Chapter VI: Part 6

22. I’m reckoned only fifty, but for centuries have been,
In every age, in every clime, among the living seen;
Mute, though incessantly in talk, I give to silence sound;
And single ’tis my fate to be, whilst fast in wedlock bound.
The learned place me at their head, tho’ oft unknown to fame,
And eloquence itself delights to sound abroad my name;
Though plunged in guilt, the tenant of a prison’s gloomy cell,
Yet, twice invoked, my potent aid concludes the wizard’s spell.
I ride upon the whirlwind—point the lightning thro’ the storm;
And mine the power, with but a word, another world to form;
I, too, alone, can kindle fame, and, what is very odd,
The veriest miser can prevent from making gold his god.
I usher in the morning, yet shun the face of day;
A stranger to the voice of mirth, yet join in every play.
The fabled liquid I, with which poor Tantalus was cursed;
For, in the proffered goblet seen, I mock the wretch’s thirst.
The rich secure me for their wealth, the cunning for their wiles;
And, ’reft of me, ah! changed how soon were beauty’s sweetest smiles!
I lurk within the brilliant glance that flashes from her eye,
Rest on her ruby lip, and in her laughing dimples lie;
I breathe the first soft sound of love, in the maiden’s willing ear,
And mingle in the rising blush that tells that love is dear;
I lead the laugh, I swell the glee amid the festal hall,
But a truant from the banquet, and a laggard in the ball.
First in the martial lists I ride, with mail, and lance and shield;
And, foremost of the line, I charge upon the battle-field.
And yet, though ranked among the bold, I scarcely join the fight;
When, foul disgrace to manhood’s race, I turn at once to flight.
From greatness thus removed, I make acquaintanceship with evil;
And, (in your ear a word) maintain alliance with the devil!

23. We are little airy creatures,
All of different voice and natures;
One of us in glass is set,
One of us you’ll find in jet;
The other you may see in tin,
And the fourth a box within;
If the fifth you should pursue,
It can never fly from you.

24. My parent bred me to the sea,
I’ve been where never man could be;
Long time I’ve ranged the ocean wide,
And all the rage of storms defied;
The lowering clouds obscured the sky,
And foaming billows mounted high;
Tho’ winds with almost fury blew,
And thunders roll’d, and lightnings flew;
Waves, winds and thunders all in vain
Opposed my passage thro’ the main.
At length, my parent died, and I
On shore would fain my fortune try;
I left the sea, grew fond of show,
Dress’d neat, and soon became a beau.
My body’s taper, tall and straight,
I chiefly dwell among the great;
Am like a bridegroom, clad in white,
And much the ladies I delight;
Attend when Chloe goes to rest,
She’s always by my presence blest;
No ghost or goblin can she fear,
Nor midnight hag, if I am near.
No more a seaman, bold and rough,
I shine at balls, am fond of snuff
To gay assemblies I repair,
And make a brilliant figure there.
At last, a burning fever came,
That quite dissolved my tender frame;
I wasted fast, light-headed grew;
Of all my friends, not one I knew;
Great drops of sweat ran down my side,
And I, alas! by inches died.

25. A word there is of plural number,
Foe to peace and tranquil slumber;
Add but to this the letter S,
And though strange the metamorphosis,
There soon will meet your wond’ring view
One syllable transposed to two;
Plural is plural now no more,
And sweet what bitter was before.

26. My first two letters make a man,
My three first a woman;
My four first letters make a great man
My whole a great woman.

27. My first is myself, a very short word;
My second’s a puppet, and you are my third.

28. Cut off my head, singular I am;
Cut off my tail, and plural I appear;
Cut off my head and tail, and you will find
That though my body’s left, yet nought is there.
What is my head cut off? a sounding sea;
What is my tail? a mighty river,
Within whose peaceful depths my whole doth play,
And parent of sweet sounds is mute forever.

29. We left our little ones at home,
And whither went we did not know;
We for the church’s sake did roam,
And lost our lives in doing so.
We went right onward on the road,
With all the wicked full in view;
We lived to man, we died to God,
Yet nothing of religion knew.

30. My first is a famous watering place in England,
My second is a city where a mighty queen did dwell;
My whole is the name of a queen famous in ancient history.

31. My first gives light to man;
My second you’ll find in woman;
My third belongs to woman;
My whole is a Christian name.

32. To run and draw,
In peace or war,
My first have long been used;
And pleased or vex’d,
Have, by my next,
Been petted and abused:
Upon the seas,
In many a breeze,
My third may oft be seen;
My whole is an art
Known in each part
Where my two first have been.

33. My whole is that which lightning does,
Beheaded, that which horses fear;
Behead again, and lo! a tree,
A forest tree, will then appear.

An Enigmatical Dinner.

1 The Grand Seignor’s Dominions.

2 Two Tailors.

3 An Ornamental part of the Head.

4 An Exquisite and the King of Beasts.

5 A Famous English Wit.

6 A Place where Money is made and Impudence.

7 Woman’s Weapon.

8 A Biped, and to depart.

9 A cooking Utensil, a Vowel and part of a foot.

10 A Biped from Noah’s Ark.

11 A Tailor’s Perquisites.]

1 A Cold Substance and the Best of Everything.

2 An Island in the Atlantic Ocean.

3 A Cure for Lazy Horses.

4 Pretended Suffering.

5 An Amusing and Talented Periodical.

6 Part of a River in Pennsylvania.

7 To Fret, and the Fruit of Temptation.

8 The Joint of an Animal.

9 Married People.

10 One-Third of Two, and a Firelock.

11 Running Streams.]

PARADOXES AND PUZZLES.

