Chapter V: Part 5

THE science of Acoustics furnished the ancient sorcerers with some of their most complete deceptions. The imitation of thunder in their subterranean temples did not fail to indicate the presence of a supernatural agent. The golden virgins, whose ravishing voices resounded through the temple of Delphos; the stone from the river Pactoles, where trumpet notes scared the robber from the treasure which it guarded; the speaking head, which uttered its oracular responses at Lesbos; and the vocal statue of Memnon, which began at the break of day to accost the rising sun, were all deceptions derived from science, and from a diligent observation of the phenomena of nature.

TO SHOW HOW SOUND TRAVELS THROUGH A SOLID.

TAKE a long piece of wood, such as the handle of a broom, place a watch at one end, apply your ear to the other, and the ticking will be distinctly heard.

A SINGULAR EXAMPLE OF SUPERSTITION.

THE following _true story_ was related to me by one who was personally acquainted with the facts. There was a certain bend in one of our western rivers which was avoided by every one, as it was supposed to be haunted by the devil. At a certain hour in the evening, for many years, terrible curses were distinctly heard. Suddenly they ceased. A gentleman skilled in the science of acoustics, hearing an account of the strange phenomena, determined to ascertain the cause, and carefully examined the river on each side for about a mile above and below the bend. He ascertained that at about the time the sounds ceased, an old fisherman, who had lived on the opposite side of the river, full a mile from the spot where the curses were heard, had died. He was told that the fisherman was in the habit of crossing the river to a village, where he found a market for his fish, and where he spent his money for liquor, and that after drinking freely on his way home, while rowing across the river at night, he would swear terribly. This gentleman then persuaded a friend to go down the river to the place where the curses were formerly heard, while he remained in a boat on the river at the point at which the old man usually crossed. He then played on a bugle and sung several songs. His friend soon returned, and with eager delight exclaimed: “Oh, ——, such glorious music fills the air just where the curses used to be heard.” The neighbors came rushing down to hear it, and some fell on their knees praying; they said “the angels have driven the devil away.” Mr. —— then asked what were the songs they heard. His friend described them correctly, and said he understood even the words, one of them being the famous Marseillaise, another a German song; the foreign words made the ignorant more sure that the sounds were supernatural. Mr. —— then played on the bugle and sang again the same songs, while his friend stood by; but his friend said the music was not equal to that he had heard below, where the sounds had really seemed heavenly.

The peculiar configuration of the river banks had concentrated the sounds, and the distance and the water had softened them.

The person who related this anecdote to me said that he and his friend had often tried the experiment. Nothing would convince the more ignorant neighbors that the sounds were occasioned by merely natural causes. A love of the supernatural is strong within us, and sometimes leads us into grave mistakes.

THEORY OF THE VOICE.

PROVIDE a species of whistle common as a child’s toy, or a sportsman’s call, in the form of a hollow cylinder, about three-fourths of an inch in diameter, closed at both ends, by flat circular plates with holes in their centres. Hold this toy between the teeth and the lips; blow through it, and you can produce sounds, varying in pitch with the force with which you blow. If the air be cautiously graduated, all the sounds within the compass of a double octave may be produced from it; and, if great precaution be taken in the management of the breath, even deeper tones may be brought out. This simple instrument, or toy, has indeed the greatest resemblance to the larynx, which is the organ of the voice.

THE VISIBLY GROWING ACORN.

CUT a circular piece of card to fit the top of a hyacinth glass, so as to rest upon the ledge, and exclude the air. Pierce a hole through the centre of the card, and pass through it a strong thread, having a small piece of wood tied to one end, which, resting transversely on the card, is prevented from being drawn through. To the other end of the thread attach an acorn; and having half filled the glass with water, suspend the acorn at a short distance from the surface. The glass must be kept in a warm room; and in a few days the steam which has generated in the glass will hang from the acorn in a large drop. Shortly afterwards the acorn will burst, the root will protrude and thrust itself into the water; and in a few days more a stem will shoot out at the other end, and rising upwards, will press against the card, in which an orifice must be made to allow it to pass through. From this stem small leaves will soon begin to sprout; and in the course of a few weeks you will have a handsome oak plant, several inches in height.

Dancing.

DANCING is the most agreeable of all indoor pastimes that combine pleasure with healthful exercise. It also gives grace and elasticity to the movements. The modern gymnasium has many of the attractions of our dancing schools, but its exercises are often too violent for delicate children. The dancing school has proved physically beneficial to many who have been sent to it as an experiment, at an early age. Such exercise invigorates the frame and does more for permanent health than can be accomplished by medicine. Exercise, to be beneficial, must have some pleasant excitement connected with it.

It is a pleasant sight to see a home circle, old and young, joining in a lively quadrille, or an old fashioned contra dance, in the early evening hour, either the mother or a daughter presiding at the piano. How joyously even children of three and four years old make their tiny feet move in time to merry music. “Pop goes the Weasel” is a dance only suited to little children, and they are apt scholars and can all join in singing the popular tune. It may be well to give the directions for this and a few other dances.

POP GOES THE WEASEL.

