The Project Gutenberg EBook of Cassell's Book of In-door Amusements, Card Games, and Fireside Fun, by Various This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you'll have to check the laws of the country where you are located before using this ebook. Title: Cassell's Book of In-door Amusements, Card Games, and Fireside Fun Author: Various Release Date: June 4, 2015 [EBook #49137] Last Updated: June 8, 2015 Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK AMUSEMENTS *** Produced by Chris Curnow, Cindy Horton and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) View larger versions of some illustrations by clicking on those with a border. This may or may not be supported by your device. IN-DOOR AMUSEMENTS. BLIND MAN'S BUFF. NINE PINS. FIRESIDE FUN. WHIST. PARLOUR MAGIC. [1] CASSELL'S BOOK OF IN-DOOR AMUSEMENTS, CARD GAMES, AND FIRESIDE FUN. With Numerous Illustrations. THIRD EDITION. Cassell, Petter, Galpin & Co.: LONDON, PARIS & NEW YORK. [ALL RIGHTS RESERVED.] PREFACE. This Work is a companion volume to Cassell's Book of Sports and Pastimes. As the latter—with the exception of the special sections on "Recreative Science," "The Workshop," and "Home Pets"—is largely occupied with games and sports which are usually carried on out-of-doors, it will be seen that the present book, which is almost exclusively devoted to indoor games of various kinds, forms a very fitting supplement to the other. It has been the constant aim of the different writers to convey their information in plain, accurate, direct fashion, so that readers may come to understand, on the first occasion of consulting it, that Cassell's Book of Indoor Amusements, Card Games, and Fireside Fun is a Work that deserves their confidence, and may accordingly acquire the habit of referring to it, as a matter of course, when in doubt on any point connected with their favourite games, or when desirous of learning new amusements. Reference has now and again been unavoidably made to outdoor games, either by way of comparison or suggestion for further details. In such cases the reference always has been to the companion volume already mentioned, so that readers possessing the two books will have no difficulty in following the instructions of the Author. In the section on "Parlour Magic" no trick has been described involving the use of apparatus in any degree elaborate. The one or two tricks of a formidable character which are there fully explained have been selected—as the text, in fact, expressly states—to show young conjurers what can really be done with the help of long training and expensive appliances. In conclusion, the Editor hopes that this work may be the means of introducing many a new game to the young folk for whom it has been his happiness to cater. He will not tell them that all play and no work make Jack a stupid boy, because he has no doubt that his readers are just as fond of their lessons as they are of merry romps or quieter games. CONTENTS. ROUND OR PARLOUR GAMES. PAGE Acting Proverbs 9 Acting Rhymes 9 Adjectives 10 Adventurers, The 10 Æsop's Mission 11 Alphabet Games 11 Artists' Menagerie, The 12 Baby Elephant, The 12 Bird-catcher, The 13 Blind man's Buff 13 Blind Postman 13 Blowing out the Candle 13 Bouts Rimés 14 "Brother, I'm Bobbed" 14 "Buff says 'Baff'" 14 Buff with the Wand 15 Capping Verses 15 Charades 15 Clairvoyant 17 Comic Concert, The 18 Consequences 18 Conveyances 19 Crambo 19 Cross Questions and Crooked Answers 20 "Cupid is Coming" 20 Cushion Dance, The 20 Definitions 21 Dumb Crambo 21 Dwarf 21 Elements, The 22 Farmyard, The 22 Feather, The 22 Finding the Ring 22 Flying 23 Forfeits 23 Giant 28 Giraffe, The 28 Grand Mufti, The 28 Hands 28 "He can do little who can't do this" 29 Hiss and Clap 29 "Hot Boiled Beans" 29 [2] [3] [4] [5] Hot Cockles 29 House Furnishers 29 "How do you like your Neighbour?" 30 "How, When, and Where?" 30 Hunt the Ring 30 Hunt the Slipper 30 Hunt the Whistle 31 "I Apprenticed my Son" 31 "I Love my Love" 31 "Jack's Alive" 31 Jolly Miller, The 32 Judge and Jury 32 Magic Answer, The 32 Magical Music 33 Magic Hats, The 33 Magic Wand, The 33 "The Minister's Cat" 34 Mixed-up Poetry 34 Musical Chair 35 "My Master has sent me unto you" 35 Nouns and Questions 35 Object Game, The 35 Old Soldier, The 36 Oranges and Lemons 36 Original Sketches 37 "Our Old Grannie doesn't like Tea" 37 Pairs 37 Person and Object 37 Pork-Butcher, The 38 Postman's Knock 38 Proverbs 38 Quaker's Meeting, The 38 Resting Wand, The 39 Retsch's Outlines 39 Reviewers, The 40 Rhymes 40 Rule of Contrary 41 Russian Gossip 41 Schoolmaster, The 41 Shadow Buff 41 Shouting Proverbs 42 "Simon says" 42 Spanish Merchant, The 42 Spanish Nobleman, The 42 Spelling Bee 43 Spoon Music 43 Stage Coach, The 44 Stool of Repentance 44 Tableaux Vivants 45 Telescope Giant, The 46 Think of a Number 46 This and That 46 Throwing Light 47 Toilet 47 Trades, The 48 Traveller's Alphabet, The 48 Twenty Questions 49 Two Hats, The 49 "What am I Doing?" 49 "What is my Thought like?" 49 Who was he? 50 Wild Beast Show, The 50 "Yes or No?" 50 TOY GAMES AND TOY-MAKING. PAGE Æolian Harp 52 Animated Serpent 52 Annulette 53 Apple Mill 53 Apple Woman 53 Bandilor 54 Battledore and Shuttlecock 54 Bell and Hammer 54 [6] Bird Whistles 54 Birds, Beasts, and Fishes 54 Bombardment 54 Bottle Imps 54 Brother Jonathan 55 Camera (Miniature) 55 Cannonade 55 Carpet Croquet 56 Castle Bagatelle 56 Common Whistle 56 Crack Loo 56 Cup and Ball 56 Cupolette 56 Cut-water 57 Dancing Highlander 57 Dancing Pea 57 Dart and Target 58 Dartelle 58 Decimal Game 58 Demon Bottle 58 Drawing-room Archery 59 Dutch Racquets 59 Enfield Skittles 59 Flying Cones 59 French and English 60 Gas Balloons 60 German Balls 60 German Billiards 61 Hat Measurement 61 Homeward Bound 61 Hydraulic Dancer 61 Immovable Card 61 Indian Skittle Pool 61 Jack-in-the-Box 62 Japanese Fan 62 Jerk Straws 62 Le Diable 62 Magic Fan 62 Magic Figure 64 Magic Flute 64 Magician of Morocco 64 Magnetic Swan 65 Magnetic Wand 65 Magnifying