1. A CAPTAIN of a ship who was driven out to sea by a heavy storm, found he had provisions sufficient for only half his crew, and decided to throw overboard half of them, to be selected by lot. There were twenty men, half of them white, and half black; he placed them all in a circle, saying that every fifth man in three times round should be thrown overboard. He appeared to arrange them carelessly, yet he managed so that the lot fell to the ten black men. How could it be?

2. _The Wolf, the Goat and the Cabbages._—Suppose a man has a wolf, a goat, and a basket of cabbages, on the bank of a river; he wishes to cross with them, but his boat can only hold one of the three beside himself. He must therefore take them over one by one, in such a manner that the wolf shall have no opportunity to devour the goat, nor the goat the cabbages. How is he to accomplish it?

3. _The impossibility made possible._—Place three pieces of money on the table and desire some person to take away the piece from the centre without touching it.

4. Two men eat oysters together for a wager, to see who could eat the greatest number. One eat ninety-nine only, the other eat a hundred and _won_. How many did the winner eat?

5. What is the difference between six dozen dozen and a half a dozen dozen?

6. Four people sat down one evening to play;
They played all that eve, and parted next day.
Could you think, when you’re told, as thus they all sat,
No other played with them, nor was there one bet;
Yet, when they rose up, each gained a guinea,
Tho’ none of them lost to the amount of a penny!

7. P R S V R Y P R F C T M N V R K P T H S P R C P T S T N. This inscription was affixed to the communion-table of a small church in Wales; no one could decipher it for centuries, but at length the clue has been discovered. What is it?

8. Procure six cards, and having ruled them as in the following diagrams, write in the figures neatly and legibly. It is required to tell the number thought of by any person, the numbers being contained in the cards, and not to exceed 60. How is this done?

┌————┬————┬————┬————┬————┬————┐ ┌————┬————┬————┬————┬————┬————┐
│ 3 │ 5 │ 7 │ 9 │ 11 │ 1 │ │ 5 │ 6 │ 7 │ 13 │ 12 │ 4 │
├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤
│ 13 │ 15 │ 17 │ 19 │ 21 │ 23 │ │ 14 │ 15 │ 20 │ 21 │ 22 │ 23 │
├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤
│ 25 │ 27 │ 29 │ 31 │ 33 │ 35 │ │ 28 │ 29 │ 30 │ 31 │ 36 │ 37 │
├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤
│ 37 │ 39 │ 41 │ 45 │ 43 │ 47 │ │ 52 │ 38 │ 39 │ 44 │ 45 │ 46 │
├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤
│ 49 │ 51 │ 53 │ 55 │ 57 │ 59 │ │ 47 │ 53 │ 54 │ 55 │ 60 │ 13 │
└————┴————┴————┴————┴————┴————┘ └————┴————┴————┴————┴————┴————┘

┌————┬————┬————┬————┬————┬————┐ ┌————┬————┬————┬————┬————┬————┐
│ 9 │ 10 │ 11 │ 12 │ 13 │ 8 │ │ 3 │ 6 │ 7 │ 10 │ 11 │ 2 │
├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤
│ 14 │ 15 │ 24 │ 25 │ 26 │ 27 │ │ 14 │ 15 │ 18 │ 19 │ 22 │ 23 │
├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤
│ 28 │ 29 │ 30 │ 31 │ 40 │ 41 │ │ 26 │ 27 │ 30 │ 31 │ 34 │ 35 │
├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤
│ 42 │ 43 │ 44 │ 45 │ 46 │ 47 │ │ 38 │ 39 │ 42 │ 43 │ 46 │ 47 │
├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤
│ 56 │ 57 │ 58 │ 59 │ 60 │ 13 │ │ 50 │ 51 │ 54 │ 55 │ 58 │ 59 │
└————┴————┴————┴————┴————┴————┘ └————┴————┴————┴————┴————┴————┘

┌————┬————┬————┬————┬————┬————┐ ┌————┬————┬————┬————┬————┬————┐
│ 17 │ 18 │ 19 │ 20 │ 21 │ 16 │ │ 33 │ 34 │ 35 │ 36 │ 37 │ 32 │
├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤
│ 22 │ 23 │ 24 │ 25 │ 26 │ 27 │ │ 38 │ 39 │ 40 │ 41 │ 42 │ 43 │
├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤
│ 28 │ 29 │ 30 │ 31 │ 48 │ 49 │ │ 44 │ 45 │ 46 │ 47 │ 48 │ 49 │
├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤
│ 50 │ 51 │ 52 │ 53 │ 54 │ 55 │ │ 50 │ 51 │ 52 │ 53 │ 54 │ 55 │
├————┼————┼————┼————┼————┼————┤ ├————┼————┼————┼————┼————┼————┤
│ 56 │ 57 │ 58 │ 59 │ 30 │ 60 │ │ 56 │ 57 │ 58 │ 59 │ 60 │ 41 │
└————┴————┴————┴————┴————┴————┘ └————┴————┴————┴————┴————┴————┘

9. Place eight counters or coins, as in the diagram below:

┌———┬———┬———┬———┬———┬———┬———┬———┐
│ 1 │ 2 │ 3 │ 4 │ 5 │ 6 │ 7 │ 8 │
└———┴———┴———┴———┴———┴———┴———┴———┘

It is then required to lay them in four couples, removing only one at a time, and in each removal passing the one in the hand over two on the table.