THIS is an old English dance revived. The positions first taken are the same as in the contra dance, the ladies and gentlemen being placed in lines opposite to each other. The couple at the top begin the figures. They first dance down outside the lines and back, then join hands and down the middle, then join hands with the lady of the couple next to them and the three dance around in a circle till the music comes to “Pop goes the Weasel.” As they sing that, the second lady passes quickly under the joined hands of the couple dancing, and goes to her place; the same couple then join hands with the gentleman opposite, and at the proper time he pops under their joined hands in like manner; then down outside, back again and join hands and down the middle; then take the next lady and dance around as before. So on through the whole line. As soon as the top couple have danced down twice, the next couple begins. If there are long lines, there is often a number of couples dancing together, and when all sing in time the dance is very pretty.

LANCERS.

THIS, also, is a very old English dance. There are innumerable changes, but those given here are the most popular.

First Change.

First lady and opposite gentleman forward and back; same couple forward a second time, turn with right hand, and return to places. First and second couple cross over, first couple joining hands and passing between the second couple, and return to places, the second couple joining hands and passing between the first. Balance at the corners, the four ladies to the gentlemen on the right, gentlemen facing the left, to return the balance. Turn partners with both hands to places. Same for the other three couples.

Second Change.

First couple forward and back. Forward a second time and leave lady in front of opposite couple facing her partner, gentleman returning to place. The same couple chassez to right and left, and turn to places with both hands. All eight forward and back in two lines; forward and turn partners to places. In forming two lines first and second times, the side couples separate from their partners, and join each side of the head couples, forming two lines, four on a side; third and fourth times the head couples join the sides.

Third Change.

First gentleman and opposite lady forward and back. Forward a second time and salute with a low bow and low graceful courtesy and return to places. The four ladies then form a windmill by giving their right hands, while the four gentlemen take their left hands, with their left hands, all facing the same direction, and promenade entirely around, and turn partners to places.

Ladies grand chain is danced in Paris in place of the windmill. The three other couples dance the same.

Fourth Change.

First couple visit the couple on the right hand, salute with bow and courtesy. Visit the couple on the left and salute, then change across and salute same couple again. First couple return to place. Right and left with opposite couples. The other three couples dance the same. In Paris they dance it double, first and second couples at the same time, and so on.

Fifth Change.

Grand right and left. First couple turn and face outward. Then couple on the right take their place behind the first, then the couple on the left, the second couple behind all. All chassez across and back, gentlemen passing behind ladies. Promenade outside, ladies to the left. Gentlemen to right, meeting at the bottom, and coming up together. All eight forward and back, ladies on one side, gentlemen on the other. All forward and turn partners to places. This is danced through till each couple has taken turn in being the leaders.

GRAND SQUARE.

At the same time, the first lady and second gentleman, and the second lady and first gentleman join hands and turn to the sides, while the third lady and fourth gentleman and fourth lady and third gentleman passing on the outside of the first and second couples, join hands and take the latters’ place. Then they pass on the inside and the others on the outside, each taking his own partner to place. Then repeat, only reversing it, by the first and second couples going on the outside first, and the third and fourth inside.

LE PRINCE IMPERIAL QUADRILLE.

(A new change introduced by the Empress Eugenie.)

First Change.

LE CHAINE CONTINUE DES DAMES.

HEAD couples to sides. First and second couples lead to right hand couples, and all salute, (viz: first couple to third, second to fourth.) First and second gentlemen retaining partner’s hand, take with their left hands, the left hands of the side ladies. The two threes thus promenade to places of head couples, second to first couples’ place, first to second couples’ place, all facing the centre. Ladies grand chain; the four ladies, without the gentlemen, make a movement like the grand chain of the “Lancers,” by crossing over from head to head of sets, giving right hands; passing from side to side, giving left hands; again back from head to head of set, giving right hands, and across again to side, giving left hands, ending with each lady in front of her partner, lady facing outward. All chassez to right and left and turn partners. By repeating this figure the first and second couples return to places, after which the side couples dance the figure twice through.

Second Change.

LA NOUVELLE TRENIS.

First gentleman and second lady forward, and turn with both hands, both stopping in front and facing the lady who was left in her place. Cross over; the single lady passes between this couple and crosses to opposite gentleman, giving him her left hand, (that gentleman giving his left hand also,) and turn to lady’s place on right of that gentleman; at the same time the other two cross over to first couple’s place, and turn with left hands and face opposite couple. Forward four and back; half ladies’ chain, (the ladies thus return to partners.) All eight chassez across and turn at corners. All chassez back and turn partners.

Third Change.

LA CORBEILLE.

First gentleman leaves lady in the center, (the lady facing outward,) separating with salute. Second gentleman the same; third gentleman the same; fourth the same. Ladies hands around; the four ladies thus back to back take hands and round to right, stopping in front of partners. Gentlemen forward. The four gentlemen advance and give right hands to partners and left hands to next lady, and make a large circle. All balance in circle and turn partners to place.

Fourth Change.

LA DOUBLE PASTOURELLE.

Forward four. First and second couples forward and back; leave partners on sides; first gentleman leaves his lady on left of third gentleman, and returns to place; at the same time the second lady leaves her gentleman on right of fourth lady, and retires to place; forward six; the six on sides forward and back twice; two forward; the first gentleman and second lady forward and back. Forward again, salute, and pass to side where partners are. Four hands half around, with sides. Right and left to places.

