally given to
the company: Mr. and Mrs. Fidget, the baby and nurse, Miss Fidget and
Master Fidget, and maiden aunt; gingerbread, band-box, trunks, bundles,
off horse, nigh horse, driver, whip, reins, driver’s seat, cushions,
door, curtains, wheels, footman, &c. You must adapt your names to the
number playing. In telling the story, it makes more fun to keep one or
two (who will bear the joke) constantly whirling. The story and names
are at the will of the story-teller.
HUNT THE FOX.
TAKE partners, and stand as in a contra dance. The lady at the head
is the fox; her partner the hunter. At a signal, she starts and runs
down the line, her partner following; she can pass through the lines
as she pleases, the players standing far enough apart to allow her to
pass easily. The hunter must follow the exact course of the fox; if he
varies, he must pay a forfeit. When the fox is caught, the first couple
goes to the foot, and the next couple goes through with the same. This
and “Follow the Leader” are favorite games for Thanksgiving evenings.
Old and young join.
SNEEZING.
ALL who join this game assemble in a circle. The leader gives one
of these syllables, “Ash-ish-osh,” to each one. Thus, to the first
person, “Ash;” the second, “ish;” third, “osh;” fourth, “ash,” and
so on through all the company. The leader must then stand in the
centre and count four, slowly. When he pronounces four, all must sound
their syllables at once. The effect is very amusing; it sounds like a
prolonged sneeze.
THE READY WRITER.
THIS game can be played by any number of persons, each one having a
pencil and paper. The leader of the game gives to each one (or each
player chooses) a letter in the alphabet. Each player then writes a
sentence of five, six or seven words, each word commencing with the
letter given him. When all have finished, each one in turn reads his
sentence. If any one fails, he or she must recite some poetry and pay a
forfeit. This game often produces most amusing and instructive effects.
Sometimes the leader requires each player to go through the alphabet,
as follows:
Avoid avarice, as an asp.
Britons! be bold! be brave!
Constant crime causes careless consciences.
Do defer doing dirty deeds.
Even every engineer engaged escaped.
Fawning favorites fear fortune’s freaks.
God’s goodness gives great gifts.
Happy homes have happy hearts.
It is instruction I intend.
Keep kind, kinsfolk! keep kind!
Jockeys joyfully joking jaded jackasses.
Little lambs love long lanes.
Many men make much money.
Name nine noisy noblemen now.
Ostentation often operates on opulence.
Perfect piety produces pretty practices.
Quit, quibbling quacks, quarreling, quickly.
Round rough rocks ragged rascals run.
Such stings sting so sharply.
Try to turn topsy-turvy.
Up! up! ungrateful, unjust usurper!
Verily, verily, vice vilifies virtue.
Willing wives will wash well.
Yes, yet you yawned yesterday.
Zeal! zeal! zealous zary, zeal!
RHYMING WORDS IN PANTOMIME.
ALL who desire to join in this charming pastime must be seated in a
circle, in order that each player can have a clear view of all the
other players. One of the company must be selected to commence the
game. He must think of some word which can be easily rhymed by other
words, and give out only the termination of the word to the other
players, saying “I have thought of a word that rhymes with ——, can
any of you guess it?” The players must next speak in answer to the
leader’s question, but whoever thinks of a word to rhyme with the given
termination must strive to act out the word he thinks of in pantomime,
as plainly as possible, and the leader must closely watch the player
who is acting the word, and as soon as he guesses what the person
acting is trying to represent, if it is not the word selected, he must
say, “It is not ——,” (calling out the word represented) “that I
thought of,” and so on as each player acts out a word, the leader must
call out the word represented until the right word is acted. The leader
must then resign his place, and the person who acted out the right word
must be the leader and think of a word, giving out the termination to
be rhymed with. An example will here be given to assist those ignorant
of this game.
Suppose the person who first selects a word chooses “sting” and gives
out “ing” to be rhymed with. One of the players makes a motion with
his hands of ringing a bell. The leader says, “It is not ring, to ring
a bell.” Another player will by signs indicate a ring on the finger.