Pinhole 66 Mechanical Bucephalus 66 Microscope (Toy) 66 Mocking Call 67 Moorish Fort 67 Navette 67 Nine pins 68 Noughts and Crosses 68 Obedient Soldier 68 Palada 68 Paper Bellows 69 Paper Boat 69 Paper Boxes 70 Paper Chinese Junk 70 Paper Dart 72 Paper Hat (Pyramidal) 72 Paper Parachute 72 Paper Purses 73 Parlour Bowls 74 Parlour Croquet 74 Parlour Quoits 74 Patchesi; or, Homeward Bound 75 Pegasus in Flight 75 Pith Dancer 76 Prancing Horse 76 Prophet 76 Puff and Dart 77 Push Pin 78 Puzzle-wit 78 Quintain 78 Quiz 78 Race Game 78 Racquets (Drawing-Room) 79 Revolving Ring 79 Ringolette 80 Ring the Bull 80 Royal Star 80 Schimmel 81 Shovel Board 82 Skittle Cannonade 83 Slate Games 84 Spillikins or Spelicans 85 Squails 86 Squeaker 86 Steady Tar 87 Summer Ice 87 Sybil 87 Table Croquet 87 Targetta 87 Teetotum 88 Tit-tat-to 88 Tournament 88 Trails 88 Trouble Wit 88 Wonderful Trumpet 88 MECHANICAL PUZZLES. PAGE Balanced Pail, The 90 Balanced Stick, The 90 Bridge of Knives, The 91 Square and Circle Puzzle, The 91 Carpenter's Puzzle, The 91 Divided Farm, The 92 Vertical Line Puzzle, The 92 String and Balls Puzzle, The 92 Puzzling Rings, The 93 Balls and Rings Puzzle, The 93 Staff Puzzle, The 94 Victoria Puzzle, The 94 Artillery Puzzle, The 94 Six Rows Puzzle, The 94 Six-Square Puzzle, The 94 Magic Octagon, The 94 Accommodating Square, The 94 Magic Cross, The 95 To Take a Man's Waistcoat off without Removing his Coat 95 To Break a Stone with a Blow of the Fist 96 The Key, the Heart, and the Dart 96 Prisoners' Release Puzzle, The 96 Hampton Court Maze 96 ARITHMETICAL PUZZLES. PAGE American Puzzles, "15" and "34" 97 Magic Nine, The; or, Puzzle of Fifteen, The 98 Magic Thirty-six, The; or, Puzzle of One Hundred and Eleven, The 98 Magic Hundred, The; or, Puzzle of Five Hundred and Five, The 99 Twenty-four Monks, The 99 To take One from Nineteen so that the Remainder shall be Twenty 100 Famous Forty-five, The 100 Costermonger's Puzzle, The 100 Progression of Numbers, The 101 How a Number thought of or otherwise indicated may be told 102 Magical Addition 103 Clever Lawyer, The 104 A New Way of Multiplying by 9 104 To Reward the Favourites and Show no Favouritism 105 Dishonest Servants, The 105 Lord Dundreary's Finger Puzzle 105 Uniform Results of Multiplication 105 To Ascertain a Square Number at a Glance 106 To Distinguish Coins by Arithmetical Calculation 106 Properties of Numbers 106 [7] CARD GAMES. PAGE Long Whist 107 Short Whist 115 Piquet 116 Euchre 118 Vingt-un 120 Speculation 121 Napoleon 122 Cribbage 122 Ranter go Round 125 Écarté 126 Loo 128 Cassino 129 Put 131 Matrimony 131 All Fours 132 Poker 134 Snip-Snap-Snorum 136 Commerce 137 Sift Smoke 138 Lottery 138 Quince 139 Pope Joan 139 Spinado 140 Old Maid 141 Spade and Gardener 142 Happy Families 142 Bézique 143 Snap 144 Zetema 145 French Vingt-un, or Albert Smith 148 Beggar my Neighbour 149 Catch the Ten 149 Cheat 150 Truth 150 PARLOUR MAGIC. PAGE Conjuring 151 Simple Deceptions and Minor Tricks 152 Card Tricks and Combinations 153 Conjuring with and without Special Apparatus 167 Clairvoyance or Second Sight 178 Ventriloquism and Polyphony 180 FIRESIDE FUN. PAGE Decapitations 185 Curtailments and Retailings 186 Anagrams 189 Word Squares 191 Birds, Fruits, and Flowers Enigmatically Expressed 192 Rebuses 193 Arithmorems 194 Diamond Puzzles and Word Puzzles of Various Shapes 196 Cryptography 197 Chronograms 198 Logograms 200 Metagrams 202 Word Capping 203 Paragrams 203 Extractions 204 Transpositions 204 Definitions 205 Inversions 206 Hidden Words 206 Numbered Charades 208 Letter and Figure Charades 210 Verbal Charades 211 Acrostics 211 [8] Enigmas 213 Alphabetical Puzzles 215 Guessing Stories 216 Mental Scenes 217 CASSELL'S Book of In-door Amusements. ROUND OR PARLOUR GAMES. It is certainly a matter of regret that the names of most of the good people to whom we are indebted for the introduction of our favourite old-fashioned Round Games are buried in obscurity, for they deserve, in our estimation at least, the name of benefactors quite as much as any great discoverer or inventor. What higher aim could they possibly have had in view than that of teaching people how to enjoy themselves? It has been said that in the world there are two great heaps, one of human happiness, and the other of human misery, and that we are all engaged the whole day through in taking a portion from one heap and carrying it to the other. Surely the portion carried from one heap to the other by the kind folk who have at various times furnished us with our amusements must by this time be one of considerable size, and in spite of their names being unknown to us, we will ever feel grateful to them for contributing so largely to our enjoyment of life. A long time ago it was observed of the English as a race that they took their pleasures sadly; but we will hope that henceforth the observation may be applicable to past generations only, and that our readers at any rate will resolve that when they play they will play heartily, just as when they work they will work heartily. To the really hearty players, therefore, we have great pleasure in handing our collection of Round Games. ACTING PROVERBS. In this game each player may take a part, or if thought preferable, the company may divide themselves into actors and spectators. The actors then each fix upon a proverb which is to be represented by every one of them individually. There is to be no connection between them in any way. Each one in turn has simply to act before the rest of the company the proverb he has selected. The first player might, for instance, come into the room holding a cup in his hand; then, by way of acting his proverb, he might repeatedly make an appearance of attempting to drink out of the cup, but of being prevented each time by the cup slipping out of his hands, thus in dumb show illustrating the proverb, "There's many a slip between the cup and the lip." The second might come into the room rolling a ball, a footstool, or anything else