Fifth Change.

LA TOURBILLON

Ladies to right. The four ladies pass to the gentleman next on their right, and turn with him, both giving right hands. They pass again to the right, and turn with next gentleman, (with same hands.) They pass again and turn, finally pass again to the right, which brings all to partners. First couple forward and back. Turn with right hands ending in centre, face to face. All four to right and left. Turn to places.

After the ladies repeat the first sixteen bars of this figure a fifth time, all the gentlemen place their partners in the centre, facing outward, each lady thus facing her own partner. Then the quadrille thus terminates by all saluting.

COMMON COTILLION.

First Change.

FIRST and second couples right and left. The same couples balance. Ladies chain. Same half promenade, half right and left back.

Second Change.

Forward two, first lady and second gentleman then cross over, chassez and return to places. Balance. Each couple the same.

Third Change.

Right hand across, first and second couples cross over giving right hands to opposites as they pass. Left hands back, which are retained, giving right hands to partners, thus forming a circle in the middle of the set. Balance in a circle, then cross to opposite sides; chassez. Two ladies forward and back; two gentlemen the same; four forward and back; right and left to places. Head couples repeat, then the sides the same.

Fourth Change.

Forward four and back; forward a second time, first gentleman leaving first lady on the left of opposite gentleman; three forward twice, second time first gentleman handing both ladies to opposite gentleman; three forward twice on opposite side, the second time stop in the centre; four hands half around to the right and cross over. Right and left to places. Head couples repeat, then the sides go through the same figure.

Fifth Change.

JIG DANCE.

Hands all around. All the ladies balance to and turn gentlemen on the right, pass to the next, balance, &c.; so on all around. Hands all around, or promenade all. Gentlemen then pass to the right, the same as the ladies. All promenade or hands all around.

BASKET DANCE.

FORWARD two; balance; ladies’ hands around in centre; left to right; gentlemen join hands outside the ladies and pass around, stopping on the left of partners; gentlemen pass their joined hands over the heads of ladies, (ladies standing still,) and form the basket; all balance and turn partners.

WHITE COCKADE.

FIRST couple balance to right; four hands around; first couple balance to left; four hands around; hands all around. This is repeated by the other couples.

THE WALTZ AND POLKA QUADRILLE.

THE changes in these quadrilles are the same as in the common cotillion, except that a waltz or polka is played, and all the changes are danced either with the waltz or polka step, and at the end of each change, all waltz or polka around.

SIR ROGER DE COVERLEY, OR VIRGINIA REEL.

DANCED with eight couples or more in two lines, the ladies on one side, gentlemen on the other, facing each other. The top lady and bottom gentleman execute each figure, and are immediately followed by the bottom lady and top gentleman, in the following order: forward and back; forward and turn with the right hand and back to places; turn with the left and back; then with both hands and back, forward and dos a dos and back; forward and back; (this is often danced by the two top ladies, and two bottom gentlemen, at once; it is prettier than in couples.) The lady then turns with the left hand, every gentleman down the line, while her partner turns every lady, turning his partner alternately with the right hand. When arrived at the bottom, chassez back to the head, separate from partner, lady passing down the line outside of the ladies, and the gentleman outside the gentlemen, all in each line following, meeting partners at the bottom and then chassez up the centre, when first couple chassez down the middle and take their positions below the last couple. The figure is continued by the new couple at the head, and so on, till all have danced the whole figure.

THE NINE-PIN DANCE.

EIGHT must form a cotillion; the ninth must stand at the side and call any changes he pleases, and lastly call grand right and left. When he claps his hands, they must all promenade. The one calling must then, if possible, secure a partner. If the attempt is successful, the one left out must call the changes of the dance; and so on.

CALEDONIAN QUADRILLES.

First Change.

FIRST and second couples cross right hands, left hands back; balance, and turn partners; ladies’ chain; half promenade and half right and left to places. Repeat twice.

Second Change.

Gentlemen forward and back twice; all balance to corners and turn each lady, passing into the next lady’s place; all promenade. This figure to be repeated four times.

Third Change.

First lady and opposite gentleman forward and back twice; first couples pass between opposite couples in crossing over, and return outside; balance to corners, and turn to places; all join hands in a circle and forward and back twice. Repeat four times.

Fourth Change.

First lady and opposite gentleman forward and stop; partners the same; turn partners to their places; four ladies change places to the right; gentlemen change places to the left; ladies change places again to the right; gentlemen change again to the left; all around to their places, and turn partners. Repeat four times.

Fifth Change.

First couple promenade around inside; ladies all forward to centre; give right hands and back to places; gentleman the same; balance to partners and turn; grand right and left half round; promenade to places and turn partners; all chassez across, giving right hands at corners and back to places. Repeat four times; then all promenade.

Dramatic Amusements.

PRIVATE theatricals and dramatic or Shakspeare reading clubs are among the fashionable amusements of the present day. Many, I know, disapprove of them; but I think they do far more good than harm. They certainly strengthen the lungs, memory, and improve the intellectual tastes. But I will not discuss the subject, as far abler pens than mine have already argued on both sides of the question. Private theatricals amuse a large circle of friends, and any club willing to undertake the presentation of plays deserves the thanks of the audience.

