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HOUSEHOLD GAMES AND AMUSEMENTS

GOING SHOPPING

A lively game of “talk and touch.” The company is seated in a circle, and one who understands the game commences by saying to his neighbour at the right:

“I have been shopping.”

“What did you buy?” is the required response. “A dress,” “a book,” “some flowers,” “a pencil”–whatever the first speaker wishes, provided always that he can, in pronouncing the word, touch the object mentioned. Then the second player addresses his neighbour in a similar manner, and so on around the circle until the secret of the game is discovered by all. Whoever mentions an object without touching it, or names one that has already been given, pays a forfeit.

HIT OR MISS

Great amusement is excited by this game when played in the presence of a company of guests. Spread a sheet on the floor and place two chairs upon it. Seat two of the party in the chairs within reach of each other and blindfold them. Give each a saucer of cracker or bread crumbs and a spoon, then request them to feed each other. The frantic efforts of each victim to reach his fellow sufferer’s mouth is truly absurd–the crumbs finding lodgment in the hair, ears and neck much oftener than the mouth. Sometimes bibs are fastened around the necks of the victims for protection.

CROSS QUESTIONS

The company is divided into two equal parts and blank cards and pencils are distributed. One side writes questions on any subject desired, while the other prepares in like manner a set of haphazard answers. The question cards are then collected and distributed to the players on the other side, while their answer is divided among the questioners. The leader holding a question then reads it aloud, the first player on the other side reading the answer he holds. Some of the answers are highly amusing.

THE GAME OF RHYMES

A variation of the former game. The game is begun by a young lady or gentleman speaking a single line, to which the next nearest on the left must respond with another line to rhyme with the first. The next player gives a new line, of the same length, and the fourth supplies a rhyme in turn, and so on. The game is provocative of any amount of fun and nonsense. A sample may be given:

1st Player–I think I see a brindle cow.

2nd Player–It’s nothing but your dad’s pow-wow. 3rd. Player–He is chasing our black Tommy cat. 4th Player–Poor puss had best get out of that, etc.

Any amount of nonsense may be indulged in a game of this sort, within proper limits. Clever players can easily give the game a most interesting turn and provoke rhymes that are original and witty. Thus, a subject once started, every phase of it may be touched upon before the round closes.

THE MOST IMPROBABLE STORY

The players are seated in a circle and are provided with pencils and paper. It is then announced that this is a competition and that the one who writes the most improbable story in fifteen minutes wins a prize. The allotted time is up, the papers are collected and redistributed so that each player receives another player’s story. The stories are then read aloud and a committee decides which is the most improbable story. A prize is usually given the writer of this.

ANIMATED ART

A picture is selected showing a group of individuals and portraying some historical incident or event illustrative of the affairs of every- day life. The performer’s makeup, each one to represent some character in the picture. Out of their number, someone is chosen to act as stage manager and he poses the figures. Two rooms with this representation. A reflection, or Footlight, will enhance the beauty of the picture.

GUESSING CHARACTERS

One of the party leaves the room, while the others decide upon some character, real or fictitious. The absentee is then recalled, and each, in turn, asks him a question referring to the character he has been elected to represent. When he guesses his identity, the player whose question has thrown the most light upon the subject has to go from the room. For example, A goes from the room, and the company decides that he shall represent King Henry VIII. When he enters, No. 1 asks: “Which one of your wives did you love best?” No. 2 says: “Do you approve of a man marrying his deceased brother’s wife?” No. 3 adds: “Were you very sorry your brother died?” etc., while A, after guessing various names, is led by some question to guess correctly, and the fortunate questioner is consequently sent from the room to have a new character assigned him in turn.

WHO IS MY NEIGHBOR?

One-half the company is blindfolded; these are then seated in such a way that each has a vacant chair at his right hand. The other half of the players gather in the middle of the room. This is done silently. The unblindfolded players will each one take one of the empty seats next to those who are blindfolded. When requested to speak or sing they must do so. It is permissible to disguise the voice. The blindfolded neighbour must guess who is speaking or singing. The bandages are not taken off until the wearer has guessed correctly the name of the person at his right. When he guesses correctly, the one whose name was guessed is blindfolded and takes the guesser’s place. The leader gives a signal and the players who are unblindfolded walk softly to a vacant chair. The leader then plays a familiar song, and says, “sing!” All must sing until he suddenly stops playing. The guessing goes on as before until the leader decides to stop it.

TONGUE-TWISTERS–ANY NUMBER OF PLAYERS

The amusing game of tongue-twisters is played thus: The leader gives out a sentence (one of the following), and each repeats it, in turn, any player who gets tangled up in the pronunciation having to pay the forfeit.