10. _The wine Merchant and his Clerk._—A wine merchant caused thirty-two casks of choice wines to be deposited in his cellar, giving orders to his clerk to arrange them as in the annexed figure, so that each external row should contain nine. The clerk, however, took away twelve of them, at three different times—that is, four at each time, yet when the merchant went into the cellar, after each theft had been committed, the clerk always made him count nine in each row. How was this possible?

┌———┬———┬————┐
│ 1 │ 7 │ 1 │
├———┼———┼————┤
│ 7 │ │ 7 │
├———┼———┼————┤
│ 1 │ 7 │ 1 │
└———┴———┴————┘

11. man’s family.

12. First draw a square and divide it into four parts. Then make six marks in the first square and say they represent six pigs, for you pretend to describe a farmyard you once saw. In the next square make six more marks to represent cows, in the next square six more marks for horses, and the last square represent donkeys.

┌————————┬————————┐
│ │ │
│ ││││││ │ ││││││ │
│ │ │
├————————┼————————┤
│ │ │
│ ││││││ │ ││││││ │
│ │ │
└————————┴————————┘

ARITHMETICAL PROBLEMS.

1. An old man married a young woman; their united ages amounted to one hundred. The man’s age, multiplied by four and divided by nine, gives the woman’s age. What were their respective ages?

2. How many yards of paper, three-quarters of a yard wide, will cover a chamber that is sixty feet round, and ten feet one and one-half inches high?

3. In a family of eight young people, it was agreed that three at a time should visit the Crystal Palace, and that the visit should be repeated each day as long as a different trio could be selected. In how many days were the possible combinations of three out of eight completed?

4. How many changes can be given to seven notes of a piano? That is to say, in how many ways can seven keys be struck in succession, so that there shall be some difference in the order of the notes each time?

5. At a time when eggs were scarce, an old woman who possessed some good hens, wishing to oblige her friends, sent her daughter with a basket of eggs to three of them; at the first house, which was the squire’s, she left half the number of eggs she had, and half a one over; at the second she left half of what remained and half an egg over; and at the third she again left half of the remainder, and half a one over; she carried home one egg in her basket, not having broken any. How many had she when she started?

6. Two drovers, A and B, meeting on the road, began discoursing about the number of sheep they each had. Says B to A, “Pray give me one of your sheep and I will have as many as you.” “Nay,” replied A, “but give me one of your sheep and I will have as many again as you.” Required to know the number of sheep they each had?

7. To tell at what hour a person intends to rise. Let the person set the hand of the dial of a watch at any hour he pleases, and tell you what that hour is; and to the number of that hour you add in your mind twelve; then tell him to count privately the number of that amount upon the dial, beginning with the next hour to that on which he proposes to rise, and counting backwards, first reckoning the number of the hour at which he has placed the hand. How is it done?

“The Two Travelers.”

8. Two travelers trudged along the road together,
Talking, as Yankees do, about the weather;
When, lo! beside their path the foremost spies
Three casks, and loud exclaims, “A prize, a prize!”
One large, two small, but all of various size.
This way and that they gazed, and all around,
Each wondering if an owner might be found.
But not a soul was there—the coast was clear—
So to the barrels they at once drew near;
And both agree, whatever may be there,
In friendly partnership they’ll fairly share.
Two they found empty, but the other full,
And straightway from his pocket one doth pull
A large clasp-knife; a heavy stone lay handy,
And thus in time they found their prize was brandy.
’Tis tasted and approved; their lips they smack,
And each pronounces ’tis the famous Cognac.
“Wont we have many a jolly night, my boy?
May no ill luck our present hopes destroy!”
’Twas fortunate one knew the mathematics,
And had a smattering of hydrostatics;
Then measured he the casks, and said, “I see
This is eight gallons—those are five, and three.”
The question then was how they might divide
The brandy, so that each should be supplied
With just four gallons, neither less nor more,
With eight, and five and three, they puzzle sore;
Filled up the five, filled up the three, in vain.
At length a happy thought came o’er the brain
Of one; ’twas done, and each went home content,
And their good dames declared ’twas excellent.
With those three casks they made division true;
I found the puzzle out; say, friend, can you?

9. “To five and five and fifty-five
The first of letters add;
It is a thing that pleased a king,
And made a wise man mad.”

10. “The sum of four figures in value will be
Above seven thousand nine hundred and three;
But when they are halved you’ll find, very fair,
The sum will be nothing, in truth, I declare.”

ANSWERS TO CONUNDRUMS.

1. GOLIAH.

2. He was his own son.

3. Because of the sand which is (sandwiches) there.

4. Because the children of Ham were bred (bread) and mustered (mustard) there.

5. He is not at all black (a tall black).

6. The bed will not come to us.

7. There is not a single person in it.

8. He is crusty.

9. When it is ajar.

10. He had a lady in his head.

11. He is always forgetting (for-getting).

12. Because they are too long and too loose (Toulon and Toolouse).

13. R U E (are you he).

14. Adriatic (a dry attic).

15. Hymen.

16. It is a deck oration (decoration).

17. It follows the sea (C).

18. The cat’ll eat it (the cattle eat it).

19. There is no parting there.

20. S X (Essex).

21. He is ruffled.

22. She sows tares while the husbandman sleeps.

23. It is often told (tolled).

24. Because they found little profit (prophet) in the rushes on the banks.

25. Because one is a taper in a cavern, the other a caper in a tavern.

26. Jeroboam, Samuel, Benjamin (Jerry beau ’em; Sam you will; Ben jam in).

27. Herodias’ daughter, because she got ahead of John the Baptist on a charger.

28. They were snaked out.

29. It took him forty days and nights to find Ara-rat.

30. Because we can not make them here (hear).

31. Fiddle-de-dee (Fiddle D D).

32. Because he is best known by his gait (gate).

33. “Its silvered o’er with care.”