Even a simple farce requires much labor and frequent rehearsals, to be well acted, and one soon wearies of the constant repetition of even witty sayings. The most trivial character must be carefully studied, for one bad actor often destroys the effect of the whole play. Then the foot-lights, stage, &c., must be prepared. A few directions, with a list of easy farces may be of service. All who live in cities can easily hire scenery, dresses, &c., but for the benefit of towns and villages, I will give a short account of how such things can be managed.

Some lady can almost always be found who will give the use of her house. A house should be selected which has two parlors, connected by large folding doors, or an arch; one parlor being for the audience, and the other for the stage. All the furniture and carpets should be taken from the latter room. A rough staging should be built (boards can be easily hired), and by boring a hole in the floor a gas-pipe can be run up along the front of the staging, with a sufficient number of burners. Tin shades painted green (as they render the light softer, and more agreeable to the eye) are an addition, for they keep the light from the audience, and throw it directly on the actors. A large floor cloth can be nailed on the stage for a carpet. A drop curtain, so arranged as to be rolled up quickly and easily, by means of a cord pulley at one side of the stage, where the prompter sits, just out of sight of the audience, is necessary. Scenery for the sides and back parts of the stage can be roughly painted on cloth; it answers every purpose of canvass by being strained when wet over light wooden frames (made so as to be easily moved); when dry, it presents a smooth, hard surface.

Each member should provide his or her own dress. To give the required expressions to the faces, a box of good water colors, some fine chalk powder, camel’s hair pencils, and rouge saucers, are wanted. To make frowns, scowls, or comical expressions, such as a broad grin, smirk, or simper, stand before a mirror and assume the desired expression; then trace the wrinkles produced, with a fine brush of the brown tint; this will fix the required expression on your face. Rouge is best applied with the finger. Burnt cork is excellent for darkening eyebrows, and making moustaches, also for representing leanness, which will be done by applying a faint tint just under the eyes, on the sides of the cheeks, and under the lower lip. A strong mark running from the corner of the nose down towards the corner of the mouth on each side, marks age or emaciation.

A few directions may be of use in regard to the preparation of theatrical dresses. Powdered wigs can be made of tow, raveled yarn, or gray colored horse hair; beards and moustache of the same, or a piece of buffalo skin. Ermine can be made of cotton flannel with tags of lion skin cloth sewed on, or black tags painted. Pelisse wadding is sometimes used.

Crowns and sceptres are easily made of pasteboard and gold paper. Velvet talma cloaks, capes, or even the loose velvet sack, can be converted into cavalier cloaks (the arm-holes in the sack must be fastened up on the inside), by fastening them gracefully over one shoulder. Then put on a large old-fashioned lace collar, ruffles around the hand, a Kossuth hat, looped up on one side with a paste pin or buckle, fastening a white or black plume, (taken from some lady’s bonnet), stockings drawn over the pantaloons and fastened at the knees with bows and buckles; and lo! with but little trouble, you have a fine cavalier of the olden times. With old finery and a little ingenuity, a theatrical wardrobe can be quickly made, if all are willing to do their part, but the larger share of the work is generally done by a few. Rocks can be made by throwing plain gray blanket shawls over ottomans, tables, &c. Rain may be imitated by dropping peas in a tin pan, thunder by rattling sheet-iron, lightning by means of a tin tube, larger at one end than the other, and filled with powdered resin. The smaller end of the tube should be open, the other end so managed that the resin may sift through. Shake the tube over a lamp, or blow the resin through a plain tube into the flame of a lamp, and you will have a good imitation of lightning.

Dissolve crystals of nitrate of copper in spirits of wine, light the solution and it will burn with a beautiful emerald green flame. Pieces of sponge, soaked in this spirit, lighted and suspended by fine wires over the stage of theatres, produce the lambent green flames, now so common in incantation scenes. Strips of flannel saturated with it, and wrapped around pieces of copper, will form the swords and fire-forks brandished by the demons in such scenes. Devices like the above are very simple, and add much to the general effect.

The following is a list of plays which are easily and often acted in private theatricals:

Comedies.

The Rivals. │ London Assurance.
Fashion. │ Lady of Lyons.

Farces.

The Loan of a Lover. │ Bombastes Furioso.
The Widow’s Victim. │ Lend Me Five Shillings.
Perfection. │ Phantom Breakfast.
Sketches in India. │ Rough Diamond.
Morning Calls. │ A Pretty Piece of Business.
Swiss Cottage. │ Old Guard.
My New Wife and My Old Umbrella. │ A Game of Romps.
Kill or Cure. │ Betsy Baker.
Poor Pillecody. │

DRAMATIC READING CLUBS.