  • She sells sea shells.
  • She stood at the door of Mr Smith’s fish-sauce shop, welcoming him in.
  • Six thick thistle sticks.
  • The flesh of freshly fried flying fish.
  • A growing gleam glowing green.
  • Swan swam over the sea; swim, swan, swim; Swan swam back again; well swum, Swan.
  • You snuff ship snuff, I snuff box snuff.
  • The bleak breeze blighted the bright broom blossoms.
  • High roller, low roller, rower.
  • Hobbs meets Snobbs and Nobbs; Hobbs bobs to Snobbs and Nobbs; Hobbs nobs with Snobbs and robs Nobbs’ fob. “That is,” says Nobbs, “the worse for Hobbs’ jobs,” and Snobbs sobs.
  • Susan shines shoes and socks; socks and shoes shine Susan. She ceaseth shining shoes and socks, for shoes and socks, shock Susan.
  • Robert Royley rolled a round roll round; a round roll Robert Rowley rolled a round. Where rolled the round roll Robert Rowley rolled round?
  • Strict, strong Stephen Stringer snared slickly six sickly, silky snakes.
  • She sun shines on shop signs.

BUTTON, BUTTON

The players sit around the room in a circle. The leader then holds a button between his hands, with the palms pressed together, so as to hide it. He goes around the circle, passing his hand between those of the players. As he does this, he says: “Hold fast to what I give you.” He is careful not to let the players see into whose hands he passed the button. The circuit having been made, the leader says to the first player: “Button, button, who has the button?” The one questioned must answer, naming someone whom he thinks has it. So it continues until all have had a turn at answering the same question. Then the leader says: “Button, button, rise!” The button holder must do this.

FRENCH RHYMES

Each member of the company writes on a slip of paper two words that rhyme. These are collected by one player and read aloud, and as they are read everybody writes them down upon new papers. Five or ten minutes is allowed, each player must write a poem introducing all the rhyming words in their original pairs. At the expiration of the given time, the lines are read aloud. Suppose the words given are “man and then,” “drops and copse,” “went and intent,” etc., these are easily framed into something like this: Once on a time a brooklet drops, With splash and clash, through a shady copse; One day there chanced to pass a man, Who, deeming water better than Cider, down by the brooklet went, To dip some up was his intent. Of course, the result is nonsense, but it is pleasant nonsense and may be kept up indefinitely, to the entertainment of the participants.

CONSEQUENCES

The players are each provided with a slip of paper and a pencil. Each must write the name of some gentleman (who is known to the party), turn down the end of the paper on which the name is written, and pass the paper to the next neighbour. All must then write the name of some lady (also known), then change the papers again and write “where they met,” “what he said,” “what she said,” “what the world said,” and “the consequences,” always passing the papers on. When all are written, each player must then read his paper.

Mr. Jones . . . . . . . . . And Miss Smith . . . . . . . . . Met on a roof.

. . . . . . . He said, “I trust you are not afraid.” She said, “Not while you are here.” The world said, “It’s a match.” Consequences, “He sailed for Africa next morning,” etc.

ANT AND CRICKET

One of the companies being appointed to represent the Cricket seats himself in the midst of the other players, who are the Ants, and writes a piece of paper the name of a certain grain, whatever kind he pleases. He then addresses the first Ant: “My dear neighbour, I am very hungry, and I have come to you for aid. What will you give me!” “A grain of rice, a kernel of corn, a worm,” etc., replies the Ant, as he sees fit. The Cricket asks each in turn, and if one of them announces as his gift the word already written upon the paper, the Cricket declares himself satisfied and changes places with the Ant.

A SPOONFUL OF FUN

This is a German game. One of the players goes into the middle of a ring formed by the other players. He is blindfolded and has a large, wooden spoon for a wand. The players join hands and dance about him. There may be music if it is so desired. When the signal is given to stop, all must stand still. The blindfolded one touches one of the players with his hand and tries to guess his identity. If he guesses correctly, that player must take his place. Stooping, kneeling, or tiptoeing may be resorted to, to conceal the identity of the players.

WHAT IS MY THOUGHT LIKE?

Though this is a very old game, it is well worth the playing. The leader asks each player in turn, “What is my thought like?” The one questioned gives any answer he desires. Each player is asked in turn and a list is kept of the replies. Finally, the leader tells what his thought was, and asks each player in what way it resembles the thing he, or she, likened it to.

BIOGRAPHY

Each player receives a pencil and paper and takes a seat as one of the circles of players. The left-hand neighbour is the subject of his right-hand neighbour’s biographical sketch. Any absurd happening will do, the more ridiculous the biography, the better. The wittiest one calls for a prize.

NICKNAMES OF CITIES

Certain cities have been nick-named, as Chicago, the Windy City; Philadelphia, the City of Brotherly Love, etc. The hostess requests her guests to wear something suggestive of the nickname of the city represented. Each guest writes on a piece of paper what cities he supposes the other guests are representing. A half hour is allowed, when a prize is awarded the one who has given the largest number of guesses correctly.

HOW, WHEN AND WHERE

One member of the company, leaving the room, a word admitting of more than one interpretation is chosen by the others. On his return, he asks each in succession, “How do you like it?” The player questioned being required to give an appropriate answer. He then inquires in a similar manner, “When do you like it,” and if the answer to that question still gives him no clue, proceeds to ask, “Where do you like it?” When he, at last, discovers the word, the person whose answer has furnished him with the most information, must, in turn, leave the room and become the questioner. We will suppose the word chosen to be “rain,” which can also be taken as “reign” or “rein.” The question, “How do you like it?” receives the answers, “tight,” “heavy,” “short,” “warm,” etc. The question, “When do you like it?”, “in summer,” “when I am driving,” “in the nineteenth century,” etc. “Where do you like it?”, “in the United States,” “on a horse,” “in the sky,” etc.