34. Because it cannot be used till it is drawn.

ANSWERS TO ENIGMAS AND CHARADES.

1. Fire-fly.

2. Mur-mur.

3. Canada.

4. Sky-lark.

5. Ladder—adder.

6. Fast—Feast.

7. Counter-pane.

8. Truly.

9. Yesterday.

10. A bed.

11. Railway train.

12. Gold.

13. Candle-stick.

14. Hour-glass.

15. Flute.

16. Justice, (just-ice.)

17. A tree.

18. Alphabet.

19. The animal sent was an antelope, (aunt elope!) the fruit returned was a cantelope (can’t elope.)

20. On I on, (onion.)

21. Broom.

22. The letter L.

23. The vowels.

24. A spermaceti candle.

25. Cares—s.

26. Heroine.

27. Idol.

28. Cod.

29. The kine that bore the ark. 1 Samuel, vi., 10, 12, 14.

30. Bathsheba.

31. Solomon.

32. Horse-man-ship.

33. Flash.

Answer to Enigmatical Dinner.

1. Turkey.

2. Parsnips.

3. Hare, (hair.)

4. Dandelion, (dandy-lion.)

5. Lamb.

6. Mint-sauce.

7. Tongue.

8. Mangoes.

9. Potatoes.

10. Ham.

11. Cabbage.

Dessert.

1. Ice cream.

2. Maderia, (wine.)

3. Whips.

4. Champagne, (sham-pain.)

5. Punch.

6. Brandy.

7. Pine-apples.

8. Hock.

9. Pears.

10. Trifle.

11. Currants.

ANSWERS TO PARADOXES AND PUZZLES.

1. The secret of the puzzle is to arrange the men by a simple formula; take the sentence, “A gray owl did eat a snake,” and arrange them with checkers, the vowels all black, the consonants white. You will then see by taking away every fifth one, three times round, those left will be all white.

2. First take over the goat, the next time the wolf; leaving the wolf he must bring back the goat and leave it, then take the cabbages, and going back once more he takes the goat. Thus the wolf will never be left with the goat, nor the goat with the cabbages.

3. If the secret be not discovered, remove one of the end pieces to the other side, thus you take away the piece from the centre without touching it.

4. One hundred.

5. 792; six dozen dozen being 864, and a half a dozen dozen 72.

6. Four merry fiddlers played all night
To many a dancing ninny;
And the next morning went away,
And each received a guinea.

7. Persevere ye perfect men,
Ever keep these precepts ten.

It was discovered that by using the vowel E this couplet was formed.

8. Request the person to give you all the cards containing the number he has fixed upon, and then add all the right hand upper corner figures together, which will give the correct answer. For example: suppose 10 is the number thought of, the cards with 2 and 8 in the corners will be given, which makes the answer 10.

9. Place 4 on 7, 6 on 2, 1 on 3, and 8 on 5, or 5 on 2, 3 on 7, 8 on 6, 4 on 1, &c.

10. The clerk arranged them thus:

┌———┬———┬———┐ ┌———┬———┬———┐ ┌———┬———┬———┐
│ 2 │ 5 │ 2 │ │ 3 │ 3 │ 3 │ │ 4 │ 1 │ 4 │
├———┼———┼———┤ ├———┼———┼———┤ ├———┼———┼———┤
│ 5 │ │ 5 │ │ 3 │ │ 3 │ │ 1 │ │ 1 │
├———┼———┼———┤ ├———┼———┼———┤ ├———┼———┼———┤
│ 2 │ 5 │ 2 │ │ 3 │ 3 │ 3 │ │ 4 │ 1 │ 4 │
└———┴———┴———┘ └———┴———┴———┘ └———┴———┴———┘

11. Be above meddling in a man’s family.

12. In the last square you must only make five marks, and then ask the one you are talking to, to count and see if all are right; if you do it carelessly and he is off his guard he will probably say “one of the donkeys are wanting.” You then must slily say, “If you’ll jump in, all will be right.” Such simple “sells” often cause a good laugh.

ANSWERS TO ARITHMETICAL PROBLEMS.

1. The man’s age was 69 years and 12 weeks. The woman’s, 30 years and 40 weeks.

2. 90 yards.

3. Multiply 8 × 7 × 6, and also 3 × 2 × 1, and divide the product of the former, 336, by the product of the latter, 6, the result is 56, the number of visits, a different two going each time.

4. 7 × 6 × 5 × 4 × 3 × 2 × 1, result is 5,040, the number of changes.

5. 15 eggs.

6. A had seven and B had five sheep.

7. Suppose the hour he intends to rise be 8, and that he has placed the hand at 5; you will add 12 to 5 and tell him to count 17 on the dial first reckoning 5, the hour at which the index stands, and counting backwards from the hour at which he intends to rise; and the number, 17, will necessarily end at 8, which shows that to be the hour he chose to rise.