THESE clubs are far more agreeable to their members and less likely to cause unpleasant rivalries, which, it is to be regretted, are apt to arise among even private actors. Human nature, alas, is weak! Some clubs read Shakspeare alone. It is most certainly a noble study, and one we can never weary of. Few can hope ever to excel in delineating Shakspeare. Therefore it is well, if we meet together for social enjoyment as well as improvement, to have a variety of plays. I have known of very successful clubs, and I will give the general manner of proceeding adopted by one of them, as it may assist in the formation of others. The club was started by some young ladies with a view of making home and winter evenings agreeable to their brothers; a committee was chosen to form a code of laws. Each one was to subscribe a small sum to purchase the “librettos” of their plays. The following rules were signed by all the members:

1. Each member of the club must take his or her turn in choosing a play, and in giving out the rôle of characters.

2. Every member must take the characters given him, and do his best, unless he can exchange parts with some other member, with the consent of the one who selected the play.

3. The one who selects the play has a right to the best character.

4. The club shall meet once a week at the houses of members, in alphabetical rotation.

5. Whenever any member is unable to take his part and cannot attend the meeting, he must provide some one to take his character.

6. No new member can be admitted without the vote of the majority.

7. Each member must study his or her part well, before meeting with the club. If any two, or several, should have difficult parts together, they must meet privately and practise them.

At first, they merely read the plays; but soon, they partially acted them, and found them increased in interest thereby. They always had their little librettos by them. Those who had ready memories rarely referred to them; or a mere glance would be sufficient. Finally they dressed in character, and admitted an audience composed of their relatives.

There is not necessarily anything awkward in having the books in hand. Such little pamphlets can be easily rolled up, and will scarcely be noticed. Under these rules they became familiar with the best plays, without wearying of them; and each member had an opportunity of consulting his own taste.

I sincerely recommend this as an amusement. Persons who read French and German will find this an admirable way of learning to converse with ease in either of those languages.

Sheridan Knowles’ plays and Shakspeare are among the best to select from. “Love’s Sacrifice,” “Ion,” “Hunchback,” and “William Tell,” are excellent plays to be read in this way.

CHARADES.

THERE is no game that can afford so much amusement to a circle of friends as that of acting charades. It affords a scope for the exercise of both wit and ingenuity.

A word must be chosen, in which the syllables may be rendered into some kind of a lively performance, and the whole word must be capable of similar representation. Then the plan of action must be agreed upon. Old-fashioned garments, gay shawls, scarfs, old coats, hats, aprons, gowns, &c., must be looked up for the occasion, and speedily converted into various and grotesque costumes, suited to the representation to be made. By exercising a little ingenuity, very fine charades can be acted “impromptu.” Speed, in all preparations, is quite necessary to success, as an audience is always impatient. If it is determined to have charades at a party, the lady of the house should arrange dresses, plan of action and subjects, beforehand. She can generally tell who can assist her best. If all the arrangements can be made without the knowledge of her guests, the effect will be greatly increased. This is also an improving game for a family of children. Write the plot and a simple dialogue, and let them learn it; it will be a good exercise for the memory, and teach them ease of manner; but let them only act before a home circle.

A few directions for acting certain words, and a short list of words easy to be acted may be of service to my readers. If a word or syllable can be represented by action, it should be seldom spoken, but syllables must be spoken in some cases to give an idea of the word:

PENITENT.—“Penny” sufficiently expresses the first division of the word. It can be represented by dressing in old clothes, torn hats, bonnets, &c., to appear as street hawkers, common in cities. One can sell “Lucifer matches—penny a bunch!” another, “Apples, fine red apples—penny apiece!” another, “Oranges, fine fresh oranges—penny apiece!” and so on. In this way a motley group can be contrived. A policeman, rushing in and dispersing the group, may close the scene. “Tent” can be represented by throwing a sheet or table-cloth over two chairs (high-backed chairs would be preferable), in the style of a gypsy tent. In front should be grouped some gypsies, in gay shawls, handkerchiefs, looped dresses, &c. A lady and gentleman can approach and ask to have their fortunes told, &c. Some one of the gypsies singing, “In the days when we went gypsying,” would close this act well. “Penitent” can be easily represented in a variety of ways. If it is not guessed, the charade could be repeated and acted differently.

BRIDEWELL.—“Bride” is usually represented by a wedding, which can be arranged to suit the tastes of the parties acting, and can be either simple or elaborate, as they may please. The common way is to have a dress ceremony; bride in full costume, with bridesmaids, but for a change, one might arrange a justice’s office, and have a couple come in to be married, the bride conspicuous in white bows and ends, and cheap finery. Let her be the chief speaker, the man appearing awkward and shy. After the ceremony, let her drive a sharp bargain in paying the fee. “Well:” Take a large tub and cover it with a gray shawl, so arranged as to look like stone, and if you have any green fleecy mats, arrange them to represent grass. A dark-complexioned gentleman, (any one can stain his face for the occasion,) with a turban, and dressed in shawls skillfully arranged, may represent an Eastern Emir. He should be seen seated Turkish-fashion by the well. A lady, dressed as Rebecca, with a crimson scarf about her waist, having her arms bare, and a handkerchief bound around her head, should come in, holding with one arm a pitcher on her head. Let her seem to fill her pitcher at the well. Then Eliezer must ask her to give him drink. After she has handed him her pitcher (which she must have placed on her head after having appeared to fill it), he must take from his bosom a casket of jewels, and exhibit bracelets and ear-rings. She can feign astonishment and admiration. He must kneel at her feet and present them. She should express surprise and delight. Then Eliezer must fasten on the bracelets, and the scene of Eliezer and Rebecca at the _well_ will be represented.