MY GRANDFATHER’S TRUNK–ANY NUMBER OF PLAYERS

A great game for young folks of a winter evening. The company is seated in a circle, somebody begins by saying, for instance: No. 1. “I pack my grandfather’s trunk with a pair of spectacles.”  No. 2. “I pack my grandfather’s trunk with a pair of spectacles and a silk hat.” No. 3. “I pack my grandfather’s trunk with a pair of spectacles, a silk hat and a dime novel.” And so on, each person repeating all the articles already mentioned, besides adding a new one. If anyone fails to repeat the list correctly, he drops out of the game, which is continued until the contents of the trunk are unanimously declared too numerous to remember.

LOCATION

The location is geographical in character. Two captains are chosen. They choose sides until the party is equally divided. One captain begins the game by calling the name of a city. He then counts thirty. Before he has finished counting, his opposite opponent must tell where the city is located. If his answer is correct, he in turn names a place, and the second player in the opposite row must locate it before he counts thirty. Should any player fail to answer before thirty is counted, or answer incorrectly, he or she must drop out. When there is only one player left on either side, that one gets the prize.

PREDICAMENTS

Predicaments are thought out. The more ridiculous they are the better. They are written on sheets of paper. Each person has to write his idea of the best way out of a predicament. Then the papers are collected and read. Prizes are given if the hostess so desires.

PROGRESSIVE PUZZLES

Provide as many small, square cards as there are guests; also several pairs of scissors. The party seats itself in a circle. The cards and scissors are given out. Then each player cuts his card twice across, so as to make four pieces. The straight cuts must intersect each other. After the first cut, the pieces must be held together until the second cut has been made. A player mixes his pieces and passes them to his right-hand neighbour. When the leader gives the signal, all the players put together the four pieces they have. The one who first succeeds calls out “ready.” Then all stop and pass the cards on again. The successful player is given a mark on a tally card. The game goes on until a half hour has passed. The person receiving the most marks is entitled to a prize or may become the leader, as preferred.

MIRTH

The leader for this game must have a contagious laugh. He throws a handkerchief into the air; when he does this, all must laugh heartily, until the handkerchief lies upon the ground, then the laughing must stop immediately. The player laughing after the handkerchief touches the ground is “out.” This also happens to the one laughing too soon. The one left alone at last is the winner and may become a leader.

CRAMBO

Each player in the party is given two slips of paper and a pencil. On one slip he writes a question. This may be serious or absurd, as he wishes. On another paper he writes a word, this being a noun– either proper or common. The questions being mixed are distributed–the words likewise. The players write verses answering the questions and containing the words received.

AUCTION

Needed: Twenty, or more, packages, wrapped in paper. The auction may be made a very merry game. It depends upon the auctioneer, however, to make the sales interesting; any articles may be chosen, through dolls, Teddy bears, etc., are suggested. The articles are catalogued. They are paid for with the beans given to the players with the catalogues.

BEAST, BIRD OR FISH

The players sit round in a circle, and one player, who is “it,” points to someone, and says either “beast,” “bird,” or “fish.” He then counts ten as quickly as possible. The person pointed to must name some “beast,” “bird,” or “fish” (whichever he was asked), before ten is reached. If he fails he must give a forfeit.

THE ROTATION OF THE GLOBE

When you next chance to eat an egg for breakfast, do not fail to try the following experiment. It is one which always succeeds and is productive of much amusement to the company.  Moisten slightly with water the rim of your plate, and in the centre painted with the yolk of the egg a sun with golden rays. By the aid of this simple apparatus, you will be in a position to illustrate, so clearly that a child can comprehend it, the double movement of the earth, which revolves simultaneously around the sun and on its own axis. All that you have to do is to place the empty half-shell of your egg on the rim of the plate, and keeping this latter duly sloped, by a slight movement of the wrist as may be needful, you will see the eggshell begin to revolve rapidly on its own axis, at the same time traveling around the plate. It is hardly necessary to remark that the egg-shell will not travel uphill, and the plate must, therefore, be gradually shifted around, as well as sloped, so that the shell may always have an inch or two of the descending plane before it. The slight cohesion caused by the water which moistens the plate counteracts the centrifugal force and so prevents the eggshell falling off the edge of the plate.

ADVICE

Pencil and paper having been given the players, each writes a piece of advice and folds his paper. He passes it to his neighbour, who before opening it, tells whether he thinks the advice good or bad. If he guesses correctly, he scores a point. The game goes on this way, each at the table taking a turn when new advice is written and passed along. This is done as many times as the hostess desires. The one getting the most points is a winner.

WORDS

Each player receives a pencil and paper. He is then told to make as many words as he can from a given word of fifteen letters, or more. It is surprising how many words can be thus made. The winner is the one fashioning the greatest number of words. A book is given him as a prize.