that would do to represent a stone. After rolling it about for some time he takes it up and examines it with astonishment, as if something were wanting that he expected to find on it, making it, perhaps, too plainly evident to the company that the proverb he is aiming to depict is the familiar one of "A rolling stone gathers no moss." If really good acting be thrown into this game, it may be made exceedingly interesting. ACTING RHYMES. A word is chosen by the company which is likely to have a good many other words rhyming with it. The first player then begins by silently acting some word that will rhyme with the one chosen; as for instance, should the selected word be flow, the first actor might imitate an archer, and pretend to be shooting with a bow and arrow, thus representing the word bow, or he might with an imaginary scythe cut the long grass (mow), or pretend to be on the water in a boat, and make use of imaginary oars (row). As each word is acted it should be guessed by the spectators before the next one is attempted. ADJECTIVES. A sheet of paper and a pencil are given to the players, upon which each is requested to write five or six adjectives. In the meantime one of the company undertakes to improvise a little story, or, which will do quite as well, is provided with some short narrative from a book. The papers are then collected, and the story is read aloud, the reader of the same substituting for the original adjectives those supplied by the company on their papers, placing them, without any regard to sense, in the order in which they have been received. The result will be something of this kind:—"The sweet heron is a bird of a hard shape, with a transparent head and an agitated bill set upon a hopeful neck. Its picturesque legs are put far back in its body, the feet and claws are false, and [9] [10] the tail very new-fangled. It is a durable distorted bird, unsophisticated in its movements, with a blind voice, and tender in its habits. In the mysterious days of falconry the places where the heron bred were counted almost shy, the bird was held to be serious game, and slight statutes were enacted for its preservation," and so on. THE ADVENTURERS. The great advantage to be derived from many of our most popular games is that they combine instruction with amusement. The game we are about to describe is one of this number, and will give the players the opportunity of exhibiting their geographical knowledge, as well as any knowledge they may have as to the physical condition, manufactures, and customs of the countries which, in imagination, they intend visiting. The company must first of all fancy themselves to be a party of travellers bound for foreign lands. A starting-place is fixed upon, from which point the first player sets out on his journey. In some cases maps are allowed, and certainly, if any one should be doubtful as to the accuracy of his ideas of locality, both for his own sake and that of his friends he will do wisely to have a map before him. The first player then proceeds to inform the company what spot he means to visit, and what kind of conveyance he means to travel in; on arriving at the place what he means to buy, and on returning home which of his friends is to be favoured by having his purchase offered as a gift. To do all this is not quite so easy as might at first be imagined. In the first place there must be some knowledge of the country to which the traveller is going; he must know the modes of conveyance, the preparations he will have to make, and the time that will be occupied during the journey. Also, he must know something of the capabilities of the people whom he means to visit, because what he buys must be something that is manufactured by them, or that is an article of produce in their country. For instance, he must not go to North America for grapes, or to the warm and sunny South for furs. The presents, too, must be suitable for the persons to whom they are to be offered. A Japanese fan must not be offered to a wild schoolboy, or a meerschaum pipe to a young lady. Forfeits may be exacted for any mistakes of this kind, or, indeed, for mistakes of any description; the greater will be the fun if at the end of the game a good number of forfeits should have accumulated. The second player must make his starting-point where his predecessor completed his travels, and may either cut across the country quickly, make his purchase, and return home again, or he may loiter on the road to sketch, botanise, or amuse himself in any other way. It is astonishing how much pleasure may be derived by listening to the various experiences related, especially when a few of the company are gifted with vivid imaginations. Sometimes rhyme is employed instead of prose for recounting the travels, and with very great success. When this is done the speaker may, if so inclined, end his description abruptly, thus leaving it to the next player about to commence his narrative to supply a line which shall rhyme with the one just uttered. ÆSOP'S MISSION. This being a game of mystery, it is, of course, necessary that it should be unknown to, at any rate, a few of the company—the more the better. One of the gentlemen well acquainted with the game undertakes to represent Æsop. In order to do so more effectually, he may put a cushion or pillow under his coat to imitate a hump, provide himself with a thick stick for a crutch, make a false nose, and put a patch over one eye. The rest of the company must then each assume the name of some subject of the animal kingdom—a bird, beast, or fish—and having done this must prepare themselves to listen to the words of their great master. Limping into their midst, Æsop then tells them that the wrath of the great god Jupiter has been aroused, and as the cause of a calamity so terrible must be that one or more of them have been committing some crime or other, he is anxious to discover without further delay who are the guilty subjects. "I shall therefore," continues he, "question