8. The five-gallon barrel was filled first, and from that the three-gallon barrel, thus leaving two gallons in the five-gallon barrel; the three-gallon barrel was then emptied into the eight-gallon barrel, and the two gallons poured from the five-gallon barrel into the empty three-gallon barrel; the five-gallon barrel was then filled, and one gallon poured into the three-gallon barrel, therefore leaving four gallons in the five-gallon barrel, one gallon in the eight-gallon barrel, and three gallons in the three-gallon barrel, which was then emptied into the eight-gallon barrel. Thus each person had four gallons of brandy in the eight and five-gallon barrels respectively.

9. This puzzle has as yet no answer. I trust some of the readers of this book will be able to send us a correct answer. It most surely can be ascertained, as there is a way to solve it.

10. The four figures are 8 8 8 8, which being divided by a line drawn through the middle, become ̶8̶8̶8̶8̶. The sum of which is eight 0s, or nothing.

Games for Old and Young.

BLIND MAN’S BUFF is a popular, old-fashioned and delightful pastime, too well known to render any description of it necessary. A more quiet variety of blind man’s buff is played in the following manner: All the company arrange themselves around the room, one being blinded in the centre. Some one then either numbers them, or calls them by the names of different towns or cities. Each one must remember the name given him. Then the one who named them calls out to any two in the party, such as: “Two and Ten change places,” or, “Boston go to New York,” &c. Those called must quickly exchange places (on pain of a forfeit it they do not), the one blinded trying to catch them on their way. The caller must make them change places often, and from distant sides of the room, so as to give the blinder a good chance. If he catches any one in the act of changing his place, and calls his name correctly, the person so caught must take the part of blind-man until, in turn, he catches somebody else.

SHADOW BUFF.

SHADOW Buff is a variation of blind man’s buff. Though not as generally known, it is equally amusing. A large piece of white cloth, or a linen or cotton sheet, is suspended smoothly at one end of the room, at a little distance from “Buffy,” who sits with his face towards the cloth, and his back to the company. Behind him a light must be so placed as to throw the shadows of persons passing between it and “Buffy” directly on the curtain. All other lights must be extinguished. The players then walk, one by one, slowly between the light and “Buffy” (who must not turn his head), limping, jumping, grimacing, or disguised as they please, so as to distort their shadows on the curtain. If “Buffy” can tell correctly to whom any shadow belongs (guessing once only at each person), the player whom he so discovers takes his place as “Buffy.”

BLIND MAN’S WAND.

THIS is another variety of the same game. The blind man carries a cane, which he reaches in every direction. Whoever it touches is bound, by the rules of the game, to take hold of it, and repeat whatever the blind man orders. The one who is caught can disguise his voice as he pleases. The blind man is allowed three guesses, and if he cannot discover the person touched by his voice, he must try another. This is an amusing change.

There is still another, called “Fettered Buff.” The person who is to catch his companions is not blinded, but his wrists are tied behind him, and he catches by running backwards. This form of the game is not recommended. The person so bound cannot balance himself easily, or guard himself, and is liable to injury from falling.

CHINESE SHADOWS.

THIS can be played only in the evening, by candle light. A white curtain should be fastened smoothly at one end of the room, as in “shadow buff.” Half the company must be spectators and half actors. The spectators must be seated facing the curtain. Two persons in front should hold a ribbon or stick across the curtain as high as they can easily reach, to mark the line on which the shadows are to move, or a line may be drawn across the curtain. The actors must stand behind the spectators, at a little distance, with a large supply of figures cut in paper, such as houses, trees, men, women, animals, birds, &c. These figures must be slowly passed along, one after the other, in the manner you wish the shadows to fall on the curtain. It is easy to make them advance, retreat, &c., while you hold conversation for them. Those who are skillful in the use of these shadows, can make them represent a battle, game, contra dance, &c. The figures of inanimate things must not be moved; birds can be suspended on the ends of strings, and swung about irregularly, from time to time. The effect is not unlike a magic lantern. When the actors have played long enough, they must change places with the spectators.

“THE COMICAL CONCERT.”

THIS game, when well played, is extremely diverting. The players are arranged as an orchestra, and each one undertakes to imitate some musical instrument. One pretends to play the violin, by stretching out her left arm, and moving her right hand across it, as if she were drawing a bow; another doubles up her hands and puts them to her mouth, to imitate a horn; another moves her fingers on a table, to imitate a piano; another takes the back of a chair and touches the rounds, as if they were the strings of a harp; another motions as if beating a drum; another holds a stick, after the manner of a guitar, and pretends to play upon it; another appears to be turning a hand-organ; another plays a flute, trombone, or any instrument he fancies—even a jewsharp. This is but half the game. Each musician should, while playing, make a sound with his mouth, in imitation of his instrument, thus:

Rub-a-dub, goes the drum;
Twang, twang, goes the harp
Toot, too, hoo, goes the horn;
Tweedle-dee, tweedle-dee, goes the violin, &c.

If all play with spirit it makes a laughable jumble. The leader must stand facing the orchestra, with a long stick, beating time, in an absurd imitation of some famous leader. In the midst of the noise and fun, he suddenly stops, and pointing his wand of office to one of the players, asks, abruptly, “Why don’t you play better?” The one spoken to must answer instantly, and with suitable reference to the nature of his instrument. For instance, the drummer could say one of his drumsticks is broken; the harper, that a string is loose; the pianist, that a key is broken or out of tune; the violinist, that a string is broken, &c. If they hesitate a moment, or give an unsuitable answer, or if they repeat an excuse already made, they must pay a forfeit or take a new instrument. While one is answering, all must stop playing. When the leader waves aloft his wand, all must commence again, and play till he speaks to some one else; so on till they are weary. Sometimes it is a rule that all who laugh must pay a forfeit. There are many forfeits in that case.