FLAGS OF ALL NATIONS

You can learn the colours of the flags of all nations by referring to a large dictionary, or to a book on flags. The flags are drawn with coloured crayons, or painted in watercolours, on a large watercolour card, or a sheet of watercolour paper. Large cards with numbers down the sides are given to each player, with a pencil. The card of flags is then hung where all can see it, and half an hour is allowed for all to guess the countries to which the flags belong. The answers are written on the individual cards, and the papers are signed with the names of the players. A prize is given to the player who has the greatest number of correct answers.

ANOTHER GAME OF WORDS

The players, each of whom is supplied with paper and pencil, are divided equally into two sides, and the leader, having selected a word, suppose “notwithstanding,” each party sets to work to see how many different words they can make with the same letters. (Thus from the word above suggested may be made “not, with, stand, standing, gin, ton, too, wig, wit, his, twit, tan, has, had, a nod, tow, this, sat, that, sit, sin, tin, wink, what, who, wish, win, wan, won,” and probably a host of others.) A scrutiny is then taken, all words common to both parties being struck out. The remainder is then compared, and the victory is adjudged to the one having the largest number of words.

GRAMMATICAL GAME

This is played by each person drawing, say, twenty letters haphazard, and trying to form them into a phrase or sentence, the palm of merit being awarded to the player who, at the same time, produces the most coherent phrase, and also succeeds in using the greatest proportion of the letters assigned to him.

MENAGERIE

This is a very fun game if the ringmaster keeps up a running fire of witty remarks. He stands in the circle of animals– otherwise, guests–and, whip in hand, shows off his animals, and their tricks, singly, and in groups. The lion roars, as well as performance; the dog barks and performs the tricks he is told to show off; the canary warbles its song; the bee buzzes; the donkey brays, baulks and kicks, etc. At the end of the performance, there is a grand circus parade, with music.

PRINCE OF INDIA

The players are numbered from one upward. The leader stands in front of them and says: “The Prince of India has lost his pearl. Did you find it, number seven?” Upon this, number 7 replies, jumping to his feet quickly:

“I, sir, I?”

The leader replies, “Yes, you, sir!” Number 7 says: “Not I, sir!” Leader: “Who then, sir, if not you?” Number 7: “Number 4, sir.”

Number 4 jumps up, and says: “What, sir? I, I?” Leader: “Yes, sir; you, you.”

Number 4: “Not I, not I, sir.”‘ Leader: “Who then, sir?” Number 4: “Number 2, sir.”‘

Then number 2 jumps to his feet.

This goes on until the leader reaches the last one in the circle. If he can repeat again “The Prince of India has lost his pearl,” before this one can jump to his feet, they exchange places.

EXCHANGE

A blindfolded player stands in the centre; the others are seated about him in a circle. Each one is numbered. The blindfolded player calls out two numbers, whereupon the players bearing those numbers exchange places, the blindfolded player trying Meanwhile either to catch one of the players or to secure one of the chairs.

Any player so caught must yield his chair to the catcher. No player may go outside of the circle formed by the chairs.

HUNT THE RING

All the players stand in a circle holding a long cord, which forms an endless band upon which a ring has been slipped before it was joined at the ends. This ring is passed rapidly from one player to another–always on the cord and concealed by the hand–while somebody in the centre endeavours to seize the hands of the person who holds it, who, when actually caught, takes his place within the circle. If the circle is very large, two rings may be slipped upon the cord, and two players placed in the centre together. A small key may be used instead of a ring, while still another variation is to have the concealed object a small whistle with a ring attached. When this is adopted, an amusing phase of the game is to secretly attach a string to the whistle and fasten this to the back of the player in the centre by means of a bent pin at the other end of the string. Then while feigning to pass the whistle from hand to hand, it is occasionally seized and blown upon by someone in the ring, toward whom the victim is at that moment turning his back, causing that individual to be greatly puzzled.

SHADOW BLUFF

A sheet being stretched across one end of the room, one of the players being seated upon a low stool facing it, and with his eyes fixed upon it. The only light in the room must be a lamp placed on a table in the centre of the room. Between this lamp and the person on the stool, the players pass in succession, their shadows being thrown upon the sheet in strong relief. The victim of the moment endeavours to identify the other players by their respective shadows, and if he succeeds the detected party must take his place. It is allowable to make detection as difficult as possible by means of any available disguise that does not conceal the whole person, and grimacing, a contortion of form, etc.

GUESSING EYES AND NOSES

A sheet is fastened up between two doors. Holes are cut in it, and some of the party go behind the sheet and stand with their eyes at the holes, while the others must guess to whom the eyes belong. Failing to guess correctly, they must give a forfeit.