you closely all round, and I shall expect you every one to give me truthful answers. To begin with you, Mr. Lion, as you are the king of beasts, I sincerely hope you have done nothing derogatory to your high position; still, as it is absolutely necessary that you should be examined with the rest of your friends, will you please tell me what food you have eaten lately?" Should the lion have eaten a lamb, a sheep, a tiger, a bear, or any other dainty that is spelt without the letter O, he is acquitted as innocent; but should he have eaten a leopard, a goose, a fox, or any other creature, in the name of which the letter O occurs, he is pronounced by Æsop to be deserving of punishment, and is therefore sentenced to pay a forfeit. The other animals in turn then undergo a similar examination, during which each one must remember that in naming their prey they must confine themselves to such food as is suited to the species they have adopted. The game may be carried on for any length of time, or until all have discovered the secret in it. There is no fear of the interest flagging, so long as even only one of the company is still left unable to solve the mystery. ALPHABET GAMES. Provided with a good boxful of letters, either on wood or cardboard, a clean table, a bright fire, and three or four pleasant companions, I have no hesitation in saying that a very pleasant hour may be spent. It is almost needless to give [11] Leaves from an Artist's Sketch-Book. directions how to proceed with the letters, for they can be used in a variety of ways, according to inclination. Sometimes a word is formed by one person, the letters of which he passes on to his neighbour, asking him to find out what the word is. A still more interesting method is for the whole party to fix upon one long word, and all try in a certain time how many different words can be made of it. Or another way, even better still, is to shuffle the letters well together, and then to give to each person a certain number. All must then make a sentence out of the letters, whether with or without sense, as best they can. The transposition of words, too, is very amusing, and can be done either with the loose letters or with pencil and paper. The names of poets, authors, or great men famous in history may be given, the letters of which may be so completely altered as to form words or sentences totally different from the original. For instance:— We lads get on. W. E. Gladstone. Rich able man. Chamberlain. Side Rail. Disraeli. Pale Noon. Napoleon. THE ARTISTS' MENAGERIE. A pencil and a piece of paper of moderately good size are given to the players, each of whom is requested to draw on the top of the sheet a head of some description, it may be a human head or that of any animal, either bird, beast, or fish. As soon as each sketch is finished the paper must be folded back, and passed to the left-hand neighbour, no one on any account looking at the drawing under the fold. The body of something must next be drawn. As before, it may be either a human body or that of any animal, and the papers must then be again folded and passed to the left. Lastly, a pair of legs must be added, or it may be four legs, the number will depend upon the animal depicted. The productions all being complete, they are opened and passed round to the company, who will be edified by seeing before them some very ridiculous specimens of art—see our illustrations, for instance. The dotted lines in these figures show where the paper was folded back, as each "artist" finished his work. THE BABY ELEPHANT. A very good imitation of a Baby Elephant can easily be got up by two or three of the company, who are willing to spend a little time and trouble in making the necessary preparations. In the first place a large grey shawl or rug must be found, as closely resembling the colour of an elephant as possible. On this a couple of flaps of the same material must be sewn, to represent the ears, and also two pieces of marked paper for the eyes. No difficulty will be found in finding tusks, which may consist of cardboard or stiff white paper, rolled up tightly, while the trunk may be made of a piece of grey flannel also rolled up. The body of the dear little creature is then constructed by means of two performers, who stand one behind the other, each with his body bent down, so as to make the backs of both one long surface, the one in front holding the trunk, while the one behind holds the tusks one in each hand. The shawl is then thrown over them both, when the result will be a figure very much resembling a little elephant. When all is complete, the services of a third performer should be enlisted to undertake the post of keeper to the elephant. If the person chosen for this capacity have great inventive faculties, the description given by him may be made to add greatly to the amusement of the scene. THE BIRD-CATCHER. One of the party is chosen to be the bird-catcher. The rest fix upon some particular bird whose voice they can imitate when called upon, the owl being the only bird forbidden to be chosen. Then sitting in order round the room with their hands on their knees, they listen to the story their master has to tell them. The Bird-catcher begins by relating some incident in which the feathered tribe take a very prominent position, but particularly those birds represented by the company. Each one, as the name of the bird he has chosen is mentioned, utters the cry peculiar to it, never for a moment moving his hands from his knees. Should the owl be referred to, however, every one is expected to place his hands behind him, and to keep them there until the name of another bird has been mentioned, when he must, as before, place them on his knees. During the moving of the hands, if the Bird-catcher can succeed in securing a hand, the owner of it must pay a forfeit, and also change places with the Bird-catcher. We must not forget to observe that when the leader, or Bird-catcher, as he is called, refers in his narrative