THE MENAGERIE.

THIS is a noisy game. All the actors in the play must take seats around the room, while some one or two of the number must be chosen to give out the parts. The persons so chosen whisper in the ear of each one the name of some animal he is to imitate. When all are ready and the signal is given by one chosen for the purpose, each one commences to utter sounds in imitation of the animal named to him. Those who fail must pay some penalty. It cannot be called a “concord of sweet sounds,” but such a game will give life to a too quiet company on a stormy Winter evening.

QUAKER MEETING.

THOSE who join the game take seats around the room, and one or more whispers in the ear of each one some witty or absurd thing for him to do. All must be quiet who are not playing. When all are ready, one person claps his hands, and the first one must proceed to do what he was told; the others must not speak or laugh, on penalty of a forfeit. Each one in turn must act his or her part. It must all be in pantomime. When all are through, each person must turn and shake hands with his or her neighbor, saying: “Friend, how dost thee do?” It is important in this game that the one who gives the parts should be full of humor and of quick perceptions, so as to adapt the game to the persons playing. The parts assigned may be of endless variety. One person may be ordered to play a mock bravura on a table for a piano; another to gaze in admiration of himself in a mirror and arrange his dress and hair; another to act the scornful belle, while a gentleman acts the urgent but despairing lover; one to dance a hornpipe, another to make a speech by gestures, another to make grimaces in the face of every one in the company, another to pretend terror and fright from some imaginary animal, etc.

RESEMBLANCES.

ONE of the company taking part in this amusement rises, and addressing his or her neighbor, proposes the following question: “What does my thought resemble?” The person interrogated replies as he or she pleases; then the questioner adds: “In what way does the object you designate resemble that which I am thinking of?” If, as frequently occurs, there exists no affinity, no resemblance between the two, a pawn must be given by the person interrogated. Here is an example:

_Mary._—Tell me, Alice, what does my thought resemble?

_Alice._—A windmill.

_Mary._—I thought of Rogers’ poetry; what resemblance is there between his poems and a windmill?

_Alice._—I can give an answer very readily; perhaps the very prettiest little poem written by your poet begins, “Mine be a cot beside the mill.”

_Mary._—That is right; it is now your turn, Annie. What does my thought resemble?

_Annie._—A chandelier.

_Mary._—I thought of a partridge; how does a partridge resemble a chandelier?

_Annie._—Dear me, I’m sure I cannot tell! I will give you my pawn.

This play, by the strange inconsistencies which it authorizes, exercises the imagination, and brings into play a good deal of wit.

PUT IN A WORD.

SOME one in the company leaves the room, while those remaining select a word, and then send for the person to return. She must ask some question of the person nearest to her, to which the one spoken to must make a prompt answer, and in answering he must make use of the word selected. Sometimes an acute person will guess the word from the answer given to her first question. Some awkward use or slight emphasis may betray it, but generally she will go to a number and sometimes to all present without guessing the word. In that case (unless some one volunteers to take her place), she must go out again. If she discovers the word, the one by whose answer she guessed it, leaves the room, and those remaining choose a word and the game proceeds as before.

PROVERBS.

THE company select some one to leave the room; those remaining agree upon a proverb, such as “All is not gold that glitters,” and then send for the person to return to the room. She must ask questions of the company in turn. The first person asked must include in his answer the first word of the proverb, “all,” the next person, “is,” and so on till they complete the proverb; if she has not guessed it, and there are more in the company, the next person begins the proverb anew. The one by whose answer the proverb is guessed must then leave the room. This game requires considerable ingenuity and readiness. The proverbs selected should be familiar ones, such as “Make hay while the sun shines,” “When poverty comes in at the door love flies out at the window,” “A fool is wise in his own conceit,” “A stitch in time saves nine,” “Never look a gift horse in the mouth,” “All’s well that ends well,” “A bird in the hand is worth two in the bush.”

GAME OF CHARACTERS.

A PERSON chosen leaves the room. Those remaining select some familiar character either in history or of the present day, for the absent one to personate. When he returns, the person nearest him addresses him by a question, as if he were the character selected. In like manner, each person in the company in turn asks a question. The one at whose questions he guesses the character must take his place and leave the room in turn. For instance, “Napoleon the present emperor of France” is selected. When the person returns, the first questioner exclaims, “Are you not in constant fear of being killed?” The next, “Are you really happy?” The third, “Why are you so despotic?” The fourth, “Do you believe in fatalism?” Fifth, “Do you worship the memory of your uncle?” “Why do you not like us Americans?” etc., etc. This play is often very amusing and tact is required to ask questions that apply to the character and are not too plain.

LAWYER.

ALL who take part in the play assemble and choose a lawyer. The chairs in the room are arranged in two rows, as in a contra dance. If there are an equal number of gentlemen and ladies, the former choose their partners. The gentlemen take seats opposite the ladies. The lawyer proceeds to ask such questions as he chooses. The person addressed must never answer, but his partner must answer for him. If either make a mistake, he or she must change places with the lawyer, and ask the questions. If the lawyer is ready in asking questions, turning quickly from one person to another, he can very soon catch some one.

CONSEQUENCES.