THE TAILLESS DONKEY

An amusing game, at which any size party may play and enjoy it for hours. Cut a large figure of a donkey, minus a tail, from dark paper or cloth, and pin it upon a sheet stretched tightly across a doorway. Each player is given a piece of paper, which would fit the donkey for a tail if applied. On each tail is written the name of the person holding it. When all is ready, the players are blindfolded in turn–placed facing the donkey a few steps back in the room– then turned around rapidly two or three times, and told to advance with the tail held at arm’s length, and with a pin previously inserted in the end, attach it to the figure of the donkey wherever they first touch it. When the whole curtain is adorned with tails–(not to mention all the furniture, family portraits, etc., in the vicinity)–and there are no more to pin on, the person who has succeeded in fastening the appendage the nearest to its natural dwelling place, receives a prize, and the player who has given the most eccentric position to the tail entrusted to his care, receives the “booby” prize, generally some gift of a nature to cause a good-humored laugh.

THROWING THE HANDKERCHIEF

A very old and still quite popular game. The company being seated around the room in a circle, someone stationed in the centre throws an unfolded handkerchief to one of the seated players. Whoever receives it must instantly throw it to someone else, and so on, while the person in the centre endeavours to catch the handkerchief in its passage from one player to another. If he catches it, as it touches somebody, that person must take his place in the centre. If it is caught in the air, the player whose hands it last left enters the circle. The handkerchief must not be knotted or twisted but thrown loosely.

MAGIC MUSIC

A beautiful game, which amuses even the mere spectator as much as it does the players. One of the company sits at the piano while another leaves the room. The rest of the party then hide some article, previously agreed upon, and recall the absent player. At his entrance the pianist begins playing some lively air, very softly, keeping up a sort of musical commentary upon his search, playing louder as he approaches the goal, and softer when he wanders away from it. In this way, he is guided to at last discover the object of his search.

CUSHION DANCE

The cushions are set upright in a circle on the floor. The players then join hands and form a ring round them. The circle formed by the cushions should be almost as large as the ring formed by the players, and the cushions may be placed at a considerable distance apart. The players in the ring dance round; and each player, as he dances, tries to make his neighbours knock over the cushions. He, however, avoids knocking over any himself. The players should not break the ring, as the penalty to one letting go hands is expulsion from the ring. If it is preferred, Indian clubs placed on end may be substituted for the cushions.

MUSICAL INSTRUMENTS

The players sit in a circle and form an orchestra. The conductor stands in the centre. A tune is decided on, and the instruments are selected. Then the conductor beats time, and each player imitates as well as he can the sound of his instrument, and the motion used in playing it. Suddenly the conductor turns to one of the players and asks, “What is the matter with your instrument?” and immediately counts ten. Before he finishes counting, the player who has been questioned must begin an answer which is appropriate to his instrument. If his answer is inappropriate, or if it is not begun before the counting stops, he must change places with the conductor.Whenever the conductor claps his hands the music must stop, and the players must remain in the attitudes in which they were when he gave the signal. Anyone who fails to stop humming, or who changes his position, must become

Whenever the conductor claps his hands the music must stop, and the players must remain in the attitudes in which they were when he gave the signal. Anyone who fails to stop humming, or who changes his position, must become a leader. The same conductor may continue throughout the game. The person who fails in any of the requirements of the game then pays a forfeit.

ANIMAL BLINDMAN’S BLUFF

A blindfolded player stands in the centre of a circle with a

wand, stick, or cane in his hand. The other players dance around him in a circle until he taps three times on the floor with the cane, when all must stand still. The blindfolded one points his cane in any direction. The one directly opposite it must make a noise like an animal. From this, the person in the centre of the ring guesses the other’s identity. If he does so, there is an exchange of places.

MY LADY’S TOILET

This is a French game. In it, each player is named for some article of “My Lady’s Toilet,” such as her gown, her hat, her gloves, etc. The players sit in a circle, and when the leader mentions an article of the toilet, the one who is named for it must rush to the centre of the ring before the platter stops spinning there. If successful, he or she takes the place of the spinner in the centre of the ring. If unsuccessful, the person returns to his or her place. The leader may keep up the interest of the game by comments on the toilettes. This is most interesting in story form. A variation of this game introduces the word ball. Whenever this is spoken of, the players must jump up and change places, the spinner trying to secure a seat in the general confusion. The odd player becomes a spinner.

MARY AND JOHN

The players–all but two–form a circle and clasp hands. Two odd players in the centre are called, “Mary” and “John.” The object of the game is for John to catch Mary. As he is blindfolded, he can only locate her in her stealthy movements by the sound of her muffled voice. When he says, “Mary, where are you?” she must answer as often as he questions her. Mary may stoop or tiptoe, or resort to any means to escape capture, except leaving the ring. When Mary is captured she is blindfolded and John takes her seat. So the game goes on after Mary has chosen a new John.

GOING TO JERUSALEM

This is a piano game but does not require great skill. One person goes to the piano, while the others arrange in a line as many chairs, less one, as there are players, the chairs alternately facing opposite directions. Then, as the pianist begins to play, the others commence marching around the line of chairs, keeping time to the music. When this suddenly ceases, everybody tries to sit down, but as there is one less chair than players, somebody is left standing and must remain out of the game. Then another chair is removed, and the march continues, until the chairs decrease to one, and the players to two. Whichever of these succeed in seating himself as the music stops, has won the game.

“WHAT D’YE BUY?”