to "all the birds in the air," all the players are to utter at the same time the cries of the different birds they represent. BLIND MAN'S BUFF. A handkerchief must be tied over the eyes of some one of the party who has volunteered to be blind man; after which he is turned round three times, then let loose to catch any one he can. As soon as he has succeeded in laying hold of one of his friends, if able to say who it is he is liberated, and the handkerchief is transferred to the eyes of the newly- made captive, who in his turn becomes blind man. This position the new victim must hold until, like his predecessor, he shall succeed in catching some one, and naming correctly the person he has caught. [12] [13] BLIND POSTMAN. In this game the first thing to be done is to appoint a postmaster-general and a postman. The table must then be pushed on one side, so that when the company have arranged themselves round the room there may be plenty of room to move about. The postmaster-general, with paper and pencil in hand, then goes round the room, and writes down each person's name, linking with it the name of the town that the owner of the name chooses to represent. As soon as the towns are chosen, and all are in readiness, the postman is blindfolded and placed in the middle of the room. The postmaster then announces that a letter has been sent from one town to another, perhaps from London to Edinburgh. If so, the representatives of these two cities must stand up, and, as silently as possible, change seats. While the transition is being made, the postman is at liberty to secure one of the seats for himself. If he can do so, then the former occupant of the chair must submit to be blindfolded, and take upon himself the office of postman. BLOWING OUT THE CANDLE. No end of merriment has frequently been created by this simple, innocent game. It is equally interesting to old people and to little children, for in many cases those who have prided themselves on the accuracy of their calculating powers and the clearness of their mental vision have found themselves utterly defeated in it. A lighted candle must be placed on a small table at one end of the room, with plenty of walking space left clear in front of it. One of the company is invited to blow out the flame blindfold. Should any one volunteer, he is placed exactly in front of the candle, while the bandage is being fastened on his eyes, and told to take three steps back, turn round three steps, then take three steps forward and blow out the light. No directions could sound more simple. The opinion that there is nothing in it has often been expressed by those who have never seen the thing done. Not many people, however, are able to manage it—the reason why, you young people will soon find out, if you decide to give the game a fair trial. BOUTS RIMÉS. Several rhyming games are given among these Round Games, and the following is simply a variety of some of them: — A slip of paper is given to each player, who is requested to write in one corner of it two words that rhyme. The papers are then collected and read aloud, after which every one is expected to write a short stanza, introducing all the rhymes that, have been suggested. When the completed poems are read aloud, it is very amusing to observe how totally different are the styles adopted by the various authors, and how great is the dissimilarity that exists between the ideas suggested by each one. "BROTHER, I'M BOBBED." Two chairs are placed in the middle of the room, upon one of which some one unacquainted with the game must be asked to take a seat. The other chair must be occupied by a lady or gentleman to whom the game is familiar. A large shawl or tablecloth is then put over the heads of both, so that nothing that is going on in the room can be visible to them. The person, however, who understands the game may stealthily pull away the cloth from his own head, keeping it round his shoulders only, so that his companion may have no suspicion that both are not equally blindfolded. The player acquainted with the game then with his slipper hits his own head, at the same time calling out, "Brother, I'm bobbed." His blind companion will then ask, "Who bobbed you?" upon which the first player must name some person in the room, as if making a guess in the matter. He will next hit the head of the player under the shawl with the slipper, who will also exclaim, "Brother, I'm bobbed." "Who bobbed you?" the first player will inquire. The blinded player may then guess which person in the room he suspects of having hit him. The fun of the whole affair lies in the fact that the bobbing, which the blind player suspects is performed by the various members of the company, is really chiefly done by the player sitting close beside him. Sometimes, too, the bobbing business is done so effectually, and with such force, as to render it anything but amusing to the poor blinded victim, although to the spectators it may be unmistakably so. Should the victim be a gentleman, a few sharp raps with a slipper will not make any material difference to him; but if instead it should happen to be a lady, the "bobbing" must be of the gentlest. "BUFF SAYS 'BAFF.'" In this game no one is allowed to either laugh or smile; consequently, it is generally one of the games chosen when the merriment of the evening has reached its highest pitch. The company seat themselves in a half circle at one end of the room, with the exception of one of their number, who is supposed to have gone on a visit to Buff. He then enters the room with the poker in his hand, and his face looking as grave as possible. When he is asked by his friends in succession:— [14] [15] "Where do you come from?" "From Buff." "Did he say anything to you?" "Buff said Baff, And gave me this staff, Telling me neither to smile nor laugh. Buff says Baff to all his men, And I say Baff to you again, And he neither laughs nor smiles, In spite of all your cunning wiles, But carries his face with a very good grace, And