THIS is a quiet game. All assemble around a table. Each person must have a half sheet of note paper and a pencil. All are requested to write an adjective expressing either a good or bad quality in a man’s character. Each one then turns over and creases down the place written upon, and all change papers. Each one then writes a gentleman’s name, and turns it down, and all change papers again. Then another word of quality applying to a lady, is written, and all the papers are turned down and changed as before. Then a lady’s name is written. Then a place where they met; then what he said to her; then what she said to him; what he gave to her; and what she gave to him; then the “consequences.” The paper must be turned down every time and changed, and no one must read what the others have written. When all are finished, some person collects and reads the papers. Some are absurd, and others happen very correctly. For instance, they might read thus: “The clumsy Mr. Snooks met the beautiful Miss Primrose at a ball. He asked her if she liked turnips; she sighed and hung her head, and said, ‘If mamma is willing.’ He gave her a bouquet; she gave him a box on the ear. The consequences were too sad to relate.” A party of merry girls and boys will like this game for a variety.

FOX AND GEESE.

THIS game is a very old one, but it is too good not to be always remembered. Arrange the company in this form, all facing inward:—

The stars represent persons; the one outside the circle, but next to it, is the goose; the one most distant from the circle, the fox. When the game commences, the goose starts and places himself or herself in front of one of the two stars. Then the outside one becomes the goose, and the object of the fox is to touch the outside one of three; if he succeeds, they change places, and the one caught becomes the fox. Every one must be on the alert, and change as quickly as possible. I have seen this game, on a stormy day at the seashore, played with great zeal by old gentlemen, judges, lawyers, ministers, mothers, fathers and children. One gray-haired gentleman was the fleetest fox of all; no one could escape him, and his laugh made all hearts glad. Green old age is beautiful to see, and the youthful are always made happier by its genial sympathy.

STAGE-COACH.

ALL who join this game should be seated, with the exception of the story-teller. If there are vacant chairs, they should either be turned over or taken out of the room. A person with a quick memory and a flow of words, should be selected for the office of story-teller. When all are seated, he or she passes around the circle, giving a name to each individual. When the story is told, the one whose name is mentioned must rise and whirl around. When “stage-coach” is mentioned, all must rise and turn around; when it is said the “stage-coach tips over,” all must change places, and the story-teller then takes his chance to secure a seat, and the one who is left without any seat must go on with the story—the former story-teller taking the name of the person who takes his place. If any one fails to turn around or change places according to the rules of the game, a forfeit must be paid. The common way of telling the story is to describe the “Fidget family, on a journey in a stage-coach.” The following names are generally given to the company: Mr. and Mrs. Fidget, the baby and nurse, Miss Fidget and Master Fidget, and maiden aunt; gingerbread, band-box, trunks, bundles, off horse, nigh horse, driver, whip, reins, driver’s seat, cushions, door, curtains, wheels, footman, &c. You must adapt your names to the number playing. In telling the story, it makes more fun to keep one or two (who will bear the joke) constantly whirling. The story and names are at the will of the story-teller.

HUNT THE FOX.

TAKE partners, and stand as in a contra dance. The lady at the head is the fox; her partner the hunter. At a signal, she starts and runs down the line, her partner following; she can pass through the lines as she pleases, the players standing far enough apart to allow her to pass easily. The hunter must follow the exact course of the fox; if he varies, he must pay a forfeit. When the fox is caught, the first couple goes to the foot, and the next couple goes through with the same. This and “Follow the Leader” are favorite games for Thanksgiving evenings. Old and young join.

SNEEZING.

ALL who join this game assemble in a circle. The leader gives one of these syllables, “Ash-ish-osh,” to each one. Thus, to the first person, “Ash;” the second, “ish;” third, “osh;” fourth, “ash,” and so on through all the company. The leader must then stand in the centre and count four, slowly. When he pronounces four, all must sound their syllables at once. The effect is very amusing; it sounds like a prolonged sneeze.

THE READY WRITER.

THIS game can be played by any number of persons, each one having a pencil and paper. The leader of the game gives to each one (or each player chooses) a letter in the alphabet. Each player then writes a sentence of five, six or seven words, each word commencing with the letter given him. When all have finished, each one in turn reads his sentence. If any one fails, he or she must recite some poetry and pay a forfeit. This game often produces most amusing and instructive effects. Sometimes the leader requires each player to go through the alphabet, as follows:

Avoid avarice, as an asp.
Britons! be bold! be brave!
Constant crime causes careless consciences.
Do defer doing dirty deeds.
Even every engineer engaged escaped.
Fawning favorites fear fortune’s freaks.
God’s goodness gives great gifts.
Happy homes have happy hearts.
It is instruction I intend.
Keep kind, kinsfolk! keep kind!
Jockeys joyfully joking jaded jackasses.
Little lambs love long lanes.
Many men make much money.
Name nine noisy noblemen now.
Ostentation often operates on opulence.
Perfect piety produces pretty practices.
Quit, quibbling quacks, quarreling, quickly.
Round rough rocks ragged rascals run.
Such stings sting so sharply.
Try to turn topsy-turvy.
Up! up! ungrateful, unjust usurper!
Verily, verily, vice vilifies virtue.
Willing wives will wash well.
Yes, yet you yawned yesterday.
Zeal! zeal! zealous zary, zeal!

RHYMING WORDS IN PANTOMIME.