This game may be played by any number from three to thirteen. There are a dozen good-sized pieces of cardboard, each bearing a coloured illustration of one of the “trades” following, viz.: a milliner, a fishmonger, a greengrocer, plumber, a music-seller, a toy man, Mason, a pastry-cook, a hardware-man, a tailor, a poulterer, and a doctor. Besides these, there are a number of smaller tickets, half a dozen to each trade. Each of these has the name of the particular trade, and also the name of some article in which the particular tradesman in question may be considered to deal. A book accompanies the cards, containing a nonsense story, with a blank at the end of each sentence.One of the players is chosen as leader, and the others each select a trade, receiving the appropriate picture, and the six cards containing the names of the articles in which the tradesman deals. He places his “sign” before him on the table, and holds the remainder of his cards in his hand. The leader then reads the story, and whenever he comes to one of the blanks, he glances towards one of the other players, who must immediately, under penalty of a forfeit, supply the blank with some article he sells, at the same time laying down the card bearing its name. The incongruity of the article named with the context makes the fun of the game, which is heightened by the vigilance which each player must exercise in order to avoid a forfeit. Where the number of players is very small, each may undertake two or more trades. We will give an illustration. The concluding words indicate the trade of the person at whom the leader glances to fill up a given hiatus.

“Ladies and gentlemen, I propose to relate some curious adventures which befell me and my wife Peggy the other day, but as I am troubled with a complaint called ‘Non-mi Ricardo,’ or the ‘Can’t remembers,’ I shall want each of you to tell me what you sell; therefore, when I stop and look at one of you, you must be brisk in recommending your goods. Whoever does not name something before I count ‘three’ must pay a forfeit. Attention! “Last Friday week I was awakened very early in the morning by a loud knocking at my door in Humguffin Court. I got up in a great fright and put on”–(looks at Toyman, who replies, “A fool’s cap and bells,” and lays down that card).

“When I got downstairs, who should be there but a fat porter, with a knot, on which he carried”–(Poulterer) “a pound of pork sausages.”

“‘Hallo!’ said I, ‘my fellow, what do you want at this time of day?’ He answered”–(Fishmonger) “‘A cod’s head and shoulders.'”

“‘Get along with you,’ I said; ‘there’s my neighbour, Dr Drenchall, I see, wants'”–(Butcher) “‘a sheep’s head.'”

“I now went up to shave, but my soap-dish was gone, and the maid brought me instead”–(Milliner) “a lady’s chip hat.”

“My razor had been taken to chop firewood, so I used”– (Greengrocer) “a cucumber.”

THE LEMON PIG

The body of the pig consists of a lemon. The shape of this fruit renders it particularly well adapted for this purpose, the crease or shoulder at the small end of the lemon is just the right shape to form the head and neck of the pig. With three or four lemons to choose from, you cannot fail to find at least one which will answer the purpose exactly. The mouth and ears are made by cutting the ring with a penknife, the legs of short ends of lucifer matches, and the eyes either of black pins, thrust in up to the head, or grape stones.

THE SEASICK PASSENGER

The requirements for this touching picture are an orange, a pocket handkerchief or soft table napkin, and a narrow water goblet. The orange is first prepared by cutting in the rind with a penknife the best ears, nose, and mouth which the artist can compass, a couple of raisin-pips supplying the place of eyes. A pocket handkerchief is stretched lightly over the glass, and the prepared orange laid thereon. The pocket-handkerchief is then moved gently backwards and forward over the top of the glass, imparting to the orange a rolling motion, and affording a laughable but striking caricature of the agonies of a seasick passenger.

“I then washed my face in”–(Doctor) “a cup of quinine,” “cleaned my teeth with”–(Fishmonger) “a fresh herring,” and “combed my hair with”–(Pastrycook) “a jam tart.”

“My best coat was taken possession of by pussy and kittens, so I whipped on”–(Hardware-man) “a dripping pan.”

“The monkey, seeing how funny I looked, snatched off my wig, and clapped on my head”–(Poulterer) “a fat hen.”

“I now awoke my wife, and asked her what she had nice for breakfast; she said”–(Doctor) “a mustard plaster.”

“Then I scolded Sukey, the servant, and called her”–(Poulterer) “a tough old turkey.”

“But she saucily told me I was no better than”–(Music-seller) “an old fiddle.”

“I soon had enough of that, so I asked my wife to go with me to buy”–(Tailor) “a pair of trousers.”

“But she said she must have her lunch first, which consisted of—

” etc., etc., through half a dozen pages, the tradesmen supply more or less appropriate articles to fill up the gaps in the discourse.