passes his stick to the very next place." If all this can be repeated without laughing, the player is highly to be commended. He may then deliver up his staff to some one else, and take his seat. BUFF WITH THE WAND. Blind Man's Buff is so time-honoured and popular with young and old, that one would think it impossible to devise a better game of the kind. The newer game of Buff with the Wand, however, is thought by many to be superior to the long-established favourite. The blinded person, with a stick in his hand, is placed in the middle of the room. The remainder of the party form a ring by joining hands, and to the music of a merry tune which should be played on the piano they all dance round him. Occasionally the music should be made to stop suddenly, when the blind man takes the opportunity of lowering his wand upon one of the circle. The person thus made the victim is then required to take hold of the stick until his fate is decided. The blind man then makes any absurd noise he likes, either the cry of animals, or street cries, which the captured person must imitate, trying as much as possible to disguise his own natural voice. Should the blind man detect who holds the stick, and guess rightly, he is released from his post, the person who has been caught taking his place. If not, he must still keep the bandage on his eyes, and hope for better success next time. CAPPING VERSES. This game is not unlike one that is elsewhere described as "Mixed-up Poetry." Every one at the table is supplied with a sheet of paper and a pencil, at the top of which is written by each player a line of poetry either original or from memory. The paper must then be folded down so as to conceal what has been written, and passed on to the right; at the same time the neighbour to whom it is passed must be told what is the last word written in the concealed line. Every one must then write under the folded paper a line to rhyme with the line above, being ignorant, of course, of what it is. Thus the game is carried on, until the papers have gone once or twice round the circle, when they can be opened and read aloud. CHARADES. Although the acting of charades is by no means an amusement of very recent invention, it is one that may always be made so thoroughly attractive, according to the amount of originality displayed, that most young people, during an evening's entertainment, hail with glee the announcement that a charade is about to be acted. It is not necessary that anything great should be attempted in the way of dressing, scenery, or similar preparations, such as are almost indispensable to the performance of private theatricals. Nothing is needed beyond a few old clothes, shawls, and hats, and a few good actors, or rather, a few clever, bright, intelligent young people, all willing to employ their best energies in contributing to the amusement of their friends. What ability they may possess as actors will soon become evident by the success or failure of the charade. The word charade derives its name from the Italian word Schiarare—to unravel or to clear up. Suitable as the word may be in some instances, we cannot help thinking that in the majority of cases the acting of a charade has the effect of making the word chosen anything but clear; indeed, the object of the players generally is to make it as ambiguous as possible. As all players of round games know how charades are got up, it would be superfluous to give any elaborate instructions regarding them, though perhaps the following illustration may be useful. WORD "GO-BANG," TO BE REPRESENTED IN THREE SCENES. Scene 1.—In which the word Go is to be introduced. The curtain drawn aside. Miss Jenkyns is seen reclining on her drawing-room couch, with a weary look on her face and a book in her hand. Enter Footman. Footman (pulling his forelock).—"Please ma'am, I'm come to say I wish to give you notice; I can't stop here no longer!" Lady.—"Why, James, how is this? What can have made you so unexpectedly come to this decision?" [16] James.—"Well, ma'am, you see I want to live where there are more carriage visitors. I have nothing at all to say against you, ma'am, or the place; but I want to better myself by seeing a little of 'igh life." Lady.—"Then if you have no other reason for wanting to go, James, I fear we shall have to part, as I certainly can't arrange to receive carriage visitors simply for your benefit." (Sinks languidly back on the couch and resumes her book. James retires.) Lady (to herself).—"How tiresome these servants are, to be sure, now I shall have the trouble of engaging a new footman. I really think no one with my delicate health had ever so much to do before." (Rises and retires.) Scene 2.—Bringing in the word Bang. Old gentleman sitting in an arm-chair, a table by his side, on which medicine bottles and a gruel basin are placed, and his leg, thickly bandaged, resting on a chair. Old Gent.—"Oh, this horrid pain! what shall I do? will no one come to help me? That stupid doctor has done me no good." Enter Maid-servant.—"Please, sir, the doctor has come. Shall I tell him to come upstairs?" Old Gent.—"Of course you must, and unless he is quick I shall die before he gets here. Oh dear! Oh dear!" (Exit maid, banging the door after her.) Old Gent (shrieking out with pain).—"Oh, you cruel creature, how can you bang the door in that way, when even the slightest footstep on the floor is enough to make me wild? Quick, doctor, quick!" (Here the maid again appears, holding the door open for the doctor.) Doctor (with a large case of instruments under his arm).—"Mr. Grumbleton, you appear to be very ill; can I do anything to relieve you? Let me feel your pulse." Old Gent.—"Oh, my leg!" Doctor.—"Your nerves are in a very excited state; you must have perfect quiet." (Here the street door is heard to bang loudly, making the house shake.) Old Gent.—"Keep quiet, do you say! You might as well tell me to cut my leg off. There is no such thing as quiet in this house. That little good-for-nothing of a maid never comes into the room without shutting the door with a bang." Doctor.