To act “Bridewell:” Arrange a prison cell; take screens or clothes-frames, and hang them with gray or black shawls, and cover the carpet. Put in a common wood table and a kitchen chair, and let a dim-lighted lantern be the only light. Some gentleman, meanly clad, with hair all on end; and clenched hands resting on his knees, must be seated in the chair, with eyes bent sullenly on the ground, and with a scowling brow. Let chains hang from his wrists and ankles, and as he moves clank together. Acted in this way, the word would be easily guessed.

FAREWELL.—“Fare:” A gentleman dressed as a hackman can come in, whip in hand. Then a gentleman and lady and a child should appear, dressed for a journey. The hackman must address them in the usual manner, offering to take them to any place, &c. The gentleman must then ask, “What is the _fare_?” and bargains for it, refusing to pay _fare_ for the child, &c. “Well:” Two ladies enter with shawls and bonnets on, and appear to meet accidentally; each asks anxiously if the other is _well_, and if all the family are _well_, &c.

“Farewell” can be acted in various ways. A party with bandboxes and baskets, on their way west, may be bidding _farewell_ to friends; or a lover, going to California, may be taking leave of his lady-love, &c.

RAILWAY.—“Rail:” Take two chairs, and place a strong cane, stick or broom, with one end resting on each chair. Then some boy or girl may come in and jump on the stick, swing over it, and talk about “riding on a _rail_.” An elderly lady or gentleman should come in and talk to him about breaking his neck on the rail, &c., &c. “Way:” a gentleman with a carpet bag in his hand may inquire the _way_ to the depot, or an old lady may ask which is the _way_ to the menagerie, &c. “Railway:” Let a party of people come rushing in, some limping and groaning, others wondering where their bandboxes have gone to! all talking of the “smash up” on the _railway_, bringing in the word in all possible ways.

CARPET.—“Car:” several persons may pass in and out dressed in character, as a Yankee peddler, a country girl never before from home, a man of business, a fine lady with servants, &c., all appearing to be waiting for the _cars_, and talking about them. Suddenly let a bell ring, and the conductor call out, “Cars start for,” etc. All then rush forward in character. “Pet:” Let a lady come in with a cat, dog or any _pet_ animal, fondling it as absurdly as possible, pretending it is sick, calling for some one to go for the doctor, &c. “Carpet:” Arrange a table as a counter. Some one must act as shopman. Let a lady enter with a simpering air, her intended husband following, and ask to look at _carpets_. Have in readiness under the counter several pieces of _carpets_ or rugs, which the shopman should display, while the lady consults the taste of her future lord, &c.

LUNATIC.—“Luna:” A gentleman, dressed as a young collegian, enters with a young lady on his arm; they pretend to be walking by _moon_-light. He speaks of the moon by its latin name, _Luna_, and talks in a high-flown style. The lady may ask in a flat and awkward style, “Who is Luna?” saying she never heard of her, &c., &c. The young man explains, in a bombastic style, who _Luna_ is. “Tic:” A lady represents an old woman, and goes about offering to make over old _tics_, as good as new, and also says she has some geese feathers to sell, carrying on of course other conversation, so that the word to be guessed may not be too apparent. “Lunatic:” The best actor of the company feigns the part of a _lunatic_, in any way he sees fit.

LAMENTABLE.—(French charade.) “L’amont” can be acted well in pantomime, by representing an old deaf man, and his young wife; the old man with spectacles on nose, sitting in a large chair, reading the newspaper, his young wife standing behind the chair. A low tap is heard at the door. She starts and listens; the door opens slily and discovers a young man. She starts with delight, but points to the old man, motioning the young man to go. He makes gestures of despair; then appears to have a sudden thought, bows and retires. Soon a loud knock is heard, she goes to the door, and returns with a letter, giving it to the old man; he reads, shakes his head, and hands it to her; she looks at it, runs for his hat and coat and motions him to go. He leaves at one door, while _L’Aman_ enters at another. Then they act a lover like scene and the curtain drops. “Table:” She again appears with sleeves rolled up, apron on, rolling-pin in hand, making cakes; the young lover standing by, and now and then eating one of the cakes. They hear a heavy step and the lover runs for a hiding-place. At last he springs under the table, and she pulls a table-cloth down around it, and goes on rolling cakes. In comes the old man, hobbling along. He looks around and suspects something, and begins a strict search. Thus ends that scene. “Lamentable:” The same actors appear, but the table is turned over, and behold! the old man has seized the young lover, and is brandishing aloft a heavy cane, while the young wife appears, weeping bitterly.

WARLOCK.—(A male wizard.) “War:” A wounded soldier is seen prostrate and dying. “Lock:” An old woman with a long tow wig, sits mumbling to herself, and knitting. A young man appears and pretends entire devotion to her, and begs for a _lock_ of her hair. She refuses at first, but he coaxes it from her. She then takes out a large pair of shears and cuts off a long _lock_, rolls it up and gives it to him. He pretends ecstasy, but laughs behind her back. “Warlock:” A gentleman dressed as an old wizard, appears and offers to tell fortunes, &c.; this can be performed as the actor thinks best.