THE ENCHANTED RAISINS

Take four raisins or bread-pills, and place them about a foot apart, so as to form a square on the table. Next fold a couple of table-napkins, each into a pad of five inches square. Take one of these in each hand, the fingers under most and the thumb uppermost. Then inform the company that you are about to give them a lesson in the art of hanky-panky, etc., and in the course of your remarks, bring down the two napkins carelessly over the two raisins farthest from you. Leave the right-hand napkin on the table, but, in withdrawing the hand, bring away the raisin between the second and third fingers, and at the same moment remarking, “You must watch particularly how many raisins I place under each napkin.” Lift the left napkin (as if merely to show that there is one raisin only beneath it), and transfer it to the palm of the outstretched right hand, behind which the raisin is now concealed. Without any perceptible pause, but at the same time without any appearance of haste, replace the folded napkin on raisin No. 2, and in so doing, leave raisin No. 1 beside it. Now take up raisin No. 3 (with the right hand). Put the hand on the table, and in doing so get raisin No. 3 between the second and third fingers, as much behind the hand as possible. Give a rap with the knuckles on the underside of the table, at the same time saying, “Pass!” and forthwith pick up the left-hand napkin with the left hand, showing the raisins 1 and 2 beneath it. All eyes are drawn to the two raisins on the table, and as the right hand comes into sight from beneath the table, the left quietly transfers the napkin to it, thereby effectually concealing the presence of raisin No. 3. The napkin is again laid over raisins 1 and 2, and No. 3 is secretly deposited with them. No. 4 is then taken in the right hand, and the process repeated, when three raisins are naturally discovered, the napkin being once more replaced, and No. 4 left with the rest. There are now four raisins under the left-hand napkin, and none under that on the right hand, though the spectators are persuaded that there is one under the latter and only three under the former. The trick being now practically over, the performer may please himself as to the form of the denouement, and, having gone through an appropriate form of incantation, commands the imaginary one to go and join the other three, which is found to have taken place accordingly.

THE DEMON LUMP OF SUGAR

The performer commences by borrowing two hats, which he places, crowns upward, upon the table, drawing particular attention to the fact that there is nothing whatever under either of them. He next demands the loan of the family sugar basin and requests someone to select from it a lump of sugar (preferably one of an unusual and easily distinguished shape), at the same time informing them that, by means of a secret process, only known to himself, he will undertake to swallow such lump of sugar before their eyes, and yet, after a few minutes’ interval, bring it under either of the two hats they may choose. The company, having been prepared by the last trick to expect some ingenious piece of sleight-of-hand, are all on the qui vive to prevent any substitution of another lump of sugar, or any pretence of swallowing without actually doing so. However, the performer does unmistakably take the identical lump of sugar chosen and crushes it to pieces with his teeth. He then asks, with unabated confidence, under which of the two hats he shall bring it, and, the choice having been made, places the chosen hat on his own head, and in that way fulfils his undertaking.

THE MYSTERIOUS PRODUCTION

This is another feat of the genus “sell,” and to produce due to the effect should only be introduced after the performer has, by virtue of a little genuine magic, prepared the company to expect from him something a little out of the common. He begins by informing the spectators that he is about to show them a great mystery, a production of nature on which no human being has ever yet set eye, and which, when they have once seen, no human being will ever set eyes on again. When the general interest is sufficiently awakened, he takes a nut from the dish, and, having gravely cracked it, exhibits the kernel, and says, “Here is an object which you will admit no human being has ever seen, and which” (here he puts it into his mouth and gravely swallows it) “I am quite sure nobody will ever see again.”

THE FAMILY GIANT

A very fair giant, for domestic purposes, may be produced by the simple expedient of setting a young lad astride on the shoulders of one of the older members of the company and draping the combined figure with a long cloak or Inverness cape. The “head” portion may, of course, be “made up” as much as you please, the more complete the disguise the more effective being the giant. A ferocious-looking moustache and whiskers will greatly add to his appearance. If some ready-witted member of the party will undertake to act as a showman, and exhibit the giant, holding a lively conversation with him, and calling attention to his gigantic idiosyncrasies, a great deal of fun may be produced. The joke should not, however, be very long continued, as the feelings of the “legs” have to be considered. If too long deprived of air and light they are apt to wax rebellious, and either carry the giant in the directions he would fain avoid, or even occasionally to strike together and bring the giant’s days to a sudden and undignified termination.

“THE WHAT-DO-YOU-THINK?”

The exhibitor begins, in proper showman style: “Ladies and gentlemen, I have the pleasure of exhibiting to your notice the celebrated ‘What-do-you-think?’ or Giant Uncle-Eater. You have all probably heard of the Ant-Eater. This is, as you will readily perceive, a member of the same family, but more so! He measures seven feet from the tip of his snout to the end of his tail, eight feet back again, five feet around the small of his waist, and has four feet of his own, making twenty-four in all. In his natural state he lives chiefly on blue-bottle flies and mixed pickles, but in captivity, it is found that so rich a diet has a tendency to make him stout, and he is now fed exclusively on old corks and back numbers of some daily paper. His voice, which you may perhaps have an opportunity of hearing (here the ‘What-do-you-think?’ howls dismally), is in the key of B flat and is greatly admired. People come here before breakfast to hear it, and when they have heard it, they assure us that they never heard anything like it before. Some have even gone so far as to say that they never wish to hear anything like it again,”‘ etc. The “What-do-you-think?” is manufactured as follows: The performer, who should have black kid gloves on, places on his head a conical paper cap, worked up with the aid of the nursery paint box into a rough semblance of an animal’s head. This being securely fastened on, he goes down on his hands and knees and a shaggy railway rug (of fur, if procurable) is thrown over him and secured around his neck when the animal is complete.