—"Be calm, my dear friend, and I will order you a soothing mixture, and as I leave the house I will insist upon perfect quiet being maintained." (Then rebandaging the gentleman's leg, and placing him comfortably in the arm-chair, the doctor retires.) Scene 3.—Bringing in the whole word, Go-bang. Inside a coffee-room. Two or three friends are seated with their coffee and pipes, when one, who has just returned from foreign lands, begins relating some of his adventures. Smith.—"Yes, my boys, glad as I am to get back to my own country, I should not like to be without the remembrance of all that I have witnessed in the far-off lands I have been visiting." Brown.—"Yes, friend, you must have had a brave heart to face the thousand dangers to which no doubt you have been exposed. But though it's getting late, we must, before parting, hear one of your adventures. So proceed, comrade." Smith.—"Well, it's not worth while beginning a long tale when there's not time to finish it, so I'll just sketch the sort of risk one often runs in the wilds of the backwoods. My mates and I had been out one day on a hunting expedition, when, returning home late at night, I unfortunately got left behind. The darkness was so great that my absence was not noticed, and before very long I found I had taken the wrong track. I came to this conclusion because I heard nothing but the tramp of my own horse's hoofs, when suddenly I felt that danger was at hand. Almost before I could put my thoughts into words, I felt something go bang close past my ear; then three Indians rushed upon me. Instead of feeling fear, a kind of supernatural strength took possession of me. I lifted my pistol and shot the man nearest to me, the next I felled; when, strange to say, the third man just at this moment turned round and fled. I suppose he heard the voices and footsteps of my friends, who were, at last, coming in search of me. At any rate he disappeared, when we all made the best of our way home, truly thankful that my life had been spared." Jones.—"Well done, Smith! Next time we meet you must tell us of the many escapes you have had, and wonderful scenes you have witnessed in foreign parts." The following, among other words, are suitable for charade acting:— Adulation, Andrew, Arrowroot, Artichoke, Articulate; Bayonet, Bellman, Bondmaid, Bonfire, Bookworm, Bracelet, Bridewell, Brimstone, Brushwood; Cabin, Carpet, Castaway, Catacomb, Champaign, Chaplain, Checkmate, Childhood, Cowslip, Cupboard, Cutlet; Daybreak, Dovetail, Downfall, Dustman; Earrings, Earshot, Exciseman; Farewell, Footman; Grandchild; Harebell, Handiwork, Handsome, Hardship, Helpless, Highgate, Highwayman, Homesick, Hornbook; Illwill, Indigent, Indulgent, Inmate, Insight, Intent, Intimate; Jewel, Jonquil, Joyful; Kindred, Kneedeep; Label, Lawful, Leapyear, Lifelike, Loophole, Loveknot; Madcap, Matchless, Milkmaid, Mistake, Misunderstand, Mohair, Moment, Moonstruck; Namesake, Necklace, Nightmare, Nightshade, Ninepin, Nutmeg; Orphanage, Outside, Oxeye; Padlock, Painful, Parsonage, Penmanship, Pilgrim, Pilot, Pinchbeck, Purchase; Quarto, Quicklime, Quicksand, Quickset, Quicksilver; Ragamuffin, Ringleader, Roundhead, Ruthful; Scarlet, Season, Sentinel, Sightless, Skipjack, Sluggard, Sofa, Solo, Somebody, Sonnet, Sparerib, Sparkling, Spectacle, Speculate, Speedwell, Spinster, Starling, Statement, Stucco, Supplicate, Sweetmeat, Sweetheart; Tactic, Tartar, Tenant, Tendon, Tenor, Threshold, Ticktack, Tiresome, Toadstool, Token, Torment, Tractable, Triplet, Tunnel; Upright, Uproar; Vampire, Vanguard; Waistcoat, Watchful, Watchman, Waterfall, Wayward, Wedding, Wedlock, Welcome, Welfare, Wilful, [17] Willow, Workmanship; Yokemate, Youthful. CLAIRVOYANT. In this game one of the company standing outside the room is, strange to say, able to describe what is passing inside. A dialogue such as would have to be carried on between the principal players will best describe the game, and show how it is to be played:— "Do you quite remember how the room is furnished in which we are sitting?" "I do." "Do you remember the colour of the chairs?" "I do." "Do you know the ornaments on the mantelpiece?" "I do." "And the vase of flowers?" "I do." "The old china in the cabinet?" "Yes." "The stuffed birds?" "Yes." "You think there is nothing in the room that has escaped your notice?" "Nothing." "Then please tell me which article I am now touching." "You are touching the vase of flowers." The vase of flowers being the only object preceded by the word and, the clairvoyant knows that that is the object which will be touched. The fun of the game, of course, consists in puzzling those of the company to whom the secret is unknown. THE COMIC CONCERT. In this performance the company for the time imagine themselves to be a band of musicians. The leader of the band is supposed to furnish each of the performers with a different musical instrument. Consequently, a violin, a harp, a flute, an accordion, a piano, a jew's-harp, and anything else that would add to the noise, are all to be performed upon at the same time. Provided with an instrument of some description himself, the leader begins playing a tune on his imaginary violoncello, or whatever else it may be, imitating the real sound as well as he can both in action and voice. The others all do the same, the sight presented being, as may well be imagined, exceedingly ludicrous, and the noise almost deafening. In the midst of it, the leader quite unexpectedly stops playing, and makes an entire change in his attitude and tone of voice, substituting for his own instrument one belonging to some one else. As soon as he does this, the performer who has been thus unceremoniously deprived of his instrument takes that of his leader, and performs on it instead. Thus the game is continued, every one being expected to carefully watch the leader's actions, and to be prepared at any time for making a sudden