The leader exclaims, “It is not a finger-ring.” One of the players
will imitate wringing of clothes. The leader says, “It is not wring.”
Another represents singing, and is told “it is not sing.” A player will
perhaps imitate a bee stinging. Then the leader exclaims, “Sting is
the word, I resign my place to you.” Perhaps a few examples of rhyming
words easily acted may be useful, which will be given here.
Sun. Hair. Map. Hill. Sheep.
Dun. Hare. Cap. Kill. Deep.
Pun. Pair. Lap. Mill. Weep.
Run. Pear. Rap. Fill. Keep.
Gun. Bear. Snap. Still. Creep.
Fun. Fair. Trap. Rill. Reap.
Spun. Prayer. Flap. Sill. Cheap.
Bun. Flare. Clap. Bill. Leap.
AN EXHIBITION OF THE MODERN GIANT.
THIS is rare sport, when well managed, and for a time the exhibition
appears very mysterious to the uninitiated. A large sheet should be
strained across some open door; folding doors are better adapted to
this game, as they give a larger space for action.
The room in which the spectators are seated should be darkened; but
in the room back of the curtain, where the Giant exhibits, should be
placed on the floor, a bright lamp or candle, with a reflector, either
of polished tin or a looking glass. Any one standing between the light
and curtain, appears immense in all his proportions, as his reflection
is cast upon the sheet. Let the person acting as the Giant first open
his hands and spread his fingers wide, and let them appear at the
bottom of the curtain, and gradually rise till the shadow of his whole
body is exhibited between the light and the curtain. He will appear to
rise from the cellar; then let him jump over the light, to the rear of
the reflector, and it will seem as if he jumped upwards through the
ceiling.
Many amusing scenes can be thus contrived, articles of furniture, etc.,
etc., can be called down from above by simply passing them over the
light. Dolls can be used with great effect. The Giant can appear to
swallow them—or destroy the pigmy race. Care should be taken to keep
the profile on the screen or curtain as distinct as possible. Some call
this game “The man in the moon came down too soon.”
THE SHADOW AT COMMAND.
THIS feat is performed by means of confederacy. Having privately
apprised your confederate that when you strike one blow, it signifies
the letter A; when you strike two, it means B; and so on for the rest
of the alphabet; you state to the company that if any one will walk
into the adjoining room, and have the door locked upon him, perhaps
the animal may appear which another person may name. In order to
deter every one except your confederate from accepting the offer, you
announce at the same time that the person who volunteers to be shut
up in the room must be possessed of considerable courage, or he had
better not undertake it. Having thus gained your end, you give your
confederate a lamp, which burns with a very dismal light, telling him,
in the hearing of the company, to place it on the middle of the floor,
and not to feel alarmed at what he may happen to see. You then usher
him into the room, and lock the door. You next take a piece of blank
paper and a pencil, and, giving them to one of the party, you tell
him to write the name of any animal he wishes to appear to the person
shut up in the room. This being done, you receive back the paper, and
after showing it around to the company, you fold it up, burn it in the
candle or lamp, and throw the ashes into a mortar (an iron one is the
best), casting in at the same time a powder, which you state to be
possessed of valuable properties. Having taken care to read what was
written, you proceed to pound the ashes in the mortar, thus: Suppose
the word written be “cat,” you begin by stirring the pestle around the
mortar several times, and then strike three distinct blows, loud enough
for your confederate to hear, and by which he knows that the first
letter of the word is C. You next make some irregular evolutions of
the pestle around the mortar, that it may not appear to the company
that you give nothing but blows, and then strike one blow for A. Work
the pestle about again, and then strike twenty blows, which he will
know means T—finishing your manœuvre by working the pestle about the
mortar, the object being to make the blows as little remarkable as
possible. You then call aloud to your confederate, and ask him what he
sees. At first he is to make no reply; after being interrogated several
times, he asks if it is not a cat.