THE KNIGHT OF THE WHISTLE

This is a capital game for everybody but the victim and produces much fun. Someone who does not know the game is chosen to be Knight of the Whistle, and is commanded to kneel down and receive the honor of knighthood, which the leader (armed with a light cane, the drawing- room poker, or another substitute for a sword) confers by a slight stroke on the back. While placing him in position, the opportunity is taken to attach to his back, by means of a bent pin or otherwise, a piece of string about a foot in length, to which is appended a small light whistle. Having been duly dubbed, in order to complete his dignity, he is informed that he must now go in quest of the whistle, which will be sounded at intervals, in order to guide him in his search. Meanwhile, the other players gather in a circle round him, making believes in passing an imaginary object from hand to hand. The victim naturally believes that this imaginary object must be the long-lost whistle, and makes a dash for it accordingly when the player who happens to be behind his back blows the actual whistle and instantly drops it again. Round flies the unhappy knight and makes a fresh dash to seize the whistle, but in vain. No sooner has he turned to a fresh quarter than the ubiquitous whistle again sounds behind his back. If the game is played smartly, and care is taken not to pull the cord, the knight may often be kept revolving for a considerable period before he discovers the secret.

“HE CAN DO LITTLE.”

This is another “sell” of almost childish simplicity, but we have seen people desperately puzzled over it, and even “give it up” in despair. The leader takes a stick (or poker) in his left hand, thence transfers it to his right, and thumps three times on the floor, saying: “He can do little who can’t do this.” He then hands the stick to another person, who, as he supposes, goes through exactly the same performance; but if he does not know the game, is generally told, to his disgust, that he has incurred a forfeit, his imitation not have been exact. The secret lies in the fact that the stick, when passed on, is first received in the left hand and thence transferred to the right before going through the performance.

“THROWING LIGHT.”

Two of the company agree privately upon a word (which should be one susceptible of two or three meanings), and interchange remarks tending to throw light upon it. The rest of the players do their best to guess the word, but when any of them fancies he has succeeded, he does not publicly announce his guess but makes such a remark as to indicate to the two initiated that he has discovered their secret. If they have any doubt that he has really guessed the word, they challenge him, i.e., require him to name it in a whisper. If this guess proves to be right, he joins in conversation, and assists in throwing light on the subject; but if, on the other hand, he is wrong, he must submit to have a handkerchief thrown over his head, and so remain until by some more fortunate observation he shall prove that he really possesses the secret. We will give an example. Mr A. and Miss B. have agreed on “bed” as the word, and proceed to throw light upon it, alternating upon its various meanings of a place of repose, a part of a garden, or the bed of a river. Miss B. I don’t know what your opinion may be, but I am never tired of it. Mr A. Well, for my part, I am never in a hurry, either to get to it or to leave it. Miss B. How delightful it is after a long, tiring day!

Mr A. Yes. But it is a pleasure that soon palls. The most luxurious person does not care for too much of it at a stretch. Miss B. Oh, don’t you think so. In early spring, for instance, with the dew upon the flowers! Mr A. Ah! you take the romantic view. But how would you like it beneath some rapid torrent or some broad majestic river?

Miss C. (thinks she sees her way and hazards a remark). Or in a sauce?

Mr A. I beg your pardon. Please tell me in a whisper what you suppose the word to be?

Miss C. (whispers) Fish! What! isn’t that right?

Mr A. I am afraid you must submit to a temporary eclipse. (Throws her handkerchief over her face.)

Mr A. to Miss B. You mentioned spring, I think. For my own part, I prefer feathers.

Mr D. (rashly concludes, from the combination of “spring” and “feathers,” that spring chickens must be referred to). Surely you would have them plucked?

Mr A. (looks puzzled). I think not May I ask you to name your guess? Oh, no, quite out. I must trouble you for your pocket handkerchief.

Miss B. It is curious, isn’t it, that they must be made fresh every day?

Mr A. So it is; though I confess it never struck me in that light before. I don’t fancy, however, that old Brown, the gardener, makes him quite so often.

Miss B. You may depend that he has it made for him, though.

Miss C. (from under the handkerchief). At any rate, according to as he makes it, his fate will be affected accordingly. You know the proverb?

Mr A. (removing the handkerchief). You have fairly earned your release. By the way, do you remember an old paradox upon this subject, “What nobody cares to give away, yet nobody wishes to keep?”

Miss E. Ah! now you have let out the secret. I certainly don’t wish to keep mine for long together, but I would willingly give it away if I could get better.

Miss B. Tell me your guess.

(Miss E. whispers.) Yes, you have hit it. I was afraid Mr A.’s last “light” was rather too strong.

And so the game goes on, until every player is in the secret, or the few who may be still in the dark “give it up” and plead for mercy. This, however, is a rare occurrence, for, as the company, in general, become acquainted with the secret, the “lights” are flashed about in a rash and reckless manner, till the task of guessing becomes almost a matter of course to an ordinarily acute person.


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