change. CONSEQUENCES. The old-fashioned game of Consequences is so well known that there are doubtless few people who are not thoroughly acquainted with it. It is played in the following manner:—Each person is first provided with half a sheet of note paper and a lead pencil. The leader of the game then requests that (1) one or more adjectives may be written at the top of each paper by its owner, and that, having done so, the paper may be folded down about half an inch, so as to conceal what has been written. Every one then passes the paper to the right-hand neighbour, and proceeds to write on the sheet that has just been given him by his left-hand neighbour, (2) the name of a gentleman, again folding the paper down and passing it on to the right. Then (3) one or more adjectives are written; then (4) a lady's name; next (5) where they met; next (6) what he gave her; next (7) what he said to her; next (8) what she said to him; next (9) the consequences; and lastly (10) what the world said about it. Every time anything is written the paper must be turned down and passed on to the right. As soon as every one has written what the world said the papers are collected, and the leader will edify the company by reading them all aloud. The result will be something of this kind, or perhaps something even more absurd may be produced—"The happy energetic (1) Mr. Simpkins (2) met the modest (3) Miss Robinson (4) in the Thames Tunnel (5). He gave her a sly glance (6), and said to her, 'Do you love the moon?' (7). She replied, 'Not if I know it' (8). The consequence was they sang a duet (9), and the world said, 'Wonders never cease'" (10). CONVEYANCES. [18] [19] To do justice to this game it will be necessary for the players to call to mind all they have ever read or heard about the various modes of travelling in all the four quarters of the globe, because every little detail will be of use. The business commences by one of the company announcing that he intends starting on a journey, when he is asked whether he will go by sea or by land. To which quarter of the globe? Will he go north, south, east, or west? and last of all—What conveyance does he intend to use? After these four questions have been answered, the first player is called upon to name the spot he intends to visit. Mountain travelling may be described, the many ingenious methods of which are so well known to visitors to Italy and Switzerland. The wonderful railway up the Righi need not be forgotten; mule travelling, arm-chairs carried by porters, and the dangerous-looking ladders which the Swiss peasants mount and remount so fearlessly at all times of the year, in order to scale the awful precipices, will each be borne in mind. In the cold regions the sledges drawn by reindeer may be employed, or the Greenland dogs, not forgetting the tremendous skates, that have the appearance of small canoes, used by the Laplanders; and also the stilts, which are used by some of the poor French people who live in the west of their country. Indeed, it is amazing how many different methods of conveyance have been contrived at one time or another for the benefit of us human beings. In Spain and other places there are the diligences; in Arabia the camels; in China the junks; at Venice the gondolas. Then, to come home, we have balloons, bicycles, wheelbarrows, perambulators, and all kinds of carriages, so that no one need be long in deciding what mode of travelling he shall for the time adopt. As soon as the four questions have been answered, should the first player be unable to name what country he will visit he must pay a forfeit, and the opportunity is passed on to his neighbour. This game may be made intensely amusing, as will be proved by trial; and at the same time a very great amount of instruction may be derived from it. CRAMBO. Two pieces of paper, unlike both in size and colour, are given to each person. On one of them a noun must be written, and on the other a question. Two gentlemen's hats must then be called for, into one of which the nouns must be dropped, and into the other the questions, and all well shuffled. The hats must then be handed round, until each person is supplied with a question and a noun. The thing now to be done is for each player to write an answer in rhyme to the question he finds written on the one paper, bringing in the noun written on the other paper. Sometimes the questions and the nouns are so thoroughly inapplicable to each other that it is impossible to produce anything like sensible poetry. The player need not trouble about that, however, for the more nonsensical the rhyme the greater the fun. Sometimes players are fortunate enough to draw from the hats both noun and question that may be easily linked together. A question once drawn was—"Why do summer roses fade?" The noun drawn was butterfly, so that the following rhyme was easily concocted:— "Summer roses fade away, The reason why I cannot say, Unless it be because they try To cheat the pretty butterfly." CROSS QUESTIONS AND CROOKED ANSWERS. This is a pleasant game, that may be enjoyed while sitting in a circle round the fire. The person at either end, who is honoured by commencing the game, must, in a whisper, ask a question of the player sitting next to him, taking care to remember the answer he receives, and also the question he himself asked. The second player must then do likewise, and so on, until every one in the party has asked a question and received an answer. The last person, of course, being under the necessity of receiving the answer to his question from the first person. Every one must then say aloud what was the question put to him, and what was the answer he received to the question he asked—the two together, of course, making nothing but nonsense, something like the following:— Q. Who is your favourite author? A. Beans and Bacon. Q. Were you ever in love? A. Cricket, decidedly. Q. Are you an admirer of Oliver Cromwell? A. Mark Twain. Q. Why is a cow like an oyster? A. Many a time. [20]