ALL who desire to join in this charming pastime must be seated in a circle, in order that each player can have a clear view of all the other players. One of the company must be selected to commence the game. He must think of some word which can be easily rhymed by other words, and give out only the termination of the word to the other players, saying “I have thought of a word that rhymes with ——, can any of you guess it?” The players must next speak in answer to the leader’s question, but whoever thinks of a word to rhyme with the given termination must strive to act out the word he thinks of in pantomime, as plainly as possible, and the leader must closely watch the player who is acting the word, and as soon as he guesses what the person acting is trying to represent, if it is not the word selected, he must say, “It is not ——,” (calling out the word represented) “that I thought of,” and so on as each player acts out a word, the leader must call out the word represented until the right word is acted. The leader must then resign his place, and the person who acted out the right word must be the leader and think of a word, giving out the termination to be rhymed with. An example will here be given to assist those ignorant of this game.

Suppose the person who first selects a word chooses “sting” and gives out “ing” to be rhymed with. One of the players makes a motion with his hands of ringing a bell. The leader says, “It is not ring, to ring a bell.” Another player will by signs indicate a ring on the finger. The leader exclaims, “It is not a finger-ring.” One of the players will imitate wringing of clothes. The leader says, “It is not wring.” Another represents singing, and is told “it is not sing.” A player will perhaps imitate a bee stinging. Then the leader exclaims, “Sting is the word, I resign my place to you.” Perhaps a few examples of rhyming words easily acted may be useful, which will be given here.

Sun. Hair. Map. Hill. Sheep.
Dun. Hare. Cap. Kill. Deep.
Pun. Pair. Lap. Mill. Weep.
Run. Pear. Rap. Fill. Keep.
Gun. Bear. Snap. Still. Creep.
Fun. Fair. Trap. Rill. Reap.
Spun. Prayer. Flap. Sill. Cheap.
Bun. Flare. Clap. Bill. Leap.

AN EXHIBITION OF THE MODERN GIANT.

THIS is rare sport, when well managed, and for a time the exhibition appears very mysterious to the uninitiated. A large sheet should be strained across some open door; folding doors are better adapted to this game, as they give a larger space for action.

The room in which the spectators are seated should be darkened; but in the room back of the curtain, where the Giant exhibits, should be placed on the floor, a bright lamp or candle, with a reflector, either of polished tin or a looking glass. Any one standing between the light and curtain, appears immense in all his proportions, as his reflection is cast upon the sheet. Let the person acting as the Giant first open his hands and spread his fingers wide, and let them appear at the bottom of the curtain, and gradually rise till the shadow of his whole body is exhibited between the light and the curtain. He will appear to rise from the cellar; then let him jump over the light, to the rear of the reflector, and it will seem as if he jumped upwards through the ceiling.

Many amusing scenes can be thus contrived, articles of furniture, etc., etc., can be called down from above by simply passing them over the light. Dolls can be used with great effect. The Giant can appear to swallow them—or destroy the pigmy race. Care should be taken to keep the profile on the screen or curtain as distinct as possible. Some call this game “The man in the moon came down too soon.”

THE SHADOW AT COMMAND.

THIS feat is performed by means of confederacy. Having privately apprised your confederate that when you strike one blow, it signifies the letter A; when you strike two, it means B; and so on for the rest of the alphabet; you state to the company that if any one will walk into the adjoining room, and have the door locked upon him, perhaps the animal may appear which another person may name. In order to deter every one except your confederate from accepting the offer, you announce at the same time that the person who volunteers to be shut up in the room must be possessed of considerable courage, or he had better not undertake it. Having thus gained your end, you give your confederate a lamp, which burns with a very dismal light, telling him, in the hearing of the company, to place it on the middle of the floor, and not to feel alarmed at what he may happen to see. You then usher him into the room, and lock the door. You next take a piece of blank paper and a pencil, and, giving them to one of the party, you tell him to write the name of any animal he wishes to appear to the person shut up in the room. This being done, you receive back the paper, and after showing it around to the company, you fold it up, burn it in the candle or lamp, and throw the ashes into a mortar (an iron one is the best), casting in at the same time a powder, which you state to be possessed of valuable properties. Having taken care to read what was written, you proceed to pound the ashes in the mortar, thus: Suppose the word written be “cat,” you begin by stirring the pestle around the mortar several times, and then strike three distinct blows, loud enough for your confederate to hear, and by which he knows that the first letter of the word is C. You next make some irregular evolutions of the pestle around the mortar, that it may not appear to the company that you give nothing but blows, and then strike one blow for A. Work the pestle about again, and then strike twenty blows, which he will know means T—finishing your manœuvre by working the pestle about the mortar, the object being to make the blows as little remarkable as possible. You then call aloud to your confederate, and ask him what he sees. At first he is to make no reply; after being interrogated several times, he asks if it is not a cat.

That no mistake be made, each party should repeat to himself the letters of the alphabet in the order of the blows. If he misses, you might go over, pretending you had forgotten some word in your incantations, as you can mumble to yourself when pounding. If your confederate is a good mimic, it would add to the amusement of all to mimic the sounds of the animal to appear to him.

I have seen this game differently performed. Your confederate, after any word has been chosen, returns to the room, and you give assurance that by your magical art you can inform him of the word. You then take a cane and draw a large circle, and at the same time repeat any absurd jingle or formula of words; then pretend to call up some ancient spirit, and by your raps on the floor tell your confederate your first letter. Then pretend to draw magical figures, and repeat anything you think of; pretend to listen for an answer; then call up some different spirit, and by your distinct raps express the second letter; and so on until the word is finished. This game can be made very amusing.

THE WIZARD OF THE EAST.