Chapter III: Part 3

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.

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.