The following words are easy to be acted:—

Back-bite. Bond-age. Brace-let.
Com-fort. Ann-ounce. In-firm.
In-fan-tile. Sin-cere. Spec-tacles.

TABLEAUX VIVANTS.

TABLEAU vivants, as commonly represented, are so well understood that no directions are necessary, but some of my readers may not have heard of the illustration of poems, &c., by a series of living pictures. This is far more interesting than simply to personify some one picture. Still another way is to represent the different scenes in a song, while at the same time some one who is a good musician sings the verses of the song as they are represented. For instance, “The Mistletoe Bough,” first represent a room decorated with green, a company assembled gaily dressed and dancing, while a lady or gentleman behind the scene sings the verse represented in distinct tones, and so on through the whole song; the last scene representing children in a lumber-room opening an old chest and exposing a skeleton, old flowers, &c. “Auld Robin Grey,” and “The Three Fishers” are easily represented. Still another variety of tableaux is a song represented in pantomime, for instance, the song of “Blue Beard,” or “O, they Marched through the Town,” &c.

The Sibyl.

FORTUNE telling, as a practice, is morally wrong, and they who intentionally deceive credulous people commit a sin; the effects of such deception on sensitive minds are often lasting, and in some instances have been attended with very sad results. Almost all persons have a little superstition in their natures, and naturally relish mystery.

But as a game and pastime, fortune telling is harmless and amusing. The old fashioned fate lady has afforded much amusement and profit at fairs. The following is a more modern and graceful method: Cut green enameled paper in the shape of oak leaves, and on the white side write some simple oracle. The person who represents the sibyl seats herself, dressed in character, under a tasteful canopy, with a table in front, and her sibylline leaves scattered over it, with the green side upwards. Then as individuals enquire their fate of the oracle, let her move about the leaves, muttering some incantation, and let each one select his or her own leaf. Another way is to hold the leaves in a cornucopia and scatter them around from it. Care must be taken not to expose the white side of the leaves.

THE FIAT OF FATE.

MAKE twelve flat pin-cushions, heart-shape, and all of different colors, such as blue, variegated, white, scarlet, green, lilac, checkered, brown, slate, purple, yellow and pink. Have a loop of narrow ribbon fastened to each, and stick small pins all around them as in the design. Take some narrow ribbon and string them all upon it; they are then ready to be used, with the following oracles:

The Fiat of Fate.

To all who wish their fate to know,
These hearts will future fortunes show;
With shaded eyes then touch and name—
The _color_ will thy lot proclaim.

BLUE.

If fortune favors thee, wish blue,
Thou couldst not wish a brighter hue;
On life’s dark disc this shade portrays
Truth, happiness, and length of days.

VARIEGATED.

These variegated colors show
A pleasing mixture here below,
To those whose lot it is to name,
This emblem, of both joy and pain.

WHITE.

This lovely white then touch with joy,
And gain a fate without alloy;
Fair, pure and spotless is the life
Thus singled out from future strife.

SCARLET.

With caution this gay color name,
For wide and evil is its fame;
Inflammatory, it taints the air,
Portending strife and civil war.

GREEN.

This cool, inviting, lovely green,
Has to the single ever been
An emblem of their future state,
Their peaceful, though forsaken, fate.

LILAC.

The lilac tint betokens life
Of every hope, and plans are rife;
Of love and friendship, holy, true,
The pink is tempered by the blue.

CHECKERED.

The many colors here portrayed,
Of every hue, and every shade,
Portends a checkered changing lot,
From palace to the humble cot.

BROWN.

This sombre brown denotes a calm
And pleasing life, devoid of harm;
An innocent and simple mind,
A temper meek and well inclined.

SLATE.

This pale and melancholy shade
Betokens ills that never fade;
But prey upon the tainted power,
Embittering each succeeding hour.

PURPLE.

This royal color, rich in pride,
A splendid fate may well betide;
Exalted rank and riches great,
Vanity, power, pomp and state.

YELLOW.

Beware of yellow, ’tis a color
Speaks of misery, grief and dolor;
Of jealousy, and broken vows,
And many nameless, endless woes.

PINK.

A life of innocence and mirth
Will be thy portion here on earth;
With reason, then, you may rejoice,
The modest pink has been your choice.

FLOWER FATE.

PROCURE a quantity of cards, each with a separate flower painted upon it. In a book write the meaning of each flower, and then let a person choose any number of cards. You must look out the meaning of each, and ingeniously combine the whole into one sentence. A more beautiful design for a fair or a social party is the arrangement of natural flowers in small fate bouquets, some one person arranging their accompanying oracles beforehand. Then let the person seeking to know his fate select a bouquet.

FATE BOX.

WRITE a number of fates and fill a box, made with an opening just large enough to admit the hand. Then, as the person seeks his fortune, shake up the box, and let him draw out his fate.

The Puzzler.

THE following conundrums, riddles, etc., are given merely as suggestions. The conundrums most productive of amusement are those made in the course of general conversation. A happy party, in the course of a long and stormy evening, may make more and better ones than are to be found in any one book. If those given here attract the attention and excite the ingenuity of the boys and girls who read them, a great deal of home pleasure will be the result.

CONUNDRUMS.

1. IF a man’s son had told a lie, and he wished to order him, in the shortest way possible, to leave him, what Scripture name would he use?

2. What relation would a man be to a person he visited in jail, if, on being asked, he said, “Brothers and sisters have I none, yet this man’s father is my father’s son?”

3. Why had the children of Israel plenty of food in the desert?

4. Why were there plenty of sandwiches in the desert?

5. Why is a short negro like a white man?

6. Why do we all go to bed?

7. Why is a room full of married people like an empty room?

8. Why is an angry person like a hard baked loaf of bread?

9. When is a door not a door?

10. Why is a man in love like a lobster?

11. Why is an avaricious man like one with a short memory?

12. Why is a pair of pantaloons too big every way like two populous towns in France?

13. You are requested to ask the following question in three letters: “Are you the person?”

14. What sea would make the best bedroom?

15. Which are ladies most in favor of, tall or short men?

16. Why is a speech, delivered on the deck of a man-of-war, like a lady’s necklace?

17. Why is the letter D like a sailor?

18. Why is grass like a mouse?

19. Why is a bald head like heaven?

20. What two letters make a County in Massachusetts?

21. Why is an angry man like a lady in full dress?

22. Why is a good wife like the evil one?

23. Why is a good story like a parish bell?

24. Why were the brokers of 1857 like Pharaoh’s daughter?

25. Why is there but little difference between a light in a cavern and a dance in the hall of a tavern?

26. By what three Bible names would a mother call her three sons, in telling them to go home with some young ladies in a carriage? The first she spoke to in an enquiring tone; the second, entreating; the third, commanding?

27. Who was the fastest woman in the Bible?

28. How did Adam and Eve leave Paradise?

29. Why was not Noah a good mouser?

30. Why are camel’s hair shawls in this country like a stone deaf person?

31. In what way would you ask a Doctor of Divinity to play on a violin, in the shortest possible way?

32. Why is an odd walker easiest recognized at his own door?

33. Why is the gray hair of a person who has had many trials like a plated spoon?

34. Why is a sword like lager beer?

ENIGMAS, CHARADES AND RIDDLES.

1. My first is a common London cry,
My next an insect; now try
To guess my whole; a clue I’ll give, though slight,
It oft emits my first, a glorious sight.

2. We are twin brothers, and in vain,
We never meet but to complain.

3. My first implies to be able,
My second is a Christian name which may be read both ways,
My whole is in North America.

4. My first may be seen, and my second be heard;
My whole is the name of a sweet-singing bird.

5. By me men often upward go,
Behead—a reptile it will show.

6. A word of four letters I pray you to take;
If that word you follow, ’twill sure make you ache;
Just alter that word, and squeeze out one letter;
Then follow that word, and ’twill soon make you better.

7. My first in every shop is seen,
My next affords us light;
My total you will see, I ween,
When you’ve bade friends good-night.

8. My first sounds much like something true,
My second sounds much like a lie;
But what is spoken like my whole,
Let no one venture to deny.

9. To a word of consent add one half of a fright,
Next subjoin what you never behold in the night;
These rightly connected, you’ll quickly obtain
What millions have seen, but will ne’er see again.

10. Found long ago, yet made to-day,
Employed while others sleep;
What few would wish to give away,
And none would wish to keep.

11. Two hundred men and women sitting,
Talking, reading, sleeping, knitting;
Boston, Lynn, Salem, Andover,
In, out, under, over;
Tugging, hugging, dreaming, screaming,
Rain, or snow, or sunshine beaming;
Buzz and stir, smoke and hissing,
Often ends with hearty kissing.

12. My first is to hard-working horses oft spoken;
My second, of sudden surprise is a token;
My third is a place we shall do well to shun;
My fourth is a river, which in Scotland doth run;
My half is an order to quit, you will find;
My whole is an idol set up by mankind.

13. In every hedge my second is,
As well as every tree;
And when poor school-boys act amiss,
It often is their fee.
My first, likewise, is always wicked,
Yet ne’er committed sin;
My total for my first is fitted,
Composed of brass or tin.

14. My first is a part of the day,
My second at feasts overflows;
In the cottage my whole is oft seen,
To measure old Time as he goes.

15. If you a musical instrument behead,
A sweeter-toned one will remain behind.

16. A shining wit pronounced of late
That every acting magistrate
Is water, in a freezing state.

17. In spring, I am gay in my attire;
In summer, I wear more clothing than in spring;
In winter, I am naked.

18. A word of three syllables, seek till you find,
That has in it the twenty-six letters combined.

19. A lady in prison received an animal, as a present from her niece, which signified to her, “Make your escape.” In reply, she sent back a fruit, which imported, “It is impossible to escape.” What was the animal? and what was the fruit?

20. In Sir Walter Scott’s celebrated poem, “Marmion,” are the following lines:—

“Charge, Chester! charge! On, Stanley, on!
Were the last words of Marmion.”

These lines suggested the following enigma:—

Were I in noble Stanley’s place,
When Marmion urged him to the charge;
The word you then might all descry
Would bring a tear to every eye.

21. Round the house—in the corners,
Down the stairs—behind the door!